This opens up a lot of possibilities for preparing Structure Synth objects for use in other software, such as third party raytracers.
Since MeshLab directly compiles in the Structure Synth code, the resulting structures should be 100% compatible. You can directly import EisenScript (.es) files using the standard ‘File | Open’ dialog, or you can choose ‘Filters | Create New Mesh Layer | Structure Synth Mesh Creation’ and paste your EisenScript into the text edit field. The latest versions of MeshLab (the 1.3.0 Beta) now also supports EisenScript directly. It supports a gazillion of 3D formats, and many types of filters and operators for remeshing, cleaning, and modifying 3D structures. By using this editing tool, it was possible to produce such proposed color reconstructions, directly on the 3D geometry.MeshLab is a powerful open-source system for manipulation of 3D meshes.
The Surface Painting tools provided by MeshLab may be used to color the 3D surface using painting-like interface. This task, however, is generally carried out on photos or drawings of the artifact, while it would be possible to do it directly on the 3D surface. Almost always, the current state of an archeological find is degraded: to propose possible reconstruction of the original color of the object is a normal activity for archeologists or art historian. The reconstruction of a faithful representation of the actual color of an artifact is often just a first step towards the understanding of the original aspect of the object.
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By using the color data from the calibrated images, it is possible to generate detailed, artifact free per-vertex color encoding, fill an existing texture parametrization or generate an entirely new texture mapping, driven by the photographic coverage. To this aim, MeshLab offers different color mapping tools to better cope with the different needs of the various datasets. The spatial exploration of the georeferenced photographic set is a powerful tool but, in many applications, it is needed to have the color information mapped onto the geometry. The photos aligned in this way may be spatially-explored directly in the 3D space, instead of browsing a folder on the disk, looking at the photos like see-through transparencies suspended in space or projected onto the surface.Īn interesting possibility is to use also unconventional photos, like photos with annotations, historical photos or even near-visible lighting photos (ultraviolet, multispectral, infrared, thermography….) The first step in the color management, is to align photos to the 3D model, this operation is possible in MeshLab in a short time by using a very simple interface. We will show the basic operations available and present actual projects were this tools have been successfully used. In this paper, we will describe the tools that MeshLab offers for the generation and processing of color information on a high resolution 3D model. Since a complete reconstruction of the optical properties of an artifact is still hard to achieve, what is normally done is to rely on color data coming from photographic dataset. Even if a precise, detailed geometry is essential for the study and documentation of a CH artifact, lots of information also comes from the color and appearance data.