MatryODShka: Real-time 6DoF Video View Synthesis using Multi-Sphere Images

We introduce a method to convert stereo 360{\deg} (omnidirectional stereo) imagery into a layered, multi-sphere image representation for six degree-of-freedom (6DoF) rendering. Stereo 360{\deg} imagery can be captured from multi-camera systems for virtual reality (VR), but lacks motion parallax and correct-in-all-directions disparity cues. Together, these can quickly lead to VR sickness when viewing content. One solution is to try and generate a format suitable for 6DoF rendering, such as by estimating depth. However, this raises questions as to how to handle disoccluded regions in dynamic scenes. Our approach is to simultaneously learn depth and disocclusions via a multi-sphere image representation, which can be rendered with correct 6DoF disparity and motion parallax in VR. This significantly improves comfort for the viewer, and can be inferred and rendered in real time on modern GPU hardware. Together, these move towards making VR video a more comfortable immersive medium.Comment: 25 pages, 13 figures, Published at European Conference on Computer Vision (ECCV 2020), Project Page: http://visual.cs.brown.edu/matryodshk

Motion parallax for 360° RGBD video

We present a method for adding parallax and real-time playback of 360° videos in Virtual Reality headsets. In current video players, the playback does not respond to translational head movement, which reduces the feeling of immersion, and causes motion sickness for some viewers. Given a 360° video and its corresponding depth (provided by current stereo 360° stitching algorithms), a naive image-based rendering approach would use the depth to generate a 3D mesh around the viewer, then translate it appropriately as the viewer moves their head. However, this approach breaks at depth discontinuities, showing visible distortions, whereas cutting the mesh at such discontinuities leads to ragged silhouettes and holes at disocclusions. We address these issues by improving the given initial depth map to yield cleaner, more natural silhouettes. We rely on a three-layer scene representation, made up of a foreground layer and two static background layers, to handle disocclusions by propagating information from multiple frames for the first background layer, and then inpainting for the second one. Our system works with input from many of today''s most popular 360° stereo capture devices (e.g., Yi Halo or GoPro Odyssey), and works well even if the original video does not provide depth information. Our user studies confirm that our method provides a more compelling viewing experience than without parallax, increasing immersion while reducing discomfort and nausea

Omnidirectional camera pose estimation and projective texture mapping for photorealistic 3D virtual reality experiences

Modern applications in virtual reality require a high level of fruition of the environment as if it was real. In applications that have to deal with real scenarios, it is important to acquire both its three-dimensional (3D) structure and details to enable the users to achieve good immersive experiences. The purpose of this paper is to illustrate a method to obtain a mesh with high quality texture combining a raw 3D mesh model of the environment and 360 ° images. The main outcome is a mesh with a high level of photorealistic details. This enables both a good depth perception thanks to the mesh model and high visualization quality thanks to the 2D resolution of modern omnidirectional cameras. The fundamental step to reach this goal is the correct alignment between the 360 ° camera and the 3D mesh model. For this reason, we propose a method that embodies two steps: 1) find the 360 ° cameras pose within the current 3D environment; 2) project the high-quality 360 ° image on top of the mesh. After the method description, we outline its validation in two virtual reality scenarios, a mine and city environment, respectively, which allows us to compare the achieved results with the ground truth.</p

Visualization Authoring for Data-driven Storytelling

Data-driven storytelling is the process of communicating insights and findings that are supported by data, forming a visualization-based narrative. However, most current visualization creation tools either only support fixed sets of designs or require an in-depth understanding of programming concepts. To enable non-programmers to create custom visualizations for data-driven storytelling, we design interactions and implement user interfaces for visualization authoring. In the first part of this dissertation, we introduce and evaluate a series of three visualization authoring tools using traditional user interfaces: (1) iVisDesigner, which uses a data-flow model and enables users to author visualizations by specifying mappings from data to graphics interactively; (2) ChartAccent, a tool for annotating a given visualization; and (3) Charticulator, which allows users to design custom layouts interactively. We then reflect on the evaluation of visualization authoring user interfaces. In the second part of the dissertation, we extend our approach to multiple presentation media or display environments, including traditional 2-dimensional screens, large projection-based virtual-reality (VR) systems, and head-mounted virtual/augmented reality displays (HMDs). To leverage such immersive visualization environments, we ported and extended the iVisDesigner authoring approach to projection-based virtual reality. To facilitate the development of immersive visualizations, we built a visualization library called Stardust, which provides a familiar API to utilize GPU processing power in a cross-platform way. Finally, we present Idyll-MR, a system for authoring data-driven stories in virtual and augmented reality. We evaluated these authoring tools and libraries, and demonstrated high expressiveness, usability, and performance, as well as portability across platforms. In summary, our contributions enable larger audiences to create visual data-driven stories using different presentation media, leading to an overall enriched diversity of visualization designs

Structureless Camera Motion Estimation of Unordered Omnidirectional Images

This work aims at providing a novel camera motion estimation pipeline from large collections of unordered omnidirectional images. In oder to keep the pipeline as general and flexible as possible, cameras are modelled as unit spheres, allowing to incorporate any central camera type. For each camera an unprojection lookup is generated from intrinsics, which is called P2S-map (Pixel-to-Sphere-map), mapping pixels to their corresponding positions on the unit sphere. Consequently the camera geometry becomes independent of the underlying projection model. The pipeline also generates P2S-maps from world map projections with less distortion effects as they are known from cartography. Using P2S-maps from camera calibration and world map projection allows to convert omnidirectional camera images to an appropriate world map projection in oder to apply standard feature extraction and matching algorithms for data association. The proposed estimation pipeline combines the flexibility of SfM (Structure from Motion) - which handles unordered image collections - with the efficiency of PGO (Pose Graph Optimization), which is used as back-end in graph-based Visual SLAM (Simultaneous Localization and Mapping) approaches to optimize camera poses from large image sequences. SfM uses BA (Bundle Adjustment) to jointly optimize camera poses (motion) and 3d feature locations (structure), which becomes computationally expensive for large-scale scenarios. On the contrary PGO solves for camera poses (motion) from measured transformations between cameras, maintaining optimization managable. The proposed estimation algorithm combines both worlds. It obtains up-to-scale transformations between image pairs using two-view constraints, which are jointly scaled using trifocal constraints. A pose graph is generated from scaled two-view transformations and solved by PGO to obtain camera motion efficiently even for large image collections. Obtained results can be used as input data to provide initial pose estimates for further 3d reconstruction purposes e.g. to build a sparse structure from feature correspondences in an SfM or SLAM framework with further refinement via BA. The pipeline also incorporates fixed extrinsic constraints from multi-camera setups as well as depth information provided by RGBD sensors. The entire camera motion estimation pipeline does not need to generate a sparse 3d structure of the captured environment and thus is called SCME (Structureless Camera Motion Estimation).:1 Introduction 1.1 Motivation 1.1.1 Increasing Interest of Image-Based 3D Reconstruction 1.1.2 Underground Environments as Challenging Scenario 1.1.3 Improved Mobile Camera Systems for Full Omnidirectional Imaging 1.2 Issues 1.2.1 Directional versus Omnidirectional Image Acquisition 1.2.2 Structure from Motion versus Visual Simultaneous Localization and Mapping 1.3 Contribution 1.4 Structure of this Work 2 Related Work 2.1 Visual Simultaneous Localization and Mapping 2.1.1 Visual Odometry 2.1.2 Pose Graph Optimization 2.2 Structure from Motion 2.2.1 Bundle Adjustment 2.2.2 Structureless Bundle Adjustment 2.3 Corresponding Issues 2.4 Proposed Reconstruction Pipeline 3 Cameras and Pixel-to-Sphere Mappings with P2S-Maps 3.1 Types 3.2 Models 3.2.1 Unified Camera Model 3.2.2 Polynomal Camera Model 3.2.3 Spherical Camera Model 3.3 P2S-Maps - Mapping onto Unit Sphere via Lookup Table 3.3.1 Lookup Table as Color Image 3.3.2 Lookup Interpolation 3.3.3 Depth Data Conversion 4 Calibration 4.1 Overview of Proposed Calibration Pipeline 4.2 Target Detection 4.3 Intrinsic Calibration 4.3.1 Selected Examples 4.4 Extrinsic Calibration 4.4.1 3D-2D Pose Estimation 4.4.2 2D-2D Pose Estimation 4.4.3 Pose Optimization 4.4.4 Uncertainty Estimation 4.4.5 PoseGraph Representation 4.4.6 Bundle Adjustment 4.4.7 Selected Examples 5 Full Omnidirectional Image Projections 5.1 Panoramic Image Stitching 5.2 World Map Projections 5.3 World Map Projection Generator for P2S-Maps 5.4 Conversion between Projections based on P2S-Maps 5.4.1 Proposed Workflow 5.4.2 Data Storage Format 5.4.3 Real World Example 6 Relations between Two Camera Spheres 6.1 Forward and Backward Projection 6.2 Triangulation 6.2.1 Linear Least Squares Method 6.2.2 Alternative Midpoint Method 6.3 Epipolar Geometry 6.4 Transformation Recovery from Essential Matrix 6.4.1 Cheirality 6.4.2 Standard Procedure 6.4.3 Simplified Procedure 6.4.4 Improved Procedure 6.5 Two-View Estimation 6.5.1 Evaluation Strategy 6.5.2 Error Metric 6.5.3 Evaluation of Estimation Algorithms 6.5.4 Concluding Remarks 6.6 Two-View Optimization 6.6.1 Epipolar-Based Error Distances 6.6.2 Projection-Based Error Distances 6.6.3 Comparison between Error Distances 6.7 Two-View Translation Scaling 6.7.1 Linear Least Squares Estimation 6.7.2 Non-Linear Least Squares Optimization 6.7.3 Comparison between Initial and Optimized Scaling Factor 6.8 Homography to Identify Degeneracies 6.8.1 Homography for Spherical Cameras 6.8.2 Homography Estimation 6.8.3 Homography Optimization 6.8.4 Homography and Pure Rotation 6.8.5 Homography in Epipolar Geometry 7 Relations between Three Camera Spheres 7.1 Three View Geometry 7.2 Crossing Epipolar Planes Geometry 7.3 Trifocal Geometry 7.4 Relation between Trifocal, Three-View and Crossing Epipolar Planes 7.5 Translation Ratio between Up-To-Scale Two-View Transformations 7.5.1 Structureless Determination Approaches 7.5.2 Structure-Based Determination Approaches 7.5.3 Comparison between Proposed Approaches 8 Pose Graphs 8.1 Optimization Principle 8.2 Solvers 8.2.1 Additional Graph Solvers 8.2.2 False Loop Closure Detection 8.3 Pose Graph Generation 8.3.1 Generation of Synthetic Pose Graph Data 8.3.2 Optimization of Synthetic Pose Graph Data 9 Structureless Camera Motion Estimation 9.1 SCME Pipeline 9.2 Determination of Two-View Translation Scale Factors 9.3 Integration of Depth Data 9.4 Integration of Extrinsic Camera Constraints 10 Camera Motion Estimation Results 10.1 Directional Camera Images 10.2 Omnidirectional Camera Images 11 Conclusion 11.1 Summary 11.2 Outlook and Future Work Appendices A.1 Additional Extrinsic Calibration Results A.2 Linear Least Squares Scaling A.3 Proof Rank Deficiency A.4 Alternative Derivation Midpoint Method A.5 Simplification of Depth Calculation A.6 Relation between Epipolar and Circumferential Constraint A.7 Covariance Estimation A.8 Uncertainty Estimation from Epipolar Geometry A.9 Two-View Scaling Factor Estimation: Uncertainty Estimation A.10 Two-View Scaling Factor Optimization: Uncertainty Estimation A.11 Depth from Adjoining Two-View Geometries A.12 Alternative Three-View Derivation A.12.1 Second Derivation Approach A.12.2 Third Derivation Approach A.13 Relation between Trifocal Geometry and Alternative Midpoint Method A.14 Additional Pose Graph Generation Examples A.15 Pose Graph Solver Settings A.16 Additional Pose Graph Optimization Examples Bibliograph

Ray Tracing Gems

This book is a must-have for anyone serious about rendering in real time. With the announcement of new ray tracing APIs and hardware to support them, developers can easily create real-time applications with ray tracing as a core component. As ray tracing on the GPU becomes faster, it will play a more central role in real-time rendering. Ray Tracing Gems provides key building blocks for developers of games, architectural applications, visualizations, and more. Experts in rendering share their knowledge by explaining everything from nitty-gritty techniques that will improve any ray tracer to mastery of the new capabilities of current and future hardware. What you'll learn: The latest ray tracing techniques for developing real-time applications in multiple domains Guidance, advice, and best practices for rendering applications with Microsoft DirectX Raytracing (DXR) How to implement high-performance graphics for interactive visualizations, games, simulations, and more Who this book is for: Developers who are looking to leverage the latest APIs and GPU technology for real-time rendering and ray tracing Students looking to learn about best practices in these areas Enthusiasts who want to understand and experiment with their new GPU