The digital reproduction of a historical motion picture should resemble as much as possible the analog film projection at the time of the movie release. Nowadays, practices of capturing digital images of films do not properly consider the fundamental elements and conditions of the original film projection. The typical rigid three-band (RGB) capture cannot adapt to the multitude of historical color film stocks to be digitized, and the diffuse illumination on the film generally used by standard digital scanning devices is unable to guarantee the proper visual rendition of the original analog projection of film prints. In order to overcome these problems, we designed and built a novel multispectral imaging system that illuminates the film with a condensed light beam. The new imaging system and the computational pipeline were tested on an assorted set of photographic colors. The accuracy of the multispectral captures was tested by comparison with corresponding spectrally resolved point-based radiometric measurements of the light reflected by a screen during analog projection. The presented optical design represents an excellent solution for the creation of a new multispectral motion picture scanner prototype. The LED-based illumination system coupled with a film transport mechanism can be the core concept of a promising new generation of motion picture film scanners.
Hyperspectral imaging has become a powerful technique for the non-invasive investigation of works of art. An advantage of this technique is the possibility to obtain spectral information over the entire spatial region of interest, allowing the identification and mapping of the constituent materials of the artefact under study. While hyperspectral imaging has been extensively used for artworks such as paintings and manuscripts, few works have been published on the use of this technique on stained glass. In this paper, a workflow for the imaging and analysis of stained-glass windows is proposed. The acquisition is carried out using a laboratory set-up adapted for transmittance measurement, which can support panels with a maximum size of around 50 x 50 cm. The image processing is carried out with two aims: visualization and chromophore identification. The results of this processing provide a foundation to discuss the potential of hyperspectral imaging for the scientific analysis of stained-glass windows.
Fluorescence is a photoluminescence phenomenon where light is absorbed at lower wavelengths and re-emitted at longer wavelengths. For classic artworks, fluorescence gives useful information about varnish and retouches. At the same time, modern artworks may employ synthetic fluorescent pigments because of their special appearance properties, such as increased brightness and vividness provoked by self-luminescence. Hence, it is relevant to investigate the fluorescent signals of cultural heritage objects when studying their appearance. This work proposes a variant to Reflectance Transformation Imaging (RTI) technique, namely Fluorescence Transformation Imaging. Reflectance Transformation Imaging method outputs a single-camera multi-light image collection of a static scene, which can be used to model the reflectance of the scene as a polynomial of the illumination directions. Similarly, Fluorescence Transformation Imaging aims to model the fluorescent signal based on a series of images with fixed scene and viewpoint and varying incident light directions - what changes with respect to RTI is that the wavelength of incident light needs to be shorter than the sensing wavelength. In the literature, there are works that explore the isotropic property of fluorescence in low-dimension multi-light imagery methods (such as Photometric Stereo) to model the appearance of an object with a first-order polynomial. This is because in the fluorescent mode the object gets closer to a Lambertian surface than in the reflective mode where non-Lambertian effects such as highlights are more likely to appear. Nonetheless, this assumption stands for single-object scenes, with uniform albedo and convex geometries. When there are multiple fluorescent objects in the scene, with concavities and non-uniform fluorescent component, then the fluorescence can become secondary light to the object and create interreflections. This paper explores the Reflectance and Fluorescence Transformation Imaging methods and the resulting texture maps for appearance rendering of heterogeneous non-flat fluorescent objects.
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