Page 4 [4]
OCR
cons EI 7 ij These tools enable the consistent application of the post-processing methods that have been developed and facilitate the comparison and interpretation of the resulting images, thus maximising the value of the information that can be obtained from such imaging methods. The tools are designed as ‘add-ins’ to nip2, the graphical interface of the free processing system VIPS (http://www.vips.ecs.soton.ac.uk/index.php?title=VIPS) developed previously by the third author. The optimised acquisition protocols and the post-processing methodology have been evaluated both on reference materials and on images acquired from real objects, which included museum artefacts. The result is this User Manual, which not only outlines the theory of how to acquire and postprocess the multispectral image sets that are the focus of this work, but also provides practical details concerning experimental setups, equipment recommendations and acquisition protocols. In addition, the Manual also describes the development of the postprocessing software tools, instructions on their use (available for download from: http://www. britishmuseum.org/charisma) and explains how they incorporate the theory into workflows for the correction of the multispectral imaging data sets. Finally, it should be noted that the current versions of both this User Manual and the postprocessing software tools are the result of an iterative process of development, feedback and refinement that is likely to continue beyond the scope of the CHARISMA project, as both techniques and the technologies employed to produce images develop. J oanne Dyer, Giovanni Verri and J ohn Cupitt October 2013 jdyer@ thebritishmuseum.ac.uk giovanniverri@ yahoo. it jcupitt@ gmail.com Acknowledgements Financial support by the Access to Research Infrastructures activity in the 7th Framework Programme of the EU (CHARISMA Grant Agreement no. 228330) is gratefully acknowledged. The authors of this User Manual gratefully acknowledge the help and support of all of the CHARISMA project partners, especially Sophia Sotiropoulou and Georgios Karagiannis (Art Diagnosis Centre, Ormylia, Halkidiki, Greece), Catia Clementi (Universita degli studi di Perugia, Italy), Susanna Bracci and Roberta lannaccone (Istituto per la Conservazione e la Valorizzazione dei Beni Culturali, Florence, Italy), Marika Spring and Joseph Padfield (National Gallery, London) and David Saunders, Catherine Higgitt and Jo Russell (British Museum, London).
