Case study combining laser scanning + RTI: Oswald Allen Memorial

Deciphering the worn inscription on the Oswald Allen memorial was an interesting challenge in heritage investigation. This Victorian ‘medicine pot’ memorial was believed to pay tribute to Oswald Allen, founder of the York Dispensary, and his wife Frances. However, despite a Victorian record of the stones within the St Lawrence churchyard, no record of Allen’s memorial inscription can be found and therefore its message is at risk to be lost to history forever. This is why a parishioner of St Lawrence Church approached us to see if digital technologies might be able to decipher anything beyond what is visible to the naked eye.

Determined to at least partially decipher the inscription, we tried several different methods. First a photogrammetry test was done to see if this technique would pick up the required level of detail from the stone’s surface to allow us to see fine depth information. The test didn’t prove promising unless new techniques were engaged including high resolution, macro photography or photometric stereo. Instead, our second method was to try laser scanning and to see if the level of detail was enough to determine small changes in depth.

We were provided assistance with the laser scanning from XR Stories and from SIGN’s Creativity Lab, both very useful resources available to small business in the screen and interactive media realm in the Yorkshire region. With the stone scanned, we first had to flatten it in order to be able to use depth information to help us potentially interpret some of the inscription. To do this, we used software called CloudCompare. Once flattened, we were able to add a colouring system which changes colours based on height information. This helped us to see a little more, but the first scans did not obtain enough fine detail to allow us to see much.

Next, we took on a new technique (for us) called Reflectance Transformation Imaging (RTI). Different to photogrammetry, where the camera is moved around an object, in RTI it is the flash that is moved while the camera remains in the same place. After a series of images are taken having moved the flash in a configuration as shown in the diagram below, processing software pulls these images together to give you further depth information in the form of a normal map. A normal map shows height information for a 3D model and can be used to provide texture to a flat model surface. The RTI viewer software also allows you to digitally move a light source around the object to help highlight depth information through shadows. 

A normal map produced through RTI

Placement of light/flash during RTI.
Image credit: https://cceh.github.io/rti/intro.html

We then combined the two techniques by performing RTI on the laser scanned model within the 3D modeling software.

Using these techniques, as well as good old-fashioned raking light (manually using light over the surface of the object to induce shadows which help read inscriptions) and research, we were able to provide more of the inscription than was previously known.

In the end, however, much of the middle of the two panels was indecipherable. The weathering had taken most of the detail of the letters away leaving only a hint that a letter was once there.

Depth colouring

Laser scan, flattened and shaded

Deciphered sections from the inscription

Photogrammetry for 3D printing

We recently worked on this Buddha statue project, creating a digital 3D model through the process of photogrammetry and then preparing it for 3D printing by the clients. Check out the different phases in this short video.

From the photographs taken, a point cloud is first created in Metashape, followed by the mesh building built, and finally the texture is added. Then we take a look at the model in a standard 3D printing software to see how it will do in the printing process.

Moving forward in digital heritage

The following is a guest article written by Owen Burton for and originally posted in Visitor Focus on the Association of Independent Museums website.

Working in digital heritage is exciting: as technology improves all the time, the possibilities of what can be achieved continue to grow. Here AIM Associate Supplier Experience Heritage explore some of the best methods for heritage sites to produce engaging displays while managing the impact of social distancing.

Possibilities with Photogrammetry and Augmented Reality
Photogrammetry (creating a 3D model by stringing together a group of photographs) makes it possible for heritage sites to have pieces of their collection accessible online. People can interact with these objects in a new way and from different angles, all from the comfort of their own living room. In these challenging times, it might be possible for heritage site staff to be taught how to take the required photos of a given object or even how to use the modelling software for themselves.

Augmented Reality mobile apps can place historic reconstructions of sites over the current landscape to enable the public to visualise what used to be there, providing opportunities for storytelling to help bring inaccessible sites to life.

Mobile apps and virtual tours
There is an increasing awareness of the possibilities of heritage trail and self-guided tour mobile apps another opportunity for interactive engagement with history while maintaining social distancing. Virtual tours have allowed digital access to sites that have been closed during lockdown, as people have been virtually wandering around such sites as the British Museum, the Louvre and the Van Gogh Museum.

Pause for thought . . . and communication
Lockdown has provided us with opportunities to learn and space to reflect. Heritage roundtables and webinars have lent greater clarity to the day-to-day realities of what sites have been going through and what their focus points are. These priorities have included expanding audience engagement through digital opportunities and ensuring accessibility in digital communication for disabilities.

If you would like to explore possibilities for digital engagement, like photogrammetry, augmented reality or heritage trail apps, Experience Heritage would love to help. Visit our website at www.experience-heritage.com or email us at info@experience-heritage.com.

Pictured: Mockup imagining of an AR app for Slingsby Castle by Experience Heritage.

Can Social Media Efforts Save Cultural Organisations After COVID-19?

By Esther Wilson, digital marketing volunteer at Experience Heritage

With Boris Johnson’s ordering of lockdown on 23rd March 2020, it was clear that the Coronavirus pandemic had become something which would significantly affect our arts and heritage sectors in the UK. Overnight, many sites and organisations lost their main form of revenue for what would turn out to be at least 103 days of closed doors, until museums were legally able to begin reopening procedures on 4th July. This difficult period demanded a rapid reconsideration of how the sector engages with visitors and audiences. The innovative and fantastic moves towards digital forms of interpretation and engagement within heritage sites, such as Augmented Reality (AR), Virtual Reality (VR) and 3D-Modelling, were already indicators of a vibrantly digitalising sector. But, with closed doors, these would no longer be enough to bridge the gap during lockdown; the new and unprecedented situation demanded yet further innovation in order to engage audiences and try to secure financial support. 

The vast potential for using social media to enable public engagement with important heritage work is something which quickly became apparent. With their enormous and easily accessible reach, channels such as Twitter and Instagram have allowed organisations to not only engage their existing audiences barred from a physical visit, but expand their reach by engaging new groups of people.

Judi Dench as objects in our collection — a thread pic.twitter.com/0Yob8Kwx9f

— York Museums Trust (@YorkMuseumTrust) July 9, 2020

One of my favourite examples, and perhaps most impressive relative to its size, has been the Yorkshire Museum and its parent organisation, regional heritage group York Museums Trust. At the start of July, York Museum’s Trust themselves had significant engagement success with a series of Twitter posts entitled ‘Judi Dench as objects in our collection – a thread’. Whilst this did not use a hashtag, the en-vogue post itself received more than 8,500 likes and was widely shared across a diverse range of media outlets, including popular international channels ‘Bored Panda’ and ‘Flipboard’. However, this achievement was to be outdone by one of their own sites, the Yorkshire Museum. Back in April, the Yorkshire Museum launched a weekly ‘#CURATORBATTLE,’ inviting heritage organisations from around the world to share their best collection pieces along a given theme. The first major hit was #CreepiestObject,’ which attracted not only 13,700 international ‘likes’ on the original collection-sharing post, but made regional and national headlines, including coverage by the BBC. Yet, this success was arguably modest in comparison to the achievements of ‘#BestMuseumBum,’ launched on 26th June and still being circulated at the time of writing on 27th July. Whilst the original post achieved around 2,600 likes, its hashtag went truly global. For a regional museum, the Yorkshire has attracted incredible levels of high-profile and populist engagement worldwide, from international media companies such as the Guardian and Mashable South East Asia, to specialist sites such as ArtNet and once again the popular website BoredPanda. Surely, the success that York Museum’s Trust has received is not only an inspirational and practical example of successful social media engagement techniques and an indicator of the potential influence that social media holds for the heritage sector when it is used effectively; at a time when the sector faces uncertainty, York Museum Trust’s success has also served to demonstrate the extent to which heritage and cultural organisations are appreciated and needed by the public, especially when physically inaccessible.

IT’S TIME FOR #CURATORBATTLE!💥

Today’s theme is #BestMuseumBum!

This cracking Roman marble statuette depicts an athlete at the peak of fitness! It may have decorated the town house of one of Eboracum’s wealthier residents. Has someone taken a bite out of this 🍑?

BEAT THAT!💥 pic.twitter.com/N3A6KYz339

— Yorkshire Museum (@YorkshireMuseum) June 26, 2020

Even as the UK lockdown slowly unfurls, the road ahead is set to be difficult. For many organisations, the search for safe and financially viable re-opening practice is set to continue into 2021 and an unfortunate number have already been forced into redundancy talks, including significant players such as Tate and Historic Royal Palaces. Some organisations, such as Birmingham Museums Trust, are reported to face losing up to half of their staff due to a swathe of unavoidable redundancies, news which provoked tragic outcry on social media when it was announced on 24th July. This means that deeper long-term reconsideration of heritage practice has been required, as well as new funding opportunities in addition to the government-backed £1.57bn cultural assistance package announced on 5th July. 

Here, the effective wielding of social media channels such as Twitter and digital platforms such as Zoom have proved invaluable means to directly support heritage professionals themselves whilst being reduced to furlough, working from home or in vastly reduced on-site capacities.

How might museums approach thinking, working and engaging with collections in a post Covid-19 world?

Join the next #MACoronavirusConversations on the future of collections next Wednesday 15 July - https://t.co/gT49LBXE1b pic.twitter.com/hSspoTe3dN

— Museums Association (@MuseumsAssoc) July 9, 2020

Academic players such as the UCL Heritage Science & Engineering Network have been keen to encourage cross-industry discussions through a podcast series on the significance of the pandemic for arts and culture. Both the Museums Association and the Association of Independent Museums have promoted webinar series to help members tackle the specific work-based challenges surrounding existing heritage practice in the ‘new normal’. Online Twitter-based discussions for heritage professionals have also played a key role in promoting active discussion, exemplified by hashtags such as ‘MACoronavirusConverstions’ from the Museums Association, along with ‘#MuseumHour’ from an independent account without organisational affiliation, Museum Hour; both have facilitated enormously popular online discussions around key topics such as museum practice and professional wellbeing. The Museums Association have also utilised social media as a way to reach out to the many heritage professionals facing personal financial struggles, inviting applications to their individual ‘benevolence fund’. Organisations such as Arts Council England and the Heritage Lottery Fund have similarly sought to share their news of wider financial assistance packages through social media, as additionally employed by lesser-known charitable players such as the Julia & Hans Rausing Trust. The true practical effectiveness of such support channels is yet to be fully understood, but given their apparent popularity, it certainly seems that such approaches are here to stay.  

Today we launch the £10 million Charity Survival Fund, to help small and medium sized charities with the funding crisis as a result of #Covid19. We are welcoming applications from charities across the UK who fulfil the criteria. More information is on https://t.co/grSPwljykS pic.twitter.com/ozOwz2Zpqy

— Julia & Hans Rausing Trust (@JHRTrust) July 6, 2020

As early as 30th May, international polls by UNESCO and ICOM were already indicating that up to 1 in 8 heritage sites across the world may be set to close. Even as some countries come out of lockdown, with the uncertainties of how the Covid-19 threat will be diminished, fear still hovers over the future of heritage work which is perhaps more important in the tumultuous and uncertain post-Covid-19 age than ever before. Will the use of social media be a sufficient lifejacket for our important cultural organisations during these rough and unpredictable seas? With the tide undeniably towards the digitalisation of the heritage sector, I certainly think it could have an important part to play. Perhaps dovetailed with already increasingly popular digital techniques such as AR, VR, virtual tours and 3D modelling, social media could be used to both bring truly engaging heritage encounters even closer to home and further encourage in-person visits once the museum doors are open wide once again. Nevertheless, when it comes to digital approaches to heritage, the sector certainly cannot afford to return to the ‘old normal’.