Automating joiners

Pictures taken from different view points cannot be stitched into a geometrically consistent mosaic, unless the structure of the scene is very special. However, geometrical consistency is not the only criterion for success: incorporating multiple view points into the same picture may produce compelling and informative representations. A multi viewpoint form of visual expression that has recently become highly popular is that of joiners (a term coined by artist David Hockney). Joiners are compositions where photographs are layered on a 2D canvas, with some photographs occluding others and boundaries fully visible. Composing joiners is currently a tedious manual process, especially when a great number of photographs is involved. We are thus interested in automating their construction. Our approach is based on optimizing a cost function encouraging image-to-image consistency which is measured on point-features and along picture boundaries. The optimization looks for consistency in the 2D composition rather than 3D geometrical scene consistency and explicitly considers occlusion between pictures. We illustrate our ideas with a number of experiments on collections of images of objects, people, and outdoor scenes

Inexpensive solution for real-time video and image stitching

Image stitching is the process of joining several images to obtain a bigger view of a scene. It is used, for example, in tourism to transmit to the viewer the sensation of being in another place. I am presenting an inexpensive solution for automatic real time video and image stitching with two web cameras as the video/image sources. The proposed solution relies on the usage of several markers in the scene as reference points for the stitching algorithm. The implemented algorithm is divided in four main steps, the marker detection, camera pose determination (in reference to the markers), video/image size and 3d transformation, and image translation. Wii remote controllers are used to support several steps in the process. The built‐in IR camera provides clean marker detection, which facilitates the camera pose determination. The only restriction in the algorithm is that markers have to be in the field of view when capturing the scene. Several tests where made to evaluate the final algorithm. The algorithm is able to perform video stitching with a frame rate between 8 and 13 fps. The joining of the two videos/images is good with minor misalignments in objects at the same depth of the marker,misalignments in the background and foreground are bigger. The capture process is simple enough so anyone can perform a stitching with a very short explanation. Although real‐time video stitching can be achieved by this affordable approach, there are few shortcomings in current version. For example, contrast inconsistency along the stitching line could be reduced by applying a color correction algorithm to every source videos. In addition, the misalignments in stitched images due to camera lens distortion could be eased by optical correction algorithm. The work was developed in Apple’s Quartz Composer, a visual programming environment. A library of extended functions was developed using Xcode tools also from Apple.Orientador: Mon‐Chu Che

Perspective in Two Dimensions for Computer Graphics

Computer graphics perspective is based on photography, the pin-hole camera model. This thesis examines the perspective as practiced by artists, who develop the picture geometry within the planar surface of the canvas. Their approach is flexible, depth is simulated with planar composition as the primary geometry. Renaissance artists discovered construction methods to draw the foreshortening of realistic pictures: the construction of a tiled floor in perspective was fundamental. This thesis presents the framework, a computer program, I developed to create the perspective of pictures based on the geometry practices of artists. Construction lines on the image plane simulate the 3D geometry of the pictorial space; cartoons of foreground elements are manipulated in 2D within the picture perspective; projected shadows, examples of double projection, are also included. A formalism, reformulating algebraically the straight-edge and compass evaluations, generalizes the planar geometry that solves the challenge of depicting 3D. A revised Painter’s algorithm produces the occlusions between the picture elements from sequencing them from their definitions on the canvas