Image Completion for View Synthesis Using Markov Random Fields and Efficient Belief Propagation

View synthesis is a process for generating novel views from a scene which has been recorded with a 3-D camera setup. It has important applications in 3-D post-production and 2-D to 3-D conversion. However, a central problem in the generation of novel views lies in the handling of disocclusions. Background content, which was occluded in the original view, may become unveiled in the synthesized view. This leads to missing information in the generated view which has to be filled in a visually plausible manner. We present an inpainting algorithm for disocclusion filling in synthesized views based on Markov random fields and efficient belief propagation. We compare the result to two state-of-the-art algorithms and demonstrate a significant improvement in image quality.Comment: Published version: http://ieeexplore.ieee.org/xpl/articleDetails.jsp?tp=&arnumber=673843

Image Inpainting by Hyperbolic Selection of Pixels for Two Dimensional Bicubic Interpolations

Image inpainting is a restoration process which has numerous applications. Restoring of scanned old images with scratches, or removing objects in images are some of inpainting applications. Different approaches have been used for implementation of inpainting algorithms. Interpolation approaches only consider one direction for this purpose. In this paper we present a new perspective to image inpainting. We consider multiple directions and apply both one-dimensional and two-dimensional bicubic interpolations. Neighboring pixels are selected in a hyperbolic formation to better preserve corner pixels. We compare our work with recent inpainting approaches to show our superior results

Digital image processing of the Ghent altarpiece : supporting the painting's study and conservation treatment

In this article, we show progress in certain image processing techniques that can support the physical restoration of the painting, its art-historical analysis, or both. We show how analysis of the crack patterns could indicate possible areas of overpaint, which may be of great value for the physical restoration campaign, after further validation. Next, we explore how digital image inpainting can serve as a simulation for the restoration of paint losses. Finally, we explore how the statistical analysis of the relatively simple and frequently recurring objects (such as pearls in this masterpiece) may characterize the consistency of the painter’s style and thereby aid both art-historical interpretation and physical restoration campaign