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Unlocking 3D Digital Heritage, Henk Alkemade and Kate Fernie (CARARE)
- 2. Introduction This presentation willpresent some inspiring examples of 3D digital heritage from across Europe. We will talk about • how the content is created, used and re-used • how using standards and metadata help to unlock 3D digital heritage and make it FAIR (Findable, Accessible, Interoperable, and Reusable) and • discuss some lessons learned
- 3. About us! CARARE hasbeen working with heritage organisations and archaeologists across Europe since 2010 offering support and practical assistance in sharing datasets with Europeana • We are a non-profit membership association aiming to advance professional practice and foster appreciation of the digital archaeological and architectural heritage • EXARC is one of CARARE’s members • CARARE is a partner in the consortium for the implementation of the Common European Dataspace for CH and in several projects working with 3D – notably 5DCulture, Tech4Heritage and 4CH • We have a help desk and can offer advice on 3D https://www.carare.eu Contact: info@carare.eu Twitter: @projectCARARE Training hub: https://www.carare.eu/ en/training/ Webinars on Vimeo: https://vimeo.com/user 124611809
- 4. Why digitise culturalheritage in 3D? INCEPTION Platform • 3D digitisation is valuable for conservation, research, education, tourism and for documenting heritage at risk • It offers access to heritage in places that are hard to reach and for people who are unable to visit in person • It allows the sector to make connections and to create rich experiences for their audiences
- 5. Creating 3D Recording in3D structure at Knowth, Brú na Bóinne, Discovery Programme, CC-BY-NC Scanning the Girl with the Pearl Earring, Mauritshuis,Kate Fernie, CC-BY 3D is used on cultural heritage assets of very different size and scale – from large monuments and buildings to small objects. Environmental conditions may vary widely. The methods, techniques and workflow differ according to the object, the environmental conditions and the purpose of the project. The audience for the content and how they will use it, also influences what is captured, how and its quality. Capture is the first step.
- 6. The process hasmany steps A white statue being digitized. https://pro.europeana.eu/post/scanning-cultural-heritage-in-3d-in-cha enging-situations-a-practical-approach Creating 3D models is a complex with many stages – from capture, post processing, optimization, modelling, animation and annotation. Different people, equipment and software are used at different stages. If we want to make sure the content is unlocked for future uses We need to think about standards, metadata, rights and access licenses.
- 7. Case study: HuntMuseum, Limerick, Ireland The museum digitises in 3D • To publish items from their collection online • To increase access worldwide and to encourage research • To increase accessibility and offer new forms of access • For education
- 8. 3D projects –volunteering and the community For the Hunt museum 3D digitisation has been a way for volunteers, students and community members to get involved and learn new skills.
- 9. Outputs 3D digitisation resultsin more than one output for the Hunt museum: • 3D models published in Sketchfab, embedded in the museum’s website and shared with Europeana • Printed 3D objects to allow visitors to have a tactile experience of objects behind glass • Interactive gallery displays to explore • CNC printing of objects for the museum garden in central Limerick • Re-uses in games and educational materials
- 10. Unlocking 3D forreuse Standards, metadata and access licences are important for your own future projects They also enable other projects –for research, education, creativity etc. Here’s where FAIR data come in! Courtesy The Digital Programme, Ireland Roisin Fitzpatrick
- 11. Findability – howcan I find your model? As well as good 3D content we need good quality metadata: ● To find the content that exists ● To understand the cultural heritage that is represented and how it was digitised ● To enable the content to be shared
- 12. Persistent identifiers andsearchable metadata A persistent identifier is a unique URL which identifies your object, and is backed by a system which undertake to maintain the record into the future, e.g. DOI, Handle, ARK, or PURL Rich metadata allows users to find your content by searching for a variety of keywords, dates, subjects, creators, etc. Sharing the metadata with other platforms (like Europeana) increases findability.
- 13. Accessibility Once users havefound your data it needs to be accessible. This has two aspects, the first is where the data is deposited and how it can be retrieved. 13 Image: European Data Journalism Network If a user must phone a curator or librarian to ask for access to the data it is not accessible. FAIR data does not have to be fully open or free but it should be easy to find out how to access and use the data. One way of making sure your data will remain accessible is by depositing in a Trusted Digital Repository.
- 14. Interoperability A single 3Dproject often consists of several data files (point clouds, models and 2D image files for rendering and texturing,) plus documentation about the project, equipment and methods. Technology is evolving rapidly. The focus here is on: ● Allowing others (including future members of your team) to open and re- use the data in future ● Being able to connect 3D with other data ● Sharing metadata with other platforms
- 15. Interoperability – fileformats There is a variety of software in use producing data in non-standardized formats, which may not be openable in other software. When storing your data: ● Migrating files to preferred formats means that it can be opened in many common software applications. Preferred formats include: ○ Common 3D file formats (such as glTF, X3D, STL, OBJ, DAE, PLY, WRL, DICOM and IFC) can be opened in many common software applications which helps both access and reuse ○ Saving point clouds in ASCII file types mean these can be opened in a text editor. ● Providing good enough documentation to allow others to open and re-use the data in future is also important
- 16. Interoperability – metadata Usingmetadata standards and vocabularies supports interoperability • Metadata Standard = The fields you should fill in to adequately describe your data, e.g. title, description, subject, author, etc. • Vocabulary = The values you should use to fill in those fields, e.g. LCSH term “Excavations (Archaeology)--Antiquities”
- 17. Vocabularies Printed vocabularies andwordlists are great for improving the consistency of your data but Linked (Open) Data is superior 17 Extract from the Thesaurus of Monument Types, Forum on Information Standards in Heritage, 2020 http://www.heritage-standards.org.uk/fish-vocabularies/ For example, Getty’s Art and Architecture Thesaurus: ● UIDs for each concept label ● Concept labels are available multiple languages ● Broader and narrower concepts
- 18. Metadata An example of metadatafor 3D using our Share3D dashboard The exported metadata is in Europeana’s EDM format.
- 19. Reusable Rights statements expressthe copyright status of a digital object and provide information about how someone can re- use the object. ● Standardised rights statements (for example from Creative Commons or RightsStatements.org) give information about rights in clear and simple language and are machine readable.
- 20. FAIR by example TheUniversity Research Institute for Iberian Archaeology educational event at the Iberian Museum of Jaén re-using 3D models for inclusive education, sparking curiosity and hands-on learning.
- 21. 3D reconstructions forstory telling Ename 1665 - the timber harbour - https://youtu.be/HGd3LUrqNyI 3D digitisation allows us to create accurate virtual reconstructions of historical sites and to use these as interactive story telling tools. Sites and museum objects can be brought to life while setting the 3D reconstruction in its wider historical context
- 22. Animated scenes Lillo 1640- closing the gate - https://youtu.be/enwKbaeGv80 In this model the gate is animated. Closing the gate allows us to talk about: • how the fortress was defended • Weapons and ammunition • Historical events
- 23. Interactive objects Eham 1291- a manuscript in the making - https://www.youtube.com/watch?v=B29RqEduJGI&t=63s In this model selecting the manuscript tells the story of: • the scriptorium • the monk/scribe • the book and you can hear the text in Dutch
- 24. Use in themuseum 3D reconstructions of Ename used to create a timeline which is accessible • in the site museum • On site in kiosks • Online in Europeana https://youtu.be/B6KiI SEH7fY (
- 25. Issues for discussion Whatreally matters to you when you’re thinking about reusing a 3D model? ● Is it the quality of the model (the precision and accuracy with which the data was captured)? ● Is it the historical authenticity (the way the historical sources have been interpreted? ● Is it having access to the technical metadata and paradata needed to use the model in your project? ● Or some other factor…. 25
- 26. Thank you! Kate Fernie kate@carare.eu HenkAlkemade henkalkemade66@gmail.com Website: https://www.carare.eu Contact:info@carare.eu Twitter:@projectCARARE Training Hub: https://www.carare.eu/en/training/ Webinars on Vimeo: https://vimeo.com/user124611809
Editor's Notes
- #1 Welcome to Unlocking 3D Digital Heritage. My name is Henk Alkemade and I prepared this presentation together with my CARARE colleague Kate Fernie, for which I would like to thank her very much. I would also like to thank the organisation for giving us the opportunity to share and discuss some of our experiences in unlocking 3D heritage with you.
- #2 In this presentation we will show you some inspiring examples of 3D digital heritage from across Europe and we will discuss how content was created, used and reused, how to unlock your 3D digital heritage and make it findable, accessible, interoperable and reusable, and we'll discuss some lessons learned.
- #3 A little about us, about CARARE. We are a non-profit membership association of which EXARC is one of our members. We have been working with heritage organisations to support them and give practical assistance in sharing datasets with Europeans since 2010. We are at the moment partner in the consortium for the implementation of the Common European Data Space for Cultural Heritage and we're partners in several projects working with 3D, notably 5D Culture, Tech4Heritage and 4CH.
- #4 3D digitisation results in valuable data that can be used for different purposes ranging from conservation to tourism. It also offers access to heritage when it's not possible to visit in person and it allows to connect to other data and thereby creating richer experiences for your audiences.
- #5 Creating 3D models of cultural heritage assets is not easy because of the wide variety of sizes and scales of he assets, but also the wide variety of conditions in which to capture the data. All these require different approaches, workflows, techniques and expertise. The purposes for which the models are created, the targeted audience and how they will use the models also influence what is captured, how and its quality requirements.
- #6 Data capture is the first in a series of steps each requiring different expertise, equipment and software and if we want to make sure the content is unlocked for future uses we need to think about standards, metadata, rights and access licences from the start.
- #7 Let's look at the case study of the Hunt Museum in Limerick, Ireland first. Their reasons to start digitisation in 3D were several. They wanted to publish their items online, to increase access and accessibility, they wanted to encourage research and use the 3D models for education.
- #8 The 3D digitisation provided the opportunity to involve volunteers, students, community members so they could learn new skills.
- #9 The 3D digitisation resulted in several outputs. Not only the 3D models themselves online and shared with Europeana but also printed 3D objects for tactile experience and unlocking audio files that tell the story of the object. The Hunt Museum also created interactive gallery displays allowing visitors to explore temporal and geographical data layered and annotated with objects that can be interacted with in 2D and 3D.
- #10 Brú na Boínne World Heritage Site; megalithic art Unlocking 3D for reuse is important. It's important for your own future projects but also to enable other projects and applications like the example of creative reuse of a 3D model on the right of the slide and here's where FAIR data come in.
- #11 Starting with findability we need good quality metadata to find your content and understand the heritage it's representing and how it was digitised.
- #12 In order for your content to be findable now and in the future you might consider using persistent identifiers to avoid broken links in the future. Some examples are shown on the slide. Using rich metadata allows users to find your content by searches on keywords, time, place etc etc and sharing the metadata with other platforms like Europeana increases findability.
- #13 Storage may be in: Institutional repositories Trusted Digital Repositories for example https://dans.knaw.nl/en/data-services/data-vault/ International digital repositories - for example https://zenodo.org/ Once your content is found users need to be able to access it without asking someone for permission and remember FAIR data does not mean it has to be totally open and free but it should be easy to find out how to access and use it. In order to remain accessible in the future it is advised to keep your data in a trusted repository like DANS in the Netherlands.
- #14 Interoperability allows users to open and reuse the data in the future. It enables you to connect your 3D models with other data in- and outside your organisation and it enables you to share your metadata with other platforms.
- #15 Interoperability is severely hampered by proprietary non-standard file formats so it's advisable to migrate to preferred file formats of which some examples are on the slide and to provide adequate accompanying documentation for other and future users.
- #16 Not only the content needs to be interoperable but the metadata likewise should be interoperable and this can be accomplished by adhering to metadata standards, describing which metadata fields should be filled and by the use of standard vocabularies and gazetteers to fill the fields in a standardised way. Using Linked open data vocabularies and gazetteers is preferred.
- #17 This is an example of the Getty's Art and Architecture Thesaurus which has unique identifiers for concepts which are available in multiple languages and provide a hierarchy of broader and narrower concepts.
- #18 Here's an example of metadata for 3D using Carrara's Share3D dashboard. On the left you see the 3D model in Sketchfab and on the right the standard metadata fields grouped in tabs. Taking a closer look you may notice the use of AAT is embedded in the tool. The resulting metadata file is exported in Europeana's EDM format so it's easy to process by them.
- #19 The reusability of your content is for a large part determined by the copyright status of the digital object. And to make this clear it's advisable to make use of standardised Right statements for instance those from Creative Commons or RightsStatements.org that provide that information in an understandable way and are also machine readable. If you want to share your content with Europeana, they will also need standardised Right statements of your content. as well as that you agree that your metadata will be Open and Free (CC0).
- #20 Here you see a very nice example of reuse of 3D models for inclusive education at the Iberian Museum in Jaén in Spain allowing school children to explore Iberian culture…… truly hands-on.
- #21 This model provides a scene based reconstruction of 17th century timber production – from the transport of the trees to the yard, removal of the bark, cutting of the beams to the transport of the cut beams for use in buildings. Virtual reconstructions of historical sites can bring sites and objects to life, tell their stories in historical context. This example is a scene-based reconstruction of 17th century timber production in the Belgian town of Ename.
- #22 You can also add animations like opening and closing a gate and discuss for instance how the fort was defended.
- #23 By creating interactive objects like the manuscript in this 13th century scriptorium you can tell the story of the monks that worked as scribes here and you can access audio files of the text.
- #24 Like in the previously discussed example of the Hunt Museum, the Ename Museum offers a timeline which can be accessed not only in the museum itself but also on site in kiosks, as well as online in Europeana.
- #25 I would like to conclude this presentation with some issues for discussion. What is really important to you when you consider reuse of a 3D model? Is it the quality of the model? Is it historical authenticity? Is it having access to the technical metadata and paradata? Or is it some other factor?
- #26 Due to the time constraints, this was only a brief presentation of some of our experiences, but if you have any questions, remarks, please do contact us. You can find our contact details all on this slide. Thank you very much for your attention.