A Novel Inpainting Framework for Virtual View Synthesis

Multi-view imaging has stimulated significant research to enhance the user experience of free viewpoint video, allowing interactive navigation between views and the freedom to select a desired view to watch. This usually involves transmitting both textural and depth information captured from different viewpoints to the receiver, to enable the synthesis of an arbitrary view. In rendering these virtual views, perceptual holes can appear due to certain regions, hidden in the original view by a closer object, becoming visible in the virtual view. To provide a high quality experience these holes must be filled in a visually plausible way, in a process known as inpainting. This is challenging because the missing information is generally unknown and the hole-regions can be large. Recently depth-based inpainting techniques have been proposed to address this challenge and while these generally perform better than non-depth assisted methods, they are not very robust and can produce perceptual artefacts. This thesis presents a new inpainting framework that innovatively exploits depth and textural self-similarity characteristics to construct subjectively enhanced virtual viewpoints. The framework makes three significant contributions to the field: i) the exploitation of view information to jointly inpaint textural and depth hole regions; ii) the introduction of the novel concept of self-similarity characterisation which is combined with relevant depth information; and iii) an advanced self-similarity characterising scheme that automatically determines key spatial transform parameters for effective and flexible inpainting. The presented inpainting framework has been critically analysed and shown to provide superior performance both perceptually and numerically compared to existing techniques, especially in terms of lower visual artefacts. It provides a flexible robust framework to develop new inpainting strategies for the next generation of interactive multi-view technologies

Dense light field coding: a survey

Light Field (LF) imaging is a promising solution for providing more immersive and closer to reality multimedia experiences to end-users with unprecedented creative freedom and flexibility for applications in different areas, such as virtual and augmented reality. Due to the recent technological advances in optics, sensor manufacturing and available transmission bandwidth, as well as the investment of many tech giants in this area, it is expected that soon many LF transmission systems will be available to both consumers and professionals. Recognizing this, novel standardization initiatives have recently emerged in both the Joint Photographic Experts Group (JPEG) and the Moving Picture Experts Group (MPEG), triggering the discussion on the deployment of LF coding solutions to efficiently handle the massive amount of data involved in such systems. Since then, the topic of LF content coding has become a booming research area, attracting the attention of many researchers worldwide. In this context, this paper provides a comprehensive survey of the most relevant LF coding solutions proposed in the literature, focusing on angularly dense LFs. Special attention is placed on a thorough description of the different LF coding methods and on the main concepts related to this relevant area. Moreover, comprehensive insights are presented into open research challenges and future research directions for LF coding.info:eu-repo/semantics/publishedVersio

Representação esparsa para preenchimento de buracos de expansão em sínteses de vistas baseada em profundidade

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Exatas, Departamento de Ciência da Computação, 2017.Vídeo de ponto de vista livre (FVV - do inglês Free Viewpoint Video) permite diferentes opções de pontos de vista de uma mesma cena tri-dimensional (3D). Esse tipo de sistema normalmente possui um custo elevado devido aos equipamentos que devem ser utilizados para captura dos vários pontos de vista. Além disso, para realmente obter um sistema de FVV é necessário sintetizar vistas virtuais baseadas em imagens de referência fornecidas pelo sistema. Essa síntese corresponde a um ponto de vista que não é fornecido, mas que pode ser criado através de relações dos pixels originais. Um exemplo prático consiste em um observador que assiste a cena 3D e as imagens são sintetizadas com base na posição da cabeça do observador, que pode ocorrer em várias direções. Artigos da área retratam principalmente movimentos horizontais em relação a cena sendo que poucos levam em consideração movimentos de aproximação e distanciamento. Independente do deslocamento realizado a vista sintetizada apresenta buracos de pixels sintetizados que não possuem referência na imagem original, isso gera os erros de desoclusão e buracos de expansão. Este trabalho é um dos poucos na literatura que visa implementar esse processo de síntese de vista, preenchendo os buracos de expansão gerados com técnicas de inpainting. Para isso foi utilizando a técnica de representação esparsa com o treinamento de dicionários com regras nãoparamétricas bayesianas. Para avaliar os resultados alcançados foram utilizados métricas objetivas de comparação de imagem. Os resultados indicam um ganho de até 6.19 dB comparado com método de inpainting usado no software referência VSRS+.Free Viewpoint Video (FVV) allows various observational points of the same threedimensional (3D) scene. A FVV system is usually very expensive due to the equipment that must be used to capture the different view-points. Moreover, in order to achieve real FVV it is required to synthesize a virtual view based on the the acquire images. This synthesis corresponds to a view-point that is not provided, but can be created by spatial relations of the original pixels. A practical example would be that of an observer watching a 3D scene, where the synthesized images are based on the position of the viewer's head, which can occur from several angles. Several articles of the area mainly portray horizontal movements in relation to the acquired signals, only a few consider movements of approximation and distance. Regardless of the displacement performed, the synthesized view has holes, which are synthesized pixels that do not have reference in the original image, this generates the disocclusion errors and expansion holes. This work is one of the few in the literature that aims to implement the synthesis process by filling the expansion holes generated with inpainting techniques. Specifically, we will be using sparse representation with the training of dictionaries with Bayesian nonparametric rules to perform the inpainting process. In order to evaluate the achieved results objective metrics, such as PSNR, were used. Our results yield a gain of up to 6.19 dB compared to the inpainting method used in the reference software VSRS

Large-Scale Light Field Capture and Reconstruction

This thesis discusses approaches and techniques to convert Sparsely-Sampled Light Fields (SSLFs) into Densely-Sampled Light Fields (DSLFs), which can be used for visualization on 3DTV and Virtual Reality (VR) devices. Exemplarily, a movable 1D large-scale light field acquisition system for capturing SSLFs in real-world environments is evaluated. This system consists of 24 sparsely placed RGB cameras and two Kinect V2 sensors. The real-world SSLF data captured with this setup can be leveraged to reconstruct real-world DSLFs. To this end, three challenging problems require to be solved for this system: (i) how to estimate the rigid transformation from the coordinate system of a Kinect V2 to the coordinate system of an RGB camera; (ii) how to register the two Kinect V2 sensors with a large displacement; (iii) how to reconstruct a DSLF from a SSLF with moderate and large disparity ranges. To overcome these three challenges, we propose: (i) a novel self-calibration method, which takes advantage of the geometric constraints from the scene and the cameras, for estimating the rigid transformations from the camera coordinate frame of one Kinect V2 to the camera coordinate frames of 12-nearest RGB cameras; (ii) a novel coarse-to-fine approach for recovering the rigid transformation from the coordinate system of one Kinect to the coordinate system of the other by means of local color and geometry information; (iii) several novel algorithms that can be categorized into two groups for reconstructing a DSLF from an input SSLF, including novel view synthesis methods, which are inspired by the state-of-the-art video frame interpolation algorithms, and Epipolar-Plane Image (EPI) inpainting methods, which are inspired by the Shearlet Transform (ST)-based DSLF reconstruction approaches

Codage de cartes de profondeur par deformation de courbes elastiques

In multiple-view video plus depth, depth maps can be represented by means of grayscale images and the corresponding temporal sequence can be thought as a standard grayscale video sequence. However depth maps have different properties from natural images: they present large areas of smooth surfaces separated by sharp edges. Arguably the most important information lies in object contours, as a consequence an interesting approach consists in performing a lossless coding of the contour map, possibly followed by a lossy coding of per-object depth values.In this context, we propose a new technique for the lossless coding of object contours, based on the elastic deformation of curves. A continuous evolution of elastic deformations between two reference contour curves can be modelled, and an elastically deformed version of the reference contours can be sent to the decoder with an extremely small coding cost and used as side information to improve the lossless coding of the actual contour. After the main discontinuities have been captured by the contour description, the depth field inside each region is rather smooth. We proposed and tested two different techniques for the coding of the depth field inside each region. The first technique performs the shape-adaptive wavelet transform followed by the shape-adaptive version of SPIHT. The second technique performs a prediction of the depth field from its subsampled version and the set of coded contours. It is generally recognized that a high quality view rendering at the receiver side is possible only by preserving the contour information, since distortions on edges during the encoding step would cause a sensible degradation on the synthesized view and on the 3D perception. We investigated this claim by conducting a subjective quality assessment test to compare an object-based technique and a hybrid block-based techniques for the coding of depth maps.Dans le format multiple-view video plus depth, les cartes de profondeur peuvent être représentées comme des images en niveaux de gris et la séquence temporelle correspondante peut être considérée comme une séquence vidéo standard en niveaux de gris. Cependant les cartes de profondeur ont des propriétés différentes des images naturelles: ils présentent de grandes surfaces lisses séparées par des arêtes vives. On peut dire que l'information la plus importante réside dans les contours de l'objet, en conséquence une approche intéressante consiste à effectuer un codage sans perte de la carte de contour, éventuellement suivie d'un codage lossy des valeurs de profondeur par-objet.Dans ce contexte, nous proposons une nouvelle technique pour le codage sans perte des contours de l'objet, basée sur la déformation élastique des courbes. Une évolution continue des déformations élastiques peut être modélisée entre deux courbes de référence, et une version du contour déformée élastiquement peut être envoyé au décodeur avec un coût de codage très faible et utilisé comme information latérale pour améliorer le codage sans perte du contour réel. Après que les principales discontinuités ont été capturés par la description du contour, la profondeur à l'intérieur de chaque région est assez lisse. Nous avons proposé et testé deux techniques différentes pour le codage du champ de profondeur à l'intérieur de chaque région. La première technique utilise la version adaptative à la forme de la transformation en ondelette, suivie par la version adaptative à la forme de SPIHT.La seconde technique effectue une prédiction du champ de profondeur à partir de sa version sous-échantillonnée et l'ensemble des contours codés. Il est généralement reconnu qu'un rendu de haute qualité au récepteur pour un nouveau point de vue est possible que avec la préservation de l'information de contour, car des distorsions sur les bords lors de l'étape de codage entraînerait une dégradation évidente sur la vue synthétisée et sur la perception 3D. Nous avons étudié cette affirmation en effectuant un test d'évaluation de la qualité perçue en comparant, pour le codage des cartes de profondeur, une technique basée sur la compression d'objects et une techniques de codage vidéo hybride à blocs

Development of Correspondence Field and Its Application to Effective Depth Estimation in Stereo Camera Systems

Stereo camera systems are still the most widely used apparatus for estimating 3D or depth information of a scene due to their low-cost. Estimation of depth using a stereo camera requires first estimating the disparity map using stereo matching algorithms and calculating depth via triangulation based on the camera arrangement (their locations and orientations with respect to the scene). In almost all cases, the arrangement is determined based on human experience since there lacks an effective theoretical tool to guide the design of the camera arrangement. This thesis presents the development of a novel tool, called correspondence field (CF), and its application to optimize the stereo camera arrangement for depth estimation

Camera positioning for 3D panoramic image rendering

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University London.Virtual camera realisation and the proposition of trapezoidal camera architecture are the two broad contributions of this thesis. Firstly, multiple camera and their arrangement constitute a critical component which affect the integrity of visual content acquisition for multi-view video. Currently, linear, convergence, and divergence arrays are the prominent camera topologies adopted. However, the large number of cameras required and their synchronisation are two of prominent challenges usually encountered. The use of virtual cameras can significantly reduce the number of physical cameras used with respect to any of the known camera structures, hence adequately reducing some of the other implementation issues. This thesis explores to use image-based rendering with and without geometry in the implementations leading to the realisation of virtual cameras. The virtual camera implementation was carried out from the perspective of depth map (geometry) and use of multiple image samples (no geometry). Prior to the virtual camera realisation, the generation of depth map was investigated using region match measures widely known for solving image point correspondence problem. The constructed depth maps have been compare with the ones generated using the dynamic programming approach. In both the geometry and no geometry approaches, the virtual cameras lead to the rendering of views from a textured depth map, construction of 3D panoramic image of a scene by stitching multiple image samples and performing superposition on them, and computation of virtual scene from a stereo pair of panoramic images. The quality of these rendered images were assessed through the use of either objective or subjective analysis in Imatest software. Further more, metric reconstruction of a scene was performed by re-projection of the pixel points from multiple image samples with a single centre of projection. This was done using sparse bundle adjustment algorithm. The statistical summary obtained after the application of this algorithm provides a gauge for the efficiency of the optimisation step. The optimised data was then visualised in Meshlab software environment, hence providing the reconstructed scene. Secondly, with any of the well-established camera arrangements, all cameras are usually constrained to the same horizontal plane. Therefore, occlusion becomes an extremely challenging problem, and a robust camera set-up is required in order to resolve strongly the hidden part of any scene objects. To adequately meet the visibility condition for scene objects and given that occlusion of the same scene objects can occur, a multi-plane camera structure is highly desirable. Therefore, this thesis also explore trapezoidal camera structure for image acquisition. The approach here is to assess the feasibility and potential of several physical cameras of the same model being sparsely arranged on the edge of an efficient trapezoid graph. This is implemented both Matlab and Maya. The quality of the depth maps rendered in Matlab are better in Quality

Efficient image-based rendering

Recent advancements in real-time ray tracing and deep learning have significantly enhanced the realism of computer-generated images. However, conventional 3D computer graphics (CG) can still be time-consuming and resource-intensive, particularly when creating photo-realistic simulations of complex or animated scenes. Image-based rendering (IBR) has emerged as an alternative approach that utilizes pre-captured images from the real world to generate realistic images in real-time, eliminating the need for extensive modeling. Although IBR has its advantages, it faces challenges in providing the same level of control over scene attributes as traditional CG pipelines and accurately reproducing complex scenes and objects with different materials, such as transparent objects. This thesis endeavors to address these issues by harnessing the power of deep learning and incorporating the fundamental principles of graphics and physical-based rendering. It offers an efficient solution that enables interactive manipulation of real-world dynamic scenes captured from sparse views, lighting positions, and times, as well as a physically-based approach that facilitates accurate reproduction of the view dependency effect resulting from the interaction between transparent objects and their surrounding environment. Additionally, this thesis develops a visibility metric that can identify artifacts in the reconstructed IBR images without observing the reference image, thereby contributing to the design of an effective IBR acquisition pipeline. Lastly, a perception-driven rendering technique is developed to provide high-fidelity visual content in virtual reality displays while retaining computational efficiency.Jüngste Fortschritte im Bereich Echtzeit-Raytracing und Deep Learning haben den Realismus computergenerierter Bilder erheblich verbessert. Konventionelle 3DComputergrafik (CG) kann jedoch nach wie vor zeit- und ressourcenintensiv sein, insbesondere bei der Erstellung fotorealistischer Simulationen von komplexen oder animierten Szenen. Das bildbasierte Rendering (IBR) hat sich als alternativer Ansatz herauskristallisiert, bei dem vorab aufgenommene Bilder aus der realen Welt verwendet werden, um realistische Bilder in Echtzeit zu erzeugen, so dass keine umfangreiche Modellierung erforderlich ist. Obwohl IBR seine Vorteile hat, ist es eine Herausforderung, das gleiche Maß an Kontrolle über Szenenattribute zu bieten wie traditionelle CG-Pipelines und komplexe Szenen und Objekte mit unterschiedlichen Materialien, wie z.B. transparente Objekte, akkurat wiederzugeben. In dieser Arbeit wird versucht, diese Probleme zu lösen, indem die Möglichkeiten des Deep Learning genutzt und die grundlegenden Prinzipien der Grafik und des physikalisch basierten Renderings einbezogen werden. Sie bietet eine effiziente Lösung, die eine interaktive Manipulation von dynamischen Szenen aus der realen Welt ermöglicht, die aus spärlichen Ansichten, Beleuchtungspositionen und Zeiten erfasst wurden, sowie einen physikalisch basierten Ansatz, der eine genaue Reproduktion des Effekts der Sichtabhängigkeit ermöglicht, der sich aus der Interaktion zwischen transparenten Objekten und ihrer Umgebung ergibt. Darüber hinaus wird in dieser Arbeit eine Sichtbarkeitsmetrik entwickelt, mit der Artefakte in den rekonstruierten IBR-Bildern identifiziert werden können, ohne das Referenzbild zu betrachten, und die somit zur Entwicklung einer effektiven IBR-Erfassungspipeline beiträgt. Schließlich wird ein wahrnehmungsgesteuertes Rendering-Verfahren entwickelt, um visuelle Inhalte in Virtual-Reality-Displays mit hoherWiedergabetreue zu liefern und gleichzeitig die Rechenleistung zu erhalten

On Improving Generalization of CNN-Based Image Classification with Delineation Maps Using the CORF Push-Pull Inhibition Operator

Deployed image classification pipelines are typically dependent on the images captured in real-world environments. This means that images might be affected by different sources of perturbations (e.g. sensor noise in low-light environments). The main challenge arises by the fact that image quality directly impacts the reliability and consistency of classification tasks. This challenge has, hence, attracted wide interest within the computer vision communities. We propose a transformation step that attempts to enhance the generalization ability of CNN models in the presence of unseen noise in the test set. Concretely, the delineation maps of given images are determined using the CORF push-pull inhibition operator. Such an operation transforms an input image into a space that is more robust to noise before being processed by a CNN. We evaluated our approach on the Fashion MNIST data set with an AlexNet model. It turned out that the proposed CORF-augmented pipeline achieved comparable results on noise-free images to those of a conventional AlexNet classification model without CORF delineation maps, but it consistently achieved significantly superior performance on test images perturbed with different levels of Gaussian and uniform noise