xRez Studio has had a longstanding working relationship with both Microsoft Live Labs and Microsoft Research, having supplied them with content and feedback for their innovative and cutting-edge gigapixel viewing technologies such as HD View, Seadragon, and Silverlight Deep Zoom.
One of the advantages of gigapixel images is the versatility they can provide for a wide range of applications. In 2008, xRez Studio was contracted to provide licensing of several panoramic images for an animated display system for the lobby of the HP Executive Briefing Center in Cupertino, CA. The primary animation work was done by Core Studio of San Francisco, CA. ©xRez Studio, 2010.
Gigapixel images can provide stunningly high resolution large format prints, and are a perfect solution for corporate or hospitality-based corporate art installations. In 2008, xRez Studio was contracted to provide a large 12′ long gigapixel print for the main boardroom of the new headquarters of Intech Investment Management LLC in West Palm Beach, Florida. Taken from the Chicago waterfront, the print shows rich detail of each building of the Chicago skyline.
The Digital Catalina Island Project is an ongoing effort to aid research at the USC Wrigley Institute of Environmental Research, a marine biology lab on the island near Two Harbors. The project utilizes digital 3d modeling of the island for scientific visualization purposes.
“On Great White Wings” is an historic documentary produced by Aperture Films which re-creates the key events of the Wright Brothers development of the airplane. It is installed at the National Park Service’s Dayton Aviation Heritage National Historic Park visitor center in Dayton, Ohio.
“Magnificent Desolation” is a 3D IMAX feature produced by Play Tone/Tom Hanks which faithfully re-creates the Apollo moon landings in stereo 4k high resolution. xRez Studio was sub-contracted from prime VFX vendor Sassoon Film Design for a difficult hero shot which depicts flying through Hadley Rile, a deep trench visited by the Apollo 15 astronauts.
A highlight of the 2009 Art Basel Miami Beach event was Cartier’s premiere of David Lynch’s fulldome film on “Diamonds, Gold and Dreams”, shown in a 60′ custom dome pavilion. xRez Studio was contracted to produce the interstitial imagery to play between his hourly showings. Resonating with the theme of Indian Raj influenced jewelry, spherical panoramas were adapted from various prior xRez Studio shoots in Indian temples.
Our 2010 Showreel is a broad overview of the work we have been producing.Click here to view the embedded video. ©xRez Studio, 2009.
A visual tone poem designed for the emerging fulldome planetarium format, “Crossing Worlds” utilizes spherical photography from the American desert west to immerse the viewer in a transcendent spectrum of austere landscapes. xRez Studio’s first dome format film, “Crossing Worlds” won a coveted “Domie” for Best Design in a Dome at DomeFest 09 in Albuquerque, NM.
The Colorado River through the Grand Canyon is the life blood of the Western United States, both spiritually and literally. Grand Canyon By Nature: River of Life shows the story of the Grand in stunning visual artistry as we join a journey through the heart of one of the planet’s greatest wonders. It’s a journey of adventure — and a metaphor of our journey of life.
Just a short drive from the southern entrance route to Yosemite National Park, is a remarkable but less-visited deep-carved river gorge in the Sierra Nevada foothills. In spring of 2008, xRez Studio was contracted by BLM park manager Tracy Rowlands to shoot the beautiful San Joaquin River Gorge in gigapixel resolution for the Bureau of Land Management’s visitor center, where a 14′ long high-resolution print was subsequently installed in a new visitor center later that summer.
One problem surrounding the needs of cultural heritage research is the acquisition of static on-site photography, which may limit perceived detail in the artifacts later upon inspection. One method which allows re-lighting of artifacts during research is HP Labs researcher Tom Malzbender’s work in polynomial texture mapping, or PTM.
Offering exploration of gigapixel images online has proven very successful for enhancing web visitor “stickiness” and information delivery. In Spring of 2007, xRez Studio was contracted by online real estate resource Move.com to shoot over 270 gigapixel images, illustrating 170 neighborhoods from 34 major American cities for their website, Realtor.com.
The AHRC Portus Project is partly focussed on the application and evaluation of digital technologies, and in particular the production of computer graphic models. Specifically we implement Computer Graphic Imagery following geophysical assessment, during the excavation, in the analysis of excavated and surveyed archaeology, and in the representation and debate of interpretations.
The Archaeological Recording Kit (ARK) written by L-P Archaeology has been further updated on site by Henriette and Hembo. This is the centre of all our archaeological data management processes. All data gathered on site are ingested and made available on our on-site wireless network. ARK looks after all our many photographs, the raw data from the geophysics and surveys, processed plans and sections and the database of all finds.
At a site as large and complex as Portus, it is often hard to work out the building phases of individual structures, or get a feel for the original landscape. The AHRC portus Project is therefore employing a range of visualisation tools to interpret and present the site as it is now and as we believe it was in the past. Computer graphics make the site easier to understand by presenting archaeological findings in an easily comprehensible, but historically accurate format.
Polynomial Texture Mapping (PTM) has been employed throughout the AHRC Portus Project. It is a technique that enables the production of detailed surface models of particular artefacts from a series of digital photographs (Malzbender et al 2001; Mudge et al 2005).
E. Ships and Boats Archaeological evidence has greatly enhanced our knowledge of Roman shipping in recent years. There are hundreds of shipwrecks from the Roman period (Parker 1992), which have done much to develop our understanding of hull construction and to illuminate some of the fundamental points of shipbuilding and sailing, such as mast position.
B. Colour Scheme Excavations beneath the Basilica Portuense by the Soprintendenza di Beni Archeologici di Ostia (Dottssa Lidia Paroli) revealed a sequence of buildings going back to the mid 1st century AD. The outer faces of these brick-faced buildings were covered with reddish, orangeish and yellowish plaster. On this basis it has been assumed that, apart from the temple complex, most buildings would have been decorated in one colour or another.
The computer models of Portus produced prior to the start of the AHRC Portus Project were based upon the interpretation of standing structural remains uncovered by successive archaeologists, particularly Lanciani (1868), Lugli (Lugli & Filibeck 1935) and Testaguzza (1970) as well as more recent topographic work undertaken by the Soprintendenza di Beni Archeologici di Ostia, and most the survey work undertaken by the Universities of Southampton and Cambridge in association with the British...