Characterization of a VLC system in real museum scenario using diffusive LED lighting of artworks

Marco Seminara; Marco Meucci; Fabio Tarani; Cristiano Riminesi; Jacopo Catani

doi:10.1364/PRJ.414394

Journals >Photonics Research >Volume 9 >Issue 4 >Page 548 > Article

Photonics Research
Vol. 9, Issue 4, 548 (2021)

Characterization of a VLC system in real museum scenario using diffusive LED lighting of artworks

Marco Seminara^1、2, Marco Meucci², Fabio Tarani³, Cristiano Riminesi³, and Jacopo Catani^1、2、*

Author Affiliations

¹European Laboratory for Non-Linear Spectroscopy (LENS), Sesto Fiorentino, Italy

²National Institute of Optics-CNR (CNR-INO), Sesto Fiorentino, Italy

³Institute of Heritage Science-CNR (CNR-ISPC), Sesto Fiorentino, Italy

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DOI: 10.1364/PRJ.414394 Cite this Article Set citation alerts

Marco Seminara, Marco Meucci, Fabio Tarani, Cristiano Riminesi, Jacopo Catani. Characterization of a VLC system in real museum scenario using diffusive LED lighting of artworks[J]. Photonics Research, 2021, 9(4): 548 Copy Citation Text

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Fig. 1. (a) Example of test setup for VLC links in museum environment; (b) and (c) receiving stage; (d) the LED lamps used for VLC transmission.

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Sketch of the experimental campaign. A custom detector is placed at various distances/angles from a specific artwork. The three panels represent different measurement configurations: (a) polar measurement, (b) FoV characterization, and (c) evaluation of lateral shift influence. The centered configuration is obtained aiming the detector’s optical axis toward the geometrical center of the painting; in the flat configuration the detector’s optical axis is parallel to the floor.

Fig. 2. Sketch of the experimental campaign. A custom detector is placed at various distances/angles from a specific artwork. The three panels represent different measurement configurations: (a) polar measurement, (b) FoV characterization, and (c) evaluation of lateral shift influence. The centered configuration is obtained aiming the detector’s optical axis toward the geometrical center of the painting; in the flat configuration the detector’s optical axis is parallel to the floor.

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Fig. 3. Experimental SNR maps recorded for (a) Trinity—a wall painting by Masaccio; (b) Resurrection with Four Saints—a canvas by Vasari, and (c) St. Raymond of Penyafort Resurrects a Child—a wood painting by Ligozzi. Data are taken in both centered and flat configurations (see text). Black dots represent the actual measurement grid, whereas the color maps show a heuristic spline interpolation to the data.

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Fig. 4. PER maps as a function of the radial angle for the three artworks measured at distances of 4 and 6 m: (a) wall painting by Masaccio; (b) canvas by Vasari; (c) wood painting by Ligozzi. The dots represent the experimental data, with a statistical average error (where not shown the error bars are masked by symbol size). The lines are a spline interpolation placed as a guide to the eye. The green and red color codes represent the centered and flat configurations, respectively (see text).

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Fig. 5. Experimental determination of TFoV values. Data report the PER values recorded for the wall painting by Masaccio, by scanning the (a) horizontal and (b) vertical angular positions of the optical axis of the Rx [see also Fig. 2(b)].

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Fig. 6. Effects on the VLC transmission of a lateral shift in the RX position in front of the wall painting by Masaccio. Data points show the measured PER for the flat (green symbols) and centered (blue symbols) configurations.

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Painting	Year	Author	Support	Size $w \times h (m \times m)$	Dist. to floor ( $m$ )
Trinity (Trinità)	1425–1426	Masaccio	Wall	$3.17 \times 6.67$	0
Resurrection with Four Saints (Resurrezione e quattro santi)	1525–1574	G. Vasari	Canvas	$2.95 \times 4.07$	1.95
St. Raymond of Penyafort Resurrects a Child (San Raimondo di Penyafort resuscita un fanciullo)	1620–1623	J. Ligozzi	Wood	$2.95 \times 4.07$	1.95

Table 1. Three Different Masterpieces Analyzed in the Experimental Campaign

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	Flat		Centered
	Frontal (dB)	Angled (dB)	Frontal (dB)	Angled (dB)
(a) Masaccio (wall painting)	22	17	21	15
(b) Vasari (canvas)	23	9	19	10
(c) Ligozzi (wood painting)	20	8	16	8

Table 2. Measured SNR Values in Relevant Positions in Front of the Three Artworks^a

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	Flat
	Frontal	Angled	Frontal	Angled
(a) Masaccio (wall painting)	$3 \times 10^{- 5}$	$2 \times 10^{- 2}$	$7 \times 10^{- 5}$	$8 \times 10^{- 2}$
(b) Vasari (canvas)	$1 \times 10^{- 5}$	$6 \times 10^{- 1}$	$2 \times 10^{- 3}$	$5 \times 10^{- 1}$
(c) Ligozzi (wood painting)	$4 \times 10^{- 4}$	$8 \times 10^{- 1}$	$6 \times 10^{- 2}$	$8 \times 10^{- 1}$

Table 3. Measured PER Values in Relevant Positions near the Three Artworks^a

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	4 m		6 m
	Centered	Flat	Centered	Flat
(a) Masaccio (wall painting)	$> 60 °$	$> 60 °$	$> 60 °$	$> 60 °$
(b) Vasari (canvas)	55°	60°	20°	45°
(c) Ligozzi (wood painting)	25°	45°	N.A.	20°