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Author

A. Del Mastio

Bio: A. Del Mastio is an academic researcher from University of Florence. The author has contributed to research in topics: Multispectral image & Texture mapping. The author has an hindex of 6, co-authored 10 publications receiving 252 citations.

Papers
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Journal ArticleDOI
TL;DR: To identify materials on a painting's surface in a reliable manner, currently the most popular and trustworthy method is the analysis of microsamples of the paint layer, however, chemical analyses although reliable, have a number of drawbacks.
Abstract: Identifying the materials of a painting is a crucial step in any conservation process. When the objective is to prepare an intervention plan, it is absolutely necessary to understand the matters the restorer is going to encounter. Also, when the aim is a better understanding of the artwork, and perhaps an authenticity check, it is highly relevant to know which materials were employed, since they may differ depending on the period of execution and on the specific artist as well. To identify materials on a painting's surface in a reliable manner, currently the most popular and trustworthy method is the analysis of microsamples of the paint layer. However, chemical analyses although reliable, have a number of drawbacks. The first is linked to the fact that this is an invasive method. The samples used need to be detached from the painting and will not be put back in place. Moreover, the achieved results are in principle - and often also in practice - valid only for that specific specimen and cannot generally be extended to neighboring areas.

147 citations

Journal ArticleDOI
TL;DR: A novel methodology based on Normalized Cuts (NC) criterion is presented and evaluated in comparison with other state-of-the-art techniques, presenting superior performances in terms of clustering accuracy and robustness as well as a reduced computational burden.
Abstract: Camera identification is a well known problem in image forensics, addressing the issue to identify the camera a digital image has been shot by. In this paper, we pose our attention to the task of clustering images, belonging to a heterogenous set, in groups coming from the same camera and of doing this in a blind manner; this means that side information neither about the sources nor, above all, about the number of expected clusters is requested. A novel methodology based on Normalized Cuts (NC) criterion is presented and evaluated in comparison with other state-of-the-art techniques, such as Multi-Class Spectral Clustering (MCSC) and Hierarchical Agglomerative Clustering (HAC). The proposed method well fits the problem of blind image clustering because it does not a priori require the knowledge of the amount of classes in which the dataset has to be divided but it needs only a stop threshold; such a threshold has been properly defined by means of a ROC curves approach by relying on the goodness of cluster aggregation. Several experimental tests have been carried out in different operative conditions and the proposed methodology globally presents superior performances in terms of clustering accuracy and robustness as well as a reduced computational burden.

39 citations

Proceedings ArticleDOI
24 Aug 2009
TL;DR: 3D models are more and more considered in several research fields, such as inspection, navigation, object identification, visualisation and animation, and recently also in Cultural Heritage.
Abstract: Recently, thanks to the diffusion of scanning devices and the availability of powerful 3D modelling software, as well as to the improvements in the automation of the image-based modelling approach, 3D models are more and more considered in several research fields, such as inspection, navigation, object identification, visualisation and animation, and recently also in Cultural Heritage. Documentation in case of loss or damage, virtual tourism and museum, education resources, interaction (without risk of damage), and so forth are only few examples of applications where they has become a fundamental step.

33 citations

Proceedings ArticleDOI
14 Nov 2005
TL;DR: This paper applied an automatic registration technique to obtain RGB images from multispectral data, and derive a (undersampled) spectral signature per pixel of the painting.
Abstract: In art diagnostics it is often needed to compare and integrate different sets of information, coming from different sources, and stored in different images. In order to successfully integrate these data, images corresponding to the same areas need to be registered, that is a geometrical transformation that aligns points in one picture with corresponding points in another picture needs to be found and applied. In this paper we present an automatic registration technique for multispectral images, based on the computation of mutual information. We applied this method to obtain RGB images from multispectral data, and derive a (undersampled) spectral signature per pixel of the painting.

20 citations

Proceedings Article
01 Sep 2006
TL;DR: The image processing needed to understand and further process the acquired multispectral UV fluorescence images of paintings is presented.
Abstract: A novel system has been developed to acquire digital multispectral ultraviolet (UV) induced visible fluorescence images of paintings. We present here the image processing needed to understand and further process the acquired multispectral UV fluorescence images.

18 citations


Cited by
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Journal ArticleDOI
TL;DR: The article reviews some important documentation requirements and specifications, the actual 3D surveying and modeling techniques and methodologies with their limitations and potentialities as well some visualization issues involved in the heritage field.
Abstract: The importance of cultural and natural heritage documentation is well recognized at international level, and there is an increasing pressure to document and preserve heritage also digitally. The continuous development of new sensors, data capture methodologies, and multi-resolution 3D representations and the improvement of existing ones can contribute significantly to the 3D documentation, conservation, and digital presentation of heritages and to the growth of the research in this field. The article reviews some important documentation requirements and specifications, the actual 3D surveying and modeling techniques and methodologies with their limitations and potentialities as well some visualization issues involved in the heritage field. Some examples of world heritage sites 3D documentation are reported and discussed.

178 citations

Journal ArticleDOI
TL;DR: To identify materials on a painting's surface in a reliable manner, currently the most popular and trustworthy method is the analysis of microsamples of the paint layer, however, chemical analyses although reliable, have a number of drawbacks.
Abstract: Identifying the materials of a painting is a crucial step in any conservation process. When the objective is to prepare an intervention plan, it is absolutely necessary to understand the matters the restorer is going to encounter. Also, when the aim is a better understanding of the artwork, and perhaps an authenticity check, it is highly relevant to know which materials were employed, since they may differ depending on the period of execution and on the specific artist as well. To identify materials on a painting's surface in a reliable manner, currently the most popular and trustworthy method is the analysis of microsamples of the paint layer. However, chemical analyses although reliable, have a number of drawbacks. The first is linked to the fact that this is an invasive method. The samples used need to be detached from the painting and will not be put back in place. Moreover, the achieved results are in principle - and often also in practice - valid only for that specific specimen and cannot generally be extended to neighboring areas.

147 citations

Journal ArticleDOI
TL;DR: A mathematical model of the distortions of the optical path is derived and it is shown that the color fringes vanish completely after application of two different algorithms for compensation.
Abstract: Multispectral image acquisition considerably improves color accuracy in comparison to RGB technology. A common multispectral camera design concept features a filter-wheel consisting of six or more optical bandpass filters. By shifting the filters sequentially into the optical path, the electromagnetic spectrum is acquired through the channels, thus making an approximate reconstruction of the spectrum feasible. However, since the optical filters exhibit different thicknesses, refraction indices and may not be aligned in a perfectly coplanar manner, geometric distortions occur in each spectral channel: The reconstructed RGB images thus show rainbow-like color fringes. To compensate for these, we analyze the optical path and derive a mathematical model of the distortions. Based on this model we present two different algorithms for compensation and show that the color fringes vanish completely after application of our algorithms. We also evaluate our compensation algorithms in terms of accuracy and execution time.

106 citations

Journal ArticleDOI
TL;DR: A new computer vision-based method for automated 3D energy performance modeling of existing buildings using thermal and digital imagery captured by a single thermal camera that expedites the modeling process and has the potential to be used as a rapid and robust building diagnostic tool.

102 citations

Book ChapterDOI
29 Aug 2009
TL;DR: Computer methods will not replace tradition art historical methods of connoisseurship but enhance and extend them, and they must continue to be refined through application to a variety of significant art historical problems.
Abstract: In the past few years, a number of scholars trained in computer vision, pattern recognition, image processing, computer graphics, and art history have developed rigorous computer methods for addressing an increasing number of problems in the history of art. In some cases, these computer methods are more accurate than even highly trained connoisseurs, art historians and artists. Computer graphics models of artists' studios and subjects allow scholars to explore ``what if'' scenarios and determine artists' studio praxis. Rigorous computer ray-tracing software sheds light on claims that some artists employed optical tools. Computer methods will not replace tradition art historical methods of connoisseurship but enhance and extend them. As such, for these computer methods to be useful to the art community, they must continue to be refined through application to a variety of significant art historical problems.

95 citations