donderdag, januari 14, 2016

Eduardo Paolozzi #2












Spherical Panoramic Images of Paolozzi’s studio as conserved at the Scottish National Gallery of Modern Art, Edinburgh, 2014.

"Director of hijack Gilly Booth has been involved with the work and life of Eduardo Paolozzi since in the 1990s. She knew him personally, and developed a relationship with the Paolozzi Foundation, which maintains the legacy of Paolozzi’s art since his death. Subsequently, hijack has filmed interviews with many of Paolozzi’s friends and acquaintances, and gained permission to access archives of his work to develop a film about the artist’s life and impact. The Digital R&D award gave hijack the opportunity to use new technology in the unique environment of Paolozzi’s preserved studio, to enable them to work with partners Dacapo, Touchpress and Kingston Uni – experts in social media design, app design, remote scanning, lighting, photography and art history – to bring a new understanding and vision of Paolozzi’s work.

To find new ways to get laser scanners and cameras to capture a room of objects – such as Paolozzi’s preserved studio in Edinburgh – in an effective, engaging and economical way. Using cutting-edge visual mapping technology involves not only careful consideration of the types of objects that we need to record while scanning Paolozzi’s preserved studio, but also the way in which the data can be manipulated down the line to create a manageable app. The challenge here is to develop a technique that can capture detail (the texture of plaster busts, the colour of Paolozzi’s robot toys, the reflection on a bronze cast) but ‘crunch’ the data so that it could fit on a screen device and become interactive.
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Obviously preservation was paramount, so working closely with Kirstie Meehan and their team of conservationists we carefully planned out positions within the studio where we could set up the scanner and camera in order to capture as many angles as possible, always trying to minimise the amount of disruption to the space. Some objects had to be carefully moved by the conservation team while we installed the lights, they were all meticulously measured and marked out so that they could be placed back exactly in the same position.

Below is the field sketch Adam created for the studio along with the location of each of our scan locations. An accompanying table then notes down each individual scan at each location and the settings for that scan. We also noted down Nikon camera settings and the exact measurements on the Nodal Ninja.



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We collected 40Gb of compressed scan data on the P20 and about 40Gb of RAW camera imagery from the D810 (split between the spherical panoramas and the photogrammetry James undertook. As a final note, the first thing we did once back was to coalesce all the data (from different media) in to one location as a master copy and then mirror that to network storage at Kingston as part of the archival strategy.

With data collection complete, processing then began…"








(bron: Studio of Objects)

Zie voor het hele proces en meer (technische) informatie over het vastleggen van Paolozzi's atelier Studio of Objects (hk).

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