Deck Title

Study day in honor of

Prof. Franco Ugo Rollo

Ascoli Piceno

Nov. 26 2014

Digital faces:

new digital technologies for the forensic facial reconstruction

of historical figures

Luca Bezzi (Arc-Team)

Traditional work-flow

1. 3D scan of the skull

2. Preparation of a replica

3. Osteometric analysis

4. Depth tissue marks placement

5. Profile reconstruction

6. Muscles and skin modeling

7. Model calibration with historical sources

8. Dressing

Dr. Maziar Ashrafian Bonab during Forensic Facial Reconstruction
at The University of Dundee-Scotland (Wikipedia)

Digital work-flow

1. 3D scan of the skull

2. Osteometric analysis

3. Placement on the Frankfurt plan

4. Depth tissue marks placement

5. Profile reconstruction

6. Muscles and skin modeling

7. Model calibration with historical sources

8. Dressing

9. Details definition

Forensic Facial Reconstruction, digital work-flow
(Cicero Moraes)

3D documentation of the skull

different technologies

SfM and IBM

X-ray CT

Cicero Moraes (Arc-Team) scanning a skull

X-ray CT data in InVesalius (ATOR)

Structure form Motion and Image-Based Modeling

In 2009 Arc-Team has been invited to the TOPOI exzellenzcluster of Berlin.

During its participation to the project, the society starts the first test

in applying SfM/IBM to Cultural Heritage.

Klaus Kerkow (Sat Ing), Luca Bezzi (Arc-Team), Alessandro Bezzi (Arc-Team) at the TOPOI-Haus in Berlin

The software

ArcheOS and the FLOSS universe (Free/Libre e Open Source Software)

PPT has been developed by Pierre Moulon (Université Paris Est and Mikros Image),

with the collaboration of Alessandro Bezzi (Arc-Team) for the GUI (PPT-GUI)

The first test

TOPOI Löwe

SfM and IBM process

The process is based on different photos with different orientations, computing the
displacement of common points between images

Working on the Theodoric Mausoleum (from Arc-Team archives)

Mesh-editing

MeshLab is developed by the

Visual Computing Lab of ISTI - CNR of Pisa

Mesh-editing of a skull (ATOR)

SfM IBM and reverse engineerign

Methodology validation through unconventional procedures from hacker culture

Reverse engineering process (Budapest Mumia Projekt, ATOR)

Original result

Replicated result (by Cicero Moraes)

Methodology validation for anthropological applictions

Dr. Paulo Miamoto, Cicero Moraes

Acknowledgments

Prof. Petra Urbanová
(Masaryk University, Brno, Czech Republic)
Prof. Rodolfo F. H. Melani
(University of São Paulo, São Paulo, Brazil)
Mikoláš Jurda
(Masaryk University, Brno, Czech Republic)

Digitizing a skull with SfM ad IBM techniques (ATOR)

X-ray CT and DICOM data

In several projects it is possible to work with DICOM data.

In these cases the anthropoligical analysis is more accurate.

(3D VS Voxel)

DICOM data in InVesalius (ATOR)

The software

ArcheOS and the FLOSS universe (Free/Libre and Open Source Software)

InVesalius is mainly developed by the

Renato Archer Information of Technology Center

(Ministry of Science and Technology of Brazil)

X-ray CT process

"X-ray computed tomography (X-ray CT) is a technology that uses computer-processed

X-rays to produce tomographic images (virtual 'slices') of specific areas of the scanned object,

allowing the user to see inside without cutting." (Wikipedia)

X-ray CT data (Arc-Team archives)

Same data in MeshLab (Arc-Team archives)

X-ray CT and reverse engineering

Methodology validation through unconventional procedures from hacker culture

Reverse engineering process (Field Museum, ATOR)

Model calibration (ATOR)

X-ray CT and reverse engineering

It is necessary to check and validate the protocol with a continuous methodologial comparison
with all the avalaible resources.

Reverse engineering process (Henry IV, ATOR)

Henry IV's allege mummified head
(via Bones Don't Lies, CC- Y-SA)

Osteometric analyses

Once obtained the 3D model,

digital anthropological analyses do not differ from

traditional ones

Traditional and digital osteometric analyses(Arc-Team archives)

Digital restoration

In some cases, a virtual restoration of the model is necessary.
The solution comes from symmetrical and boolean operations
of 3D modeling software (Blender)

Digital restoration process (ATOR)

3D modeling

The software: Blender

Alberto da Trento reconstruction phases

(ATOR)

Placement on the Frankfurt plan

Frankfurt plan (Arc-Team archives)

Depth tissue marks placement

Depth tissue marks placement (Arc-Team archives)

Degreef et alii (2006)

Profile reconstruction

Profile reconstruction (Arc-Team archives)

Reconstructing the Shape of the Nose According to the Skull

Miroslav Prokopec, Douglas H. Ubelaker

Paper presented at the 9th Biennial Meeting of the International Association for Craniofacial Identification, FBI, Washington, DC, July 2000.

Mathodology developed by Galina Lebedinskaya (M. M. Gerasimov's pupil)

Methodology validation

Blind test on living people

Deviation between models analyzed with the software CloudCompare

Critical areas

According to the blind test, main deviations were detected
on the cheeks.

Models superimposition in Blender

Deviation analysis in CoudCompare

Modeling the muscles

Muscles modeling (Arc-Team archives)

Technique optimization and rationalization

Once the main muscles are modeled with metaballs in Blender, the result

can be reused in successive reconstructions through an anatomical deformation.

Muscles structure reused (Arc-Team archieve)

Technique refinement

It is possible to reach more realistic results through specific modeling tools,
like the "sculpt mode" in Blender.

Modeling in sculpt mode (Arc-Team archives)

Skin modeling

Skin modeling (Arc-Team archives)

Technique optimization and rationalization

In order to simplify and speed up the technique, a neutral facial model has been created.

Neutral facial model (by Cicero Moraes)

Gender and age dimorphism

The neutral model can be anatomically deformed on different skulls to meet
gender and age dimorphism.

Neutral facial model adaptation (Arc-Team archives)

Individual dimorphism

At the same time, the neutral model can be deformed to meet the anatomical criteria
which determine the individual dimorphism.

Neutral facial model adaptation (Arc-Team archives)

The model with hair and the hairless one

After the reconstruction process, two main models are defined:
one with hair and one hairless.

The model with hair and the hairless one (Arc-Team archives)

Further rationalization of the technique

Thanks to the latest developments of the software MakeHuman it is now possible to
further simplify and speed up the technique.

The software MakeHuman (ATOR)

The first tests carried out in 2014 have yielded positive results, thanks to the new
feature which loads base raster images. The software is also perfectly compatible
with Blender.

Further rationalization of the technique

MakeHuman first test for FFR (by Cicero Moraes and Paulo iamoto - ATOR)

Further rationalization of the technique

A further development of the protocol will allow to obtain high quality forensic facial
reconstructions, in less time, without the need to master the techniques of 3D modeling.

SX: a FFR done by an expert modeler in 8 hours in Blender;

DX: sane recostruction done in 20 minutes by a newbie in MakeHuman

The calibration with historical sources

The final model is calibrated with historical, archaeological and medical sources.

St. Anthony FFR calibration with medical data (Arc-Team archives)

Dressing the model

In case of historical reconstructions, the model appearance (hairstyle and clothing) is

calibrated depending on era and culture, while the physical characteristics

(color of hair and eyes) are set basing on the ancestry.

Egyptian mummies reconstructions, from Ptolmaic to Roman perod (ATOR)

Andean mummy reconstruction (ATOR)

3D printing the model

The 3D printing technologies allow the materialization of the model with different
levels of detail.

Msc. Mrcelo Oliveira (CTI - Brazil)

Kentstrapper

Fa)(a 3D

A case study

The forensic facial reconstruction of St. Anthony of Padua

Scanning the skull

The 3D scan was carried out on the bronze cast performed by R. Cremesini in 1981

Original skull, bronze cast and digital copy

(Arc-Team archives)

The cast of R. Cremesini

The cast done by R. Cremesini is very important, because it derives from the temporary
anatomical reconnection of the skull and the jaw, which were separated since the first
survey of the tomb (1263).

JAW

(reliquary)

SKULL

(grave)

Pictures from the Centro Studi Antoniani archives

The digital scanning

The digital scanning was performed in 2013 on the cast bronze performed by R. Cremesini

TECHNIQUE

Structure from Motion

Image-Based Modeling

TOOLS

ArcheOS

Python Photogrammetry Toolbox

Model done by Luca Bezzi (Arc-Team)

The final model

Model done by Cicero Moraes (Arc-Team)

The level of details

Model done by Cicero Moraes (Arc-Team)

The collaboration with the CTI for 3D printing

Thanks to the collaboration with the Centro de Tecnologia da Informação Renato Archer - CTI
(Ministério da Ciência and Technology do Brasil) the model was printed in 3D.

Pictures from the CTI archives

The final artistic retouching

One of the materialized models was repainted by the Brazilian Mari Bueno,
specialized in religious art

Pictures from the CTI archives

Thank you for your attention!

Credits:

The techniques and the forensic reconstruction protocols presented were developed
over the past two years from a spontaneous collaboration born on the blog

ATOR (Arc-Team Open Research)

http://arc-team-open-research.blogspot.it

Main authors are (in alphabetical order)

Alessandro Bezzi (Arc-Team)

Luca Bezzi (Arc-Team)

Cicero Moraes (Arc-Team)

Paulo Miamoto (Universidade de São Paulo)