Happy that we had done enough testing we were ready to take the team up to Edinburgh for the real thing. It took weeks of organising, we had been working closely through the pre-production phase of this with our colleagues up at Scottish National Gallery of Modern Art who have been amazing in giving us the access to Eduardo Paolozzi’s preserved studio and supporting us in this project. We wanted to capture as much data and imagery of the studio as we possibly could in one weekend.
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.
In addition to this we had the challenge of installing a new set of lights onto the existing rig in the ceiling. The existing lighting was due an updating, it wasn’t lighting up all the areas often studio and the colour of the light was orange / yellow. We needed a stringer and more balanced white light in order to capture the best data.
Lighting Director Darren Mulholland designed us a solution that was very easy to install and dismantle, and gave us the perfect lighting conditions, he also made up some flexible strip LED lighting patches that we could place in some of the darker spaces within the studio, like under the bunk.
After one full long day of preparation, with scan station and HDS targets all defined, we were ready to start scilming. Our plan was for excessive, redundant, scanning, but at the lowest “quality” setting which is significantly faster but didn’t affect (for our purposes) the data collected. Each full dome 360 degree scan took about 3 minutes to complete. At this point we switched to the D810 which then meant attaching the Nodal Ninja and taking the 48/12 photos for the 24mm/16mm panoramas. By the end of the day we had finished two scan stations – we left Adam’s laptop importing the scan data from the first scan which took 2 hours. We were satisfied that it’d been collected satisfactorily although the multiple return issue still remained….
On day 2 we cracked on using the same work flow we perfected the previous day, working our way through the remaining locations. The trickiest element was scanning from the top of the bed. This is about 2m high and contains a fairly small bed with very little space around it.
With the main scans complete, we then looked at “in-filling” the data we had. When you look at the studio you realise there are many nooks-and-crannies. With so much “stuff” there will always be shadows with line-of-sight scanning – the more scan locations there are, the more in-filling you can do. With that in mind we did four “fast” (noted as (F) on the sketch) scans at slightly lower resolution but designed to add a slightly different perspective. In total we had 11 scan locations, 20 separate scans at a mix of 1.6mm and 50mm spacing.
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….. Mike Smith has documented the processing workflow for the spherical panoramas.