Aug
11
2017

An Insight into FARO Labs

Dr Bernd- Dietmar Becker, chief technology strategist and head of FARO Labs recently met with GIM Internationals Wim van Wegen where they discussed what to expect from laser scanning and its role as key reality capturing technology in the years ahead.

FARO are keen to follow the latest technological advances and we want to ensure that we can adapt quickly to change, providing 3D measurement solutions to our customers and our industries.

To discover the full interview click here.

Jul
07
2017

Sacred Scanning Interiors

Toward the end of last summer, after he had finished his scans of Baroque churches in Rome and Turin and was back in his Meyerson Hall office, Andrew Saunders began sending massive batches of data to the cloud. He had scanned the interiors of each sumptuous church from multiple vantages, using a top-of-the-line LiDAR (Light Detection And Ranging) scanner. At the high-resolution setting he used, each scan comprised about 15 million points, with less than a centimeter separating each point. The trick was to get all the scans to mesh together, without overlaps or gaps.
“We’d send 200 million points to the cloud—up to 90 gigabytes—and two or three days later, we’d get back an email” from Autodesk, a California-based software firm, recalls Saunders, an associate professor of architecture. “One time it has a smiley face and says, ‘Congratulations! Your mesh worked. You can download it.’ Other times, after two days you get a frown face that says, ‘Sorry, it didn’t work.’ It’s really kind of a blind process.”
But once they meshed, he says: “All of a sudden you’re seeing these churches as nobody’s ever seen them before.”
 
Space may seem infinite, ubiquitous, even timeless.But confine it to the interior of a soaring, wildly complex Baroque
structure—say, Guarini’s Church of San Lorenzo in Turin—and it becomes, in the right hands, with the right technology, something else altogether.
“It’s essentially an argument for space as an object,” says the 42-year-old Saunders, who speaks openly and quickly, with a certain professional dryness. That argument is at the heart of his Baroque Topologies project, which he unveiled at Charles Addams Hall last winter, and which he is now writing up in book form. (Publication details are still being worked out.)
Even the term space, as a component of architecture, is relatively new, he points out. “Frank Lloyd Wright in the ’20s was the first one to really use it. It’s kind of a contemporary concept, and I think it’s continuing to change.”
For those inclined to regard space as an object as gaseous academic theory, consider this: you can, with the right technology, print out the objectified space on a 3D printer. (On a reduced scale, of course, which is a good thing for any building housing that printer.) It’s the equivalent of filling each church to the top with Jell-O, shrinking it down to a tiny fraction of its original size, and removing it. Except that Saunders’ translucent photopolymer resin molds have far more detail and articulation, right down to the non-space that had been occupied by altar cherubs and high-flying angels.

On the computer screen, these digital renderings are protean, morphing at the click of a mouse from solid 3D printouts to

ghostly X-rays to a sort of internal death mask. They are also strange and toothsome eye candy.
The images “force us to see complex buildings with fresh eyes,” says Joseph Connors, a professor of art history and architecture at Harvard who specializes in the Italian Renaissance and Baroque. “Their beauty and their strangeness shock us into new recognitions of buildings we thought were familiar. They reify space, making it into a sculpted substance in which the contained takes on life, even when the enclosing container is peeled away.
The buildings always had a strange beauty, but now they have shock value too,” he adds. “It is as though the familiar bust of Homer on our desk were suddenly replaced by the brain of Homer.” At times, the freshness borders on hallucination. One rendering brings to mind an ornate Japanese robot. Another suggests a rococo decanter. A third, an exquisitely decorated fire hydrant. “It’s something that leaves us curious, excited, and perplexed at the same time,” says Guido Zuliani, an architect who teaches at the Chanin School of Architecture at Cooper Union. “Because it’s all new, and because of the beauty of these things, it may be deceiving, but there is an intellectual chain—in terms of the Baroque, in terms of architectural analysis, and in terms of a different model of understanding an architectural object.”
Unlike Renaissance or Modernist architecture, the Baroque is “so completely complex,” says Saunders. “It has so much articulation. It’s always about blurring thresholds between painting, sculpture, architecture, the city.” In a recent talk, he described the space of Baroque interiors as a “maelstrom of pressure and forces with a paradoxical desire of purely mathematical speculation and religious mysticism bound in a taut envelope.”
Connors paints an eloquent picture of what we perceive when we enter, for example, Bernini’s Sant’ Andrea al Quirinale and gaze upwards: “the dome we see is a fiction of superimposed structures: ribs inside coffers that diminish perspectivally to
expand the surface that covers us.” Saunders’ models, he explains, not only show such vaults “with the clarity of a high-resolution photograph, but they also show the space the dome contains. We have the illusion that we can run our hands over space and feel its contours and inflections.” For Saunders, those “deep, withdrawn, interior spaces are really amazing to study because they’re so cut off from the exterior.”
“They’re just their own sort of worlds,” he adds. “Any kind of light, even natural light, is usually indirect or very far or bouncing back.
You never get a direct view out of them—they’re just kind of deep chasms that you enter into.”
Before traveling to Italy last summer, Saunders flew to Florida for a training session on the FARO Laser Scanner Focus 3D X 130, which can scan at nearly a million points per second and has a range of 130 meters.
“I found that it’s being used mostly in criminology and surveying,” he says. “In architecture and historic preservation, it’s used to look at a very specific piece, not an entire building.”
Had he been forced to buy the scanner, it would have wiped out the entire $50,000 University Research Fund grant he had procured to cover his expenses in Italy. Fortunately, FARO agreed to lend him one for a month, gratis.
Autodesk also allowed him to use, among other things, its ReCap (for Reality Capture) and ReMake software. Without their ability to generate high-resolution meshes, he says, he never would have been able to make the renderings.
“Autodesk has been a huge, huge help,” he adds. “Right now this is a very big realm, not just for Baroque historical analysis—which it is but even for the industry: engineering, architecture. Because they’re trying to figure out how to work with this large amount of data within their typical tools for making construction documents or representation. The stuff that we’re doing wasn’t even possible to do
weeks ago. We’re working with Autodesk and changing the algorithms for how they’re processing all of this stuff.”
Autodesk was thinking mainly of industrial designers and engineers when it started its cloud computing service, he explains. “They’re scanning a lot of infrastructure, oil platforms, things with a huge number of pipes and services, and they want to make sure that what- ever new thing they’re putting in doesn’t collide with anything. So they scan them and make them into meshes, and use them for collision detection. Then all of a sudden 18 Baroque churches start rolling through. And they’re like, What is this stuff? They got really interested.”
Tatjana Dzambazova, Autodesk’s senior product manager and “technology whisperer,” confirms that when she and her colleagues “started making the tech, we were thinking of architects, engineers, contractors.” But, she adds, “disruptors like Andrew show us that when smart, curious, caring people are given new technological tools, they think of ways they can push the boundaries of their profession, which so often go beyond what we, the makers of that same tech, ever had in mind.”
During his time in Rome,  Saunders focused mainly on the churches of Borromini, Bernini, Cortona, and Rinaldi. Then he headed north to Turin, where Guarini represented a “natural progression from Borromini, about 50 to 100 years later,” he explains. The progression “basically charts an evolution of the Baroque central plan in High Baroque from 1600 to 1700 in Rome, and then 1700 to 1750 in Turin.”
One doesn’t just wander into those venerable edifices and start scanning, though. Permission requires supplicating local and national layers of state and church bureaucracy. “That was one of the most challenging aspects,” he admits. “It started slowly, but then I started to make really good contacts and was able to access quite a few.” By the time he left Rome, he had been able to scan most of its important Baroque churches, apart from those in security-crazed Vatican City. One morning, at the Church of San Giovanni dei Fiorentini in Rome, he made his way into a tiny underground crypt—the Falconiere Crypt—designed by Borromini.
“Not many people know about it,” he says. “You have to go into this two-foot passageway to get down there. So I went down into it, and I scanned it, and I came back out.”
Tried to, anyway. By then a “full-on mass” was under way.
“I just couldn’t come out with my scanner in the middle of mass,” he says. “There was no way to escape. So I spent the entire mass underground in this crypt. It was very small, and kind of creepy.”
Back in the old days of scanning —say, two or three years ago—“people had to use physical targets,” Saunders explains. “You would have to plant spheres around the site, or targets that you would pin up on walls. When you came back to register the scans, or composite them together so that they overlapped, you would have to find the spheres yourself and kind of stitch the pieces back together. But now the software and algorithms have gotten so advanced that they can find patterns and automatically register
and scan and put everything together.”
Even so, “in the case of someone like Bernini, where there’s so much figuration and columns within columns, you could scan for days and still miss parts,” he acknowledges. “So one of the things my research assistant [Ariel Cooke-
Zamora GAr’19] has been doing is patching and cleaning up all these areas.”
In Cooke-Zamora’s view, the Baroque Topologies project has transformed laser scanning “from a surveying tool to a
representational one,” with serious benefits for architecture students.
“I’m very lucky to have been one of the first people to see these churches in this way,” he says. “Orbiting around the point cloud grants the viewer perspectives that have never been seen—not even by the architect himself.”
Connors compares some of Saunders’ digital renderings to certain “astounding drawings” by Borromini, which “give us
the impression that we are seeing through structures as in an X-ray.” This same quality, he adds, “is evident when we see, in Saunders’ models, [Borromini’s] buildings as though they had turned to glass and we could look through them as we fly above them. They are images that grab us by the shoulders and shake us into new perceptions of Baroque architecture.”
When he taught a graduate seminar on Baroque architecture this past spring, Saunders and his high-tech renderings were able to address a longstanding problem for students of the genre. The architects left no blueprints behind, and had often improvised as they went along. As a result, he says, any plans they did draw up usually “have little to do with what actually gets built.” True, there are plenty of photographs to study, but those two-dimensional representations seldom capture the full three-dimensional realities.
“Oftentimes I found that an architectural drawing of, say, Bernini’s Sant’ Andrea al Quirinale did not match the existing form of the church,” says Cooke-Zamora. And until now, “a student doing a formal analysis of these works would have had to model the space using existing—often scarce or inaccurate—reference images.”
“We went from students finding four or five photographs and squinting at them, trying to figure out what the three-dimensionality is, to printing fragments by someone like Vittone—not having to visualize; just 3D-printing it, like they’re printing pieces of this church to analyze,” says Saunders. “It’s kind of mind-blowing.”
The scans make for a “night-and-day difference,” he adds. “Within two weeks, the students really know the difference between Cortona, Rinaldi, Borromini.”
“One thing I saw in some of the work of Andy’s seminar was the possibility to deconstruct the object differently, to understand differently the layers and strata of this kind of activation of space,” says Guido Zuliani. “The work raises the possibility of taking certain moldings or decorations and analyzing them separately from the rest of the building with incredible precision, which will elimi-
nate some of the ambiguities or guessing that is normally done.
“It is a little bit early to understand the range of possibilities,” he adds, “but the range is really big.”
For Saunders, teaching the only course in PennDesign’s Master of Architecture sequence that covers architectural history before 1850—and doing it with laser scans and 3D printouts—is a rewarding kind of time warp.
“I enjoy that,” he says simply. “It’s very Baroque.”
May
30
2017

Drone Hero Europe 2017

Think 3D has recently entered the STORMBEE into the Public Drone Hero Europe 2017 award.

The Belgian company has combined the FARO Focus 3D X 130 with a drone to create the world’s first high precision 3D scanning drone. A common problem faced by many users of our laser scanner was that it was a very time consuming process for them to create 3D models of sites from a stationary position. In order to increase productivity and make the process of scanning sites more efficient, Think 3D came up with the concept of combining the FARO Focus 3D X 130 laser scanner with a drone. After a research period of 4 years, STORMBEE was created which now allows Think 3D to deliver requested 3D models to clients within a 24 hour time frame, much faster than a company that does fixed scans.

Drone Hero Europe is a contest for everyone to participate in which allows teams to show their innovations in the field of drones to a large public audience. It also gives the innovators a chance to connect with potential customers or partners.

The winner of this competition will receive an all access pass as well as an exhibit space in Las Vegas at the Commercial UAV Expo Americas. The competition is open until 12.00 on 22nd June 2017.

In order to see the STORMBEE video and vote, please Click Here.

Feb
23
2017

Baroque Topologies

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. 

Aug
22
2016

Argon Measuring Solutions NV

As part of its services to clients especially those in the gas and electricity sector, ARGON offers measuring solutions to determine when maintenance of its devices is necessary. Careful decisions regarding maintenance have to be as cost effective as possible.

Before going over to the FARO Edge ScanArm and FARO Laser Tracker, ARGON saw that the previous hardware that was offered didn´t meet ARGON´s requirements according to Stijn De Leener, Finance, HR and Administration at ARGON: “The previous devices were too difficult to handle for our engineers and especially for the clients. In addition, the point cloud was too small  for our line of work and the accuracy needed improvement since the more accurate you can be, the better informed your decisions can be. Because of this we made the switch to the FARO Edge ScanArm and this in combination with the FARO Laser Line Probe has brought spectacular results.”

ARGON MS 1

 

3D CORROSION SCANNING WITH THE FARO EDGE SCANARM

As part of its pipeline integrity management, a main independent operator of both the natural gas transmission and storage infrastructure in Belgium monitors corrosion on its gas transport pipelines with the help of ARGON and the FARO ScanArm. 3D scanning increases the accuracy of the corrosion measurements, leading to better informed decisions and lower repair costs. Quantification of this corrosion is not easy since pipes are curved and corroded spots have complex shapes. Traditional measurement methods like calipers are often unusable and very conservative, giving less accurate values of the corrosion state. Using the FARO ScanArm, ARGON is able to make a 3D copy of a corroded area.

Read more

Jul
01
2016

3D documentation without CAD

FARO is expanding the possibilities of 3D laser scanning with a range of innovations. There is a clear trend towards making point clouds the focus of documentation applications.

Scanning on-site and immediately having a registered point cloud available on a mobile device – this has been a long-time dream of 3D laser scanning experts. Instead, one hour’s work in the field always meant several hours of office work to turn the scan data into usable data products. FARO Europe GmbH is now offering the possibility of registration in the field. Thanks to the new FARO® Scan Localizer, it is now possible to register scans on-site and in real time and thus generate a point cloud using equipment in the field. This add-on product is integrated into the Laser Scanner Focus3D tripod. It constantly performs 2D scans while also surveying the measuring environment within a horizontal profile covering approximately 180 degrees. It has a measuring range of up to 20 metres. The end result is a type of reference profile, which can be used to register the relevant scans from different locations within a single point cloud. This is all thanks to the cloud-to-cloud registration process, which has been a feature in SCENE for around two years. “It means that there is no longer any need for reference registration marks for overlapping areas in interior spaces,” says Oliver Bürkler, Director of Product Management at FARO. The intention is primarily to boost efficiency for projects with a high number of individual images. “We assume that it will generate significant cost advantages where there are 15 or more scans. For example, the device is absolutely indispensable when measuring interior spaces, where you often take more than a hundred scans,” Bürkler adds. According to the company, the FARO Scan Localizer is available as an add-on to the FARO Laser Scanner Focus3D (2015 model or later) and costs around 15,000 euros.

 

SCENE 1

The FARO Scan Localizer is affixed to the tripod. It carries out a horizontal 180-degree measurement that enables real-time positioning in interior spaces.

 

HDR integration

FARO has launched a number of innovations onto the market to further improve 3D laser scanning. This includes integrating high-dynamic-range (HDR) photography into the FARO Laser Scanner Focus3D. This new option lets you increase the resolution for images with significant differences in brightness. The HDR camera in the Focus3D X 130 HDR and 330 HDR models deliver 170 megapixels and offer a contrast range of up to 4 billion-to-1, which means that the respective bright areas can be optimally rendered for the human eye (i.e. for the screen). Bürkler describes a practical example: “Customers working in dark spaces, e.g. pipeline construction, can decipher even small labels, which are usually very light, in the point cloud”.

Closer to reality

A first glance at the new Version 6 of FARO’s point cloud software SCENE makes it very clear that it represents a new master release. The entire user interface has been redesigned and is now heavily based on typical workflows. Making the software easy and efficient to use was key. The work steps within the workflows are divided into clear, individual steps and are arranged in a logical sequence. All of the individual functions available in the previous version are now listed as processing options for the relevant processing steps in projects. The aim is to help users, especially those without extensive prior experience to get to grips with the system easier and faster. “When we developed the workflow-based tools, we defined typical use cases and automated them completely,” says Bürkler. In the event that manual intervention is needed, the software provides appropriate support and guidance. “This keeps the training required to an absolute minimum, which means that the learning time for new users is extremely short,”  the product manager said.  If anyone prefers the old interface for example, for dealing with complex, engineering-related technical issues they can easily switch back to the previous GUI.

Users will also find new rendering technology in SCENE 6 interesting. It delivers an even better level of visualisation for solid surfaces and eliminates the need for further data processing in visualisation applications.

“Solid surfaces now look completely realistic,” explains Bürkler. Conventional point cloud visuals have been transformed into fully immersive virtual reality environment. For example several new features ensure that the point cloud density for walls is interpolated so that the original, roughly rendered (“holey”) point clouds are automatically converted into closed surfaces. Colours are also homogenised in this way so that solid bodies or textures become significantly more realistic. This means that solid surfaces are not visualised using individual measuring points but rather as realistic, closed objects.

SCENE 2

New rendering features in the latest Version 6 of SCENE come in the form of closed surfaces: measuring points are turned into solid bodies to optimise the visualisation.

Ever more in the cloud

FARO insists that the benefits of this type of hyper-realistic point cloud are not just reserved for experts, thanks to the new version of its web hosting service SCENE WebShare Cloud. Being an online service it delivers significantly better performance, as well as being simpler and more user-friendly. All team members can now access documentation data quickly and easily without needing any special software or hardware. Each file is coded individually using the best encryption method available today (AEC 256), which guarantees the highest levels of IT security. In recent years, many customers have been sceptical about cloud applications for security reasons or have rejected them out of hand due to the massive volumes of data involved and the lack of fluid rendering. Nevertheless FARO confirmed that more and more customers are now using the cloud.

Consequently point clouds can be used for documentation-related tasks that were previously the reserve of CAD software. The advantage given that point clouds map complex local conditions, customers can dive into an existing environment ‘virtually’ for a more direct understanding of conditions on the ground. These features are used for example, by key FARO customers such as carmaker Volvo which documents all of its production facilities around the world using FARO scanners and uses these as the basis for further planning or new buildings. The company aims to have point clouds serve as the basis for all documentation applications leaving CAD for the virtual planning level only. This approach represents a paradigm shift since common practice today is still to translate point clouds into CAD models. A point cloud can now be enhanced with CAD functions to create a comprehensive 3D documentation IT landscape. “This will be the basis for future FARO developments,” predicts Oliver Bürkler.

Jun
16
2016

Focus3D scans the Sinaia Casino to deliver detailed 360° view in Webshare Cloud

The Casino in Sinaia, Romania was built at the initiative of King Carol I of Romania between 1912-1913. The Sinaia Casino was designed by the famous Romanian architect Petre Antonescu. The building is considered a historic monument and serves as an International Conference Centre. A detailed examination of the site’s current condition was required in order to lay down the restoration and preservation project. Therefore the 3D laser scanning method was chosen in order to carry out the survey of the monument. “Our task was to create a complete Building Information Management system in 2D (ground plans) and 3D (point cloud data) as soon as possible, so that planning and construction work will be based on reliable information. To do this, we deployed two expert teams.
One team was on site scanning with a FARO Focus3D laser scanner while the other team was processing the point cloud data” explains CEO International Partner Buro, Dipl. Ing. Marian Radoi.

3DLS_Sinaia_Casino_EN_3

“For complex projects as this the Focus3D offers many advantages. It is a non-invasive method of data collection, appropriate in case of surveying historic buildings. The large amount of data, obtained in a very short time, allows for the analysis of the current state of a monument. The great amount of captured details allows planning preservation and rehabilitation works, as well as monitoring the intervention in time.” says Dipl. Ing. Marian Radoi.

Read more

Apr
18
2016

The FARO laser scanner records everything that happens on the building site…

IMG_20151023_093107Previously a bank, now a large restaurant of 720 metres, with a capacity of 140 seats: the construction of Studio 16, which opened its doors in Orléans in the
Autumn of 2015, represented a huge challenge in terms of construction, development of the space and decoration.

MB Design, a firm specializing in interior architecture, was charged with the creation and the realisation of this new concept, and monitored the progress of the building work closely, over a period of 8 months. “We had decided to carry out surveys using a FARO Focus3D X 130 scanner as the work progressed. In doing so, we were able to ensure a real and precise indication of the position of all elements of the site that would end up being hidden by various partitions and covers. The objective was to know exactly where the pipes and cables lay, which would turn out to be very useful later, for example when making an alteration, or if a problem were to occur in one of the hidden installations (a blocked pipe or a leak, for example),” said Michael Bustillo, Director of MB Design and sister company ABM2 (which specialises in surveys).

Like any establishment open to the public, the restaurant had to comply with building regulations before being allowed to open. A problem comes to light at this point: the facilities are 4 cm above the permitted height. Who is to blame? The plumber says he worked with the reference line, i.e. the horizontal level line marked on the wall by the bricklayer. The surveys obtained by ABM2 quickly prove otherwise: the resolution of the FARO Focus3D scanner is such that the bricklayer’s line is clearly visible. This simple fact has farreaching consequences: “Firstly, we have not lost time discussing whether the bricklayer or the plumber was right. Then we saved money because to trace a possible line level would have required breaking tiles which had been laid on top of it. Finally, there is no dispute to be resolved: the plumber being wrong, the removal of the fittings and their reinstallation at the right height becomes his problem,” explains Michael Bustillo. In playing the role of “justice of the peace”, the scanner saved a great deal of time and the establishment was able to open on schedule.

Read more

Apr
08
2016

4 Reasons to attend the MACH Fair

It’s that time of the year again! FARO will be attending the UK’s premier manufacturing technologies exhibition, MACH 2016. This event runs every 2 years.

With a 7 days left until the exhibition check out the 4 reasons to be at the FARO stand booth 5910.

 

MACH2016_slider_v4

 

 FARO Robo Imager- The first mobile, ready to work 3D measurement solution will be on show at the MACH Fair. A mobile and flexible robot with a setup time of less than 5 minutes, it is seen as a product with great benefits for the automotive, aerospace and mechanical engineering industry.

FARO experts on hand to help – The wonderful expert team will be on hand to help you out with any queries you may have. You will be provided with the opportunity to see live demonstrations from a wide range of products from Metrology & 3D Documentation.

 

IMG_9557

Great Quality stands – There will be a wide range of innovative products from many different exhibitors. FARO will be exhibiting a wide range of products from Metrology and 3D Documentation. This will include the newly highly-adaptable FARO Factory Array 3D Imager, a metrology grade non-contact scanner which utilizes blue light technology to capture millions of high resolution 3D coordinate measurements in seconds. We will also be presenting the high speed FARO Laser Scanner Focus3D X Series for detailed 3D modelling and image documentation as well as the recently released 3D Laser Scanner Freestyle3D X with enhanced accuracy of 1 millimetre at a 1-metre range.

Raffle Prize – Test your knowledge of the FARO Factory Array 3D Imager and your in with a chance to win a prize. Test your knowledge of our new scanner metrological level FARO 3D Imager Array Cobalt for the production workshop and assembly . Come to stand booth 5910 and take our quiz and return your completed ballot in the ballot box at the FARO booth. You can also download the quiz here.

 

COBALT RAFFLE

 

You will be able to find the answers on our FARO Factory Array Imager information page.

Don’t forget stand booth 5910

 

 

Dec
09
2015

FARO ‘state-of-the-art’ Scanning

FARO is a renowned supplier of high-quality portable coordinate measuring machines (CMMs) and 3D imaging devices, FARO technology is used throughout the world for high-precision 3D measurement and scanning. Due to it’s ease of use, accuracy and reliability it has become the measurement of choice across a diverse range of sectors including the Architecture, Construction and Crime scene analysis.

Installation with Focus scanner

FARO has now extended application of products to new areas. Tracy Hill who worked at the University of Central Lancashire was able to manipulate the FARO Focus 3D x 130 and the FARO Software from here colleagues to allow the creation of a major installation – Sensorium. Given the fact she has never used it before, the ease of use meant that she could experiment and create the effects of visualisation that she was looking for.

Click here to read the full text.



FARO UK Blog

Stay up to date with the latest news and trends in industrial metrology and 3D documentation.

Subscribe to our Blog

FARO Local

Follow us:

Archives