 I'm Todd Grappone, I'm an associate university librarian for digital initiatives and information technology at UCLA. My colleague Stephen Davison, who's head of our digital library program. We've been working with a couple of collaborative partners over the last few years. The partnership is between UCLA library and something called EMIL, the early manuscript electronic library. We've been using multi-spectral imaging techniques to capture hidden texts. And so a lot of these techniques were developed on the Archimedes Palimpsest project a few years ago. UCLA didn't have much involvement in that. But the technology that was developed has found many more places, many more, much more utility. And so we're going to talk about that. What you see here is a fragment of one of the things we're going to talk about this morning, which is David Livingston's field diaries. So this is what it looks like as a scanned image. And with multi-spectral technology, you can reveal a lot of the text that was hidden. And we'll talk more about what it is and what it does soon. So multi-spectral imaging, I'll give a brief introduction. Stephen's going to talk a lot more about it. But it's also called fluorescent spectral imaging. It's a pretty new science. It captures image data at specific frequencies across the electromagnetic spectrum. The wavelengths are separated by filters or by the use of instrumentation that are sensitive to particular wavelengths. Specifically, in this case, wavelengths of light, both visible and invisible to the human eye, such as infrared. This imaging can allow for the extraction of additional information the human eye can't see. We've used it on the Livingston Spectral Imaging Project. Our collaborations are now dealing with palimpsests at St. Catherine's Monastery in the Sinai Peninsula in Egypt. So palimpsests are really just recycled manuscripts. So these are very frugal monks. A long time ago, paper was very expensive. They would write on a text, turn the page right on top of the other one. We're using this imaging technology to reveal the text hidden behind the text. You'll see a little bit more of that later on when we go into the demo. I mentioned before what multispectral imaging is. It takes these different wavelengths like ultraviolet. Blue, green, red, infrared. These LED lights project onto a manuscript filtered by the lens. Over here you see what we end up with, which is scanned images filtered by color. What we do is after you get all those images, we use computer software to combine them in ways that allow you to look at the final image with these different filters on. So you can use those different colors as different wavelengths to reveal some of the hidden text. As I mentioned before, this is a collaboration between the UCLA Library. We've done...oh, I'm sorry, I was going to say something back here. So they use a strobe light and 16 different wavelengths. Here you see just three that are visible to the human eye. A couple of them that aren't. But 16 different light wavelengths, I guess, is the important piece. This is just a slice. So many people are involved in this project from project scientists to imaging specialists to catalogers. We have some who do field work, some who code remotely, catalog remotely. It's really a global team from England to Los Angeles, collaborators in Pennsylvania, Hawaii, Europe, Egypt, all over the place. We try to add value. UCLA tries to add value by assisting in the conservation, collection management, and scholarly access to the scan content. And the institutions that are holding the manuscripts share in the results, too. So it'll be important later on when I talk about some aspects of the project, why that's important. Now, just a little bit more detail about what multispectral imaging is. Let me sit down, if that's okay with you. So multispectral imaging is used for the study of cultural objects. It involves illuminating an object with successive wavelengths of light from the infrared to the ultraviolet. So it's important to emphasize that it's both visible and invisible light. It's used to thinking of digitization as a technique of capturing the reflection of visible light. But the ultraviolet and infrared are important aspects in this. And then digitally photographing and resulting illuminations. Second major point is that these images all have exactly... If you take 16 different images, it's the same item, the same page. It's important that they all have exactly the same pixel layout, that they all be identical as far as the structure of the images are concerned, because of the processing that you're going to do on those images later, they're going to match pixel to pixel. Typically 12 to 16 depend on the project. You capture these images automatically using a computer-driven application and strobe lights so that there's no human intervention during the actual imaging process. And in each of these frequencies, you're talking about essentially a monochromatic image. When you think about it, there's only one frequency. It's monochromatic. So you're really capturing the density of the reflected wavelengths of light at those specific wavelengths. And TIFF being the standard for most imaging, it obviously makes sense to store them as standard TIFF files, monochromatic TIFF files. And depending on the project, as high resolution as you need. So typically, you're going to take 16 very high resolution images of a single page, and you have many pages, you end up with very large amounts of data. These projects typically are very data heavy. The Archimedes palimpsest was probably the most famous in the first of these projects. All of the techniques which have been developed over time were developed during the Archimedes palimpsest project. For those of you who may not have heard of it, it's a 13th century prayer book, which contained a radius of text that, it turns out, include a couple of texts by Archimedes that were hitherto unknown, as well as a number of other unknown texts. It is in the Walters, it's actually owned by a private owner, but it's in the Walters Art Museum in Baltimore, Maryland, and it's been studied extensively for a whole range of different reasons. Conservation, imaging, scholarship, all sorts. It's an extremely well studied document, and a lot of the spectral imaging techniques that we're going to talk about in a moment were developed by the team that worked on that project, and elements of that team that worked on the Livingston project I'll talk about in a minute, and also the St. Catherine's Monastery Palimpsest project. As Todd mentioned, the team, the imaging team, the team of image scientists are currently working with funding from the Arcadia fund on a project to image and to study palimpsests at the monastery of St. Catherine's in the Sinai Desert in Egypt. And that looks like a model, but it's actually real. It's one of the places on the planet I would really quite like to go and visit. It is the oldest existing continually inhabited monastery in the world. It was founded in the, let me not get this wrong, I think in the 7th century, I don't actually have that written down, but 7th, 8th century, it's that old. It's never been destroyed, it's never been overrun, it's been continuously occupied by monks since then, and it predates many of the, all of the schisms, I mean it dates from the period where Christianity was still in its infancy and was a single, had not developed into its different denominations as we do now. It's said to be located at the place where God appeared to Moses in the burning bush. And here's an image of the library, and obviously the library at a monastery like that is going to contain extremely valuable cultural artifacts. It preserves the second largest collection of codices and manuscripts in the world after the Vatican. And there are more than a dozen languages that represent the library. And given the length of the time that this library is being gathered over time, those languages reflect changes of not just the languages in use in the region, but the languages of scholarship, the languages of religion, the cultural history of the use of language. The languages include Greek, Armenian, Arabic, Coptic, Hebrew, Georgian, Aramaic, Syriac a number of others. And other important manuscripts that you might have heard of, the Codex Sinaiticus, which is now in the British Library was there, and the Syriac Sinaiticus is another manuscript, a well-known manuscript which is actually still there. Even though the monastery has never been demolished or run by anyone else, the library has, from time to time, it's had things removed from it. So there is a diaspora of objects from the library, and one of the aims, this is a separate project that Emil is working on and would like to lead in the future, this is just as an aside, is to build a virtual library to bring all of those manuscripts back together in a virtual format. A lot of them are in Russia, various libraries in Europe, and the monastery would very much like to create a virtual reconstruction of the original library. Here's an example of a parchment, of a palimpsest, and you can actually see the text underneath, which has been erased. Parchment, which is made from animal hides, as Todd said, was very expensive, it was before the invention of paper. You had to reuse it because you couldn't afford to just, you know, keep killing animals. Use up parchment the way we do paper today. So you typically reuse paper, parchment. And as the use of language and importance of languages changes, often there's one language overriding another language, Greek overriding Syriac or something like that. And also typically for readability, when you're erased a text, you would often write a new text or write angles to the old text, so you're rebinding pieces of paper. So that the, when you reconstruct text, you're often practically always dealing with fragments that you've got to stick back together again, as they were originally, to reconstruct the original, and of course there'll always be gaps. I'm not going to read through this list of names. This is the list of people who are working with Emil in the Sinai, and they overlap pretty much with the team that worked on the Archimedes calimpsest, and they are also pretty much the same subset of these people worked on the Lemington project, which I'll talk about in a minute. The person that we've worked with, is Mike Toth. He's working with us on building the data archive and creating the standards that we want to build the archive, and talk a little bit about the archive in a moment. So as Todd mentioned, this is these three projects, the Archimedes project and the Lemington project and the calimpsest project of the St. Catherine's monastery. They're all international in scope. They all involve a lot of different people and organizations, and they're all funded in different ways, but there's a lot of overlap. We've been invited by, through Emil, for both the Lemington and the Sinai calimpsest project to undertake these roles, to create an archive of images and to publish those images, to work on the creation of digital editions, and we've created two digital editions of recovered Lemington texts, which are available online. We're hoping to work with St. Catherine's on publishing critical editions of those manuscripts. Todd's going to talk a little bit, I think, a little bit later about the sensitivities and the political considerations that come into play, especially working with a very closed community like the monks at St. Catherine's. And then scholars using the data need access to the data, but the scholars also have their own issues of privacy, privacy, credit, all those sorts of things. So we've created a set of policies, provided an access, an feminism, using SFTP, secure FTP, so the scholars need access to the images that they need, but so they can't see each other's work, and it was actually quite an effort to do that. And we'd like to build a more robust data-sharing environment which is not reliant on FTP, but that was the easiest route for us to go off the bat. This is just an image of the Stokes imaging equipment. This is used in a lot of different places, not just for multispectral imaging, just for imaging in general. It's built to support very fragile manuscripts, which is what we're dealing with in the palimpsest from at St. Catherine's. And it was built by Stokes imaging, which is based in Austin, in Texas. We have another rig like this at UCLA, which we use for digitizing. It's actually not a, it doesn't have a cradle like this. We have a more upright version, but it comes in a number of different configurations with different feeding mechanisms for different types of digitization. But it's used at institutions like the National Archives and a number of others. This shows you the vacuum, this is a vacuum wedge which comes down to maintain the relationship between the page and the camera. And this is a very high-end mechanism, a cradle for holding the manuscript while it's being digitized. It actually, it's all computer-driven, software is written by Stokes. And it holds the page and turns to the binding of the codecs so that it will not break, so that it actually moves the relationship between the front cover and the back cover in a rotating motion. And it also keeps the page at the same distance from the camera. So actually there's a very fine motor which moves the page or the whole codecs up as you turn the pages away from the camera, one page at a time, and it's actually that sensitive, extremely sensitive. Okay, under the second aspect of multispectral imaging, which is the processing of these images to reveal the text that you want to reveal. And there are a couple of, there are a number of different techniques. I'm not going to go into any detail about them. I'll just sort of name them and talk generally about what they are. But these are mathematical processes, mathematical algorithms in order to manipulate and enhance the raw data so that you can bring out the text that you're trying to restore. And it relies on the fact that different ink types on a given page behave differently under different bands of wavelengths of light. So that if, in the Livingston project, I'll talk a little bit more in a moment, it, the Livingston project, you've got newsprint, you've got ink written over newsprint so the ink is going to reflect different wavelengths of light in a different intensity from the newsprint and with erased text, the palimpsests, there'll be different ink types, there'll be actually probably a lot more subtle than the differences between the ink of ink and of newsprint and ink. But there'll still be subtle differences in the ink and they'll reflect light differently. And then the different ways of the bands, the monochromatic files created by reflection, by capturing the reflection from the manuscript at different wavelengths can be combined in different ways to reveal the text that you want to reveal. So principal component analysis is the combination of these different images from the different wavelengths of light according to their statistical variance and principal component analysis. When I was thinking about how to explain this, what came to my mind as a physics major in my life was solving quadratic equations. When you're solving a quadratic equation you have to work out, you're dividing it into different powers of a particular variable. The other thing that came to mind was Fourier analysis, where you're taking something and dividing it up, taking a complex wave and you're dividing it up into its independent frequencies. You think of sound dividing a sound up into its independent principal tones. And then I thought, I probably wouldn't carry over very well and I couldn't think of a different thing. But anyway, it's basically trying to take a set of data and divide it into components independent of each other or orthogonal, at right angles to each other. So if you think of that direction being made up of a bit of this way, a bit of this way, so I want to go into that direction. I've got to go over there and I've got to go over there. You can divide it up into two directions which are at right angles to each other. But it's the same thing. If you've got two different types of ink and you want to separate them and you do some sort of statistical analysis which divides the data that you have into two things which, independent of each other, they may or may not represent the two different ink types. Then you take it, so once you've divided the data, these images up into their different independent sets, you can play around with them and you see it. And it is a playing around process. It's not like, oh, I just processed it and it pops out, you actually have to experiment and find out which combination of frequencies which adding and subtracting what sort of combination will reveal the empty text that you're trying to reveal. Pseudo color is another technique. That involves taking these essentially monochromatic images at different wavelengths and storing them in the red, green, and blue bands of a tiff image. This is just a way of representing the image and then playing around with the frequency, combining them with different frequencies and then displaying them. In a couple slides you'll see a difference. You'll see an example of that. But I mentioned here four different principle component analysis types, 13 different types of pseudo color, right? That means you're creating, this is for each page. So for each page there's going to be 16 source files. You've now got four different PCA files. You've got 13 different pseudo color files. So something of data archive is now even bigger. So if you're doing hundreds of main pages of hundreds of main scripts and you're creating this many different, very high resolution images, you're creating an enormous archive of content. And here's just an example of some of the resulting files. We've done this analysis. We've put these different. You've done the PCA analysis and you've fed these images into RGB channels of a tiff image and then you represent them. You'll see that the different texts come out in different colors. And this is from the Livingston Project where the, this is news, this is ink, homemade ink from the berries of, the juice of a berry in Africa. I'll talk about that in a little bit in a moment. Written over 19th century newsprint and that's what it looks like top left. You see the newsprint and the homemade ink that David Livingston used is just faded away. So that's just a regular color image and then all the rest of the derivative is using the PCA technique in pseudo color techniques. And you can see that the top right hand color, top right hand, that's a pseudo color image. We've got the ink has now come out in red because that's in the red channel of the tiff image. And you'll see various other manifestations here and some are easier to read at the bottom but you see the bottom left one, that one where the ink has come out in blue, the newsprint is almost illegible. So a lot of experimentation to build this. This is from the St. Catherine's Palimpsest Project, same sort of thing. So the top, the lower left is just the standard color image. That's what it looks like in just under natural white light and then the top left and the bottom right are different versions of that same image processed in various ways. And this is another image from the Livingston Project, which I'll talk about in a moment, but it was some... This is probably the most readable. So this is the end of the process. This is what the scholars can then use to actually create an addition of the text on the right and that was what they started with on the left. The name of the newspaper is the standard, that's the thing you see there. This is an example of a Syriac written over Syriac, the original color image on the left, and on the right you'll see that the overtext and the undertext have been brought out in gold and dark blue. And here's a before and after view, so there's the original text. Again, this is from St. Catherine's and then magically there's the undertext which is being brought out. So these two projects are slightly different, they're obviously dealing with very different types of material. The Livingston Project was restoring, the objective was to restore diaries with ink that he made himself as he was lost in the area. He wasn't actually lost, but he didn't have any more ink, all he had to write on was newspaper, so he made his own ink and he wrote it over newspaper. And to create a data archive and to publish critical editions. And at St. Catherine's the objective is to render these in ancient texts and to identify and paleographically describe these texts and then to publish legible images online. For scholars to use. So very similar but slightly different in focus. Here's just a few points of contrast which I've already mentioned. The period that we're dealing with, the type of text and what the subtext is. On the Livingston Project, there are actually three layers that needed distinguishing. It's very different from Palantir's. You've got the newsprint underneath, then you've got the text which was written over the newsprint but then you've also got bleed through from the text on the back. And so part of the process involved trying to get rid of the bleed through as well. But it was all in English and the newsprint was really nothing we cared about. Whereas the Palimpsest, we're talking about a raised text and text that we do care about quite a bit. And some of the Palimpsest at, I don't know the percentage, but in St. Catherine's, they've been used many times. The same passion has been used many times over. So there's sometimes more than two texts. And the other thing about religious texts is that you're often dealing, usually actually dealing with texts that you already know. And so you're not really, it's not like the Archimedes Project where you identify texts that you don't know, but you might be finding a text which has subtle important differences that scholars would be interested in and also texts maybe in languages that you didn't have before, like a well-known text, which maybe we didn't have in Aramaic or Syriac or something before, which we now have, sorts of things that scholars care about. Just as another aside, one of the projects we've worked on is digitizing Armenian manuscripts. And in discussions with our Armenian specialists on campus on what we should digitize, he actually said, don't digitize the religious content. Digitize the secular stuff because people generally haven't cared about that and it's much more likely to be unique, unknown, original. Whereas the religious content is much more studied. A lot of people doing that text that we already know. I thought it was an interesting take on that. This is the home page of the Livingston Project. So let me talk a little bit, we talk mostly about the Amor Project. Let me talk a little bit about the Livingston Project and just what it is because it's actually pretty interesting and if you don't know anything about it. This is the home page of the project that we host at UCLA. It is the two different critical editions so far. The Field Diary of 1871 and what was essentially the Field Diary from 1870 which was this letter from Bambari which was a pilot project that we worked on. To build the publication techniques and all the different folks that have contributed support for this project at various times are listed up here and it's also been reviewed by Nines and so we were happy about that so we added that icon on the page. Perhaps not the most beautiful, beautifully designed page but one of the interesting things about working with the scholar, Adrian Wisnicki in this project was that we gave him a lot of control over how everything was to be published. Basically we were his servants in a sense. We were going to publish everything as he wanted it published so he actually did a lot of the design himself. That's not an excuse. That was a decision that we made that we were going to give him that sort of control which was fine. This publication reveals for the first time the original record of Livingston's experience in the African jungle where he was stranded for a number of months and the original texts of his diaries were unknown. They've been restored and they've been published for the first time here but he had published his diaries himself after he got back to Britain and so one of the interesting things about this is that we have a comparison of the original with his publication of his diaries after he got back to Britain and there are subtle differences and one of the scholars who led this project, Adrian Wisnicki, his argument is that after he got back to Britain I keep wanting to say England but he was Scottish so I've been culturally sensitive. If you got back to England in his published diaries he seems to downplay the role that his own slaves might have played in a massacre of Africans by Arabic traders at the village where he was stranded at this period of time. As you may know David Livingston was an abolitionist abolition of slavery so when he was publishing his diaries he would have been very sensitive to the fact that his own servants might have in Africa might have had some role in this and he wanted to downplay that. That's not a sure thing but that was one of the scholarly outcomes of this project. This is, as I mentioned the massacre that took place while Livingston was there was a great project for him and probably coloured a lot of his social opinions after that point. As I've mentioned earlier at the time he was writing these diaries he created his own ink out of a local berry and wrote over it. The only thing he had to write on at the time was ink. What he was describing this diary was the massacre of about 400 to 500 Africans mostly women on a single day which was an experience which was sort of unprecedented for him. This is the period the end of which Henry Morton Stanley, a reporter sent by the New York Herald came across Livingston in the jungle and he said, all together now Dr. Livingston, I presume that's where that comes from so this is the period immediately preceding that meeting. So what we've published online is a whole bunch of different things as I said, pretty much dictated by what Adrian wanted to publish so there's the full text so complete all the images of the pages both unprocessed and processed the complete text searchable text, it's all being marked up in TEI published online. This is a standard sort of online publication this is just an image of the website that allows you to download PDF, XML, versions as well as to read in parallel three different versions of the text so the restored text on the left two published versions the version that he published after he got back to England and so you can actually read the differences yourself. So the website that we have contains as I mentioned plus historical narrative and analysis technical information extensive supportive documentation dynamic comparison of the piece that you just saw an extraordinary amount of detail much much much more detail than you could possibly put in a printed publication and I would say to my experience much more detail than most people Adrian has taken advantage of the online environment of the online environment to publish much much much more than most people would even think of publishing most scholarly publishing online these days it's really just an online version of what you might put in a printed article just the same number of footnotes and all of that sort of thing what Adrian has done has to put an extraordinary number of working documents as the team have worked together and they created schedules, working documents they exchanged emails shall we do this and shall we do this and how should we do that all of that has been included the stuff that you would not normally put in a scholarly article so this website contains everything from a formal critical edition to links to and you store these emails I hosted on the site emails and other working documents all sorts of things that you would not normally find and then there is the complete archive there is an enormous number of this is not a huge document so it's not really a huge number of images but a large number of images for every original page so all of those original spectral scans digitized images as well as all of the processed images a very large number of processed images all marked up all following a file naming convention that MicroTOS and the rest of the team designed so that the identity of all of these files is very clearly explained T.E.I. transcriptions of the of the diary and we provided T.E.I. services and advice for that and the other thing which is remarkable is that these bottom two points instead of linking out to a lot of content Adrian has embedded that into the site as well so that things like standards that I referred to instead of just linking out to the standard even well known standards they've downloaded them and actually put them as part of the archive so that you can so that the standard as it existed at the point of time it was used is captured as well as things like all the XML schemers and CSS files again things that might exist existed outside the site or actually stored on the site which brings up the issue of colocation versus distribution and publishing this sort of content do you put everything together all in one place or do you use the power of the web by just referring to all the different pieces using a particular standard just reference that standard if you are referring to particular documents which might exist in some scholarly archive or some not so scholarly archive do you download them and put them all together in a package or do you just link out to them and refer to them in this particular case Adrian made the decision to download everything he possibly could put it in the archive so it's all there so everything is co-located and is remarkably complete and this makes it a lot more robust and sustainable so to our role in this particular case is for the Livingston project in particular and to these services that we currently provide refer to both the Livingston project and the and the and the Emerald Panelist project the St. Catherine project so we have a version of the equipment at UCLA which was used for testing and for creating the workflow the technical workflow so the team that went to Egypt came to UCLA and we gave them a room where all the equipment is set up and the emerald owns that particular version of the equipment and they did all of the testing of the software and the strobe lighting and physical setup of the apparatus the testing of the apparatus they did there so we created and gave them access to this laboratory we provide data storage, presentation and access services so basically just giving them storage space, secure storage space on our servers and then we're working with them on developing a scholarly virtual workspace so as I mentioned we currently have an FTP based service where scholars can download the images that they need for their work and do something a little bit more robust than that over time where they can also share or not share, if they wish transcriptions of edited and edited texts and then we also provided TEI support so we have a TEI expert on our staff, Elizabeth McCauley and so she worked with Adrian and his team of students who were doing all the TEI markups so we provide that also and then we're providing this the last item there doesn't exist right now and it's something that the image scientists are working on and we would like to assist with the publication this is, instead of all this processing of images proactively coming up with a final image it would be very nice to be able to work with the source images, spectral images dynamically online so that either for instructional or research purposes you can take the source files add and subtract, create your own pseudo color images, do their own PCA analysis do that in real time so both so people can reconstruct how someone might have restored a text or come up with use this technique for new work alright so first an apology you guys came here for a technical talk in libraries, we've given you a history lesson to some degree on some of this content Steven talked about the history of the Livingston Diary itself I just wanted to mention a little bit about the actual project the complexity of the data management and the size of the files and the scope this project actually had a few homes before hit UCLA some of the places that it lived, National Library of Scotland the project team felt like they didn't have the technical expertise I guess to continue to manage the data in a way that was needed for the project so it ended up coming to UCLA through EMIL, we were both receiving funding from the Arcadia Foundation to do interesting work and as a result that project Livingston and Livingston Online is at UCLA now I wanted to mention a little bit about the content itself it's very very obviously very very fragile you know this a big focus of the project has been really to keep to enrich the content owners of libraries their own virtual spaces this is not a project where you take from St. Catharines and you ship it to LA and we scan it and keep it, this is a project where we sent a team to St. Catharines to do the scanning we keep a copy of the scanned images at UCLA we also leave a copy there it's about enriching the content it's about enriching the local archive as well so the St. Catharines project actually was on and off for a number of years the history this library at St. Catharines is one of the biggest libraries in the world of these codices and these palimpsests the history of that library Stephen alluded to a little bit St. Catharines had the oldest copy of the Bible in the world some number of years ago a Russian scholar visited St. Catharines and left with that Bible and various stories about how it ended up at the British Library years later there's still a lot of trust issues with St. Catharines and it's taken quite a long time for the collaborative work to move forward because of those trust issues also you know there's a lot of scholarly competition to get access to this stuff what we're looking at what Stephen showed you those images this is the first time in thousands of years that that text has been seen there's a lot of scholars who want to be the first one in there to decode read that text underneath and for all these reasons these projects are actually very can be very political, very sensitive there's a lot of security in place you know what we try to do throughout this process is help help our collaborators and help the the content owners feel comfortable with sharing this content in a scholarly fashion and so that's really what the library does with these things we also part of what we're doing is a lot of best practices for materials handling to ensure the preservation of the fragile historic resource that's very important to the content owners you know we strive to achieve the highest standards for image quality and fidelity to the original this is again treating the text in with respect respecting you know the original and we're also doing quite a bit with managing the image files that conform to best practices for conservation so a lot of that you know that's sort of kind of a picture as to what you know what some of the politics are behind dealing with some of these some of these texts a little bit about our future work you know this is a pretty new science that we're dealing with and so a lot of the things we've been focusing on over the past couple years is really trying to make the process more efficient trying to make the data we capture transportable so these very large number of image files how do we get them around so we want to also we're focused on creating a very high quality data archive that conforms to standards best practices and is preservable for future generations and again strive for increased efficiency and cost effectiveness so these are really expensive projects to do you know you don't just set up a multi-spectrum I can't get out of fries and buy one you know these are very it takes a team so at St. Catherine's monastery there's six professionals on site doing this work it's a very expensive process and anything we can do to increase the efficiency is really what we're working on it's just a quick demo this is a what we had what we have set up at UCLA this is where the project scientists came and did their experimentation it's it's actually a very small room we provided for them very cramped spaces but this is what it looks like at UCLA and this is the same rig set up at St. Catherine's monastery it's a 39 megapixel monochrome camera we've got this bellows that's computer control this is a 120 millimeter quartz lens and the dual filter I showed you earlier this slide where the different wavelengths were bouncing around this is what the actual camera looks like this is what it looks like set up at St. Catherine's and this is the librarian at St. Catherine's so this is Father Joseph Justin, thank you and he's very interested in the process Stephen told me just before the presentation that he's actually a Texan so he's moved from Texas to the Asana Peninsula in Egypt and he's very interested in how the project turns out so let's see I think we're thanks everyone