Content Expert for virtual
museums
TUC 2
Introduction
This e-course is organized through Training Unit able to be Capitalized
(TUC) which can be segmented into Didactic Unit (D.U.) and Learning
Object (L.O).
In order to understand the ratio behind the organization of this e-course
those, notice that:
 each T.U.C. involves several educational goals, which sum up to
the basic skills of a web-designer for virtual museums;
 each D.U. discusses one single educational goal through several
topics;
 each L.O identifies one single topic. All L.O together compose the
whole e-course.
TUC 2
DU 1:
DU 2:
DU 3:
DU 4:
Virtual
museums: why?
Description of
MU.S.EU.M. Identity
Card
The database: hints
Internet and virtual
museums
• LO 1.1: Virtual
museum:
objectives and
characteristics
• LO 2.1 Contents
and utilities
• LO 1.2:
Personalisation
of the virtual
museum
and
accessibility
• LO 3.1 Basic
Elements for the
Creation of
Interactive
and Dynamic
Websites
• LO 4.1 The
Publication of
Data on the
Internet
• LO 3.2 Databases
• LO 4.2 3D
Software Object
Modeller
• LO 3.3 The
relational model
• LO 4.3 VR Worx
2.5
• LO 3.4
Management
Systems of
Relational
Databases
• LO 4.4
PhotoModeler
• LO 4.5 Pixmaker
PRO
Virtual museums: why?
DU 1
This D.U. is crucial for the whole training. It is aimed at the main
characteristics and advantages of virtual museums with particular
emphasis on the possibility to attract a larger interest through friendly and
pro-active visits.
L 0 1.1
Abstract
Virtual museum: objectives and characteristics
The virtual museum consists of an organized collection of electronic
artifacts and informational resources. The collection might be composed
of pictures, diagrams, graphics, video clips, articles, numerical
databases and other items which can be stored in the virtual museum. In
addition, access may be gained to some of the main art-resources
collected in most important museums around the world.
A separating line may be drawn between two virtual museums types:
•
cultural museums – are built for educational purposes. They offer
opportunities for deep researches and explorations about artresources around the world. This service is mostly user-oriented.
•
commercial museums – are usually aimed at the advertisement of
art-resources stored in existing museums around the world. This
service is museum-oriented.
L 0 1.2
Abstract
Personalisation of the virtual museum
and accessibility
E-services, unlike physical services are characterised by their
configurability to customise the service towards the precise demands of the
individual. In this sense, e-services mirror the mass customisation
processes currently enjoying success in manufacturing.
In a virtual museum, instead of a curator dictating a route and points of
interest, the virtual visitor is able to prescribe his/her own tour and to
choose a deeper interrogation of those artefacts of most interest. In short
visitors can create on own exhibition, emphasising those multimedia
modalities they prefer.
From this viewpoint, museums shift from supply-driven to becoming
demand-led, from categorising potential visitors into sets towards individual
customisation and from generic marketing to one-to-one viral marketing.
L 0 1.2
Abstract
Personalisation of the virtual museum
and accessibility
Of course, patterns of usage tend to occur in all e-services whether the
result of habit or predispositions to particular areas of interest or modalities
of delivery. Cherri, Paternò and Piras ( from 2003) in the Museum of
Carrara, suggest that visitors often fall into one of three sets: experts,
tourists and children. It may be useful to hypothesise how each of these
targets may use a virtual museum.
•
Experts may particular wish to use tools supporting thematic and
trans-disciplinary searches, coupled to 3D applications and digital
reconstruction: a high degree of configurability and informed choice.
•
Tourists (who are not experts) may prefer a recommend table d’hote
rather than al a carte and prefer limited configurability: more intuitive
choices using readily understood narratives explaining the context of
artefacts.
•
Children (some of whom may be experts and/or tourists) may prefer
edutaiment or chatbox modalities, or exhibitions featuring games
designed to stimulate curiosity.
L 0 1.2
Case studies
Issues on virtual museums’ targets
a) COMPASS – Database of British Museum
Children’s COMPASS uses a search engine designed for children, which is
both easy to use and attractive (Alfred the Lion guides children through the
site). Apart from the children’s tours and the articles written for 7-11 year
old pupils, there are also classroom activities and quizzes, as well as an
Ask the Expert facility. The online tours are specially written to cover topics
from the UK National Curriculum, including Literacy, Numeracy, Science
and Art as well as History. There are also examples of children’s work,
online animations, games and puzzles, web links and reading lists. In
addition to the online tours, there is also a Search engine that allows
children to look for information from the following areas: Africa, the
Americas, Anglo-Saxon England, Asia, Ancient Egypt, Europe, Ancient
Greece and Roman Britain.
L 0 1.2
Case studies
Issues on virtual museums’ targets
Children’s COMPASS was planned so that children with disabilities could
use it as well. The worksheets have a set of teaching suggestions for how
they may be adapted, both for children with learning difficulties, as well as
for those who need extension activities.
For those with reading difficulties, there is software available for reading
the text on children’s COMPASS aloud.
The site has been designed and evaluated by the New Media Unit at the
British Museum, in consultation with local primary schools and with the
advice and assistance of the Museum Education Department.
L 0 1.2
Case studies
Issues on virtual museums’ targets
b) Tate Galleries
The website can serve as a tool for public education both in schools and at
home. The Tate Learning section includes the following categories: kids
and family (with games, activities and inspiration for kids), schools and
teachers, young Tate (new perspectives about modern and contemporary
art for teenagers and young people), independent learning, community
groups and outreach.
The section is home to an active academic program that supports students
of all ages and areas for educators, teachers, artist and many others. For
educators and students, there are a number of, in-service programs,
games, classroom activities, The Schools Online section contains a wealth
of material, including photographic and documentary sources for teachers.
It is designed to help educators to use the Internet to support the teaching
of the most significant elements of history of art. Tate Online launched a
number of online courses, providing users with an introduction to modern
art.
Expositions imaginaires
Louvre
Louis Lacaze: Reconstruction of the room dedicated to his collection
Discover a 3D modelization of the La Caze room – now the Bronzes room, Sully wing, first
floor, room 32 – as it was in 1913, when it housed 177 paintings by masters such as
Rembrandt, Chardin or Watteau, from the prestigious collection bequeathed by La Caze
to the Louvre.
3D imaginary exhibition: Jean-Honoré Fragonard
This imaginary exhibition is a tribute to Fragonard, one of the greatest French painters
of the 18th century, and also one of the first curators of the Musée du Louvre.
The south church at Bawit in 3D
This virtual visit to the Bawit monastery takes us back in time to ancient Coptic Egypt in
the first millennium of the Christian era. This imaginary exhibition presents the elements
that were found during the site excavations and features a reconstruction of the church
as archaeologists imagine it was in the 7th century AD.
DU 2
Description of MU.S.EU.M. Identity Card
This D.U. explains basic aspects of the standard record for cataloguing as
created through M.U.S.E.U.M. The training programmer of this unit is
particularly meaningful since, for the first time, 7 European museums
agreed on basic criteria for the identification of the identikit card.
The objectives of this D.U. are:
•
to apprehend classificatory rules for the M.U.S.E.U.M. objects;
•
to be able to identify the communicative value of each cultural
resource;
•
to be able to schedule training paths for specific categories of visitors.
LO 2.1
Abstract
Contents and utilities
“MU.S.EU.M. Identity Card” resulted after presenting a template to all project
partners and asking for their opinions and suggestions. This Identity Card can
be filled in by every partner, regardless of the recording system they use at
the moment.
Some of these data are absolutely necessary and could be filled in from the
primary records of each partner museum. They have been selected in the
data fill-in form from the European Virtual Museum website – Figure 2
(www.europeanvirtualmuseum.it).
The special and/or complementary data, which could be inserted as far as
they exist or in the course of research, have Arabic numerals attached when
they appear in the fields of the Identity card. These could be added in a
website that can be accessed by anyone on the Internet.
Taken as a whole, the Identity card, i.e. the fields comprised here, is
comprehensive enough to store, if necessary, other general or detailed data.
Further on, there are the basic elements necessary to create dynamic and
interactive websites, starting from the system analysis of the contents of the
MU.S.EU.M. Identity Card.
LO 2.1
Detail
The M.U.S.E.U.M Identity Card
This is the mask to compile, how it appears to users. The models of
compilation are two: a) a synthetic model with essential data; b) an
analytical one with all data of identity card.
The final content of the Identity Card is presented in Figure 1.
LO 2.1
Practice
The M.U.S.E.U.M Identity Card
Apply to a specific object from your museum - not classified yet – the
MU.SE.U.M. IDENTITY CARD as reported in the next page.
MU.SE.U.M. IDENTITY CARD
Image 1
(whole object)
Image 2
(significant detail)
Drawing
LO 2.1
The M.U.S.E.U.M Identity Card
Practice
MUSEUM, DEPARTMENT:
NAME OF THE ARTEFACT:
INVENTORY NUMBER:
OBJECT TYPE10:
-Human figurine
-Animal figurine
-Vessel
-Other




LO 2.1
Practice
The M.U.S.E.U.M Identity Card
DISCOVERY PLACE AND DATE
Date
MATERIAL/ALLOY3:
METHOD OF MANUFACTURE:
Country
Additional Material4:
District
DIMENSIONS
Town hall affiliation
Length:
Width:
Heigth:
Thickness:
Diameter:
Weight:
ANALOGIES11 (200 words)
LO 2.1
Practice
The M.U.S.E.U.M Identity Card
Village
DESCRIPTION OF THE OBJECT5 (200 – 400 words)
Discovery Findspot
DISCOVERY CONTEXT:
-Chance discovery
-Survey
-Archaeological excavation
-Unknown



DECORATION6 (200 – 300 words)
(no decoration ; incision ; excision ; application in relief )
LO 2.1
The M.U.S.E.U.M Identity Card
Practice
INSCRIPTION (100 words)7
DISTINCTIVE MARK
Video-audio-textual documentation12:
-Paintings, drawings, photographs
-Recordings
-Transcripts of interviews
-Links to information resources and databases around the world
DISCOVERY TYPE:
-Household
-Sanctuary
-Other



INTERPRETATION8 (200 – 400 words)
-
LO 2.1
Practice
The M.U.S.E.U.M Identity Card
CULTURAL FRAMING
Age/Period
MU.S.EU.M. THEMATIC ROUTES9:
-Amulets and magic items (AM)
-Human figure (HF)
-Animal Imago (AI)
-Other
Culture/Complex/Group
Phase/Cultural stage
Absolute chronology
PRESERVATION STATE
(very good ; good ; poor )
RESTORATION
(restored ; not restored )
LO 2.1
The M.U.S.E.U.M Identity Card
Practice
COMPLETENESS
(complete ; almost complete; incomplete)
ANALYSES – DETERMINATIONS
Analysis Type:
Laboratory:
No./Code:
BIBLIOGRAPHIC REFERENCES2:
-Author
-Title
-Periodical
-Volume
-Tome
-Publishing House
-Place
-Year
-Page
-Figure
-Plate
-Table
-ISBN
-ISSN
LO 2.1
Practice
The M.U.S.E.U.M Identity Card
Other resources
FILLED IN BY:
-Name
-Institution
-Date
Figure 1
DU 3
The database: hints
This D.U. gives to the Content Expert basic information about the
characteristics of relational databases by which virtual museums can be
constructed. The main objective consists of making the Content Expert able
to understand the main technological requirements behind the relational
database and to make him/her able to communicate profitably with the webdesigner.
Then, objectives might be worthily formalized as follows:
•
to improve the communication with the web-designer who is the one
entitled to data uploading;
•
to know the basic structure of the database and how to elaborate queries.
LO 3.1
Abstract
Basic Elements for the Creation of Interactive
and Dynamic Websites
In the development of the European Virtual Museum the use of a RDBMS
(Relational DataBase Management System) is compulsory, due to the
complexity of data necessary for the complete description of objects it
contains and also due to the need for the information to be always updated
by specialists of museums.
The existence of such RDBMS Databases allows the registration of all
general and special information referring to objects presently suggested by
partners (museums, research institutes etc.) or completed step by step.
Moreover, these databases together with the multimedia files can offer
supplementary packages of special information referring to other
archaeological objects; research and archaeological sites in the area;
museums or
general or specialized museum collections; historical
monuments and / or special cultural objects; useful data and addresses for
transportation, accommodation, and visitation of cultural and tourist
objectives; virtual shop (reproductions/copies).
LO 3.2
Abstract
Databases
The models and techniques of organizing databases have developed in
such a way that they satisfy the needs of users to have a faster and
easier access to a larger amount of information.
Shortly, the concept of a database can be defined as being one or more
collections of interdependent organized data, together with the
description of the data and the relation between them.
Relational databases refer to a collection of data, structured as tables
called relations. The term “relational” comes from the fact that each
registration in the database contains information referring to a single
subject. Moreover, the data organized in categories of information can
be manoeuvred by a single entity, based on values of associated data.
LO 3.2
Detail
Main objectives of a Databases
In the following box main database objectives are reported.
a) Centralization of data
b) Independence between data and application programmes
c) The possibility of connecting data entities
d) The integrity of data
e) Security of data
f) The confidentiality of data
g) The division of data
LO 3.2
Practice
Fundamental objectives of a Databases
In the following box some database objectives are reported. Indicate main
advantages in the right column.
RDBMS advantages
Weight
Explain
dynamic web-editing
on-line
query
management
and
data
data access through browsers
customize websites
on-line protection
compatibility with any browser
minimize website traffic
For a better understanding of this topic, associate “weights” to each of the RDBMS advantages
reported below. Use (*), (**) and (***) in order to indicate low, medium and high relevance
respectively. Explains the main rationale behind your choice in the last column. Finally, discuss
your choices with your colleagues.
LO 3.3
Abstract
The relational model
The data and relations are explicitly represented, using a logical structure
called relation. On the other hand, the relational model was mathematically
defined, providing a modern means of studying the logical properties of a
database system.
The components of the relational model are:
• the relational structure of data.
• the operators of the relational model.
• integrity restrictions of the relational model.
LO 3.3
Detail
Story of relational model
The relational model was defined and published for the first time in 1970 by
Dr. Edgar F. Codd, a researcher at the IBM laboratories from San Jose
(California), who published his works referring to the relational model for
databases.
This relational model has the advantage that it allows the designer of the
database to study the properties of the managing system of the database
without being forced to implement it. The theoretical fundament of this kind
of a database is represented by the mathematical theory of relations.
One of the main characteristics of the relational model is its simplicity and
strictness from a theoretical point of view, a fact that placed it before other
models, being adopted within the last decade by the majority of
researchers and programmers in the field.
LO 3.3
Case studies
Tate Gallery’s website
The mission of the Tate Gallery’s website is to foster within society an
awareness, understanding and involvement in the visual arts through
policies and programmes which are excellent, innovative and inclusive.
This website was created to facilitate access to information about history of
art. Tate Online is the UK's most popular art website and it has, over the
last years, won two BAFTAs, for online content and for innovation. In 2002
the site won both a prestigious BAFTA award for i-Map and the first ever
“London Tourism Award for Best Website”. Then, in 2003, the Tate
Gallery’s website was awarded a second BAFTA, for the “Best Online
Factual site”.
The Tate Collection consists of over 65,000 works of art encompassing the
national collection of historic British art from 1500, and the national
collection of international modern art. As part of its digital activities, Tate
has launched a long-term programme to provide greater access to the
collection beyond the gallery walls. Tate has succeeded to complete the
online displays of some of its strongest holdings.
LO 3.3
Case studies
Tate Gallery’s website
Every item in the collection has its own information page and the majority
are illustrated. Almost all available works in the Tate Collection have by
now been captured, including the following main categories:
• over 4,000 works in the national collection of British paintings dating
from the sixteenth century to now;
• over 1,500 sculptures from the late nineteenth century to the
present day;
• over 11,000 prints of all periods, including the nation's foremost
study collection of modern British prints;
• over 8,000 works on paper from all periods, including the
magnificent Oppé Collection of historic English watercolours and an
extensive group of 20th Century items;
• the Turner watercolours with over 6,500 items, mainly from the
Turner Bequest (the Turner Bequest comprises nearly 300 oil
paintings and around 30,000 sketches and watercolours);
• the Turner sketches with over 25,000 studies, pencil drawings and
sketchbook pages.
LO 3.3
Tate Gallery’s website
Case studies
The subject index allows users to see different interpretations of the same
subject, which in a collection as heterogeneous as Tate’s frequently joins
very different items, which might never otherwise be seen together. The
search engine includes:



the simple search provides searching about artist name and work
title;
the advanced search: artist name, work title, object type (block for
printing; installation, on paper, print; on paper, unique; painting;
relief; sculpture), on display, accession no, artist birth date, work
date;
the subject search with 16 categories: group/movement;
abstraction; architecture; emotion, concepts and ideas; history;
interiors; leisure and pastimes; literature and fiction; nature; objects;
people; places; religion and belief; society; symbols and
personifications and work and occupations arranged in checkboxes;
LO 3.3
Tate Gallery’s website
Case studies



each category comprises few groups (between 2 and 20);
for example the architecture category includes: agricultural
architecture, bridges and viaducts, features, garden structures,
industrial architecture, military, monuments, periods and styles,
places of entertainment, public and municipal architecture, religious,
residential, ruins, townscapes, man-made features;
a saved search feature.
LO 3.4
Abstract
Management Systems of Relational Databases
In order to reach the objectives for which it was created, a database must
have an associated system of data management, which is the software of the
database. Through the system of data management the following activities
can be accomplished:
 defining the structure of the database (organizing data in tables and
their connection);
 introducing and modifying data;
 fast access to data through different types of queries;
 presentation of data as reports (listed on the screen or printed) in
which the data resulted from queries are summarized;
 security of data;
The main RDBMS which are the basis of dynamic and interactive Web
pages:
• Oracle (www.oracle.com
• Microsoft SQL Server (www.microsoft.com/sql/)
• Microsoft Access (www.office.microsoft.com/en-us/default.aspx
• MySQL (www.mysql.com)
DU 4
Internet and virtual museums
This D.U. gives to the Content Expert basic information about the
characteristics of relational databases by which virtual museums can be
constructed. The main objective consists of making the Content Expert
able to understand the main technological requirements behind the
relational database and to make him/her able to communicate profitably
with the web-designer.
In particular, we focus on image uploading for the virtual museum.
Images and graphics are a fundamental source of communication. 2D
and especially 3D graphics are quickly becoming an integral part of
dynamic, interactive web sites. Following is a description of some 3D
graphics software currently available.
The two objectives can be formalized as follows:
•
to improve the communication with the web-designer who’s the one
entitled to data uploading;
•
to apprehend how uploading information and images on the website.
L 0 4.1
Abstract
The Publication of Data on the Internet
For the creation of the Web site of the European Virtual Museum, the
M.U.S.E.U.M. project used Microsoft Active Server Pages technology.
Further on we are going to introduce the main elements that are part of this
technology.
HyperText Markup Language (HTML). One of the first fundamental
elements of the WWW (World Wide Web) is HTML (HyperText Markup
Language), a standard which describes the primary format in which the
documents are being distributed and seen on the WEB. Many of its
features, as the independence of the platform, the structuring of formatting
and the hypertext connections, make it a very good format for documents
published on the Internet.
Active Server Pages (ASP) is a powerful instrument developed by
Microsoft. An ASP file may contain text, HTML tags (markers) and scripts.
The scripts in an ASP file will be executed by the server through IIS
(Internet Information Server) which is part of Windows 2000, Windows NT
4.0 (Option Pack) or PWS (Personal Web Server) in Windows 95-98.
L 0 4.1
Abstract
The Publication of Data on the Internet
ActiveX Data Objects (ADO). It is used to access a database through a
WEB page. It was created by Microsoft and it is automatically installed at
the same time with Microsoft IIS (Internet Information Server) package.
Structured Query Language (SQL). It is an ANSI (American National
Standards Institute) standard language used for the querying of MS
Access, MS SQL Server, DB2, Informix, Oracle, Sybase databases etc.
With the help of SQL we can make selection or action queries (adding,
deleting and modifying registrations) upon databases.
JavaScript. It is a programming language for WEB pages. It is used in
many sites for improving their design, for the validation of some forms etc.
It has been developed by Netscape and it is the most popular script
language for the Internet. It is recognized by all popular browsers
(navigators) from version 3.0 and more.
The complete description of the Active Server Pages technology, and not
only, can be found at www.w3school.com
L 0 4.1
Case studies
COMPASS, the Database of British Museum
COMPASS (Collections Multimedia Public Access System), first launched
on
the
web
in
June
2000
(www.thebritishmuseum.ac.uk/compass/index.htlm), is an online database
featuring around 5,000 objects chosen by curators to reflect the
extraordinary range of the British Museum’s collection. The database has
versions for both adults and children. Apart from the web, COMPASS, the
Museum’s multimedia object database, is free to use and available to all
Museum visitors on touch screens in the Reading Room. For each object,
there is a short article written by a specialist and high quality images that
can be enlarged and studied in detail. COMPASS was designed for easy
browsing and there are links between objects, background information, as
well as suggestions for further reading.
The “main” COMPASS is very well organized and the search page has
several facilities. Apart from the index search, users can also search for
Places and Dates (information about objects from a particular place and
time), and Galleries (information about some of the objects that are on
display in any gallery in the British Museum). Furthermore, there are many
useful links and background information about some of the object in the
Museum. There may be articles about cultures, historical periods, specific
places, archaeological sites, people, types of object, materials or
techniques, as well as a number of images, such as maps or photographs.
L 0 4.1
Case studies
COMPASS, the Database of British Museum
Apart for the fact that each object featured is illustrated with high quality
scalable images for detailed study, there is also plenty of information about
the objects, as well as references and links to related objects. The
database was designed for the general visitor and thus the information has
been written accordingly. Therefore, technical terms are explained in
glossary links and if one is interested in learning more about an item, most
of the articles give references to books written or recommended by the
Museum’s curators.
The website is very accessible and users have the possibility to change the
text size, style, colour and background colour. There is also a full text-only
version of the COMPASS, which has been designed to ensure that the
database is fully accessible with screen readers and speech synthesisers
used by people with visual impairments (a link to the text-only version can
be found nearly every page of the site). Thus, COMPASS was one of the
six UK websites that were presented in December 2002 with Visionary
Design Awards for their outstanding efforts in ensuring their websites are
accessible to visually impaired people. These awards are part of a
campaign by the National Library for the Blind to encourage website
publishers and designers to consider access technology such as
magnification, text-to-speech and refreshable Braille when they are
designing their sites.
L 0 4.1
Case studies
COMPASS, the Database of British Museum
There was a complex team working on the COMPASS website: a Project
Manager (the head of the New Media), a Content Manager (responsible for
the content on the site), an Imaging Manager (responsible for the images on
the site), a Creative Editor (responsible for all the text), a Design Manager
(responsible for the design of the site), an Access Officer (responsible for all
access issues for the site), an Education editor (responsible for the editorial
content on the children’s COMPASS site), an Imaging Assistant (helping the
Imaging Manager and also HYML coding for some pages), a Support Officer
(administration for COMPASS project), and I.S. Support (providing IT support
for the project, though not full time on COMPASS alone). In addition, there
were also Editorial Assistants to help with editing the text. The object
texts/articles were written by curators and freelancers. A number of interns
who worked for fixed periods of time (usually to compliment their studies) also
contributed to the creation of this website. The technology for the site and
delivering it to the web was provided by a company called System Simulation
Ltd. ( www.ssl.co.uk ). COMPASS uses their Index+ database software to
create and manage the COMPASS content and to deliver it on the web and
on the terminals in the Museum. System Simulation Ltd. worked closely with
the COMPASS team and supplied the software architecture for the
COMPASS project.
L 0 4.2
Abstract
3D Software Object Modeller
3DSOM from Creative Dimension Software Ltd. is a fast, cost-effective software
tool for generating photo-realistic 3D models from images of real objects, based on
technology originally developed by Canon. With the 3DSOM Viewer Java applet,
interactive plugin-free 3D content can easily be created for compelling e-commerce
sites, eye-catching internet advertising, online museum exhibitions, and more. A
fully customised 3D modelling service is also available delivering high quality
multimedia content for CD marketing campaigns, exhibitions, education, digital
product brochures and streaming over the internet.
Version 2.1 of 3DSOM Pro is a major new release with numerous bug fixes and
improvements. You can now import and export data in several new formats
including our unique 3D Flash and Java based web formats.
For further information: www.3dsom.com
L 0 3.2
Detail
3D Software Object Modeller
System Requirements
3DSOM runs under Windows XP (Home or Professional Editions) or
Windows 2000. Although it is possible to run under a Windows emulator on
a Macintosh, this is not recommended, as intensive processing is required.
Recommended specs for a PC:
 CPU x86 compatible, PC/AT compliant
 Pentium 3 or 4 is preferable
 32-bit graphics card with OpenGL support
 Monitor resolution 1024x768 minimum (small system fonts)
 Physical RAM: 128MB minimum, 256MB recommended
 Mouse and Keyboard
L 0 4.3
Abstract
VR Worx 2.6
QuickTime Virtual Reality is an extension of the QuickTime technology
developed by Apple Computer, Inc. that allows viewers to interactively
explore and examine photo realistic, three-dimensional, virtual world.
Unlike many other virtual reality systems, QuickTime VR does not
require the viewer to wear goggles, a helmet or gloves. Instead, the
viewer navigates in a virtual world using conventional computer input
devices (such as the mouse, trackball, track pad or keyboard) to change
the displayed image via the QuickTime VR movie controller.
The VR Worx™ is the award-winning suite of VR authoring tools for
QuickTime™. The latest version, The VR Worx 2.6 Engineered for Mac
OS™ X and Microsoft Windows™ XP, with a new streamlined
and simplified user interface, it delivers powerful technology along
with fresh advancements to its famous feature/function set.
The ultimate in QuickTime VR for the most discriminating user.
(Coming Soon - Microsoft Windows Vista and Mac OS X Leopard
updates!)
L 0 4.3
VR Worx 2.6
Abstract
Version 2.6 has the ability to create an object movies with a panoramic
movie as a moving background. And v2.6 has the capacity for transitions
within a multi-node scene, like standard wipes, dissolves, explodes, and
others, as well as actual linear video as a transition. The VR Worx 2.6
can construct multinode environments with cylindrical panoramas, Cubic
VRs, multi-row objects, absolute objects, still images and linear
QuickTime movies.
For further information: www.vrtoolbox.com
L 0 4.3
VR Worx 2.6
Detail
System Requirements for Macintosh
Power PC (or compatible)
Mac OS X 10.2 to 10.5
QuickTime 6 or later
512 MB RAM
System Requirements for PC
Pentium Class PC (or compatible)
Windows ME, 2000, XP
(not Microsoft Windows VISTA compatible)
DirectX 9
QuickTime 6 or later
512 MB RAM
L0 4.4
PhotoModeler
Abstract
PhotoModeler is a powerful 3D software product that calculates
measurements and constructs 3D models from your photographs simply
and easily.
PhotoModeler is used by professionals around the world to:

Create "as-built" drawings and measurements for process and plant
engineers

Measure accident and crime scenes for forensic analysts

Create "as-found" and "as-built" drawings for architects and historic
preservationists

Model sets, objects, people and vehicles for animators and
film/video producers
L0 4.4
PhotoModeler
Abstract

Measure and create drawings of buildings, excavations & artefacts
for archaeologists

Measure and model anatomical morphology for anthropologists and
medical practitioners

Reverse-engineer mechanical parts and assemblies for
manufacturing engineers

Survey complex 3D shapes, structures and volumes for civil
engineers and surveyors

Model objects for 3D databases for virtual reality builders
L0 4.4
Detail
PhotoModeler
System Requirements
PhotoModeler runs on Windows NT 4.0 (SP6), 2000, and XP. The
minimum system requirements are 800 Mhz Pentium, 128MB RAM,
100MB hard disk space, CD-ROM drive (4X+), 800X600 screen with
32,000 colours and sound hardware for the video tutorials. [Pro 5 will run
on Windows 98 and Me but these legacy systems tend to have more
video and interface driver problems - on some machines PM Pro 5 runs
without problems and on others there might be issues.
International copies of PhotoModeler may include a parallel port
hardware lock. To create your own models, a method of capturing
images is required, such as a digital camera, scanner, or video capture
board.
On the web site are PhotoModeler 6.2.2 Free Upgrade
For further information: www.photomodeler.com
L0 4.5
Abstract
Pixmaker PRO
Following the simple 3 steps of Snap, Stitch, Publish!™ in PixMaker 1.0,
PixMaker Pro enables you to create 360° interactive PixAround content
complete with Hotspots efficiently with customization options for Hotspot,
Postcard and Web pages via its proven friendly, intuitive and easy-to-use
graphical user interface.
PixAround Scenes can be published online as Web pages, offline as
Postcards, Screen Savers, PowerPoint® presentations; and onto mobile
devices based on both Palm OS® and Windows® CE. You can create as
many PixAround Scenes, Web pages, Postcards and Presentations as you
wish at no additional cost. No additional software or browser plug-ins are
not required for viewing the PixAround content.
L0 4.5
Detail
Pixmaker PRO
Supported Formats
•Image files - JPEG (.jpg), Bitmap (.bmp), Photo CD (.pcd), Tagged Image
file (.tif), Portable Network Graphics (.png)
•URL files - HTML (.htm, .html), Server side (.shtm, .shtml, .stm)
•Video* files - MPEG (.mpeg, .mpg, .m1v, .mp2), AVI (.avi, .wmv),
QuickTime (.mov, .qt), Flash (.swf), RealMedia (.ra, .ram, .rm, .rmj)
•Audio* files - Audio (.wav, .snd, .au, .aif, .aifc, .wma), MIDI (.mid, .rmi,
.midi), MP3 (.mp3), RealMedia (.ra, .ram, .rm, .rmj)
Minimum system requirements
•Windows® 98 Second Edition, 2000, Millennium Edition, XP
•333 MHz Intel/AMD Processor
•128 MB RAM
•50 MB available hard drive space
•Video display capable of 800 x 600 pixels or higher with 65,535 colors
L0 4.5
Detail
Pixmaker PRO
Pixmaker Lite
Optimum system requirements Pixmaker Pro
•Windows® 98 Second Edition, 2000, Millennium Edition, XP
•650 MHz Intel/AMD Processor or higher
•256 MB RAM or more
•50 MB available hard drive space
•Video display capable of 1024 x 768 pixels or higher with 16 million colors
Pixmaker Lite Recommended system configuration
* Windows® 95, 98 2000 or NT 4.0 Service Pack 5
* Pentium® II 333 or faster
* 128 MB RAM
* 200 MB or more free hard disk space
* Video display capable of 800 x 600 pixels or higher with 16 million colors
:
For further information: http://web.singnet.com.sg/pixaround/index.html