On 22 February, Bethany will be taking part in the “Careers in” panel for the event focused on Digital Heritage, Museum Policy & Management. The event seeks to explore skills needed for the future of the sector and focus on roles beyond the traditional curating, collections care.
For more information, visit University of York Careers and Placements.
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
We’re excited to again be named finalists in the Federation of Small Businesses’ Awards for Yorkshire & Humber 2023 under Self-Employed/Freelancer of the Year!
Winners will be announced at a ceremony on 24 February in Leeds.
To learn more about the event and to check out all the great businesses we’ve been nominated along-side, check out the FSB site.
Published by XR Stories
Ashley Loo, an XR Stories funded intern, won the University of York Student Intern of the Year award at a celebration at Heslington Hall.
Ashley, an Interactive Media student, received the award at a special event held by the Student Internship Bureau, which celebrates the achievements of University of York interns and the opportunities provided by local businesses. Ashley impressed the judging panel with her work as a UX designer with Experience Heritage, researching accessibility issues and redesigning screens for a new Heritage Trail app commissioned by the National Paralympic Heritage Trust (NPHT).
Bethany Watrous, founder and CEO at Experience Heritage, said, “I’m so proud of Ashley – she’s so deserving of this award! We adored having her as part of our team and she was a great help to the development of our product. Her work researching and designing UX features ensured that our current as well as future projects will be more accessible to more people.”
Ashley said, “As the UX designer on this project, my aim was to design a system that brought comfort to people with accessibility needs – creating multiple designs and testing them to gain real-time feedback from potential users. This has supported me in constructing customisable screens that provide enjoyable experiences for people with visual impairments or mobility difficulties.”
Another University of York student, Elliot Mann, was awarded runner up Intern of the Year for his work as a creative technician under the XR Stories internship programme.
Published on 12 December 2022
Bethany recently spoke with University of York Careers & Placements podcaster Kate Morris about what she actually does as a digital archaeologist and solopreneur.
“I myself want to go to a heritage site and stand there and be able to actually visualise what this ruin used to look like when it was fully functional and there were people moving around the space…and I wanted to bring that to other people as well.”
Listen to the podcast episode here.
The project for Parlormade Scone House was an exciting opportunity to combine our work in photogrammetry with drone SfM (Structure-from-Motion). It also had the increased challenge of capturing narrow in-door spaces through standard photogrammetry.
We broke the project into pieces, deciding to combine the exterior model and interior model in post. For the exterior, we took ground photography to try to get as much detail as possible, realizing that we’d not be able to get the angle we’d need to capture the roof without using a UAV (unmanned aerial vehicle) because of how tightly packed the buildings are in the Shambles. Therefore, we used the drone to capture the upper angles of our building and those next to it. Because of the extreme difference between our ground angles and those from the drone, the software was not able to automatically combine these pictures into one model, so it required manual merging in 3DS Max. After much cleaning and post processing, we had the exterior completed and then shifted our focus on creating the interior.
Creating photogrammetry models of interior spaces is more complicated than it may seem. Typically, in photogrammetry, you move in a circular path around your subject capturing it from all angles. However, when your subject surrounds you, in the case of a room, you have to change the way you think about capturing every surface. Our brilliant intern Ben, who is also a skilled photographer, did a large portion of the interior photography. He captured each wall as if it were its own ‘object’, but made sure to tie it to the adjacent wall through sufficient overlapping photography.
Blue squares represent the camera positions within the model.
Piecing things together in post-production
However, some features will never do well, whether taken inside or out, and those are reflective surfaces like mirrors or windows. This is because the current software isn’t yet smart enough to figure out what a window is and how it should work when being modeled. Sunlight reflecting off surfaces like shiny wood can also cause distortion which is why a lot of the second floor chairs and table-tops needed a lot of reworking.
An amazing amount of information can be captured from the right photography. When looking at the second floor, you can see how well the high ceiling came out despite us not using a ladder to get closer shots, straight-on shots.
Wireframe of the completed model
The other complication with interior photogrammetry in a space like Parlormade is all the furniture that needs to be included and needs sufficient photographic coverage as well. Much of the building's internal features, such as the counter on the ground floor and the fireplaces, were captured easily enough. Features with spindly details like the chairs’ legs and the railing balusters did less well and had to be fixed in post. In fact, most of the chairs in the final model are a bit of a Frankenstein’s monster created by merging what was captured from different chairs into one jumble that resembles something somewhat realistic.
Though an attempt was made to cover each space thoroughly enough to be able to process all three floors into one model in the software, the challenge of narrow and dark staircases made this impossible. In the end, a lot of post processing work went into seamlessly merging different models into the single interior model for the final design.
Once the model was complete, it was uploaded to Sketchfab where customers/potential customers of Parlormade could view the building and move around it in the 3D viewer. We were asked to add some historical information to add context to the medieval structure. We completed a few days of research and came up with 10 ‘stops’ around the model to help viewers better understand the history of the building, the Shambles and the tea and scone industry in the UK. The final result acts like a virtual tour which users can view while enjoying a scone in the cafe or while sitting at home deciding where they’d like to visit. Through the Sketchfab platform, users can also utilise the VR viewing option for a fully immersive experience.
This project combined a lot of photography and planning with quite a bit of post processing in order to pull together an engaging and immersive model. The end result, with photo-realistic quality, gives users the ability to move around the space virtually and view each room from any angle.
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.
We are excited to announce that Experience Heritage has won the title of “Best Digital Heritage & Research Company - Norther England” in SME News’ UK Enterprise Awards for 2022. The announcement was made in a press release by SME News.
“Now in its sixth year, the SME UK Enterprise Awards continues to recognise SMEs of all sizes who are endeavouring to bettering business in their industries. Whether it’s by nourishing rich internal cultures to promote employee satisfaction, by offering next-level customer service, or through an enduring dedication to innovative products – British SMEs are truly the lifeblood of the country’s economy and business landscape.”
Our award listing can be found here.
Memberships & Corporate Sponsorships:
Certifications:
