Stereo Art Studio Painting and Sculpting Data

It is real-world, first-person video of a person doing studio art work, recorded with two calibrated cameras so that depth can be recovered, together with 3D hand pose and the other streams the site already lists. The catalog describes the work in its own words: mixing paint on a palette and applying it to canvas, sketching an outline on a wall and painting it, inking a plate or screen and pulling prints, and shaping clay, stone or wood into a three-dimensional form. The buyer sets the task and the accept criteria; Firsthand handles contributors, capture, QA, consent and delivery.

The data is human capture by paid, consented contributors, not robot or teleoperation data. This page is about art studio robot training data in the sense of what a policy can learn from watching skilled studio work, and it makes no claim that any robot has been trained on it or that any robot paints, prints or sculpts. People reach this topic through several phrasings, such as stereo canvas painting video, an egocentric sculpting and printmaking dataset or custom creative-workshop data collection at scale. They describe one request from different angles.

Four. In the Art Studio (painting, sculpture, printmaking) environment of the Creative Workshops & Crafts sector the catalog lists "Canvas painting", "Mural work", "Printmaking" and "Sculpting", and the environment examples read "Artist studio, canvas painting, sculpting, mural work, printmaking". Canvas painting and Mural work are rated Medium. Printmaking and Sculpting are rated Hard. All four list the capture setup Phone (head-mounted) / multiview rig, and all four have the status Available on request. The first table below reproduces them exactly.

Available on request means the work is scoped and recruited to spec when a buyer asks for it. This page therefore claims no completed collection, no delivered hours and no delivered stereo footage for any of the four rows. Drawing on paper has no row of its own; the only sketching wording is the outline step inside the mural row.

Not stated. The catalog lists a head-mounted phone or a multiview rig for all four rows and no stereo pair. Stereo applies here only through the site general stereo offer: the site describes a stereo head rig and a hard-environments stack, and a stereo pair for an art studio order is a choice made in the skill spec and confirmed on a Spec Pilot.

This is why the page is written as a stereo and container page for four rows rather than as a description of existing stereo studio footage. If you need stereo, say so in the brief. If you are happy with the catalog setup, the egocentric arts and crafts page describes that non-stereo route for the same four rows.

This page is stereo capture of canvas painting, mural work, printmaking and sculpting in an art studio. The egocentric arts and crafts page covers the same four rows as first-person video without stereo as its subject. The egocentric painting and coating page is about trade painting, and mentions the two art studio painting rows only as artistic listings.

The stereo painting and coating page is stereo, but it counts four finishing-trade rows, Painting & Priming, a roller-and-brush interior walls row, Roll + cut-in paint and Staining & Finishing, and leaves canvas and mural work out. The stereo pottery and ceramics page covers the five rows of a separate Pottery & Ceramics Studio environment and lists the Art Studio Sculpting row only as a neighbour. The stereo woodcraft and carving page covers a Woodcraft & Carving Studio and also shows the Sculpting row beside its own rows. The second table below puts them side by side with their status as the site lists it.

The catalog words the rows as short ordered jobs. Canvas painting is mix, then apply: paint on a palette, brushes and knives on canvas. Mural work is sketch, then paint large areas, then details, with rollers and brushes on a wall. Printmaking is ink, position, pull: the plate or screen, the paper and the press. Sculpting names materials and an outcome, clay, stone or wood shaped into a three-dimensional form, rather than a sequence.

What a spec can do is cut each job into steps the buyer names and give each a start and an end. Action segments carry start_ns, end_ns, verb and noun, so one piece of work becomes a sequence of labeled spans instead of one long clip, and contact events mark when a hand meets a tool, the material or the work surface. The site names no stroke, no coat, no pass count and no finishing step for any row, and how many passes or what final form a sculpting episode ends on is Not stated, so a spec that needs them sets them.

The site describes two stereo configurations. The stereo head rig, dataset 06, is a dual fisheye pair at 1080p per eye on a 62 mm baseline, with per-unit calibration, a 9-axis IMU and hand-tracking output, shipped as MCAP. The hard-environments stack is a 4K/60 head camera with a 120° lens, two 1080p/60 wrist cameras, depth at 848×480 and 30 fps and a 200 Hz 6-DoF IMU. Which of these an art studio order uses is Not stated and is agreed in the skill spec.

Whichever rig is chosen, calibration is measured every session and shipped with the episode, with a 0.28 px RMS reprojection gate. Hand pose is 21 joints per hand with a per-joint visibility flag, and the language data is one task instruction per episode. The site lists two capture modes: a head-mounted phone records the first-person view of real work, and a multiview rig adds synchronized third-person angles when the spec asks for them. All four rows list one setup that covers both, so which applies to a batch is settled in the spec. Whether capture runs at a buyer studio, an artist studio or another place is Not stated, and no studio is named.

Hand occlusion is the first case. A brush, a roller, a knife or a sculpting tool covers the fingers that hold it, and a closing hand hides joints. The site states that the hands occlude the work and that fingers disappear behind objects. The per-joint visibility flag on the 21-joint hand pose marks joints that are not visible instead of guessing them, contact events mark when a hand meets a tool or the work, and a spec can ask for wrist or multiview angles so a grip the head camera loses is still recorded.

Thin, low-contrast strokes and fine detail work are the second case. The site says metric depth on sub-centimetre parts is flagged rather than interpolated, and that two-handed fine motion and small objects are where occlusion bites. Whether a fine line of paint or a detail on a plate counts as such a part, and how often it leaves the frame, is Not stated, so a Spec Pilot checks it on real footage.

Wet and reflective surfaces are the third. Fresh paint and an inked plate are wet surfaces, and the site states that depth degrades there, which per-frame confidence maps handle by masking low-confidence regions. Deformable material is the fourth: the site states that masks for deformable objects are shipped per frame rather than propagated, with instance masks stored at 848×480, and what counts as the object, the canvas, the plate, the tool or the piece being shaped, is a spec decision. Large surfaces add head motion: the sensors include an IMU, and a mural on a wall asks the wearer to move along it, but the site states no head-motion figure for any row. Lighting is the last: the site states no standard lighting values for these rows, so conditions are fixed in the skill spec for the place in question.

Every batch is validated against signed accept criteria before it ships, with a reject log. The site states that an episode is rejected when the manipulated object is out of frame for more than 15 percent of it, when more than 35 percent of depth pixels in the manipulation region are invalid, when a sync breach runs beyond the ceiling for more than three consecutive frames, when an undocumented bystander appears, or when the episode does not match the named skill spec. Episodes that fail are rejected and logged per batch, not delivered with a caveat.

Billing is per validated hour, and rejected items are recaptured at our cost. The site does not state an accuracy figure for step labels, and it lists no label for the quality of a painting, a print or a form, nor for whether a piece is finished. What counts as a pass for a step boundary is set in the accept criteria.

Firsthand offers MCAP delivery. MCAP is an open-source container format with its own official site at mcap.dev, a specification at mcap.dev/spec and a repository at github.com/foxglove/mcap; read those for what the container is and how it stores records, timestamps and attachments. This page describes the container only from those sources and does not state anything more about it.

The streams the site already states for a stereo capture are the stereo pair, depth with confidence maps, 21-joint hand pose, IMU, contact events, action segments, per-frame instance masks and calibration, with one task instruction per episode. Topic names, message schemas, encoding and rates are Not stated on the site and are agreed in the skill spec. Only dataset 06 is stated as shipped as MCAP; for any custom order, MCAP can be the only delivery or sit beside RLDS, LeRobot, WebDataset, HDF5 or zarr.

Paint, ink, clay, stone or wood types, tool models, brush or roller counts, canvas, wall or plate sizes, artworks, piece counts, task times, error rates, force or tactile data, a quality or completion label and any safety or compliance certification are not stated on the site as standard fields. No artist, studio, client or brand is named for any of the four rows.

If your policy needs any of these, they are written into the skill spec as annotation depth and covered in the quote before capture begins. This page gives no instructions on tools, solvents, heights or other equipment or workplace safety.

The site off-the-shelf catalog lists about 324,800 hours across 18 datasets, including about 64,800 hours of stereo video in 9 datasets. None of its dataset descriptions names canvas painting, mural work, printmaking or sculpting, so no off-the-shelf set stands in for these rows. One stereo set is published as a format and rig example, and it is not coverage of any art studio row.

Stereo art studio collection to a spec is therefore custom collection: custom collection at scale through a network of thousands of capture providers, for a consistent, recurring data flow to labs. Where coverage is deep, the median time from signed spec to first validated batch is a median of 48 hours; where it is thin, turnaround runs three to four weeks. All four rows are Available on request, so the scoped-to-spec timeline applies rather than the ready-now case, and the quote states it up front.

Every episode links to a signed contributor release through a documented consent chain, and the consent record is part of the delivery. Faces, plates and screens are detected and irreversibly blurred at ingest, and a reviewer confirms the result before anything ships, with the anonymization record delivered alongside. Footage that cannot be de-identified is discarded, and an undocumented bystander is a stated reject criterion. An artwork, a mural or a signature in frame is not listed as a blur category, so raise it in the spec if it matters.

The buyer owns the dataset under a perpetual, irrevocable, non-exclusive-by-default licence, with exclusivity available. Consent is recorded per session. The executed agreement controls, and the anonymization page describes the steps in more detail.

Describe the row you want, the steps you expect to see and where each starts and ends. Say whether one episode is a single step, a single piece or a run of work, what counts as the object, what counts as a reject, and whether you want a stereo pair, wrist views or a multiview rig. Then name the streams you want in the file, the topic naming and message encoding your reader expects, whether calibration ships inside the file or beside it, and whether MCAP is the only delivery.

Most programs begin with a Spec Pilot, a small first batch that proves the spec and accept criteria on real footage before you scale. The last table below shows what each spec element decides.