 Thank you so much Martina. Yeah, hello everyone. I like to talk about the 3D scanning. Can you see my screen? Yes, it looks good. Awesome, good. I like to talk about the 3D scanning in the 3D production or like in the 3D print. So all the time when I get in contact with people that they need a scan or need a 3D scan, especially conservators, I look at a lot of problems in that matter that the pieces are most of the time broken. So in the normal way you have like your art piece here, this SLA print, like a whole print, an SLA print, from there you have the data and with the data and the G-code you print. But what's happened when the print has a damage? So what happens when something gets broken or gets missing and you don't have the file or the G-code anymore, you need to reproduce the data. So that's happening with a 3D scan. So you start scanning the broken part and you do like a reverse engineering and with this data you're able to print again and fix the sculpture or you do like the whole sculpture again. In 3D scanning there are different methods. I go through them. We have like structure, light scanning, photogrammetry and leader scan and then there is like CT and emery. I don't touch them because that's like a total other field and when I work with this kind of scans it's a lot like the amount of work gets like tremendous. So there are like so many scanners out there. Probably you all saw one of them and we tried to sort them in different groups like in the first group we have the structure light scans. The structure light scans is like the biggest group. There are so many structure light scans out there from different companies and they change like the changing and the progress in their quality is like really enormous. It goes really fast. The next one is the photogrammetry. The photogrammetry is all about cameras and drones of course. And the leader scan it's also a big field. It comes like from scanning like topology and in these three groups I work the most like we're in the structure light scan the photogrammetry and the leader scan we have all the tools to scan art pieces or parts of museums. And the first group the structure light scan works like this we have like most of the time to cameras and the two cameras look at the object and projector is sending out. And a structure or a stripe pattern on the object. So on the right side we have like this loop and on the loop we produce with the scanner the pattern that is written by the scanner. In photogrammetry in the next step we make a lot of pictures and these pictures get written by the software and the software is checking for like identical points on the on the pictures and with that the software can reproduce. The whole 3d image and makes like point clouds of it. So we have like here on the right side we have the sculpture still in the box and we took like a lot of images. I think it's about 100 120 to get like the 3d model on the right side. So as more picture you take and as higher the resolution of the cameras as better days. The last one is like last group is the leader scan the leader scan group is quite a special group because first like the scanners are crazy expensive and they're used more for like scanning bigger objects like houses or streets or something but we use them also in museums for for bigger sculptures for whole installations and to get like a 3d scan of them how it works like a laser is shooting out of the scanner and gets back to the scanner and then the distance or the time between this shooting out and the coming back gets an information for the scanner and like this the scanner can make also like a point cloud for for the program. And as you can see here on the right side leader get used also to do art and on the top we have like a picture of a whole valley. It was made by a leader scan. So all these points that the scanner was taking from the landscape. I got into a file and the file was displayed as an art piece. And on the right side on the bottom we have whole museum scanned. It was also an installation through the whole museum and as a conservators aspect. They decide to scan like the whole museum with the sculpture in it. So that makes a lot of sense if you bring it back to the museum or if if you want to have like a data set. Just to save the art piece. So we have the three common versions of 3d scanning on the top we see the three technical drawings and on the bottom we have like the outcome of this three technical specs. So on the end the software is all the time doing like a point cloud. This are like 3d points in the three dimensional room and out of that the program is doing a poly mesh. So you actually have like a surface or like an object as a 3d object. So all scans normally work like this we have like the object we scan and then we go to the computer and process the scan. And after that we bring it through a slicer software to the printer. Especially here like the one scanner that you see here has like actually everything in it so the scanner already processes data and you can go directly to the slicer and to the printer. In my experience I work a lot like daily with scans and the biggest workload is like working with the scans after they got scanned. So for like work make like the workload in different parts I would think one fourth of the workload is like the scanning and then three fourths are like data correction also modeling and then making the file ready for print. And here you can see like the three steps on the computers is like the 3d scan software, the modeling software, and then also like the 3d slicer software. So for scanning. The big issue with a scanner is that you can't scan everything. I got a lot in contact with with museums and also with artists, they bring object to me or they show me objects. They're really hard to scan and this little scanner shows what works and what doesn't work or on the left side what works with a lot of effort. So like a really dark surfaces, reflective surfaces, shiny, clear, hairy, close geometries and undercuts. What I mean with like close geometries are like a ball with holes in it. It's really hard because you can only scan what what you can see by your eye. So, because they're all like optical systems. They only work what they can actually see. So if you have like a 2d poll in an object the scanner is not able to reproduce this whole or like on the pineapple, especially on the leaf part. There are so many undercuts and really deep holes between the leaves. They're really hard to scan. Also, for like the fox here, the light or the optical input that gets a shoot at the object just disappears. So the scanner gets no information back and also with glass and mirrors. There is like so much distortion that the scanner doesn't work. And then on the other side on the positive side everything else works quite well so most of the time in in museum. Museum calls me the most of the time there is gold involved or glass involved, or a fabric involved that is hard to scan so it's a lot that we have to find a solution to scan the part. If it doesn't work, we have to go and take a CT scan or emery and to actually get the parts they can't be scanned by the optical systems. That's also like a picture that I showed a lot my students what I want to say with this picture is like you really have to decide which scanner you use for which kind of object like size wise. It doesn't make sense that you take a scanner that's like a bigger resolution like a too big resolution, but it's not able to scan like huge objects. It's all the time. There is a question between resolution and scan like the field of of you of the scanner. So if you have like small parts of course you can go with the much higher resolution, like if you have a coin, you go with the little brush on the left side. You want to catch all details. But if you have like a huge sculpture. You go more like with the big truck on the right side because most of the time, you want to catch on the coin you want to catch every detail. And on the huge sculpture. Normally, you want to only capture like the overall geometry. Of course, there are some expect exceptions, where you go with the little brush to the huge sculpture, but then you have like a crazy workload, and also like data that goes like into like terabytes of data. And in my daily daily work. Normally, my files are around three to eight gigs. In one file and you use a strong computers, only to handle them. Of course, on the end, the output is much smaller. But because the scanner, they don't scan just the surface one time during scanning you scan the surface like many times and so you the data gets really huge. And now we show you some examples from my work. Here we have a little swan. The city of Syria was afraid that because of the bronze and the value of the bronze. People would steal the swan. And so they decide to scan it, just as backup. So we took the swan and scan the whole sculpture. And on the end, it went back and the backup stays now at the city, and they were able to reproduce the swan. If it gets like stolen, because of his value, like metal value. That's like the final scan. Another field that I work with it's like with the violin conservator. Here, we do some some patches. So we first scan the bottom of the violin. And then you can see the pattern that is thrown from the scanner to the surface, and then the two cameras picking up the information. And then the 3D scan, we do a cheat code. And with the cheat code we mill piece that gets into the bottom of the violin. And on the end, everything fits really well. So one of my work is to help conservators. Also, when there is like defection or like broken pieces on art works, we scan the works and we reproduce the surface on the art piece so the conservator can work on the copy actually. And on the end, the new piece fits exactly to the original broken piece. I hope that's understandable. And here, it's a foot of a Chocometti sculpture. And on the left side, we have clay, like the original clay scanned. And on the right side, we have the bronze with the signing of Chocometti. And what we figure out here or try to show is like if is the bronze sculpture really from the original plaster. And as you can see, we did some calculations. And there are really, as it shows the lot is green, a lot of the surface is green that means like it fits really well so we have like a 0.1 millimeter from the shrinking during the casting process. So actually like the clay like the original clay, sorry plaster sculpture, and the bronze sculpture are both originals. And the last work, just want to show because it's a really nice work from the artist Maya France in Zurich. It's a part of the Trevi fountain in Rome, and cast with coins, Euro coins, the sculpture stands in the backyard of the final Institute of the University of Zurich. So what we did, we went to Rome and took a lot of photographs from the Trevi fountain. And after that we did the photogrammetry, all legal. And because there was a big distance between the fountain border and the actual sculpture, we had to do a lot of sculpting. And the data was like milled in styrofoam and afterwards got casted and ended up as a fountain made out of Euro coins. They're the one that are thrown into the fountain. And they stay now in the backyard of the final Institute of the University of Zurich. In that way I say thank you. I hope I was able to show you an overview about the different techniques for 3D scanning. If you have any questions, please reach out to me and in this way. Thank you.