3D scan and print of President Obama

Smithsonian Displays 3D Portrait of President Obama

The first presidential portraits created from 3-D scan data are now on display in the Smithsonian Castle. The portraits of President Barack Obama were created based on data collected by a Smithsonian-led team of 3-D digital imaging specialists and include a digital and 3-D printed bust and life mask. A new video released today by the White House details the behind-the-scenes process of scanning, creating and printing the historic portraits. The portraits will be on view in the Commons gallery of the Castle starting today, Dec. 2, through Dec. 31. The portraits were previously displayed at the White House Maker Faire June 18.

3D Print of President Obama

The Smithsonian-led team scanned the President earlier this year using two distinct 3-D documentation processes. Experts from the University of Southern California’s Institute for Creative Technologies used their Light Stage face scanner to document the President’s face from ear to ear in high resolution. Next, a Smithsonian team used handheld 3-D scanners and traditional single-lens reflex cameras to record peripheral 3-D data to create an accurate bust.

The data captured was post-processed by 3-D graphics experts at the software company Autodesk to create final high-resolution models. The life mask and bust were then printed using 3D Systems’ Selective Laser Sintering printers.

The data and the printed models are part of the collection of the Smithsonian’s National Portrait Gallery. The Portrait Gallery’s collection has multiple images of every U.S. president, and these portraits will support the current and future collection of works the museum has to represent Obama.

The life-mask scan of Obama joins only three other presidential life masks in the Portrait Gallery’s collection: one of George Washington created by Jean-Antoine Houdon and two of Abraham Lincoln created by Leonard Wells Volk (1860) and Clark Mills (1865). The Washington and Lincoln life masks were created using traditional plaster-casting methods. The Lincoln life masks are currently available to explore and download on the Smithsonian’s X 3D website.

The video below shows an Artec Eva being used to capture a 3D portrait of President Barack Obama along with Mobile Light Stage – in essence, eight high-end DSLRs and 50 light sources mounted in a futuristic-looking quarter-circle of aluminum scaffolding. During a facial scan, the cameras capture 10 photographs each under different lighting conditions for a total of 80 photographs. All of this happened in a single second. Afterwards, sophisticated algorithms processed this data into high-resolution 3D models. The Light Stage captured the President’s facial features from ear to ear, similar to the 1860 Lincoln life mask.

About Smithsonian X 3D

The Smithsonian publicly launched its 3-D scanning and imaging program Smithsonian X 3D in 2013 to make museum collections and scientific specimens more widely available for use and study. The Smithsonian X 3D Collection features objects from the Smithsonian that highlight different applications of 3-D capture and printing, as well as digital delivery methods for 3-D data in research, education and conservation. Objects include the Wright Flyer, a model of the remnants of supernova Cassiopeia A, a fossil whale and a sixth-century Buddha statue. The public can explore all these objects online through a free custom-built, plug-in browser and download the data for their own use in modeling programs or to print using a 3-D printer.

endeavor space shuttle lidar

Endeavour: The Last Space Shuttle as she’s never been seen before.

[source by Mark Gibbs]

Endeavour, NASA’s fifth and final space shuttle, is now on display at the California Science Center in Los Angeles and, if you’re at all a fan of space stuff, it’s one of the most iconic and remarkable flying machines ever built.

David Knight, a trustee and board member of the foundation recently sent me a link to an amazing video of the shuttle as well as some excellent still shots.

David commented that these images were:

 “…captured by Chuck Null on the overhead crane while we were doing full-motion VR and HD/2D filming … the Payload Bay has been closed for [a] few years … one door will be opened once she’s mounted upright in simulated launch position in the new Air & Space Center.

Note that all of this is part of the Endeavour VR Project by which we are utilizing leading-edge imaging technology to film, photograph and LIDAR-scan the entire Orbiter, resulting in the most comprehensive captures of a Space Shuttle interior ever assembled – the goal is to render ultra-res VR experiences by which individuals will be able to don eyewear such as the Oculus Rift (the COO of Oculus himself came down during the capture sessions), and walk or ‘fly’ through the Orbiter, able to ‘look’ anywhere, even touch surfaces and turn switches, via eventual haptic feedback gloves etc.

The project is being Executive Produced by me, with the Producer being Ted Schilowitz (inventor of the RED camera and more), Director is Ben Grossman, who led the special effects for the most recent Star Trek movie. Truly Exciting!”

Here are the pictures …

Endeavour - the last Space Shuttle
Endeavour - the last Space ShuttleCharles Null / David Knight on behalf of the California Science Center
Endeavour - the last Space Shuttle

 

zLense real-time 3D tracking

zLense Announces World’s First Real-Time 3D Depth Mapping Technology for Broadcast Cameras

New virtual production platform dramatically lowers the cost of visual effects (VFX) for live and recorded TV, enabling visual environments previously unattainable in a live studio without any special studio set-up…

27 October 2014, London, UK – zLense, a specialist provider of virtual production platforms to the film, production, broadcast and gaming industries, today announced the launch of the world’s first depth-mapping camera solution that captures 3D data and scenery in real-time and adds a 3D layer, which is optimized for broadcasters and film productions, to the footage. The ground breaking industry-first technology processes space information, making  new and real three-dimensional compositing methods possible, enabling production teams to create stunning 3D effects and utilise state-of-the-art CGI in live TV or pre-recorded transmissions – with no special studio set up.

Utilising the solution, directors can produce unique simulated and augmented reality worlds, generating and combining dynamic virtual reality (VR) and augmented (AR) effects in live studio or outside broadcast transmissions. The unique depth-sensing technology allows for a full 360 degree freedom of camera movement and gives presenters and anchormen greater liberty of performance. Directors can combine dolly, jib arm and handheld shots as presenters move within, interact with and control the virtual environment and, in the near future, using only natural gestures and motions.

“We’re poised to shake up the Virtual Studio world by putting affordable high-quality real-time CGI into the hands of broadcasters,” said Bruno Gyorgy, President of zLense. “This unique world-leading technology changes the face of TV broadcasting as we know it, giving producers and programme directors access to CGI tools and techniques that transform the audience viewing experience.”

Doing away with the need for expensive match-moving work, the zLense Virtual Production platform dramatically speeds up the 3D compositing process, making it possible for directors to mix CGI and live action shots in real-time pre-visualization and take the production values of their studio and OB live transmissions to a new level. The solution is quick to install, requires just a single operator, and is operable in almost any studio lighting.

“With minimal expense and no special studio modifications, local and regional TV channels can use this technology to enhance their news and weather graphics programmes – unleashing live augmented reality, interactive simulations and visualisations that make the delivery of infographics exciting, enticing and totally immersive for viewers,” he continued.

The zLense Virtual Production platform combines depth-sensing technology and image-processing in a standalone camera rig that captures the 3D scene and camera movement. The ‘matte box’ sensor unit, which can be mounted on almost any camera rig, removes the need for external tracking devices or markers, while the platform’s built-in rendering engine cuts the cost and complexity of using visual effects in live and pre-recorded TV productions. The zLense Virtual Production platform can be used alongside other, pre-existing, rendering engines, VR systems and tracking technologies.

The VFX real-time capabilities enabled by the zLense Virtual Production platform include:

  • Volumetric effects
  • Additional motion and depth blur
  • Shadows and reflections to create convincing state-of-the-art visual appearances
  • Dynamic relighting
  • Realistic 3D distortions
  • Creation of a fully interactive virtual environment with interactive physical particle simulation
  • Wide shot and in-depth compositions with full body figures
  • Real-time Z-map and 3D models of the picture

For more information on the zLense features and functionalities, please visit: zlense.com/features

About Zinemath
Zinemath, a leader in developing the re-invention of how professional moving images are going to be processed in the future, is the producer of zLense, a revolutionary real-time depth sensing and modelling platform that adds third dimensional information to the filming process.  zLense is the first depth mapping camera accessory optimized for broadcasters and cinema previsualization. With an R&D center in Budapest, Zinemath, part of the Luxemburg-based Docler Group, is spreading this new vision to all industries in the film, television and mobile technology sectors.

For more information please visit: www.zlense.com