FARO’s 3D Laser Scanning Technology used in reconstructing the face of a mysterious mummy, known as the Lady of Cao. She is believed to be a female leader of the Moche Civilization in Peru, which ruled more than 1,700 years ago.
Moche culture flourished approximately a thousand years before the Inca civilization in northern Peru. In 2005, a tomb was discovered in a mud-brick ruined pyramid near Trujillo, a city on the northwest coast of Peru known for being a site of the prehistoric Moche culture. Inside of this tomb was an intriguing bundle of cloth. This bundle preserved a mummified female body covered in elaborate tattoos – of snakes, spiders and supernatural motifs — along with jewelry, ornaments, crowns, and two scepters. This woman is now known as “The Lady of Cao”, the only known female ruler of the Moche Civilization.
The Lady of Cao mummy is currently in display in the Museum of “El Brujo” Archaeological Complex, near to Magdalena de Cao town, in northern Peru. To preserve the mummy, she’s kept in a climate-controlled chamber and can only be viewed indirectly with the aid of a viewing window and mirror.
Wiese Foundation, the entity that sponsors the Museum, wanted the visitors to be able to admire the Lady of Cao more freely and have a permanent digital record of her remains for further preservation. To achieve this, the museum contacted the world’s most trusted source for 3D technology, FARO®. Through FARO’s state-of-the-art 3Dsolutions, it was possible to build a digital model of the mummy, 3D print a replica, and, using specialized software and forensic anthropology techniques, perform the facial reconstruction that would reveal to the world, for the first time, The Lady of Cao’s face.
To achieve this goal, FARO and Wiese Foundation, along with 3D Systems®, Grupo Abstract and ARQ 3D+, assembled an international team of experts formed of archaeologists, anthropologists, forensic scientists and 3D technology experts.
The process began by 3D scanning the mummy’s face using a turnkey 3D scanning solution tailored for forensic anthropology, crime lab, and medical examination applications. This solution consisted of high-resolution, fast-speed 3D scanners, the FARO Design ScanArm® paired with 3D Systems’ Geomagic®Wrap and Geomagic®Freeform® software.
Here’s a breakdown of the digital reconstruction process:
Thanks to this effort of this multidisciplinary talent and state-of-the-art 3D technology, the face of this remarkable and historic character of pre-Hispanic culture has been brought to life and revealed to the world.
If you want to learn more about the use of FARO’s 3D solutions in forensic reconstruction and cultural heritage preservation, click here.
On the computer screen, these digital renderings are protean, morphing at the click of a mouse from solid 3D printouts to
In collaboration with FARO and ScanLAB Projects, Sir John Soane’s Museum in London has embarked on the Explore Soane Challenge which involves giving a global audience access to its archive.
Thanks to the latest 3D scanning technology offered by FARO, The Museum was able to scan its collections in order to create an online digital archive. The Soane Museum is one of a kind. Built by distinguished 19th century architect Sir John Soane, it was a home, library and museum in one – housing his collection of artworks, sculptures, furniture and artefacts. At his death in 1837, Soane left his house and collection to the nation, stipulating that it should be kept open and free for the public’s inspiration and education.
Almost two centuries later, FARO, ScanLAB Projects and The Soane Museum have embarked on a unified project to create an online digital archive of the Museum. The project utilises the latest developments in 3D technology to scan and digitise a wide selection of rooms and objects. This includes Soane’s Model Room, and the ancient 3,500 year old Sarcophagus of King Seti I.
For 180 years, the house has remained meticulously preserved through conservation and restoration. Nevertheless, Explore Soane continues this ambition in a new, powerful way. The teams will be adding more rooms, and several more objects to the digitised collection in order to inspire and educate, precisely as Sir John Soane wished.
Teams from ScanLAB have been utilising a range of cutting edge scanning technologies from FARO. Large spaces such as rooms and stairwells have been captured using LiDAR scanners such as the FARO Focus x 330, whilst smaller objects are scanned using the latest FARO Arm scanner and photogrammetric software. The data now forms part of an archive not just for the Museum but also for future and overseas researchers interested in studying the Museum and the many models collected by Sir John Soane himself.
“At Faro we strongly believe that the future is to digitally preserve and record every artefact or site of interest for future generations. Our mission is ‘To enable mankind to easily and accurately connect the physical world to the virtual world.’ The tools that we use to document collections have become more user friendly and cost effective which makes it more accessible to more people. We want to make our heritage our future.” (David Southam, FARO)
Click here to explore Sir John Soane’s Museum.
FARO Technologies are thrilled to have aided Andrew Saunders, Associate Professor from the University of Pennsylvania to accomplish his mission of collecting a digital archive of Baroque art and architecture. Saunders, who works in the Department of Architecture travelled to Italy for six weeks in order to scan and archive some of the most prominent Italian Baroque architecture. Following the University of Pennsylvania’s commitment to ‘advancing the public good–both locally and globally–through art, design, planning, and preservation,’ the purpose of this project was to discover a superior method to digitally explore highly complex baroque architecture.
By using a FARO Focus3D X 130 laser scanner, data was captured showing the prospering evolution from the early and high baroque in Rome extending to the late baroque in the Piedmont Region in Northern Italy. The archive includes work from Francesco Borromini, Bernardo Vittone, Gian Lorenzo Bernini, Pietro da Cortona Guarino Guarini, and Carlo Rainaldi. Precise 3D models were produced of the interior spaces of various churches which can now be viewed in full colour.
Taking into account that there were many challenges during this project, Andrew Saunders pointed out that the project would not have been possible without the contributions it received from its co-workers including FARO, Autodesk and the Italian contacts that made it possible to gain access to the scans.
FARO made a significant contribution to this project by providing a Focus3D X 130 laser scanner. This ultra-portable device allows users Topologies, FARO, University of Pennsylvania, baroque art, FAto record complex structures delivering realistic and true-to-detail scan results. The high resolution scanner has a range from 0.6m up to 30m and a distance accuracy of up to ±2mm. It also has a one million points per second scanning rate enabling fast, straightforward and accurate measurements of objects and buildings. FARO also offered software and training to those who had the responsibility of operating the laser scanner. The purpose of these scans was to create a comprehensive digital archive of the work. High resolution scans using the FARO Focus3D X 130 allowed verification, calibration and discovery of Baroque topologies.
Saunders stated, “The ability to capture, record and simulate increasingly larger sets of data, coupled with remote access to cloud computing and progressively more affordable additive fabrication technology, provides new opportunities and methods for understanding and assessing complexity and representation in architecture.”
The results from this project are extraordinary in many ways. The data that has been collected will now create digital access to some of the most prominent churches in the world, in a way that has never been available before. Furthermore, the captured scan data will allow experts to carry out reverse engineering of the algorithms behind the truly astounding baroque architecture.
However, the project is still not yet completed. It is intended that the archive will be used for in depth analysis and comparisons between the Italian churches. Moreover, The University of Pennsylvania School of Design will now work with Autodesk in order to make the archive available to the public as well as other students and scholars.
To access interactive 360 degrees views of the baroque architecture please click here.
There are quite a number of structures unique to London: Big Ben, the London Eye, St. Paul’s Cathedral and Westminster Abbey, to name a few. But even the most ardent of Londoners may not be aware of their city’s one and only lighthouse, which has been unassumingly tucked away in London’s East End since 1864. Maybe the lighthouse’s lack of acclaim is due to the fact that it doesn’t serve as a lighthouse at all. Or that it never has, actually. From the outset, Trinity Buoy Wharf Lighthouse served as an experimental hub for pioneering lighting techniques to be implemented in lighthouses and lightships along the entire coast of Great Britain. The lighthouse’s design and construction was the brainchild of Sir James Douglass, who is best known for his work on the fourth Eddystone lighthouse at Rame Head. But Douglass was far from the only eminent Briton to work at Trinity Buoy Wharf Lighthouse. When oil and gas lighting were deemed obsolete, Michael Faraday, best known for his discoveries in electromagnetism, was commissioned to create and test different designs for electric lighting and lenses. He even set up a workshop on-site to have direct access to test his ideas.
Beyond boasting an impressive historical record, the lighthouse is also an extremely well-preserved example of Victorian architecture, making it the perfect subject for a new technique in heritage preservation. It is an all too common and devastating development when a structure, which once stood in pristine condition, falls into such disrepair that it can no longer be visited or recognised. Any record that would have been pre-emptively collected would likely have been limited to photographs, written documents and short videos, none of which allow a visitor to experience the structure as it once stood.
Taking advantage of recent advances in cutting edge technology, a team of visual and audio engineers aims to change this trajectory. Using a laser scanner, the team first captures the dimensions of the structure of interest. The data is converted into a 3D model which is then rendered into a virtual reality environment. Using a virtual reality headset, a user is able to effectively “step into” the structure as if walking around the actual site. Strategically placed audio clips inform the user of the structure’s history, so he or she is left with a very powerful, immersive sensory experience highlighting the structure’s beauty and historical context. The team hopes that the project will set a precedent for heritage preservation so that more people can explore a repository of heritage sites as they currently stand rather than after they have fallen derelict, scattered as fragments, overgrown and forgotten.
To create the digital model, Adrian (pictured) used the FARO 3D X130 tripod-mounted laser scanner to gather point cloud data at 2mm precision of the entire exterior and interior of the lighthouse and adjoining chain store. The efficiency of the scanning allowed a general scan to be obtained in less than 6 hours. For the more detailed objects like the singing bowls in the picture, Adrian used a FARO Scanner Freestyle3D. It’s hand-held design allows the user to capture all sides of an object in a single sweep rather than through multiple re-adjustments of a static scanner. The smaller size of Freestyle 3D also allows accessibility into hard-to-reach nooks and crannies that might prove impossible to capture with a static scanner. The only downside is looking like you are performing new-age yoga while gathering data. But who really cares when the data come out so darn good?
After 112 years, the Natural History Museum, London have decided to remove the iconic Dippy the Diplodocus. The specimen will be replaced with the real skeleton of a blue whale that was found on an Irish beach in 1891. Dippy will now embark on a UK tour around 8 venues.
The FARO Focus was used by the team to capture the surface detail of the whole specimen while it was in a mounted position. The task was particularly difficult as the specimen was made up of many different components therefore multiple scans had to be taken from different angles. It took approximately two hours to scan the whole skeleton. The scan data will give scientists the opportunity to learn more about the skeleton and help conservators to move the dinosaur safely around the country.
In addition to this, the FARO ScanArm HD was used to scan the real bones belonging to the blue whale. The reason behind scanning the blue whale was that the Natural History Museum needs to have a digital representation of it should anything unanticipated happen to the real skeleton. The skeleton of the blue whale is one of a kind and almost invaluable. Consequently, the Natural History Museum needs to have as much information about it as possible as this would help them to repair or reconstruct it if it was ever damaged. This project is the first of a huge project that is planned between FARO and the Natural History Museum.
Ghost town on rough sea
Impressively looking Seal Elephants basking in the sunshine with the crew
The South Georgia Island is located in the Southern Atlantic Ocean. At the begining of the 20th Century, this Island had six whaling stations which made it biggest in the Southern Hemisphere. After the destruction of most of the whaling stations during World War II, the station ceased operating in 1965. The slowly decaying buildings in the area are the last pieces of evidence of the past industrial whaling heritage. However the remoteness of the location and major costs needed to renovate the station means that the entire site has been left to fall down. For this reason, the entire faciliy has been exactly surveyed and documented.
To do so, the Geometria Heritage Management Group was involved in the adrenaline fuelled project involving Elephant seals, asbestos contained ruins and strong snow storms. All six stations have been captured with the help of the FARO Focus3D including storage, piers, barracks and accommodation facilities as well as the surrounding area (the Island cemetery and the former hospital).
Working conditions were anything but ordinary. Nowadays the South Georgia Island is practically uninhabited and serves only as a research station. A five day ship tour around the Falkland Island was required to bring the team on-site. Due to the abestos contamination of the facilities, the team had to wear protective clothing at all times.
At 8 am the research crew struck off with temperatures at -10° from the base camp, with the “Pharos SG” and used a a small speed boat to head to Leith Harbour. As well as the stormy weather conditions, the Island is highly populated with Seals and Elephant seals making scanning work even more difficult. Nonetheless, Geometria generated from 30 to 80 Scans per day with the Focus3D and disposed of more than 2700 Scans after one and a half months. The FARO Focus3D managed to precisely document outdoor facilities and the inside area of the whaling station.
After data processing, specialitsts converted the raw data into CAD drawings and 3D CAD models. This data is freely available for scientists as well as all interested researchers who have been using this for interesting projects.
The journey to the whaling station was difficult at times due to the weather conditions
Few internal areas were well-preserved
The high asbestos contamination makes protective clothing an absolute must-have
In Early 2014 ScanLAB Projects accompanied Windfalls Films, Military Historian Steven Zaloga and Colonel Len Fullenkamp, Professor of Military History and Strategy, to the D-Day landing beaches in Normandy, France. The aim was to capture vast stretches of the beach and cliffs at Vierville sur Mer, together with the remains of military bunkers for use in a ground breaking documentary DDAY 360 for PBS. Using the recently launched FARO Focus X330 Laser Scanner ScanLAB were able to capture full colour pointcloud data for almost a mile of the beach, 750 meters of the troops exit route off the beach, a series of bunkers and gun locations in just 3 days on location.
After two years on the drawing board, D-Day was the most meticulously planned operation in military history, a logistical effort on a scale never seen before or since. On June 6, 1944, 3,000 planes dropped 23,000 airborne troops behind German lines, and 7,000 ships delivered around 20,000 military vehicles and 130,000 allied soldiers, who stormed five heavily defended French beaches in an all-or-nothing assault on Nazi occupied Europe. Once on the shore, the troops had to negotiate two million mines buried in the sand, 46,000 fearsome beach obstacles and hundreds of miles of barbed wire, while dodging the shells and bullets fired by 40,000 German defenders.
Focusing on the most important strip of Omaha beach that day – the exit at Vierville-sur-Mer – D-Day 360 strips D-Day back to its raw data to reveal how the odds of victory, in the greatest gamble of World War II, swung on what happened over a five-hour period on a five mile stretch of French coastline.
Data gathered through laser scanning, 3D computer modelling and eye-witness accounts bring the battlefield to life as never before. The film takes advantage LIDAR to re-create the landscape and allow viewers to switch effortlessly between the macro and the micro – pulling back for the big picture and zooming in to a close-up of a single soldier on the battlefield. It’s a new approach and perspective that tells the story with details never before available.
The Sessa Aurunca Cathedral is therefore a building of superb beauty dating back almost one thousand years, with an absolutely unique feature: it is “the other original”, an almost exact copy of the church at Montecassino which, as is well known, was destroyed by bombing during World War II and subsequently rebuilt. The two buildings differ only in the number of naves: Montecassino has five, while Sessa Aurunca has three. The Sessa Aurunca Cathedral is one of the infinite “pearls” of Italian artistic heritage. Indeed, it stands out for its beauty and historical significance: despite the changes made over the centuries (Baroque and eighteenth-century additions), the cathedral still bears direct witness to the typical religious architecture of the period, combining structural rigour, Christian symbolism and a number of refined Byzantine-style elements (such as the splendid mosaic floor).
Despite its obvious significance, the Sessa Aurunca Cathedral is not well-known among the general public and is overlooked by “traditional” tourist flows. For this reason, the diocese and the municipality of Sessa Aurunca in the Campania region of Italy decided to launch the “Sessa Aurunca 3D Project”, a communications project designed to promote the Cathedral and provide the associated services and products.
The “Sessa Aurunca 3D Project” has several goals and is broken down into seven specific points that will explore new frontiers within the world of communications: the publication of academic and scientific reports and articles; the organisation of conventions, seminars and events; the production of stereoscopic 3D animations and videos, with the creation of a You- Tube channel and dedicated videos; the creation of a “360-degree Virtual Tour” with a database and “multidata” to “explore” the Cathedral using computers and mobile devices; the creation of thematic apps and a website; and the production of a “docu-film” about the project and the technologies used. Regarding this last aspect, Danilo Prosperi observed: “Part of the success of this initiative can be attributed to the FARO Focus3D Laser Scanner, an extremely precise device that we used to scan the Cathedral’s architecture, which provided us with a point cloud or, more precisely, digital data that we were able to use in our various activities.” The data acquisition phase involved 38 scans made inside and outside the church, including the crypt, and took just over half a day. “The quality of the FARO Focus3D Laser Scanner enabled us to acquire extremely high-resolution and high-precision images with very low margins of error, which was fundamental for the scanning of extremely beautiful details, such as the mosaic floor, the ambo, the spiral Paschal candelabrum and the crypt on the lower level.”
The data gathered was then processed in SCENE, the FARO software for the management of scanned data, designed specifically for the Focus3D. This software was used to create and edit videos and images for the 3D Virtual Tours of the Cathedral. “SCENE,” Danilo Prosperi specified, “allows us to easily process the scanned data and quickly generate particularly complex high-resolution equirectangular panoramic images”. Danilo Prosperi stressed: “We believe that the FARO Focus3D Laser Scanner is the best technology on the market, not only due to its extreme precision, but also because it is so flexible, fast and easy to use. In fact, it is a compact instrument that is very lightweight and easy to move from one scanning position to another.” He concluded: “The collaboration between FARO and the Master’s in Architecture, Sacred Art and Liturgy at the European University of Rome has only just begun. Given the quality of the results, we plan to use the FARO Focus3D Laser Scanner in the future for other projects aimed at promoting highly important monumental sites of great beauty.”
A scanner is not much use on its own – with SCENE software from FARO, all the scan data acquired on the set can be processed and – with the hosting service – securely shared worldwide.
FARO is a manufacturer of portable 3D measurement technology, and has developed the SCENE software package specifically for the FARO Focus3D laser scanner. However the SCENE software is not restricted to the laser scanners from FARO, but can also be combined with other makes of laser scanner.
Using this software, the user can process the photo-realistic scan data from the laser scanner with the aid of automatic scan registration and positioning methods, and then carry out measurements and 3D visualisations and export point clouds. New tools take care of automatic scan positioning without having to rely on artificial targets such as checkerboard markers or spheres. The range of functions of the software can be extended at will with plug-ins from the FARO 3D App Center, for example for creating a video, for volume calculations and much more. At the same time, FARO has published the new version 1.6 of the scan data hosting service, SCENE WebShare Cloud: This enables scan projects to be viewed, shared and published online. And all with the highest security standard.
SCENE is compatible with Windows from version 7, 64-bit, in addition to which at least a 512 MB graphics card with OpenGL-2.0-interface is required for optimum performance. For stereoscopic display, FARO recommends an Nvidia Quadro card. SCENE uses the manufacturer-independent, binary data exchange format ASTM E57, and the tool also supports all popular formats.
How many laser scanners should be used for a high-quality scan model of which magnitude?
Oliver Bürkler: The crucial factor is always the degree of detail required for a scan. The more accurate a scan is to be, and the higher the resolution it is to have, the longer the scanner takes to record the data. We are talking about a maximum of 15 minutes for a very detailed scan outdoors, within a surrounding radius of 330 metres. The larger and more complex the object to be scanned – for example a large, angular building – the more scans will have to be carried out in order to record all the surfaces. It can thus be an advantage in terms of time to employ several devices in parallel, but it is not absolutely necessary. As far as SCENE is concerned, the software can in principle handle projects of unlimited size, and map them with no restrictions.
How does the scanner store the data?
Oliver Bürkler: The scanner stores the scan data automatically on a normal SD card. If a computer is equipped with SCENE software, data transfer is started as soon as the SD card is inserted, following a brief request for confirmation.
There are two methods available for automatic scan positioning without markers: “Top View”-based registration and “Cloud-to-Cloud” registration. Which of these is suitable for which situation?
Oliver Bürkler: “Cloud-to-Cloud” registration uses all the scan data for registration. In order to be able to operate reliably, this type of registration needs in principle some initial information about the rough position and alignment of the scan. When outdoors, SCENE uses the GPS information saved by the scanner for each scan. Without this information, for example when indoors, the user has to align the scans roughly by hand in advance. In contrast to “Top-View”-based registration, this method requires a little more time but is potentially more accurate.
Prior information about location and orientation are not necessary for “Top-View”-based registration. This method is particularly suitable when there are enough vertical structures – such as walls, for example – available in the scan data.
However, in the case of targetless methods the user has to ensure greater overlapping between the individual scanning locations. So you need more scan positions but you save yourself the effort associated with transporting, fitting and managing the targets.
In which application situations is the use of targets as essential as ever?
Oliver Bürkler: SCENE still supports spheres and checkerboards as targets. The user will normally still want to use targets if he/she wants to georeference the scans, for example, with tachymeter data. The type of most suitable targets depends on the individual case.
In which formats can data such as image files, CAD drawings or cards be integrated into the scan data?
Oliver Bürkler: The user can import files in .tiff, Geotiff, .jpg or .png formats into SCENE. The software then displays the file on a horizontal plane in 3D space. In the case of a Geotiff file, the position and scaling are extracted automatically from the metadata. With the other file formats, the user has to enter the position and the scale of the image, for example by means of a dialog box.
Does stereo 3D viewing work in real time in every situation?
Oliver Bürkler: The output of a stereoscopic 3D view can be easily defined in the 3D settings of SCENE. A stereoscopic view is always possible without any time delay then.
Is SCENE WebShare Cloud permanently integrated into the software or an optional feature?
Oliver Bürkler: It is an optional service from FARO, but from the technology perspective it is fully integrated in SCENE. Advantages of the Cloud service include the easy viewing of scan data in standard web browsers, as well as the provision of data in any size. Users do not need any special software for it. The scans are also displayed as panoramic images, so no knowledge of 3D programs is required. That makes it particularly easy in the case of complex projects to provide access to the data to everyone involved – all without any time delay. Even changes to the project become visible in real time. There is the choice of making the data public or of restricting access by means of username and password.
Is web-based collaboration on the model also possible?
Oliver Bürkler: Yes, that is also possible. Although we recommend that a web conference system such as GotoMeeting or WebEx be used for that purpose when several people are working at the same time. It makes cooperation more effective.
You also offer a free version of SCENE, called Scenect. For which target group is it intended?
Oliver Bürkler: Our intention with Scenect is to appeal to people who are not typical professional 3D scanner users, and to offer them an easy way into 3D scanning. All that is needed are inexpensive sensors such as the Asus Xtion or Microsoft Kinect. With Scenect, however, only one sensor can be used at a time.
Are there any imminent plans for a Mac or Linux version von SCENE?
Oliver Bürkler: There will be no versions of the software for other operating systems in the immediate future. On the other hand, SCENE WebShare Cloud is entirely independent of the operating system.