Egocentric Wood Carving Video Data

Egocentric wood carving data is first-person video of one person shaping wood by hand, recorded from that person’s own point of view while they work. A paid, consented contributor wears the capture rig and performs the task written in a skill spec, and each attempt is delivered as an episode with synchronized streams, hand pose and labeled action segments. It is human capture. It is not robot or teleoperation data, and it is not a fixed corpus you download.

The site states the task in its commercial task catalog. In the Woodcraft & Carving Studio environment, the row "Wood carving" reads: "Shape and detail wood with chisels, gouges and knives into a carved piece." It is rated Hard, captured with a head-mounted phone or a multiview rig, and listed as available on request. The row "Whittling" reads: "Carve small figures and objects from a block of wood with a knife." It is rated Medium, with the same capture setup and status. The environment is described with examples of woodturning, wood carving, marquetry, furniture crafting and whittling. This page is built on those rows and on nothing else the site says about carving.

Neighbouring pages cover different subjects. Egocentric woodworking and carpentry data spans measuring, sawing, drilling, joining, sanding and finishing wood. Egocentric sanding and finishing data centres on repeated passes over a surface, and egocentric arts and crafts data covers painting, printmaking and sculpting, where one row shapes clay, stone or wood into a three-dimensional form. The subject here is carving and whittling, where chisels, gouges and a knife are the tools.

People reach this topic through wood carving robot training data, a hand carving video dataset, egocentric chisel and knife work data, or custom craft task data collection. They describe one request from different angles. The work is the same: write the task down, collect it on demand, and receive validated episodes.

The first table below reproduces the six catalog rows closest to this topic: the five rows of the Woodcraft & Carving Studio environment and the "Sculpting" row from the Art Studio environment. Two of them are carving rows. "Wood carving" shapes and details wood with chisels, gouges and knives, and "Whittling" carves small figures and objects from a block of wood with a knife. The other three studio rows, "Furniture crafting", "Marquetry" and "Woodturning", are different sequences, and they are listed for context only. The "Sculpting" row shapes clay, stone or wood with hands and tools, so wood is one of three materials it names.

The wood carving row names two actions, shape and detail, and the whittling row names one, carve. The site does not say what "detail" means in practice, which of the chisels, gouges and knives a given episode uses, or what the finished piece looks like. It states no carving style, wood species, piece size or number of cuts. Whether one episode is a single cut, one stage of the work or the whole piece is a spec decision.

All six rows are listed as available on request, and all carry the head-mounted phone or multiview rig capture setup. No row in this environment is listed as ready to deploy or as an active collection, so expect a scoping step before capture starts.

Each attempt is delivered as one episode, and carving needs a decision up front about what one attempt is. It could be one pass of the tool, one stage such as shaping or detailing, or the whole piece from block to carved form. The site does not set an episode length, the size of the piece or the number of episodes, so the skill spec does. Inside the episode, the synchronized streams run from start to end, and action segments divide it into labeled spans.

The choice matters because of two machine-checked rules. An episode is rejected if the manipulated object is out of frame for more than 15 percent of it, and if more than 35 percent of depth pixels in the manipulation region are invalid. In carving the piece and the tool are close to the camera and the hands are working on both, so the spec should say what counts as the manipulated object and where the manipulation region is at each step.

The site does not describe how a piece held in the hand, a fast-moving tool or loose material on the surface is handled. If your policy depends on any of those, say so at the start, and settle it in a Spec Pilot rather than assuming it.

Inside each episode, action segments divide the recording into start- and end-timestamped spans, each carrying start_ns, end_ns, verb and noun. For this task family a segment can be one step as written in the skill spec, so a carving session becomes a run of labeled steps rather than one long clip. The other standard fields are hand_joints and hand_visible for 3D hand pose, contact_events for the moment the hand meets an object, objects, and instance_masks, stored at the depth resolution of 848×480 so they line up with the depth stream.

Hand pose is delivered for both hands with a per-joint visibility flag for occluded fingers. That is the label that carries how the hands grip and move the tool and the piece, and it is the main signal for the manipulation inside a carving task. The site describes contact events as the moment the hand meets an item, and does not say which contacts matter in carving, so the spec settles what a contact event means for your task.

The site lists no label for the outcome of the carving. There is no stated wood species, cut depth, dimension, surface quality, finish label or task-completion score, and no contact force reading. Camera pose, a head trajectory and a map of the workspace are likewise not among the listed deliverables. The site states 6-DoF IMU data at 200 Hz from head- and wrist-mounted sensors, and nothing more about motion.

Delivery is in the format your stack already reads: RLDS, LeRobot, WebDataset, HDF5, zarr or Rerun .rrd, or raw streams with metadata. Readable converter source ships alongside the data so the schema can be retargeted to your own loader. The official documentation for three of these formats is linked in the sources below. Collections are billed per validated hour, and the license is perpetual, irrevocable and worldwide, buyer-owned and non-exclusive by default, with exclusivity available as a separate term.

A published robot foundation model paper, GR00T N1, linked in the sources below, describes a data pyramid with web data and human video at the base, synthetic data in the middle and real robot trajectories at the top. First-person human video of hand work sits in that base layer. Human capture does not replace robot data, and this page does not claim that it does. The glossary entry on the data pyramid explains how the layers trade volume for embodiment closeness.

Carving is a useful shape of task because the work is in the fingers. The site’s tool use page says that driver and bit selection, grip changes and tool hand-off between hands live in finger-level detail that RGB video alone cannot resolve, and that each needs 3D hand pose tracked through reach, grasp and tool manipulation. That page is about driving and fastening tools, not carving, so this page does not claim the same findings for chisels or knives. What carries over is the reasoning: a clip that shows a piece somewhere in frame does not carry what a policy needs. The hands, the tool and the step boundaries have to be in the episode.

A custom collection lets you aim at the step your model is missing, such as roughing out a form versus adding detail, or a specific tool in a specific grip. This page does not claim that any public corpus lacks carving data, and it does not claim a training outcome or a model improvement from any dataset.

The tradeoff to plan for is the embodiment gap between a human pair of hands carving and a robot platform doing the same, which retargeting or pairing with robot data has to close. Counts of contributors, hours and tasks are set in your skill spec.

The site describes the capture setup for these rows: a head-mounted phone records the first-person view of real work on site, and a multiview rig adds synchronized third-person angles when the spec asks for them. The handheld-gripper setup, which the site describes as a staged working set, is not the setup listed for any of the carving rows. The status "available on request" means the work is scoped and recruited to spec when a buyer asks for it.

The site names no studio, school, workshop, city or region, and it lists capture at your own facility as not offered. This page therefore makes no claim that episodes are recorded in a particular studio, and none that they are recorded at yours. Capture is run to your skill spec using the settings and contributors Firsthand arranges.

Every contributor signs a written release before capture, and each delivered episode links to that record through consent artefact IDs in the batch data card. The consent chain has six checkpoints, from before capture to after delivery, and a break at any one discards the footage rather than shipping it at a lower grade. At ingest, automated detection finds faces, plates and screens and blurs them irreversibly, and speech is scrubbed of names, addresses and card numbers while ambient audio is kept. A human reviewer confirms that no un-consented person is identifiable in any frame, and footage that cannot be de-identified is discarded. An undocumented bystander is also one of the machine-checked reject criteria. The anonymization record is delivered with the data.

On safety and qualification, the site states no contributor safety protocol, no injury-prevention guidance and no certification for any carving row, and this page describes none. If your program needs terms about who performs the work or the conditions under which it is done, raise them when you scope it. None of this is legal advice, and the executed agreement controls.

From signed spec to first validated batch, the site states a median of 48 hours where coverage is deep and three to four weeks where it is thin and contributors need to be recruited first. The site does not say whether the Woodcraft & Carving Studio environment counts as deep or thin, and its rows are available on request, so ask which timeline applies when you request the quote. Speed comes from a warm pipeline, not from cutting consent, review or anonymization.

The site also states program milestones: a pilot reaches its first delivery in two to three weeks, and a standing program reaches full rate in four to six weeks. After the first batch, on-demand top-ups run against the same accept criteria, so you can add pieces, steps or tools without rewriting the spec. The site does not state a turnaround for those later batches, so plan them in your quote.

Only footage that clears the signed accept criteria is billed as a validated hour, and rejected items are recaptured at our cost. The site does not publish a price list, a minimum order or a batch size for this task family, so those are set in your quote. Collection is fast and on demand in the sense that you do not need a standing program: a focused brief is a normal starting point.

Where this site does not state something, this page says "Not stated" rather than filling the gap. The tables below separate what is delivered from what is not stated. There is no listed label for wood species, carving style, cut depth, surface quality or completion, no tool specification beyond chisels, gouges and knives, no task duration, no site count, no region or city, no episode count and no success or quality label. Nothing here reports a robot result, a benchmark or a model improvement.

Counts of contributors, hours and tasks are set in your skill spec. A task outside the rows quoted above, such as a carving technique the catalog does not name, is settled in a Spec Pilot rather than assumed.

Describe the step, the tool, the piece and the variation or failure cases your pipeline is missing. That becomes a written skill spec, quoted for reach, timeline and price before any capture begins, and most programs run a Spec Pilot first, a small, fast first batch that proves the spec and the accept criteria on real footage before volume scales. The scoping checklist below maps the parts of a skill spec onto a carving request. A published sample recording is on the sample data outputs page if you want to see the streams before you write a spec.

Three choices matter most for this family. Name the step and the tool rather than a broad activity, because that is what lets each step become one action segment. Decide whether you want carving, whittling or both, since the catalog rates them differently. And name where the episode starts and stops: one pass, one stage or the whole piece, since the site does not set an episode length.