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- DAQ > Image Capture Motion Setup (Figure 1)
Figure 1. Image Scan Setup window
- Instruments > Camera: General Setup (Figure 2)
Figure 2. General Camera Setup window
- Instruments > Camera: JAI Camera Setup (Figure 3)
Figure 3. General Camera Setup fixed Settings
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1. First open the IMS Application 'SHIL' on the desktop (Figure 4).
Figure 4. SHIL IMS Desktop icon
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3. After successful initialization, two windows will appear: The IMS Control Panel on the left and the measurement window along the top of the screen (Figure 5)
Figure 5. Main SHIL user interface window
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1.Go to Instruments > Camera: General Setup (Figure 6). The JAI Camera Setup Parameters window will appear (Figure 7).
Figure 6. Select JAI Camera Setup Parameters window
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- Stripe Width: Centered in the middle of the core, this determines the width across the core that will be used to calculate RGB data. This is typically set to 2cm. While the value can be changed higher or lower it is commonly at 2 cm. The advantage is this width provides enough material to not exaggerate small disturbances but rather provides RGB data representative of the bulk lithology.
- Decimate Interval: The interval that sets the recorded offset along the length of the core. This value can be set between 1 - 2.9 cm
- Mean or Midpoint: Can choose how RGB is calculated for the interval. Interval mean calculates the mean RGB values over the interval. Interval Midpoint uses the RGB value at the center of the interval. This is typically set to Interval Mean.
Figure 7. JAI Camera Setup Parameters window
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1.Go to DAQ > Image Capture Motion Setup (Figure 8).
Figure 8. Select Image Scan Setup window
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2. The SHIL Section Information window will pop up.
Figure 9. Select SHIL Section Information window
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By default the instrument is set for imaging the archive half and will not allow you to scan a working label. If you want to take a picture of a working half you need to go to the MANUAL tab and select W (working) into the Section Half label (Figure 10). Once you have selected W (working), you will not be able to scan an archive half; in order to do that you need to go back into the MANUAL tab and re-select A (archive).
Figure 10. SHIL MANUAL Section Information window
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10. The 'Image CROP' window will go away and the 'SHIL Section Information' window will appear again.
Figure 11. Image CROP window
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- Open up MUT (Figure 12). Use LIMS Applications password to login. The LIMS Uploader window will open (Figure 13).
Figure 12. Desktop MUT icon
2. Set 'Project' at the bottom of the screen to either the current expedition or '999' if performing tests.
Figure 13. LIMS Uploader window
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In MUT the 'active analyses' (Figure 14) should be set to Linescan Image, Processed RGB channels, and Whole-round Linescan. Linescan Image and Processed RGB Channels are for section half measurements. The Whole-Round Linescan Image is for 360 Imaging of hard rock cores. All three analyses should be set in the 'Active Uploaders' Column. Note it is ok for analyses to be in the 'Active Uploaders' even if MUT at that instrument host does not generate those files.
Figure 14. Select Set active analyses on MUT
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VCD-S: The SHIL can preserve a digital copy of the VCD-S that is printed out. If a scientist wants to keep a digital copy of the scratch sheet turn on the feature in Instruments > Camera: VCDS Setup (Figure 15) . Files are then written to C: data > in > VCD-S. These files are not uploaded to LIMS and should be put in data1 at the end of the expedition. The files can be put on the server for scientist access to a convenient, shared location such as Uservol.
Figure 15. Select to preserve a digital copy of VCD-S
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2. Place the split liner section with the whole round core on the tray below the SHIL and align the top with the 0 cm on the ruler on the tray (Figure 16).
Figure 16. Whole round core correctly placed on the split liner section.
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4. Attach the not 0° aluminum strip and rotate the tray so that the 0° position is up, facing the camera (Figure 17).
Figure 17. Whole round core correctly placed on the aluminum tray
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3. Select the 360 Imaging on Image Type and the default quadrant will be 0 Degrees. Select Dry-Hard Rock. Click TAKE A PICTURE
Figure 18. SHIL Section Information window for 360 Hard Rock Imaging
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Preparing the track system for imaging cores requires adjusting the position of the lights and barcode imager for optimal quality and calibrating the system by adjusting camera settings. The position of the lights and barcode imager, once set, should be stable throughout an expedition. The technical staff will calibrate the camera settings (SHIL: Camera Configuration AUG) and light array (SHIL: Light Array AUG) whenever the camera or light sources have been repositioned or changed.
Setting up the Lights (Section for old lighting system)
Initial light installation and fine adjustment procedures are described in the SHIL: Light Array AUG. For routine operation, follow these steps:
- Rotate the lights to the desired rough angle to the camera (usually ~30° to the camera axis for sediment cores). Fine-tune the light position by observing the camera output using MAX.
- Manually turn on one line light at a time to full power by pressing the "+" button on the light controller until you reach 100%.
- Loosen the brackets on both sides of the light mounts and make small position adjustments until the brightest image is achieved.
- Turn off the light by pressing the "–" button and press Select to enable the other light.
- Repeat Steps 2–4 for the second light.
Calibration
The laboratory technician calibrates the system when needed by adjusting camera settings and analyzing an imaged MacBeth Color Standard. These lights obtain nearly uniform illumination intensity from the core’s surface (half or whole round) to the bottom of the liner by a combination of high intensity, overlapping large diameter light source, close coupling to the imaged surface and the “line” image plane. The bottom edge of the brass led mount should be set between 2 and 4-cm from the image surface. For uneven hard rock cores the height can be set higher but illumination intensity will drop, exposure times lengthen, f-stop opened and scanning speed reduced. Note, any height change to the lights requires re-calibration. Heat is removed from the leds and transferred to the surrounding air via the copper heat pipes. While these to get hot they are not a burn hazard. However they are very delicate and bend at the slightest touch, so use care when working with the camera lens.
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1. Grab the calibration standard and remove from liner (Figure 19). Calibration Standard is located in drawer PP-2B.
Figure 19: The calibration standard in its cover.
2. Put the Calibration Standard in the track (Figure 20). The color square must be oriented as pictured below.
Figure 20: Color standard in track in correct orientation.
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4. Scan the STND Color label on the aluminum track behind the monitor (Figure 21). Check the ColorChecker Standard box. With this box selected no corrections are applied to the image so we are able to assess the raw image quality.
Figure 21: Left, sample information screen with ColorChecker box checked. Right, standard barcode being scanned.
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7. On the main IMS panel select Instruments and Camera: Image Correction (Figure 22).
Figure 22: Image Correction command selection.
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1.Disable the motor that moves the camera. In the IMS control panel select Motion and then Drive Disable from the dropdown menu (Figure 26). The user can now manually move the camera to the desired spot.
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2. Back in the IMS control panel go to Instruments > JAI Camera Settings (Figure 27). The lights turn on automatically when the JAI Camera Setup window opens.
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4. The lights will turn on when the JAI Camera Window opens. Due to the intensity and heat produced by the LEDs it is best to turn off the lights until ready. Turn off the lights in the software window (Figure 28) or with the physical power switch located behind the monitor (Figure 29). Note if the lights are turned off by the hardware switch, the lights cannot then be turned on the software command.
Figure 28: Software commands to turn the Lights On or Off.
Figure 29: Hardware Switch to turn power on or off to the lights located behind monitor.
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1.Select the Gains-Black-Shade-Flat tab (Figure 30).
Figure 30: JAI Camera Setup Window showing the Gains-Black-Shade-Flat tab. The Gains-Black-Shade-Flat tab is outlined in red.
2. Click the Clear All Gains, Clear Black Gains, Remove Pixel Black Correction, Remove Shading Correction, and Remove Pixel Gain Correction (Figure 31). You will notice all values in the Master and Black gains to zero.
Figure 31: The five clear and remove buttons of interest are outlined in red.
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2. Take the lens cap (Figure 33) and place on lens (Figure 34). The lens cap is located in drawer PP-2B.
Figure 33: Lens cap for the camera
Figure 34: Lens Cap being put on camera
3. Click the Pixel Black Auto Correction. The RGB lines in the Profile graph should be uniform (Figure 35). (Note: half the time a separate window window pops up to confirm lens cap is on, then user clicks 'Proceed' to apply correction. Inconsistency reported in Confluence)
Figure 35: Grab and Profile after the Pixel Black Correction applied.
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- Take the silicone gray mat and clean off any dust with a piece of tape (Figure 36A)
- Place the gray silicone mat on the bench on top of the QP Card, make sure that it is level and perpendicular to the camera’s axis.
- Turn on the lights, with the same method used to turn off the lights, and move the camera over the gray mat.
- Unfocus the lens on the camera just a little bit (Figure 36B). Look at the Profile graph and rotate the lens’ focus until the RGB lines are smoother, but still have some variation. de-focus the lens until the RGB line on the Profile graph just become smooth and no more (but still variable)
Figure 36A: The Gray silicone mat being cleaned with tape
Figure 36B: The lens being unfocused.
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5. Now move the camera over the gray silicon mat (Figure 37). The RGB lines should appear “bowed” evenly across profile and centered in the image. If not check the orientation of the gray mat card. This very important!
Figure 37: Grayscale card are corresponding RGB Profile visible.
5. Click the Shading Correction - Flat Method button. This can take a few seconds, don’t click anything else until it is done. The RGB lines should now be flat (Figure 38).
Figure 38: Grab and profile after the Shading Correction has been applied.
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2. Click the Pixel Gain Correction - Flat Method button and move the camera very slowly back and forth over the mat. This averages the pixels and helps eliminate streaking in the image. This will take several seconds, don’t click anything else until it is done. When its done the RGB lines should still be flat and the individual RGB are the same (may not be equal to each other) (Figure 39).
Figure 39: Grab and Profile after the Pixel Gain Correction has been applied.
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1.Go to Motion > Drive Enable, to re-enable the motor (Figure 40).
Figure 40: Drive enable control highlighted.
2. Go to IMS Main Panel Select DAQ > Image Capture Motion Setup (Figure 41). In this window confirm that speed is set lower than the speed calculated by the Line Trigger Interval
Figure 41: Image Scan Setup Window.
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4. Scan the STND Color label on the aluminum track behind the monitor (Figure 42). Check the ColorChecker Standard box. With this box selected no corrections are applied to the image so we are able to assess the raw image quality.
Figure 42: Left, sample information screen with ColorChecker box checked. Right, standard barcode being scanned.
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7. On the main IMS panel select Instruments and Camera: Image Correction (Figure 43)
Figure 43: Image Correction command selection.
8. The main window opens. On the right side of the screen select Open Test Image. Open the image just taken (Figure 44). It has been mentioned that it doesn't matter if you load in the jpeg or tiff, not tested yet
Figure 44: Open Test Image Window with all images displayed.
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The main Image Correction window opens (Figure 45). Note the three main areas in the window:
Figure 45: Image Correction Window.
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1.Make sure TIFF Correction Mode is selected in the upper right corner and the TIFF Corrections tab is selected in the bottom right corner (Figure 46).
Figure 46: Tiff correction Mode button and Tiff Correction tab both highlighted in red.
2. In the ORIGINAL image control create a selection rectangle (right-click drag) of the MacBeth card and click CROP (Figure 47). Repeat as necessary until the card fills the entire image.
Figure 47: Green crop square drawn around the color squares.
3. Again create another selection rectangle over the image but do not release the mouse. Move the lower corner of the rectangle until small white boxes appear over the color squares. Make sure the boxes are in the center of the squares. Release the mouse. The pixels in the squares will be averaged and used for the RGB values in the calibration (Figure 48). (not quite how it works right now, white squares don't show up until mouse is released, error reported in confluence).
Figure 48: Steps for Tiff Correction illustrated on image. 1. Redraw box on color squares. 2. Select Tiff Correction Mode. 3. Put graph on Uncorrected Image. 4. Select Tiff Correction to view polynomial order. 5. Adjust polynomial order. 6. Check graph for linear relationship.
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1. Select JPEG Correction Mode (Figure 49).
Figure 49: Steps for JPEG Correction illustrated on image. 1. Select JPEG Correction Mode. 2. Select Applied Corrections tab on graph. 3. Select JPEG Correction to see Brightness, Contrast, and Gamma Corrections. 4. Adjust Brightness, Contrast, and Gamma corrections. 6. Check graph for Linear Relationship. 7. Check the boxes in the Color Checker and compare to RGB values in corrected image.
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3. Put the Calibration Standard in the track (Figure 33). The color square must be oriented as pictured below.
Figure 33: Color standard in track in correct orientation.
4. Select the tab RATES and EXPOSURE (Figure 34).
Figure 34: Rates and Exposure window, the tab is highlighted in red.
5. On the Green Lock control select OFF (Figure 35). The other exposures are now adjustable.
Figure 35: Green Lock control highlighted in red and set to off.
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8. Click the Start Grab (Figure 36).
Figure 36: Start Grab button highlighted in red.
9. Move the camera over the Macbeth color standard until you see the white, dark blue, orange and brown color bars in the image. Place the cursor in the white square, right-click and draw a rectangle by dragging diagonally. Release the mouse when you have select most of the white bar. The rectangle (marked in green) should only have the white color and nothing else inside (Figure 37).
Figure 37: The grab window is highlighted in red. A green square is drawn in the white color square of the appropriate row.
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2. Put the Calibration Standard in the track (Figure 33). The color square must be oriented as pictured below.
Figure 33: Color standard in track in correct orientation.
3. Select the tab RATES and EXPOSURE (Figure 34).
Figure 34: Rates and Exposure window, the tab is highlighted in red.
4. On the Green Lock control select OFF (Figure 35). The other exposures are now adjustable.
Figure 35: Green Lock control highlighted in red and set to off.
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7. Click the Start Grab (Figure 36).
Figure 36: Start Grab button highlighted in red.
8. Move the camera over the Macbeth color standard until you see the white, dark blue, orange and brown color bars in the image. Place the cursor in the white square, right-click and draw a rectangle by dragging diagonally. Release the mouse when you have select most of the white bar. The rectangle (marked in green) should only have the white color and nothing else inside (Figure 37).
Figure 37: The grab window is highlighted in red. A green square is drawn in the white color square of the appropriate row.
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1.To access the scratch sheet configuration options, click the Instruments button and follow the menu down to Camera: VCDS Setup. The parameter screen will then display (Figure 19).
Figure 19. Select VCDS Setup
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Navigate to the 'View' button on the toolbar. Select the 'Tools Palette' Option (Figure 20).
Figure 20. Select Tools Palette on LabVIEW
2. The Tools Palette window will appear (Figure 21). This allows you to select objects.
Figure 21. Tools Palette window
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