A virtual reality system using the concentric mosaic: Construction, rendering, and data compression

This paper proposes a new image-based rendering (IBR) technique called "concentric mosaic" for virtual reality applications. IBR using the plenoptic function is an efficient technique for rendering new views of a scene from a collection of sample images previously captured. It provides much better image quality and lower computational requirement for rendering than conventional three-dimensional (3-D) model-building approaches. The concentric mosaic is a 3-D plenoptic function with viewpoints constrained on a plane. Compared with other more sophisticated four-dimensional plenoptic functions such as the light field and the lumigraph, the file size of a concentric mosaic is much smaller. In contrast to a panorama, the concentric mosaic allows users to move freely in a circular region and observe significant parallax and lighting changes without recovering the geometric and photometric scene models. The rendering of concentric mosaics is very efficient, and involves the reordering and interpolating of previously captured slit images in the concentric mosaic. It typically consists of hundreds of high-resolution images which consume a significant amount of storage and bandwidth for transmission. An MPEG-like compression algorithm is therefore proposed in this paper taking into account the access patterns and redundancy of the mosaic images. The compression algorithms of two equivalent representations of the concentric mosaic, namely the multiperspective panoramas and the normal setup sequence, are investigated. A multiresolution representation of concentric mosaics using a nonlinear filter bank is also proposed.published_or_final_versio

MASCOT : metadata for advanced scalable video coding tools : final report

The goal of the MASCOT project was to develop new video coding schemes and tools that provide both an increased coding efficiency as well as extended scalability features compared to technology that was available at the beginning of the project. Towards that goal the following tools would be used: - metadata-based coding tools; - new spatiotemporal decompositions; - new prediction schemes. Although the initial goal was to develop one single codec architecture that was able to combine all new coding tools that were foreseen when the project was formulated, it became clear that this would limit the selection of the new tools. Therefore the consortium decided to develop two codec frameworks within the project, a standard hybrid DCT-based codec and a 3D wavelet-based codec, which together are able to accommodate all tools developed during the course of the project

Enabling arbitrary rotation camera-motion using multi-sprites with minimum coding cost

Object-oriented coding in the MPEG-4 standard enables the separate processing of foreground objects and the scene background (sprite). Since the background sprite only has to be sent once, transmission bandwidth can be saved.We have found that the counter-intuitive approach of splitting the background into several independent parts can reduce the overall amount of data. Furthermore, we show that in the general case, the synthesis of a single background sprite is even impossible and that the scene background must be sent as multiple sprites instead. For this reason, we propose an algorithm that provides an optimal partitioning of a video sequence into independent background sprites (a multisprite), resulting in a significant reduction of the involved coding cost. Additionally, our sprite-generation algorithm ensures that the sprite resolution is kept high enough to preserve all details of the input sequence, which is a problem especially during camera zoom-in operations. Even though our sprite generation algorithm creates multiple sprites instead of only a single background sprite, it is fully compatible with the existing MPEG-4 standard. The algorithm has been evaluated with several test sequences, including the well-known Table-tennis and Stefan sequences. The total coding cost for the sprite VOP is reduced by a factor of about 2.6 or even higher, depending on the sequence

Data compression and transmission aspects of panoramic videos

Panoramic videos are effective means for representing static or dynamic scenes along predefined paths. They allow users to change their viewpoints interactively at points in time or space defined by the paths. High-resolution panoramic videos, while desirable, consume a significant amount of storage and bandwidth for transmission. They also make real-time decoding computationally very intensive. This paper proposes efficient data compression and transmission techniques for panoramic videos. A high-performance MPEG-2-like compression algorithm, which takes into account the random access requirements and the redundancies of panoramic videos, is proposed. The transmission aspects of panoramic videos over cable networks, local area networks (LANs), and the Internet are also discussed. In particular, an efficient advanced delivery sharing scheme (ADSS) for reducing repeated transmission and retrieval of frequently requested video segments is introduced. This protocol was verified by constructing an experimental VOD system consisting of a video server and eight Pentium 4 computers. Using the synthetic panoramic video Village at a rate of 197 kb/s and 7 f/s, nearly two-thirds of the memory access and transmission bandwidth of the video server were saved under normal network traffic.published_or_final_versio

Multiperspective mosaics and layered representation for scene visualization

This thesis documents the efforts made to implement multiperspective mosaicking for the purpose of mosaicking undervehicle and roadside sequences. For the undervehicle sequences, it is desired to create a large, high-resolution mosaic that may used to quickly inspect the entire scene shot by a camera making a single pass underneath the vehicle. Several constraints are placed on the video data, in order to facilitate the assumption that the entire scene in the sequence exists on a single plane. Therefore, a single mosaic is used to represent a single video sequence. Phase correlation is used to perform motion analysis in this case. For roadside video sequences, it is assumed that the scene is composed of several planar layers, as opposed to a single plane. Layer extraction techniques are implemented in order to perform this decomposition. Instead of using phase correlation to perform motion analysis, the Lucas-Kanade motion tracking algorithm is used in order to create dense motion maps. Using these motion maps, spatial support for each layer is determined based on a pre-initialized layer model. By separating the pixels in the scene into motion-specific layers, it is possible to sample each element in the scene correctly while performing multiperspective mosaicking. It is also possible to fill in many gaps in the mosaics caused by occlusions, hence creating more complete representations of the objects of interest. The results are several mosaics with each mosaic representing a single planar layer of the scene

Video Categorization Using Semantics and Semiotics

There is a great need to automatically segment, categorize, and annotate video data, and to develop efficient tools for browsing and searching. We believe that the categorization of videos can be achieved by exploring the concepts and meanings of the videos. This task requires bridging the gap between low-level content and high-level concepts (or semantics). Once a relationship is established between the low-level computable features of the video and its semantics, the user would be able to navigate through videos through the use of concepts and ideas (for example, a user could extract only those scenes in an action film that actually contain fights) rat her than sequentially browsing the whole video. However, this relationship must follow the norms of human perception and abide by the rules that are most often followed by the creators (directors) of these videos. These rules are called film grammar in video production literature. Like any natural language, this grammar has several dialects, but it has been acknowledged to be universal. Therefore, the knowledge of film grammar can be exploited effectively for the understanding of films. To interpret an idea using the grammar, we need to first understand the symbols, as in natural languages, and second, understand the rules of combination of these symbols to represent concepts. In order to develop algorithms that exploit this film grammar, it is necessary to relate the symbols of the grammar to computable video features. In this dissertation, we have identified a set of computable features of videos and have developed methods to estimate them. A computable feature of audio-visual data is defined as any statistic of available data that can be automatically extracted using image/signal processing and computer vision techniques. These features are global in nature and are extracted using whole images, therefore, they do not require any object detection, tracking and classification. These features include video shots, shot length, shot motion content, color distribution, key-lighting, and audio energy. We use these features and exploit the knowledge of ubiquitous film grammar to solve three related problems: segmentation and categorization of talk and game shows; classification of movie genres based on the previews; and segmentation and representation of full-length Hollywood movies and sitcoms. We have developed a method for organizing videos of talk and game shows by automatically separating the program segments from the commercials and then classifying each shot as the host\u27s or guest\u27s shot. In our approach, we rely primarily on information contained in shot transitions and utilize the inherent difference in the scene structure (grammar) of commercials and talk shows. A data structure called a shot connectivity graph is constructed, which links shots over time using temporal proximity and color similarity constraints. Analysis of the shot connectivity graph helps us to separate commercials from program segments. This is done by first detecting stories, and then assigning a weight to each story based on its likelihood of being a commercial or a program segment. We further analyze stories to distinguish shots of the hosts from those of the guests. We have performed extensive experiments on eight full-length talk shows (e.g. Larry King Live, Meet the Press, News Night) and game shows (Who Wants To Be A Millionaire), and have obtained excellent classification with 96% recall and 99% precision. http://www.cs.ucf.edu/~vision/projects/LarryKing/LarryKing.html Secondly, we have developed a novel method for genre classification of films using film previews. In our approach, we classify previews into four broad categories: comedies, action, dramas or horror films. Computable video features are combined in a framework with cinematic principles to provide a mapping to these four high-level semantic classes. We have developed two methods for genre classification; (a) a hierarchical method and (b) an unsupervised classification met hod. In the hierarchical method, we first classify movies into action and non-action categories based on the average shot length and motion content in the previews. Next, non-action movies are sub-classified into comedy, horror or drama categories by examining their lighting key. Finally, action movies are ranked on the basis of number of explosions/gunfire events. In the unsupervised method for classifying movies, a mean shift classifier is used to discover the structure of the mapping between the computable features and each film genre. We have conducted extensive experiments on over a hundred film previews and demonstrated that low-level features can be efficiently utilized for movie classification. We achieved about 87% successful classification. http://www.cs.ucf.edu/-vision/projects/movieClassification/movieClmsification.html Finally, we have addressed the problem of detecting scene boundaries in full-length feature movies. We have developed two novel approaches to automatically find scenes in the videos. Our first approach is a two-pass algorithm. In the first pass, shots are clustered by computing backward shot coherence; a shot color similarity measure that detects potential scene boundaries (PSBs) in the videos. In the second pass we compute scene dynamics for each scene as a function of shot length and the motion content in the potential scenes. In this pass, a scene-merging criterion is used to remove weak PSBs in order to reduce over-segmentation. In our second approach, we cluster shots into scenes by transforming this task into a graph-partitioning problem. This is achieved by constructing a weighted undirected graph called a shot similarity graph (SSG), where each node represents a shot and the edges between the shots are weighted by their similarities (color and motion). The SSG is then split into sub-graphs by applying the normalized cut technique for graph partitioning. The partitions obtained represent individual scenes in the video. We further extend the framework to automatically detect the best representative key frames of identified scenes. With this approach, we are able to obtain a compact representation of huge videos in a small number of key frames. We have performed experiments on five Hollywood films (Terminator II, Top Gun, Gone In 60 Seconds, Golden Eye, and A Beautiful Mind) and one TV sitcom (Seinfeld) that demonstrate the effectiveness of our approach. We achieved about 80% recall and 63% precision in our experiments. http://www.cs.ucf.edu/~vision/projects/sceneSeg/sceneSeg.htm

Exploring the effectiveness of similarity-based visualisations for colour-based image retrieval

In April 2009, Google Images added a filter for narrowing search results by colour. Several other systems for searching image databases by colour were also released around this time. These colour-based image retrieval systems enable users to search image databases either by selecting colours from a graphical palette (i.e., query-by-colour), by drawing a representation of the colour layout sought (i.e., query-by-sketch), or both. It was comments left by readers of online articles describing these colour-based image retrieval systems that provided us with the inspiration for this research. We were surprised to learn that the underlying query-based technology used in colour-based image retrieval systems today remains remarkably similar to that of systems developed nearly two decades ago. Discovering this ageing retrieval approach, as well as uncovering a large user demographic requiring image search by colour, made us eager to research more effective approaches for colour-based image retrieval. In this thesis, we detail two user studies designed to compare the effectiveness of systems adopting similarity-based visualisations, query-based approaches, or a combination of both, for colour-based image retrieval. In contrast to query-based approaches, similarity-based visualisations display and arrange database images so that images with similar content are located closer together on screen than images with dissimilar content. This removes the need for queries, as users can instead visually explore the database using interactive navigation tools to retrieve images from the database. As we found existing evaluation approaches to be unreliable, we describe how we assessed and compared systems adopting similarity-based visualisations, query-based approaches, or both, meaningfully and systematically using our Mosaic Test - a user-based evaluation approach in which evaluation study participants complete an image mosaic of a predetermined target image using the colour-based image retrieval system under evaluation