Stereo Pottery and Ceramics Data

It is first-person video of a person doing studio ceramics work, recorded with two calibrated cameras, with hand pose and sensor streams alongside. People reach it through several phrasings: pottery robot training data, stereo wheel throwing video, egocentric glazing and hand-building dataset, or custom craft studio data collection at scale. They describe one request from different angles. Stereo describes the capture, and MCAP describes the container. They are separate choices.

The site does not state that stereo is already running on these rows. The catalog lists a head-mounted phone or a multiview rig as the capture setup, so a stereo pair is a capture choice agreed in the skill spec and confirmed on a Spec Pilot. The data is human capture by paid, consented contributors, not robot or teleoperation data, so using it for a specific robot still needs your own retargeting step. Firsthand is not affiliated with Foxglove or the MCAP maintainers.

Five, listed in lib/commercial-catalog-data.ts under the Pottery & Ceramics Studio environment in the Creative Workshops & Crafts sector. "Wheel throwing" is described as centring clay on the wheel, opening and pulling walls and trimming the finished form. "Glazing" is described as mixing glaze, dipping or brushing it onto bisque pieces and wiping the foot clean. "Hand-building" is described as rolling slabs and coils and joining them by hand into a vessel or form. "Kiln loading and firing" is described as stacking pieces on kiln shelves, setting the firing programme and unloading when cool. "Ceramic sculpting" is described as modelling and carving clay into a sculptural form with hands and loop tools.

Wheel throwing and Ceramic sculpting are rated Hard. Glazing, Hand-building and Kiln loading and firing are rated Medium. All five are listed as Available on request. The site defines Available on request as work that a spec starts, rather than a running capture stream a spec can join. That is a statement about the catalog row, not a promise of a delivery date. The site states no delivered hours and no delivered stereo footage for any of the five rows, so this page claims none. A Sculpting row in the Art Studio environment shapes clay, stone or wood and is not counted here. The first table below reproduces the five rows as the catalog states them.

This page is the stereo and MCAP treatment of the five pottery rows. The egocentric pottery and ceramics page covers the same five rows as first-person video with ten streams synced under 2 ms, hand pose, depth and action segments, and stereo is not its subject. It is the non-stereo page for the same environment.

Neighbouring pages cover other material. The deformable object page covers cloth, bedding and bags, the baking and dough handling page covers dough, and the glass and mosaic page covers its own environment. This page covers the studio sequence for clay, from the first lump on the wheel to a loaded kiln. The second table below sets the pages side by side with each status as the site lists it.

The catalog lists "Phone (head-mounted) / multiview rig" for all five rows. The site does not state a stereo pair for any of them. Stereo applies through the site’s general stereo offer: a stereo pair is a capture choice agreed in the skill spec and confirmed on a Spec Pilot. The site does not state capture at a customer’s own studio, so the setting is agreed in the spec.

The site describes two stereo setups and does not say which one an order for these rows uses. The hard-environments stack is a global-shutter 4K/60 head camera with a 120° lens, two 1080p/60 wrist cameras, a depth sensor at 848×480 and 30 fps, and 200 Hz 6-DoF IMUs. The off-the-shelf stereo head rig, dataset 06, is dual fisheye cameras at 1080p per eye, a 62 mm baseline, per-unit calibration, a 9-axis IMU and hand-tracking output. Camera count, resolution and frame rate for ceramics work are Not stated.

Ceramics is about where hands meet material: how a wall is held between the fingers, where a tool meets the clay, how a piece is set on a shelf. A stereo pair recovers depth from the calibrated frame pair rather than from a standalone depth sensor, so the geometry sits in the same capture that shows the hands working. The site gives no depth accuracy figure for these rows, so what a buyer does with that depth is their pipeline’s question.

A stereo pair adds depth, not a verdict. The site lists no clay type, piece size, glaze outcome or shape-outcome label for these rows, and none is claimed. The egocentric pottery page already supplies the first-person framing; stereo is the addition for a buyer who wants the depth and the MCAP file.

Each row gives a natural cut. Wheel throwing runs from centring through opening and pulling to trimming, so one row holds several different hand actions. Hand-building rolls slabs and coils and then joins them, so rolling and joining are different steps. Ceramic sculpting models and then carves. Glazing mixes the glaze, dips or brushes it on and then wipes the foot clean. Kiln loading and firing stacks pieces, sets the firing programme and then unloads when cool.

A spec that says "throw a bowl" gives one long action segment. A spec that names centring, opening, pulling and trimming gives a sequence you can slice by step. Whether each of those is its own segment, and whether a piece or a whole session is one episode, is a spec decision, not a default. The site does not set an episode length or a piece count. Contact events can mark when a hand meets clay, a tool or a kiln shelf, where the spec asks for them.

In wheel throwing one hand sits inside the form while the other works the outside, and in hand-building the fingers close around a slab or a coil. The site states that the hands occlude the work and that fingers disappear behind objects. That is why each hand joint carries a visibility flag, why contact events mark when the hand meets the material, and why instance masks are recorded per frame.

It also states that reach and grasp frames are where blur and occlusion show up, and the head camera in the hard-environments stack is global-shutter, which avoids rolling-shutter skew. How often occlusion occurs on the pottery rows is Not stated. If your policy depends on seeing the inside of a pulled wall, say so in the spec, ask for wrist views or a multiview angle, and settle it on a Spec Pilot.

The site states that glare-heavy and low-texture scenes make single-frame depth worse, and that depth degrades on wet and reflective surfaces, with confidence maps masking low-confidence regions. Wet clay, slip, a glazed piece and a kiln shelf are plausible cases, but the site does not say whether they count as reflective for this purpose or how depth behaves on them. A lighting setup for the pottery rows is Not stated.

Where a program needs a specific layout, lighting or background, that goes into the spec and is checked on a Spec Pilot. An episode is rejected when more than 35 percent of depth pixels in the manipulation region are invalid, and for this job the spec decides what the manipulation region is at each step. Wheel and kiln models, piece sizes and studio layouts beyond the wheel, bisque pieces, kiln shelves and loop tools named in the catalog are Not stated.

This page makes no kiln, heat, injury, safety, liability or certification claim: all of those are Not stated. The site states no kiln temperature, no firing schedule, no personal protective equipment rule and no studio-specific bystander rule, so how other people in the studio are handled is settled in the spec. The "Kiln loading and firing" row names setting a firing programme and unloading when cool, and the site states nothing beyond that description.

For every delivered episode the site states that faces, plates and screens are detected and irreversibly blurred at ingest, that a reviewer confirms the result before anything ships, and that footage that cannot be de-identified is discarded. The anonymization record ships with the data, an undocumented bystander is a stated reject criterion, and every episode links to a signed contributor release. Mirror reflections and posted signage are not listed as blur categories, so this page does not claim they are blurred. This is not legal advice, and the executed agreement controls.

MCAP is an open source container file format for multimodal log data, supporting multiple channels of timestamped pre-serialized data. It is serialization-agnostic, so messages can be Protobuf, DDS (CDR), ROS, JSON and more. Its design is row-oriented and append-only, it stores schemas alongside the data, and it offers an optional index plus optional LZ4 or Zstandard chunk compression.

Reader and writer libraries exist for C++, Go, Python, Rust, Swift and TypeScript, and the mcap CLI can inspect, merge and split files. The foxglove/mcap repository is MIT-licensed; that is the MCAP project licence, not the licence of a Firsthand delivery. The MCAP hub page and the glossary entry cover the format in full.

Firsthand offers MCAP delivery, and dataset 06 is stated as shipping as MCAP. For these rows the site states hand pose, a stereo-derived depth stream with confidence maps, IMU, contact events, action segments, per-frame instance masks and one task instruction per episode elsewhere. What it does not state is which of those are channels in an MCAP file, how they are named, what encoding they use or at what rate.

No topic name, message schema or rate is stated on this page, and none should be assumed. Name the streams that matter in the skill spec and confirm them on a Spec Pilot batch. The fourth table below sets each stream beside what the site states about it.

Hand occlusion by the clay is the first risk, under the visibility flag above. Weak depth on glare-heavy, wet or reflective surfaces is the second, and the behaviour on slip or glaze is Not stated. Calibration is measured at the start and end of every session under a 0.28 px RMS gate, and an episode is rejected for a sync breach beyond the ceiling for more than three consecutive frames, for the manipulated object out of frame for more than 15 percent of the episode, for an undocumented bystander or for a mismatch against the named skill spec.

A reject log ships with every batch, and rejected items are recaptured at the provider’s cost. The fifth table below lists the failure modes beside what the site states.

The October 2026 off-the-shelf catalog lists ~324,800 hours across 18 datasets, of which stereo is ~64,800 hours across 9 datasets. The site names no pottery or ceramics dataset among them, so this work is custom collection, not an off-the-shelf purchase. The off-the-shelf stereo and hand-tracking video can still show the format before you write a spec.

It is 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. The site does not say which applies to pottery work, so the timeline is quoted against your spec. Collections are billed per validated hour, and rejected episodes and recaptures are never billed.

Describe the pieces and steps and where each starts and ends: centring, opening, pulling and trimming on the wheel, rolling and joining slabs and coils, modelling and carving, mixing and applying glaze, and stacking and unloading the kiln. Say whether an episode covers one piece, one step or a whole session, what counts as the object and what counts as a finished step, the privacy rule for the studio, and name the variation your pipeline is missing. 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 or sits beside RLDS, LeRobot or WebDataset.

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 sixth table below shows what each spec element decides.