Stereo Woodcraft and Carving Data

It is first-person video of a person doing studio woodwork, recorded with two calibrated cameras, with hand pose and sensor streams alongside. People reach it through several phrasings: wood carving robot training data, stereo woodturning video, an egocentric marquetry and whittling dataset, or custom woodworking 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. It is task data, not a record of a studio, and nothing on this page is safety guidance. Firsthand is not affiliated with Foxglove or the MCAP maintainers.

Five, listed in lib/commercial-catalog-data.ts under the Woodcraft & Carving Studio environment in the Creative Workshops & Crafts sector, whose examples line names woodturning, wood carving, marquetry, furniture crafting and whittling. "Furniture crafting" is described as cutting, joining and finishing timber components into furniture pieces at the bench. "Marquetry" is described as cutting veneer pieces to pattern and gluing them into a decorative inlay on a panel. "Whittling" is described as carving small figures and objects from a block of wood with a knife. "Wood carving" is described as shaping and detailing wood with chisels, gouges and knives into a carved piece. "Woodturning" is described as mounting a blank on the lathe and shaping it with turning tools as it spins.

Whittling is rated Medium, and the other four are rated Hard. All five rows 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. The first table below reproduces the five rows as the catalog states them.

This page is the stereo and MCAP treatment of the five Woodcraft & Carving Studio rows. The egocentric wood carving page covers the Wood carving and Whittling rows as first-person video, and the egocentric woodturning and lathe page covers the Woodturning row the same way. Neither has stereo as its subject, and they remain the pages for the first-person framing and the row-by-row detail.

The egocentric veneer lamination and pressing page covers a different catalog row, Veneer Lamination & Pressing, which the catalog lists as Hard and Ready to deploy in a joinery and furniture workshop; the "Marquetry" row on this page is a separate decorative inlay row. The stereo table saw and wood cutting page covers two cutting rows that the catalog lists as Hard and Active collection, and the stereo carpentry and framing page covers five rows across two environments. This page is stereo capture of studio woodcraft and carving. The second table below sets the pages side by side.

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 catalog does not say which of its two modes applies to each row, and 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 the woodcraft rows are Not stated.

Carving and whittling are close work: the tool sits in the hand for the whole task, and the piece being shaped changes form as the cuts accumulate. The catalog itself names "chisels, gouges and knives" and "a block of wood with a knife", and two hands usually work at once, one holding the piece while the other drives the tool. A stereo pair recovers depth from the calibrated frame pair rather than from a standalone depth sensor, so the geometry of the piece and the hands sits in the same capture that shows the fingers working.

The site does not state piece sizes, cut depths, carving styles or what a finished piece looks like, so this page makes no claim about them. A stereo pair adds depth, not a verdict on whether a carving is well made. The site lists no surface-quality, finish or completion label for these rows, and none is claimed. The egocentric wood carving 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. Furniture crafting cuts, joins and finishes components at the bench. Marquetry cuts veneer pieces to pattern and then glues them into an inlay on a panel. Whittling carves small figures and objects with a knife. Wood carving shapes and then details the wood. Woodturning mounts a blank and then shapes it with turning tools.

A spec that says "carve the piece" gives one long action segment. A spec that names shaping and detailing, or mounting and shaping, gives a sequence you can slice by step. Whether each of those is its own segment, and whether one cut, one stage or a whole piece is one episode, is a spec decision, not a default. The site does not set an episode length or a step count. Contact events can mark when a finger or a tool meets the piece, the veneer or the panel, where the spec asks for them.

The Woodturning row says the blank is shaped "as it spins", so for that row the object being worked is in motion across the episode. The site states no lathe speed, blank size, turned form or tool list, and it does not say how a spinning blank is handled by a stereo pair or by the depth stream. How much of the blank is out of frame or blurred at a given moment is Not stated.

The site also states that depth degrades on wet and reflective surfaces, and it states that reach and grasp frames are where blur and occlusion show up. It states no behaviour for sawdust, shavings or chips, and no lighting setup for the woodcraft rows, so how loose material affects the picture is Not stated. If your policy depends on seeing the blank, the tool edge or a shaving clearly, say so in the spec, ask for wrist views or a multiview angle, and settle it on a Spec Pilot. The head camera in the hard-environments stack is global-shutter, which avoids rolling-shutter skew.

At a bench the hands sit between the camera and the work, and a small tool tip can vanish behind a finger or the piece itself. 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 or a tool meets a surface, and why instance masks are recorded per frame.

Marquetry adds small veneer pieces cut to pattern and fitted into a panel, and whittling adds a small figure held in one hand. The site states no piece sizes or counts for these rows, so how often a piece leaves the view is Not stated. The site says two-handed fine motion and small objects are where occlusion bites, and a spec that needs a clear view of the joint, the edge or the inlay should name that step, ask for wrist views or a multiview angle, and confirm it on a Spec Pilot.

Wood species, grain, moisture, blank and panel sizes, lathe speeds, tool brands and models, sharpening, adhesive and finish products, joint types and what a correct or finished piece means are Not stated. So are cycle times, error rates and the number of cuts or passes. They are set in the written spec, and this page claims none of them.

The words "chisels", "gouges", "knives", "turning tools" and "lathe" are catalog wording; the site makes no tooling, quality, craftsmanship or certification claim. A lighting setup for the woodcraft 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.

Tool and lathe safety is Not stated on the site. It states no contributor safety protocol, no injury-prevention guidance and no certification for any carving row, so this page describes none and gives no safety instructions. Who performs the work and under what conditions is something to raise when you scope the order.

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 through a documented consent chain. The site names no studio, school, workshop, city or region and lists capture at a customer’s own facility as not offered, so this page claims neither. 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 tool and the piece is the first risk, under the visibility flag above. Two-handed fine motion with small pieces is the second, and how often it leaves the frame 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 woodcraft or carving 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 the woodcraft rows, so the timeline is quoted against your spec. Collections are billed per validated hour, and rejected episodes and recaptures are never billed.

Describe the crafts and where each starts and ends: cutting, joining and finishing timber at the bench, cutting veneer to pattern and gluing the inlay, carving a small figure with a knife, shaping and detailing with chisels and gouges, and mounting and turning a blank. Say whether an episode covers one cut, one stage or a whole piece, what counts as the object and what counts as a finished step, the setting and lighting, 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.