resurrect3d: an open and customizable platform for
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Resurrect3D: An Open and Customizable Platform forVisualizing and Analyzing Cultural Heritage Artifacts
Joshua RomphfDigital Scholarship River Campus Libraries
University of Rochester, [email protected]
Elias Neuman-DonihueDepartment of Computer Science, Department of History
University of Rochester, [email protected]
Gregory HeyworthDepartment of English
University of Rochester, [email protected]
Yuhao ZhuDepartment of Computer ScienceUniversity of Rochester, USA
ABSTRACTArt and culture, at their best, lie in the act of discovery and ex-ploration. This paper describes Resurrect3D, an open visualizationplatform for both casual users and domain experts to explore cul-tural artifacts. To that end, Resurrect3D takes two steps. First, itprovides an interactive cultural heritage toolbox, providing not onlycommonly used tools in cultural heritage such as relighting and ma-terial editing, but also the ability for users to create an interactive“story”: a saved session with annotations and visualizations otherscan later replay. Second, Resurrect3D exposes a set of programminginterfaces to extend the toolbox. Domain experts can develop customtools that perform artifact-specific visualization and analysis.ACM Reference Format:Joshua Romphf, Elias Neuman-Donihue, Gregory Heyworth, and Yuhao Zhu.2021. Resurrect3D: An Open and Customizable Platform for Visualizing andAnalyzing Cultural Heritage Artifacts. In The 26th International Conferenceon 3D Web Technology (Web3D ’21), November 8–12, 2021, Pisa, Italy. ACM,New York, NY, USA, 6 pages. https://doi.org/10.1145/3485444.3487644
1 INTRODUCTIONArt and culture, at their best, lie in the act of discovery: seeing whatis hidden and rejecting the fallacy that what we see is all there is. Al-most every great piece of art, artifact, or site has something hiddenwithin it, invisible to the naked eye. Paintings have pentimenti —rough drafts that an artist regrets and paints over; manuscripts havepalimpsests or scratch-outs — text that is covered up or overwritten;and archeological sites are a world of unexpected labyrinths.
The discovery aspect of culture and art is inadequately addressedbymuseums today. Evenwith a guided tour, themuseum experienceis centered around receiving information rather than discoveringnew information. 3D digitization and visualization, however, aretransforming this landscape, allowing user-centric exploration inboth casual consumption and scientific research of cultural heritage.
Permission to make digital or hard copies of all or part of this work for personal orclassroom use is granted without fee provided that copies are not made or distributedfor profit or commercial advantage and that copies bear this notice and the full citationon the first page. Copyrights for components of this work owned by others than ACMmust be honored. Abstracting with credit is permitted. To copy otherwise, or republish,to post on servers or to redistribute to lists, requires prior specific permission and/or afee. Request permissions from [email protected] ’21, November 8–12, 2021, Pisa, Italy© 2021 Association for Computing Machinery.ACM ISBN 978-1-4503-9095-8/21/11. . . $15.00https://doi.org/10.1145/3485444.3487644
In this paper, we describe Resurrect3D, an open platform for visu-alizing, analyzing, and ultimately freely exploring difficult-to-studyartifacts. Resurrect3D is built around three key design principles.
Targeting Cultural Heritage. While using a generic systemarchitecture and supporting general 3D visualization, Resurrect3Dis designed specifically with cultural heritage in mind. For in-stance, we support processing data from a range of data acqui-sition pipelines such as LiDAR scanning, multispectral imaging,and photogrammetry; similarly, we provide well-optimized tools toannotate, analyze, and visualize 3D objects. These features allowdomain experts to not only interact with the artifacts but also “seethe invisibles” and analyze artifacts using advanced algorithms.
Portability. Our experience of developing visualization plat-forms for cultural heritage tells us that the end users are extremelydiverse. Resurrect3D must be available across different computingplatforms ranging from desktop PCs to smartphones and VirtualReality devices. To this end, we made a judicious design decision tobase the entire system on the Web technology stack (e.g., NodeJS,WebGL, WebXR), which is naturally platform-independent. TheWeb application will automatically get updated whenever the userlaunches the application, i.e., requesting the application through aURL, allowing for automatic security/privacy improvements.
Customizability. Resurrect3D also aims to provide a cleaninterface to allow domain experts to develop custom tools to visu-alize and analyze cultural artifacts. For instance, when a paintingwith pentimenti is captured through multispectral imaging, expertscould implement a custom Principle Component Analysis tool toreveal certain surface details that are visible only with specific com-binations of spectral bands, and then implement a custom shaderto visualize different bands simultaneously in order to see the stepsof the pentimenti’s coming into being. In contrast, existing visual-ization platforms for cultural heritage generally do not provide thecustomizability, handicapping domain experts.
Resurrect3D is completely open source, allowing institutions tocontrol the dissemination of digitized surrogates of their collectionmaterials. Resurrect3D is live at: https://resurrect3d.lib.rochester.edu/, and the code is publicly available at https://github.com/rochester-rcl/resurrect3d.
We have used Resurrect3D for a range of pedagogical, research,and entertainment applications. For instance, in the Lazarus project [Lazarus2021] we imaged and visualized, in Resurrect3D, the New YorkPublic Library’s Hunt-Lenox Globe [Hunt-Lenox Globe 2021], a
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minuscule (5 inches in diameter) globe depicting the Americas andone of the oldest terrestrial globes in existence. Custom relightingand image analyses in Resurrect3D let us reveal surface detailsnot apparent on the globe. Resurrect3D is also used by the Wardproject [Ward 2021a] to visualize numerous biological specimensfrom the Ward’s Natural Science Establishment [Ward 2021b]. An-notation and metering tools in Resurrect3D allows students andresearchers to better understand the physiology of Ward’s rarespecimens.
This paper describes the system design of Resurrect3D. We focuson design decisions we made in making Resurrect3D accessible tocasual users and domain experts, and highlight how the customiz-ability can enable artifact-specific visualization and analysis.
2 RELATEDWORKGeneric 3D Visualization. Arguably the most popular Web-based 3D visualization platform is SketchFab [SketchFab 2021],which is used by several cultural heritage institutions for sharing3D models of their collections. SketchFab, however, is not withoutlimitations. First, it is not open source, and requires a subscription-based payment for uploading and sharing works. Second, and moreimportantly, SketchFab is a generic visualization platform not de-signed with cultural heritage in mind and lacks field-specific func-tionality. In contrast, Resurrect3D provides a suite of tools that aremore commonly used in cultural heritage. These include interac-tive measurement, interactive relighting material editing to revealsurface details, image analysis, and annotation tools.
Image Viewers for Cultural Heritage There are a handfulof image viewers designed for cultural heritage. They are usuallyhighly specialized for working with Single Camera Multiple Light(SCML) data, which is obtained through Reflectance Transforma-tion Imaging (RTI) [Malzbender et al. 2001] and Portable LightDome (PLD) [Hameeuw et al. 2005] and is useful in revealing sur-face details. Notable desktop tools include RTIViewer [CHI 2021]and PLDviewer [PLDviewer 2021]. Web-based tools include Re-light [Ponchio et al. 2018], Villanueva et al. [Villanueva et al. 2019],the Oxford RTI Viewer [OxRTI 2021], and Pixel+ [Vanweddingenet al. 2020]. M.A.RL.I.E [Jaspe-Villanueva et al. 2021] supports notonly RTI images but also shape and material representations witha flexible annotation system.
Resurrect3D supports SCML through Polynomial Texture Map(PTM) [Malzbender et al. 2001], which is a form of SCML data. Themain difference between Resurrect3D and the SCML image viewersis that Resurrect3D supports other 3D modeling data and allowsfor developing custom tools to analyze 3D objects.
3D Visualization for Cultural Heritage. Smithsonian has re-cently developed Voyager [Smithsonian 2021], an open-source 3DWeb-based visualization platform. Much like Resurrect3D, Voyagerprovides material editing, relighting, measurement, and annotationtools. CyArk provides a proprietary 3D viewer for their collec-tions [CyArk 2021]. The viewer is designed primarily for viewing3D models without many of the features that Resurrect3D providessuch as relighting and material editing.
Resurrect3D differs from these two systems in two ways. First,Resurrect3D permits developing custom visualization (shading) andanalysis tools, whereas neither system above has native support for
customizability. We leverage the customizability and develop a setof tools such as Eyedome lighting and curtain view of multispectraltextures, which are commonly used in cultural heritage visualiza-tion but are unavailable in either system. Second, both systemsfocus on visualizing mesh-based models whereas Resurrect3D sup-ports a range of other data modalities commonly used in culturalheritage digitization such as multispectral imaging and SCML.
3DHOP [Potenziani et al. 2015] is a Web-based programmingframework for 3D visualization, mostly used for cultural heritage.Through a declarative programming interface, 3DHOP providesa set of configurable knobs such as setting up camera and lightparameters, picking points on the 3D model, and setting meshtransformation and visibility. These configurations are friendly todevelopers who are not familiar with graphics programming, butalso limit the customizability to only what the configurable knobsoffer. Resurrect3D, in contrast, provides customizability at a higherdegree: we allow developers to directly write custom shaders andanalysis tools. This provides more control over visualization andanalysis, and thus allows for custom visualization such as multi-texture curtain view that is difficult to realize in 3DHOP.
Gamification Serious games for cultural heritage deliver peda-gogical goals [Anderson et al. 2010; Andreoli et al. 2017; Antoniouet al. 2013; Bellotti et al. 2013]. While Resurrect3D itself is not agame, the visualization, interaction, and customization capabilitiesof the platform provide opportunities to develop series games forreal cultural heritage sites and artifacts, which is our future work.
3 SYSTEM OVERVIEWThe rendering system is built using the classic server-client archi-tecture. Figure 1 shows an overview of the system.
Server. The server application is built using Express.js andNode.js for interfacing with the client requests and uses MongoDBas the backend database. Small metadata, such as annotations andsession-specific settings (e.g., camera pose), are directly stored inMongoDB, while large objects (e.g., raw point clouds and texturemaps) are stored using GridFS, which builds on top of MongoDBand is optimized for accessing large objects.
Clients communicate with the server in two ways, dependingon the scenario. When a large chunk of data is requested, such asthe initial request of a 3D model, the communication is throughREST API, which is optimized for throughput. In contrast, we useWebSocket for subsequent communications that exchange smallamounts of data but require real-time response, as WebSocket isoptimized for latency. A typical scenario is when a teacher clientsends her current state (e.g., camera pose, annotation) to studentclients in the presentation mode.
Client. The client-side UI is built using the React library [React2021]. The rendering system is built on the three.js library [three.js2021] to leverage WebGL for GPU acceleration. The event-drivensystem in three.js integrates well with the asynchronous nature ofReact, allowing us (Resurrect3D developers) and future contribu-tors to focus on developing functionalities specific to the culturalheritage domain. Finally, Resurrect3D also leverages WebXR toprovide support for basic VR rendering of 3D objects.
We support two forms of client interaction. First, clients canperform completely independent interactions and analyses on an
Resurrect3D: A Platform for Visualizing and Analyzing Cultural Heritage Artifacts Web3D ’21, November 8–12, 2021, Pisa, Italy
React + IndexedDB
Three.js + WebXR
Interactive Cultural Heritage Toolbox
Custom Tools
Express.js
MongoDB/GridFS
Built-in Tools
Client
Client
ClientServer
REST API/WebSockets
Relighting
Analysis/Processing
Material Editing
Metering Annotation
Shaders Eyedome Lighting
Chroma Key Composition
Multi-texture Curtain View
Data Converter
PCA on Multispectral Imaging Textures …
Fig. 1: Overview of the Resurrect3D system architecture.
object. Second, clients can communicate with each other throughthe server, e.g., synchronizing different users to share the currentstate of one user’s view. This can be useful in a classroom lecturingsetting where students want to see what the teacher is seeing.
Finally, we also implement a basic client-side caching systemusing the IndexedDB API, which stores compressed model data anddrastically cuts down on the load times and bandwidth requiredcompared to always fetching the model directly from the server.
4 INTERACTIVE CULTURAL HERITAGETOOLBOX
We first describe the design methodology that we adopt in develop-ing Resurrect3D. We then describe Resurrect3D’s cultural heritagetoolbox which includes not only a set of built-in tools, but alsogeneric programming interfaces that allow expert developers todevelop custom analysis and visualization tools.
4.1 Development Cycle and DesignMethodology
We worked closely with researchers spanning several cultural her-itage disciplines including archaeology, classics, history, and naturalscience. In particular, our development cycle is the following:
(1) Users describe an ideal requirement to developers. In thisstep, users do not specify the exact implementation; rather,they focus on describing the expected utility of a feature.
(2) Given the feature request, developers quickly prototype atool, and demonstrate the tool to the users. In this step, devel-opers focus on delivering the required functionality withoutpaying much attention to the UI design. Users provide feed-backs until the functionality meets the requirement.
(3) The developers enter the next phase of the developmentcycle, in which developers focus on the UI design, aimingto provide an intuitive and a responsive user interface forusers of all technical skill levels without compromising theutility of the tool.
For instance, a researcher in the University of Rochester’s De-partment of Religion and Classics had expressed interest in a featurethat allowed them to change the color of specific sections of anobject’s texture to improve readability of certain details. The teamthen prototyped a chroma key shader using the platform’s existingframework for custom tools and was able to share it with the re-searcher and acquire feedback in a short period of time. In fact, thisis another reason we choose to make Resurrect3D a browser-based
platform, as the team can iterate and acquire feedback much fasterthan with native applications.
The Resurrect3D UI is developed organically, taking many cuesfrom established conventions in 3D graphics software for imple-menting the controls. As more custom tools add added, the teamdevelops UI elements (sliders, color pickers, toggle buttons, etc) in-crementally. A small group of faculty and student test users wouldthen provide feedback on their user experience and the team wouldattempt to address any issues. The UI elements created throughthis process then form the building blocks of the platform’s customUI integration.
4.2 Basic Tools for Cultural HeritageRevealing Surface Details A key requirement for cultural her-itage visualization is to examine/reveal the surface details of anartifact to see the “invisibles”. To that end, Resurrect3D provides aset of interactive tools including relighting to material editing.
A well-known technique used by historians and archaeologistsis to point a light source to a specific area of the surface to bringout the details. Resurrect3D allows users to digitally emulate thisprocess by specifying various properties of the light source (e.g.,color, intensity) and to move the light source around the scene torelight specific regions.
Another useful method for revealing surface details is throughediting the surface material of an artifact, such as the normal scale,metalness, and roughness values. For instance, changing the metal-ness essentially changes the albedo of the material, allowing fine-grained geometry to come out easily under certain light sources.
Resurrect3D allows users to arbitrarily combine interactive ma-terial editing and relighting to best bring out the details. Figure 2compares how a proper combination of relighting and materialprovides the best visual details.
Annotation and Metering. Cultural heritage experts usuallyenhance artifacts by adding metadata (e.g., texts, audio, images,video), which can later be disseminated for research or pedagogicalpurposes. Resurrect3D allows users to add annotations in a posi-tional way, i.e., associating annotations with a particular positionon the 3D model.
Positional annotation is implemented through a React callbackthat passes the click position to three.js, which translates the po-sition to the coordinates in the camera space, which, in turn, getreprojected to the world space. This allows the annotation to be
Web3D ’21, November 8–12, 2021, Pisa, Italy Romphf, et al.
Fig. 2: A small wax seal from University of Rochester’s Rare Books, Special Collections, and Preservation department. Thisexample shows a combination of re-lighting and material editing (right) best increases the visibility of the seal’s finer detailscompare to relighting alone (middle) and the oroginal rendering without any digital surface-revealing techniques (left).
Fig. 3: The UI for the presentation/story mode.
associated with the particular position of the model, invariant withthe camera pose.
Digitizing artifacts brings an inherent benefit: accurate meteringof the geometric properties of an artifact, such as the distancebetween two points, the surface area, or the volume. This meteringcapability is important especially for objects of extreme scales (largeor small) or brittle under any physical measurement.
Interactive Storytelling. Resurrect3D facilitates cultural her-itage education by allowing one user to create a story, i.e., a savedsession of annotations, measurements, material and lighting set-tings. The story can later be launched by another user to experiencea virtual walkthrough of the 3D model with guided tools. At anypoint during the walkthrough, the user can apply custom inter-actions with the model, essentially exploring the virtual space ontheir own. We find this useful for students to validate/critique thepre-recorded instructions.
Figure 3 shows the UI component for the presentation mode.A user can reorder the annotations in a sequence while choosingwhich data to persist alongside the annotation (e.g., the cameraor lighting position, shader settings). Other users can later cyclethrough the annotations. Themain camera interpolates between thepositions stored alongside the annotations, creating an animated“guided tour” of the object.
4.3 CustomizabilityA key differentiating feature of Resurrect3D is that it provides greatflexibility for expert users to design custom tools. The interfaces forcustom tooling can be classified into two main categories: 1) cus-tom shaders, which allow visualizations of the 3D model differentfrom the default shaders in three.js, and 2) custom analysis tools,which allow for statistical, image, and vision processing on the mod-el/metadata. Enabling custom analysis tools extends Resurrect3Dfrom a visualization platform to also be an analytics platform.
4.3.1 Custom Shaders. The cultural heritage community, over theyears, has designed creative shading techniques to aid in viewingartifacts. Resurrect3D provides a straightforward interface for devel-oping custom shaders. This is accomplished by leveraging three.js’capability of directly integrating a shader written in OpenGL Shad-ing Language (GLSL).
The design goal of the interface is to allow developing the shaderswithout worrying about how the shader code will be integrated intothe React application. To that end, we provide a template, whichdefines a “loader” function that takes a three.js object and adds thecustom shader to the three.js namespace. The code snippet belowillustrates this template. The only code that the programmers haveto provide is the shader itself, which is a plain JavaScript object
Resurrect3D: A Platform for Visualizing and Analyzing Cultural Heritage Artifacts Web3D ’21, November 8–12, 2021, Pisa, Italy
containing the uniforms and the GLSL shaders, which graphicsprogrammers should be familiar with.
1 export default function loadNewShader(
threeInstance: Object): Promise {
2 return new Promise ((resolve , reject) => {
3 threeInstance.NewShader = {
4 //user -define custom shader below
5 uniforms: {...},
6 vertexShader: ...,
7 fragmentShader: ...
8 }
9 resolve(threeInstance);
10 });
11 }
To improve performance, the loader function integrates the GLSLshader code with the main React UI through JavaScript Promises.That is, the loader function returns a Promise that resolves thethree.js object. We use Promises for two reasons. First, it exposesan interface that is asynchronous by nature, which allows for addi-tional functionality such as loading custom shaders from externalsources (i.e. from a separate server or a content distribution net-work). Second, loaders can also be chained together with otherasynchronous functions in the main React component (e.g., load-ing mesh data from the server) or executed in parallel (using thePromise.all method).
Automatic UI Integration. A custom shader and its variousknobs, once defined, have to be added to the main application UI sothat users can decide when and how to apply the shader. To allowdevelopers to focus on the shader design without having to worryabout the UI design, Resurrect3D exposes two APIs for program-mers to specify the knobs for each custom shader; Resurrect3Dthen automatically adds the knobs to the application UI.
The first API allows programmers to define a UI group for ashader; all the knobs will show up in the group.
1 shaderGroup = new ThreeGUIGroup("shaders");
The second API allows programmers to specify a UI componentwith its name, type, and the various properties of the component,of which the main property is the callback functions to be calledwhen corresponding user interactions are triggered.
1 shaderGroup.addComponent("intensity",
components.THREE_RANGE_SLIDER , {
2 // define the callback when a user slides
the bar
3 callback: ...,
4 // define properties of a slider
5 min: 0.0,
6 max: 4.0,
7 step: 0.1,
8 });
We provide three custom shaders in the current design of Res-urrect3D. These shaders are readily useful on their own, but alsoserve as examples for user extensions.
EDL. Relighting is computationally intensive if the object isto be rendered photo-realistically. In many use-cases, however,
Fig. 4: A Graffito in Oplontis Villa A in Torre Annunziata,Italy. The fish on the graffito (left) is muchmore visible withthe EDL shader (right).
Fig. 5: Curtain-view mode. A redtail hawk from Ward’s col-lection visualized with two texture maps (left). World mapby Henricus Martellus with three color bands from multi-spectral imaging (right).
photorealism is less important as long as surface details are distin-guishable. A typical technique to achieve that is Eye-Dome Lighting(EDL), which is an image-space technique to assign different colorsto pixels depending on the depth information. EDL is commonlyused for quick detail revealing [Deibe et al. 2019; Hofer et al. 2018].Resurrect3D implements an interactive EDL shader following thealgorithm by Boucheny [Boucheny 2009]. Figure 4 shows the effectof our EDL shader in bring out the details of the fish on a Graffitoin Oplontis, Italy.
Chroma Keying. To improve the contrast and readability of anobject’s surface details, historians often use an idea from the visualeffects industry called Chrome Keying, which replaces a specificcolor with another color. Resurrect3D provides a custom ChromaKey shader, which allows users to change colors of arbitrary pointson the mesh and to adjust the ratio between the original color andthe replacement color for finer control over the end result.
Multi-texture Curtain View. Simultaneously examining mul-tiple bands from multispectral imaging is a common strategy toexplore different elements of the object. For instance, many paint-ings have pentimento, a first sketch that masters make on the canvasand that later is painted over and changed; multispectral imagingcaptures different layers on the painting as different images, exam-ining which allows people to see backward in time what an objectonce was and to view the steps of its coming into being.
Through a custom shader, Resurrect3D provides what we call thecurtain-view mode, which samples different regions of the renderedframe from different textures. As the mouse or touch gesture moves,
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the boundaries of the regions move accordingly, allowing users tounderstand and explore the history behind an artifact. Figure 5shows two artifacts in the curtain-view mode: a redtail hawk modelfrom the Ward project [Ward 2021a] and the famous world mapby Henricus Martellus with three color bands from multispectralimaging [Van Duzer 2018].
4.3.2 Custom Processing and Analysis Tools. Oftentimes expertsanalyze and process the digital artifact before visualization. Forinstance, one could perform a Principle Component Analysis (PCA)on different bands captured through multispectral imaging to gen-erate new texture maps for visualization.
Resurrect3D leaves a generic interface for developing customanalysis tools by exposing the model and metadata of an artifactto developers. The analysis tool and the main rendering code inthree.js live in the same namespace. Thus the analysis tools caneasily interoperate with the rendering pipeline.
Much like the custom shaders, the analysis tools also exposea simple Promise-based interface. The code below shows the pro-gramming interface, where the analysis function takes either aMesh and/or its metadata, so that the function has access to allunderlying geometry and material data, and returns a Promise thatresolves an object with the same type as the input:
1 function myAnalysisFunction(object: THREE.
Mesh | THREE.Group): Promise {
2 return new Promise ((resolve , reject) => {
3 // define the analysis function here
4 resolve(object);
5 });
6 }
As an example, we provide perhaps the simplest example of ananalysis tool, which imports and converts common 3D formats intoa format that is required by the visualization system. Specifically,since Resurrect3D by default supports a physically based rendering(PBR) workflow, the conversion tool converts 3D formats (e.g., OBJ,FBX, VRML) into a range of PBR maps (e.g., diffuse and displace-ment maps) in the JSON Object Scene Format required by three.js.Wherever possible, we make use of the WebWorker [Mozilla 2021]to parallelize and offload processing to background threads.
5 CONCLUSIONMore than ninety percent of the objects in museums around theworld will never be seen by the public, either for the lack of displayspace or because of damage or fragility. We envision a future wherevisualization platforms turn every museum and archive into anopen university. To achieve that vision, Resurrect3D provides notonly the basic visualization and interaction capabilities, but alsothe customizability that allow domain experts to develop artifact-specific analysis and visualization tools.
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