Variational image fusion

The main goal of this work is the fusion of multiple images to a single composite that offers more information than the individual input images. We approach those fusion tasks within a variational framework. First, we present iterative schemes that are well-suited for such variational problems and related tasks. They lead to efficient algorithms that are simple to implement and well-parallelisable. Next, we design a general fusion technique that aims for an image with optimal local contrast. This is the key for a versatile method that performs well in many application areas such as multispectral imaging, decolourisation, and exposure fusion. To handle motion within an exposure set, we present the following two-step approach: First, we introduce the complete rank transform to design an optic flow approach that is robust against severe illumination changes. Second, we eliminate remaining misalignments by means of brightness transfer functions that relate the brightness values between frames. Additional knowledge about the exposure set enables us to propose the first fully coupled method that jointly computes an aligned high dynamic range image and dense displacement fields. Finally, we present a technique that infers depth information from differently focused images. In this context, we additionally introduce a novel second order regulariser that adapts to the image structure in an anisotropic way.Das Hauptziel dieser Arbeit ist die Fusion mehrerer Bilder zu einem Einzelbild, das mehr Informationen bietet als die einzelnen Eingangsbilder. Wir verwirklichen diese Fusionsaufgaben in einem variationellen Rahmen. Zunächst präsentieren wir iterative Schemata, die sich gut für solche variationellen Probleme und verwandte Aufgaben eignen. Danach entwerfen wir eine Fusionstechnik, die ein Bild mit optimalem lokalen Kontrast anstrebt. Dies ist der Schlüssel für eine vielseitige Methode, die gute Ergebnisse für zahlreiche Anwendungsbereiche wie Multispektralaufnahmen, Bildentfärbung oder Belichtungsreihenfusion liefert. Um Bewegungen in einer Belichtungsreihe zu handhaben, präsentieren wir folgenden Zweischrittansatz: Zuerst stellen wir die komplette Rangtransformation vor, um eine optische Flussmethode zu entwerfen, die robust gegenüber starken Beleuchtungsänderungen ist. Dann eliminieren wir verbleibende Registrierungsfehler mit der Helligkeitstransferfunktion, welche die Helligkeitswerte zwischen Bildern in Beziehung setzt. Zusätzliches Wissen über die Belichtungsreihe ermöglicht uns, die erste vollständig gekoppelte Methode vorzustellen, die gemeinsam ein registriertes Hochkontrastbild sowie dichte Bewegungsfelder berechnet. Final präsentieren wir eine Technik, die von unterschiedlich fokussierten Bildern Tiefeninformation ableitet. In diesem Kontext stellen wir zusätzlich einen neuen Regularisierer zweiter Ordnung vor, der sich der Bildstruktur anisotrop anpasst

Beyond high-resolution geometry in 3D Cultural Heritage: enhancing visualization realism in interactive contexts

La tesi, nell’ambito della computer graphics 3D interattiva, descrive la definizione e sviluppo di algoritmi per un migliore realismo nella visualizzazione di modelli tridimensionali di grandi dimensioni, con particolare attenzione alle applicazioni di queste tecnologie di visualizzazione 3D ai beni culturali

Surface Appearance Estimation from Video Sequences

The realistic virtual reproduction of real world objects using Computer Graphics techniques requires the accurate acquisition and reconstruction of both 3D geometry and surface appearance. Unfortunately, in several application contexts, such as Cultural Heritage (CH), the reflectance acquisition can be very challenging due to the type of object to acquire and the digitization conditions. Although several methods have been proposed for the acquisition of object reflectance, some intrinsic limitations still make its acquisition a complex task for CH artworks: the use of specialized instruments (dome, special setup for camera and light source, etc.); the need of highly controlled acquisition environments, such as a dark room; the difficulty to extend to objects of arbitrary shape and size; the high level of expertise required to assess the quality of the acquisition. The Ph.D. thesis proposes novel solutions for the acquisition and the estimation of the surface appearance in fixed and uncontrolled lighting conditions with several degree of approximations (from a perceived near diffuse color to a SVBRDF), taking advantage of the main features that differentiate a video sequences from an unordered photos collections: the temporal coherence; the data redundancy; the easy of the acquisition, which allows acquisition of many views of the object in a short time. Finally, Reflectance Transformation Imaging (RTI) is an example of widely used technology for the acquisition of the surface appearance in the CH field, even if limited to single view Reflectance Fields of nearly flat objects. In this context, the thesis addresses also two important issues in RTI usage: how to provide better and more flexible virtual inspection capabilities with a set of operators that improve the perception of details, features and overall shape of the artwork; how to increase the possibility to disseminate this data and to support remote visual inspection of both scholar and ordinary public

Digital Light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu