A premiseĥ.4.1 The augmented heritage and the group social experienceĥ.5 Augmented Reality in the Museum: rationalization of a processĥ.6 Augmented heritage for the enhancement of cultural heritage.Sounds and lights for the Königorgel in Nijmegenĥ.7 The magnificent adventure of a “fragment”. originalĥ.3 The application fields and alternative practices in the Museums and cultural heritage sectorĥ.4 From the displayed object to the narrative object.
#How to acces syphon with madmapper how to
Introduction by Donato Maniello Chapter 1 – Out-of-screen art: technologies and state of the art todayġ.1 Video project ourselves into the futureġ.2 Contemporary technologies and communication potential Chapter 2 – Advanced methods for mapping a surfaceĢ.2 3D Scanning Mapping with SFM techniqueĢ.2.2 Positioning of the texturing cameraĢ.2.4 Positioning of the camera from the perspective of the video projectorĢ.3 2D Scanning Mapping (structured light)Ģ.4 Virtual mapping: the 3D pose estimationĢ.5 Syphon: Using After Effects and Cinema 4D in tracking mappingĢ.5.1 After Effects and real-time tracking mappingĢ.5.2 Cinema 4D and real-time tracking mappingĢ.6 Notes on the automatic transformation from High poly to Low poly from the SFM scans of archaeological objects: Texture BakingĢ.6.1 Mesh reduction in Cinema 4D: from Hp to LpĢ.6.3 Meshlab: from Hp to Lp and texturingĢ.7.1 Point of view of the video projectors and the public Chapter 3 – Reconstruct the real in the virtual: 3D modelingģ.2 Creation of a reality based 3D model: Method Aģ.3 Creation of a reality based 3D model: Method Bģ.4 Considerations on optimizing a 3D model for video mapping Chapter 4 – MadMapper: Increasing the content of realityĤ.1 General overview of the program interfaceĤ.4 Spacial Scanner: 2D Scanning Mapping (structured light)Ĥ.4.1 The Spacial Scanner applied to the urban scene: The Cloister of San Francesco in OstuniĤ.4.2 The Spacial Scanner applied on a 1:30 scale model:The Cloister of San Francesco in OstuniĤ.4.3 A special application of the Spacial ScannerĤ.5 Mapping surfaces in live mode with background image derived from the Spacial ScannerĤ.5.1 Using quad surfaces, masks and groupsĤ.5.2 Adding animated lines and modifying surfaces with Mesh WarpingĤ.6 Adapting one prospective view to anotherĤ.6.1 Mesh Warping4.6.2 The “part by part” techniqueĤ.7 Pairing multiple video projectors: Edge BlendingĤ.8.3 miniMAD: let’s connect it to the computer and the video projectorĤ.9 How to map an external controller with MadMapperĤ.10 Virtual mapping: How to use MadMapper’s 3D surfacesĤ.10.1 Adding depth to flat surfaces: 2.5D or reverse mappingĤ.10.2 Matching between real and virtual model through 3D pose estimation technique Chapter 5 – Augmented space reality applied to cultural assets:the augmented heritageĥ.1 Five ideas for improving museum experiences by Joanie Lemercierĥ.2 Manipulating numerical data to transform it into immersive experiences using augmented reality: presence vs. The last chapter is finally dedicated to the theme of augmented heritage and focuses attention on the use of multimedia procedures for the communication of cultural heritage with digital technologies both audio and video.
#How to acces syphon with madmapper software
The text, starting from a quick overview of the current technologies that are laying the foundations for those of the future, addresses the advanced techniques of surface acquisition and then move on to the theme of modeling and MadMapper, currently the only software with specific functions for video mapping. SAR offers in this sector great unexplored opportunities, especially if you think of its hybridization with traditional museographic systems or with more futuristic mixed reality systems it is often configured as the best action to be interpreted to communicate the past as it frees the user from the brightness of other systems. This volume is intended to be an exhaustive guide for all those who, already masters the basic techniques of video mapping, want to deepen the subject and in particular want to focus attention on the Spatial Augmented Reality (SAR) applied to cultural heritage, whether artistic, archaeological or museological.