Understanding and ameliorating non-linear phase and amplitude responses in AMCW Lidar

Amplitude modulated continuous wave (AMCW) lidar systems commonly suffer from non-linear phase and amplitude responses due to a number of known factors such as aliasing and multipath inteference. In order to produce useful range and intensity information it is necessary to remove these perturbations from the measurements. We review the known causes of non-linearity, namely aliasing, temporal variation in correlation waveform shape and mixed pixels/multipath inteference. We also introduce other sources of non-linearity, including crosstalk, modulation waveform envelope decay and non-circularly symmetric noise statistics, that have been ignored in the literature. An experimental study is conducted to evaluate techniques for mitigation of non-linearity, and it is found that harmonic cancellation provides a significant improvement in phase and amplitude linearity

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. ..

3D data fusion from multiple sensors and its applications

The introduction of depth cameras in the mass market contributed to make computer vision applicable to many real world applications, such as human interaction in virtual environments, autonomous driving, robotics and 3D reconstruction. All these problems were originally tackled by means of standard cameras, but the intrinsic ambiguity in the bidimensional images led to the development of depth cameras technologies. Stereo vision was first introduced to provide an estimate of the 3D geometry of the scene. Structured light depth cameras were developed to use the same concepts of stereo vision but overcome some of the problems of passive technologies. Finally, Time-of-Flight (ToF) depth cameras solve the same depth estimation problem by using a different technology. This thesis focuses on the acquisition of depth data from multiple sensors and presents techniques to efficiently combine the information of different acquisition systems. The three main technologies developed to provide depth estimation are first reviewed, presenting operating principles and practical issues of each family of sensors. The use of multiple sensors then is investigated, providing practical solutions to the problem of 3D reconstruction and gesture recognition. Data from stereo vision systems and ToF depth cameras are combined together to provide a higher quality depth map. A confidence measure of depth data from the two systems is used to guide the depth data fusion. The lack of datasets with data from multiple sensors is addressed by proposing a system for the collection of data and ground truth depth, and a tool to generate synthetic data from standard cameras and ToF depth cameras. For gesture recognition, a depth camera is paired with a Leap Motion device to boost the performance of the recognition task. A set of features from the two devices is used in a classification framework based on Support Vector Machines and Random Forests