A Multi-Projector Calibration Method for Virtual Reality Simulators with Analytically Defined Screens

The geometric calibration of projectors is a demanding task, particularly for the industry of virtual reality simulators. Different methods have been developed during the last decades to retrieve the intrinsic and extrinsic parameters of projectors, most of them being based on planar homographies and some requiring an extended calibration process. The aim of our research work is to design a fast and user-friendly method to provide multi-projector calibration on analytically defined screens, where a sample is shown for a virtual reality Formula 1 simulator that has a cylindrical screen. The proposed method results from the combination of surveying, photogrammetry and image processing approaches, and has been designed by considering the spatial restrictions of virtual reality simulators. The method has been validated from a mathematical point of view, and the complete system which is currently installed in a shopping mall in Spain has been tested by different users

Real-Time Adaptive Radiometric Compensation

Recent radiometric compensation techniques make it possible to project images onto colored and textured surfaces. This is realized with projector-camera systems by scanning the projection surface on a per-pixel basis. With the captured information, a compensation image is calculated that neutralizes geometric distortions and color blending caused by the underlying surface. As a result, the brightness and the contrast of the input image is reduced compared to a conventional projection onto a white canvas. If the input image is not manipulated in its intensities, the compensation image can contain values that are outside the dynamic range of the projector. They will lead to clipping errors and to visible artifacts on the surface. In this article, we present a novel algorithm that dynamically adjusts the content of the input images before radiometric compensation is carried out. This reduces the perceived visual artifacts while simultaneously preserving a maximum of luminance and contrast. The algorithm is implemented entirely on the GPU and is the first of its kind to run in real-time

Superimposing Dynamic Range

We present a simple and cost-efficient way of extending contrast, perceived tonal resolution, and the color space of static hardcopy images, beyond the capabilities of hardcopy devices or low-dynamic range displays alone. A calibrated projector-camera system is applied for automatic registration, scanning and superimposition of hardcopies. We explain how high-dynamic range content can be split for linear devices with different capabilities, how luminance quantization can be optimized with respect to the non-linear response of the human visual system as well as for the discrete nature of the applied modulation devices; and how inverse tone-mapping can be adapted in case only untreated hardcopies and softcopies (such as regular photographs) are available. We believe that our approach has the potential to complement hardcopy-based technologies, such as X-ray prints for filmless imaging, in domains that operate with high quality static image content, like radiology and other medical fields, or astronomy

Laser Pointer Tracking in Projector-Augmented Architectural Environments

We present a system that applies a custom-built pan-tilt-zoom camera for laser-pointer tracking in arbitrary real environments. Once placed in a building environment, it carries out a fully automatic self-registration, registrations of projectors, and sampling of surface parameters, such as geometry and reflectivity. After these steps, it can be used for tracking a laser spot on the surface as well as an LED marker in 3D space, using inter-playing fisheye context and controllable detail cameras. The captured surface information can be used for masking out areas that are critical to laser-pointer tracking, and for guiding geometric and radiometric image correction techniques that enable a projector-based augmentation on arbitrary surfaces. We describe a distributed software framework that couples laser-pointer tracking for interaction, projector-based AR as well as video see-through AR for visualizations with the domain specific functionality of existing desktop tools for architectural planning, simulation and building surveying

IMPROVE: collaborative design review in mobile mixed reality

In this paper we introduce an innovative application designed to make collaborative design review in the architectural and automotive domain more effective. For this purpose we present a system architecture which combines variety of visualization displays such as high resolution multi-tile displays, TabletPCs and head-mounted displays with innovative 2D and 3D Interaction Paradigms to better support collaborative mobile mixed reality design reviews. Our research and development is motivated by two use scenarios: automotive and architectural design review involving real users from Page\Park architects and FIAT Elasis. Our activities are supported by the EU IST project IMPROVE aimed at developing advanced display techniques, fostering activities in the areas of: optical see-through HMD development using unique OLED technology, marker-less optical tracking, mixed reality rendering, image calibration for large tiled displays, collaborative tablet-based and projection wall oriented interaction and stereoscopic video streaming for mobile users. The paper gives an overview of the hardware and software developments within IMPROVE and concludes with results from first user tests

SPATIO-TEMPORAL REGISTRATION IN AUGMENTED REALITY

The overarching goal of Augmented Reality (AR) is to provide users with the illusion that virtual and real objects coexist indistinguishably in the same space. An effective persistent illusion requires accurate registration between the real and the virtual objects, registration that is spatially and temporally coherent. However, visible misregistration can be caused by many inherent error sources, such as errors in calibration, tracking, and modeling, and system delay. This dissertation focuses on new methods that could be considered part of "the last mile" of spatio-temporal registration in AR: closed-loop spatial registration and low-latency temporal registration: 1. For spatial registration, the primary insight is that calibration, tracking and modeling are means to an end---the ultimate goal is registration. In this spirit I present a novel pixel-wise closed-loop registration approach that can automatically minimize registration errors using a reference model comprised of the real scene model and the desired virtual augmentations. Registration errors are minimized in both global world space via camera pose refinement, and local screen space via pixel-wise adjustments. This approach is presented in the context of Video See-Through AR (VST-AR) and projector-based Spatial AR (SAR), where registration results are measurable using a commodity color camera. 2. For temporal registration, the primary insight is that the real-virtual relationships are evolving throughout the tracking, rendering, scanout, and display steps, and registration can be improved by leveraging fine-grained processing and display mechanisms. In this spirit I introduce a general end-to-end system pipeline with low latency, and propose an algorithm for minimizing latency in displays (DLP DMD projectors in particular). This approach is presented in the context of Optical See-Through AR (OST-AR), where system delay is the most detrimental source of error. I also discuss future steps that may further improve spatio-temporal registration. Particularly, I discuss possibilities for using custom virtual or physical-virtual fiducials for closed-loop registration in SAR. The custom fiducials can be designed to elicit desirable optical signals that directly indicate any error in the relative pose between the physical and projected virtual objects.Doctor of Philosoph

Synchronized Illumination Modulation for Digital Video Compositing

Informationsaustausch ist eines der Grundbedürfnisse der Menschen. Während früher dazu Wandmalereien,Handschrift, Buchdruck und Malerei eingesetzt wurden, begann man später, Bildfolgen zu erstellen, die als sogenanntes ”Daumenkino” den Eindruck einer Animation vermitteln. Diese wurden schnell durch den Einsatz rotierender Bildscheiben, auf denen mit Hilfe von Schlitzblenden, Spiegeln oder Optiken eine Animation sichtbar wurde, automatisiert – mit sogenannten Phenakistiskopen,Zoetropen oder Praxinoskopen. Mit der Erfindung der Fotografie begannen in der zweiten Hälfte des 19. Jahrhunderts die ersten Wissenschaftler wie Eadweard Muybridge, Etienne-Jules Marey und Ottomar Anschütz, Serienbildaufnahmen zu erstellen und diese dann in schneller Abfolge, als Film, abzuspielen. Mit dem Beginn der Filmproduktion wurden auch die ersten Versuche unternommen, mit Hilfe dieser neuen Technik spezielle visuelle Effekte zu generieren, um damit die Immersion der Bewegtbildproduktionen weiter zu erhöhen. Während diese Effekte in der analogen Phase der Filmproduktion bis in die achtziger Jahre des 20.Jahrhunderts recht beschränkt und sehr aufwendig mit einem enormen manuellen Arbeitsaufwand erzeugt werden mussten, gewannen sie mit der sich rapide beschleunigenden Entwicklung der Halbleitertechnologie und der daraus resultierenden vereinfachten digitalen Bearbeitung immer mehr an Bedeutung. Die enormen Möglichkeiten, die mit der verlustlosen Nachbearbeitung in Kombination mit fotorealistischen, dreidimensionalen Renderings entstanden, führten dazu, dass nahezu alle heute produzierten Filme eine Vielfalt an digitalen Videokompositionseffekten beinhalten. ...Besides home entertainment and business presentations, video projectors are powerful tools for modulating images spatially as well as temporally. The re-evolving need for stereoscopic displays increases the demand for low-latency projectors and recent advances in LED technology also offer high modulation frequencies. Combining such high-frequency illumination modules with synchronized, fast cameras, makes it possible to develop specialized high-speed illumination systems for visual effects production. In this thesis we present different systems for using spatially as well as temporally modulated illumination in combination with a synchronized camera to simplify the requirements of standard digital video composition techniques for film and television productions and to offer new possibilities for visual effects generation. After an overview of the basic terminology and a summary of related methods, we discuss and give examples of how modulated light can be applied to a scene recording context to enable a variety of effects which cannot be realized using standard methods, such as virtual studio technology or chroma keying. We propose using high-frequency, synchronized illumination which, in addition to providing illumination, is modulated in terms of intensity and wavelength to encode technical information for visual effects generation. This is carried out in such a way that the technical components do not influence the final composite and are also not visible to observers on the film set. Using this approach we present a real-time flash keying system for the generation of perspectively correct augmented composites by projecting imperceptible markers for optical camera tracking. Furthermore, we present a system which enables the generation of various digital video compositing effects outside of completely controlled studio environments, such as virtual studios. A third temporal keying system is presented that aims to overcome the constraints of traditional chroma keying in terms of color spill and color dependency. ..

Radiometric Compensation of Nonlinear Projector Camera Systems by Modeling Human Visual Systems

Radiometric compensation is the process of adjusting the luminance and colour output of images on a display to compensate for non-uniformity of the display. In the case of projector-camera systems, this non-uniformity can be a product of both the light source and of the projection surface. Conventional radiometric compensation techniques have been demonstrated to compensate the output of a projector to appear correct to a camera, but a camera does not possess the colour sensitivity and response of a human. By correctly modelling the interaction between a projector stimulus and camera and human colour responses, radiometric compensation can be performed for a human tristimulus colour model rather than that of the camera. The result is a colour gamut which is seen to be correct for a human viewer but not necessarily the camera. A novel radiometric compensation method for projector-camera systems and textured surfaces is introduced based on the human visual system (HVS) colour response. The proposed method for modelling human colour response can extend established compensation methods to produce colours which are human-perceived to be correct (egocentric modelling). As a result, this method performs radiometric compensation which is not only consistent and precise, but also produces images which are visually accurate to an external colour reference. Additionally, conventional radiometric compensation relies on a solution of a linear system for the colour response of each pixel in an image, but this is insufficient for modelling systems containing a nonlinear projector or camera. In the proposed method, nonlinear projector output or camera response has been modelled in a separable fashion to allow for the linear system solution for the human visual space to be applied to nonlinear projector-camera systems. The performance of the system is evaluated by comparison with conventional solutions in terms of computational speed, memory requirements, and accuracy of the colour compensation. Studies include the qualitative and quantitative assessment of the proposed compensation method on a variety of adverse surfaces, with varying colour and specularity which demonstrate the colour accuracy of the proposed method. By using a spectroradiometer outside of the calibration loop, this method is shown to produce generally the lowest average radiometric compensation error when compared to compensation performed using only the response of a camera, demonstrated through quantitative analysis of compensated colours, and supported by qualitative results