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The Impact of the Latest 3D Technologies on the Documentation of Underwater Heritage Sites
ADDISON, Alonzo C. (ur.). Proceedings of the 2013 Digital Heritage International Congress 2013, 28 Oct - 1 Nov, Marseille, France: IEEE, 2013, vol. 2, str. 281-288, 2013
Documenting underwater cultural heritage is a challenging undertaking. Underwater environment is not a man’s natural habitat and special equipment and devices had to be invented so that he could enter and study this environment. Several decades of underwater research and many sacrifices were needed to fully understand the importance of underwater heritage and its protection. The means for accurate documentation underwater are very limited and demanding, due to required technical equipment it is also expensive. Emergence of modern 3D methods and accompanying software tools for processing of 3D data is therefore of utmost importance for documenting and protection of underwater cultural heritage. In comparison to manual and analog methods, 3D methods offer much better accuracy, they substantially shorten the necessary time spent underwater and in this way improve the safety at work as well as lower the entire cost of field work. For illustration of the above development we discuss archeological case studies from the North East Adriatic.
Journal of Field Archaeology, 2013
Archaeology is a destructive discipline, and, unfortunately, the majority of methods employed by archaeologists to record and preserve the archaeological record consist of two-dimensional representations of three-dimensional (3D) subjects. Recent breakthroughs in 3D technology, however, have the potential to revolutionize the discipline. In recent years, multiple software suites capable of generating spatially accurate, photo-realistic 3D models with a series of digital photographs have become available. Following a successful season of field testing in 2011, the Tel Akko Total Archaeology Project (Akko, Israel) expanded the use of Agisoft’s PhotoScan Pro—one of the commercially available software suites—to test the accuracy and suitability of the program for archaeological applications at multiple scales. After two years of field testing, it is clear that the implementation of PhotoScan Pro in archaeology facilitates unprecedented accuracy in field recording and digital heritage management, and provides a new outlet for the dissemination of archaeological data.
3D Documentation for the Assessment of Underwater Archaeological Remains
Barbara Davidde Petriaggi, Roberto Petriaggi, Gabriele Gomez De Ayala In 2001 the Superior Institute for Conservation and Restoration (Istituto Superiore per la Conservazione e il Restauro) launched Restoring Underwater. Restoring Underwater is a project aimed to the study and experimentation of instruments, materials, methodologies and techniques for the restoration and conservation in situ of ancient submerged artefacts. Set up in 2001 it started by restoring the vivaria of the Roman villa of Torre Astura (Nettuno- Rome). Since 2003 the research has been focused on the submerged archaeological site of Baiae where over the years the restoration of sectors of certain buildings within protected marine area were carried out: the so called Villa con Ingresso a Protiro, the Villa dei Pisoni, the so called Herculanea street and the Building with porticoed courtyard near Portus Iulius. Recently a new type of relief was carried out to document the phases of the restoration of a room paved with opus sectile, research and for the stratigraphic survey during the underwater excavation. The L1 system generates a cloud of dots to create a photographic textured model, that is accurate within a millimeter. L1 system can scan big areas and automatically merge them into a mosaic, getting to an improved sub millimeter level of precision, which means that it’s possible to obtain an archaeological survey of smaller details. the restoration in order to show the restored piece in a museum.
Open Archaeology, 2021
Digital technologies have been at the heart of fieldwork at the Kaymakçı Archaeological Project (KAP) since its beginning in 2014. All data on this excavation are born-digital, from textual, photographic, and videographic descriptions of contexts and objects in a database and excavation journals to 2D plans and profiles as well as 3D volumetric recording of contexts. The integration of structure from motion (SfM) modeling and its various products has had an especially strong impact on how project participants interact with the archaeological record during and after excavation. While this technology opens up many new possibilities for data recording, analysis, and presentation, it can also present challenges when the requirements of the recording system come into conflict with an archaeologist's training and experience. Here, we consider the benefits and costs of KAP's volumetric recording system. We explore the ways that recording protocols for image-based modeling change how archaeologists see and manage excavation areas and how the products of this recording system are revolutionizing our interaction with the (digital) archaeological record. We also share some preliminary plans for how we intend to expand this work in the future.
Open Archaeology, 2021
Digital technologies have been at the heart of fieldwork at the Kaymakçı Archaeological Project (KAP) since its beginning in 2014. All data on this excavation are born-digital, from textual, photographic, and videographic descriptions of contexts and objects in a database and excavation journals to 2D plans and profiles as well as 3D volumetric recording of contexts. The integration of structure from motion (SfM) modeling and its various products has had an especially strong impact on how project participants interact with the archaeological record during and after excavation. While this technology opens up many new possibilities for data recording, analysis, and presentation, it can also present challenges when the requirements of the recording system come into conflict with an archaeologist's training and experience. Here, we consider the benefits and costs of KAP's volumetric recording system. We explore the ways that recording protocols for image-based modeling change ho...
The application of 3D digital technologies in the archaeological research expands more and more during the last decades. 3D recording, visualisation, representation and reconstruction of archaeological sites, monuments and artefacts become almost a common trend in the archaeological work. Moreover, CAD reconstructions , 3D simulation, computer animation and other uses of computer systems change the traditional work-flow. The archaeological experience, though, recognizes these tools more for the general public in order to offer a visualisation of the target object than as a mechanism that can offer new possibilities for the research itself. The focus of this article is to explore the opportunities given to the research field of archaeology by 3D technologies. Specifically the article will look into technologies regarding the 3D recording, processing, visualisa-tion and representation of archaeological data. Through the use of specific case studies we will investigate how applications can contribute to the understanding first and the interpretation later on of a certain archaeological object. Issues such as the types of questions and problems that can be faced and answered with these 3D technologies will be raised and discussed. The possibility to get an expansion of the archaeological research in new aspects, as it happens with other technological tools (e.g. databases), will be also examined. In addition to these, the disadvantages and limitations of the application of these 3D technologies in the archaeological field will be also looked at, in order to accomplish a more complete view of its usage.