In the research of developing arbitrary and unique virtual views from a real- world scene, a prototype of an interactive relief texture mapping system capable of processing video using dynamic image-based rendering, is developed in this master thesis. The process of deriving depth from recorded video using binocular stereopsis is presented, together with how the depth information is adjusted to be able to manipulate the orientation of the original scene. When the scene depth is known, the recorded organic and dynamic objects can be seen from viewpoints not available in the original video.

We present a new technique for creating an editable vector graphic from an object in a raster image. Object selection is performed interactively in subsecond time by calling graph cut with each mouse movement. A renderable mesh is then computed automatically for the selected object and each of its (sub)objects by (1) generating a coarse object mesh; (2) performing recursive graph cut segmentation and hierarchical ordering of subobjects; (3) applying error-driven mesh refinement to each (sub)object. The result is a fully layered object hierarchy that facilitates object-level editing without leaving holes. Object-based vectorization compares favorably with current approaches in the representation and rendering quality. Object-based vectorization and complex editing tasks are performed in a few 10s of seconds.

The accurate modeling of the variability of illumination in a class of images is a fundamental problem that occurs in many areas of computer vision and graphics. For instance, in computer vision there is the problem of facial recognition. Simply, one would hope to be able to identify a known face under any illumination. On the other hand, in graphics one could imagine a system that, given an image, the illumination model could be identified and then used to create new images. In this thesis we describe a method for learning the illumination model for a class of images. Once the model is learnt it is then used to render new images of the same class under the new illumination. Results are shown for both synthetic and real images. The key contribution of this work is that images of known objects can be re-illuminated using small patches of image data and relatively simple kernel regression models. Additionally, our approach does not require any knowledge of the geometry of the class of objects under consideration making it relatively straightforward to implement. As part of this work we will examine existing geometric and image-based re-lighting techniques; give a detailed description of our geometry-free face re-lighting process; present non-linear regression and basis selection with respect to image synthesis; discuss system limitations; and look at possible extensions and future work.

Activities like one-on-one video chatting and video conferencing with multiple participants are more prevalent than ever today as we continue to tackle the pandemic. Bringing a 3D feel to video chat has always been a hot topic in Vision and Graphics communities. In this thesis, we have employed novel view synthesis in attempting to turn one-on-one video chatting into 3D. We have tuned the learning pipeline of Tucker and Snavely's single-view view synthesis paper — by retraining it on MannequinChallenge dataset — to better predict a layered representation of the scene viewed by either video chat participant at any given time. This intermediate representation of the local light field — called a Multiplane Image (MPI) — may then be used to rerender the scene at an arbitrary viewpoint which, in our case, would match with the head pose of the watcher in the opposite, concurrent video frame. We discuss that our pipeline, when implemented in real-time, would allow both video chat participants to unravel occluded scene content and "peer into" each other's dynamic video scenes to a certain extent. It would enable full parallax up to the baselines of small head rotations and/or translations. It would be similar to a VR headset's ability to determine the position and orientation of the wearer's head in 3D space and render any scene in alignment with this estimated head pose. We have attempted to improve the performance of the retrained model by extending MannequinChallenge with the much larger RealEstate10K dataset. We present a quantitative and qualitative comparison of the model variants and describe our impactful dataset curation process, among other aspects.

Three Dimensional Video (3DV) has become increasingly popular with the success of 3D cinema. Moreover, emerging display technology offers an immersive experience to the viewer without the necessity of any visual aids such as 3D glasses. 3DV applications, Three Dimensional Television (3DTV) and Free Viewpoint Television (FTV) are auspicious technologies for living room environments by providing immersive experience and look around facilities. In order to provide such an experience, these technologies require a number of camera views captured from different viewpoints. However, the capture and transmission of the required number of views is not a feasible solution, and thus view rendering is employed as an efficient solution to produce the necessary number of views. Depth-image-based rendering (DIBR) is a commonly used rendering method. Although DIBR is a simple approach that can produce the desired number of views, inherent artifacts are major issues in the view rendering. Despite much effort to tackle the rendering artifacts over the years, rendered views still contain visible artifacts. This dissertation addresses three problems in order to improve 3DV quality: 1) How to improve the rendered view quality using a direct approach without dealing each artifact specifically. 2) How to handle disocclusions (a.k.a. holes) in the rendered views in a visually plausible manner using inpainting. 3) How to reduce spatial inconsistencies in the rendered view. The first problem is tackled by an edge-aided rendering method that uses a direct approach with one-dimensional interpolation, which is applicable when the virtual camera distance is small. The second problem is addressed by using a depth-based inpainting method in the virtual view, which reconstructs the missing texture with background data at the disocclusions. The third problem is undertaken by a rendering method that firstly inpaint occlusions as a layered depth image (LDI) in the original view, and then renders a spatially consistent virtual view. Objective assessments of proposed methods show improvements over the state-of-the-art rendering methods. Visual inspection shows slight improvements for intermediate views rendered from multiview videos-plus-depth, and the proposed methods outperforms other view rendering methods in the case of rendering from single view video-plus-depth. Results confirm that the proposed methods are capable of reducing rendering artifacts and producing spatially consistent virtual views. In conclusion, the view rendering methods proposed in this dissertation can support the production of high quality virtual views based on a limited number of input views. When used to create a multi-scopic presentation, the outcome of this dissertation can benefit 3DV technologies to improve the immersive experience.

Fotorealistisches Rendering ist eines der Hauptziele der Computer Grafik. Mittels physikalischer Simulation ist eine fotorealistische Darstellung immer noch rechenaufwändig. Diese Arbeit stellt neue Methoden für Bild-basiertes Rendering komplexer Objekte am Beispiel von Kleidung vor. Die vorgestellten Methoden nutzen Kamerabilder und deren fotorealistische Eigenschaften für komplexe Animationen und Texturmodifikationen. Basierend auf der Annahme, dass für eng anliegende Kleidung Faltenwurf hauptsächlich von der Pose des Trägers beeinflusst wird, schlägt diese Dissertation ein neues Bild-basiertes Verfahren vor, das neue Bilder von Kleidungsstücken abhängig von der Körperpose einer Person aus einer Datenbank von Bildern synthetisiert. Posen-abhängige Eigenschaften (Textur und Schattierung) werden über Abbildungsvorschriften zwischen den Bildern extrahiert und im Posenraum interpoliert. Um die Erscheinung eines Objekts zu verändern, wird ein Verfahren vorgestellt, das den Austausch von Texturen ohne Kenntnis der zugrundeliegenden Szeneneigenschaften ermöglicht. Texturdeformation und Schattierung werden über Bildregistrierung zu einem geeigneten Referenzbild extrahiert. Im Gegensatz zu klassischen Bild-basierten Verfahren, in denen die Synthese auf Blickpunktänderung beschränkt und eine Veränderung des Objekts nicht möglich ist, erlauben die vorgestellten Verfahren komplexe Animationen und Texturmodifikation. Beide Verfahren basieren auf örtlichen und photometrischen Abbildungen zwischen Bildern. Diese Abbildungen werden basierend auf einem angepassten Brightness Constancy Constraint mit Gitternetz-basierten Modellen optimiert. Die vorgestellten Verfahren verlagern einen großen Teil des Rechenaufwands von der Darstellungsphase in die vorangegangene Trainingsphase und erlauben eine realistische Visualisierung von Kleidung inklusive charakteristischer Details, ohne die zugrundeliegenden Szeneneigenschaften aufwändig zu simulieren. / One principal intention of computer graphics is the achievement of photorealism. With physically-based methods, achieving photorealism is still computationally demanding. This dissertation proposes new approaches for image-based visualization of complex objects, concentrating on clothes. The developed methods use real images as appearance examples to guide complex animation or texture modification processes, combining the photorealism of images with the ability to animate or modify an object. Under the assumption that wrinkling depends on the pose of a human body (for tight-fitting clothes), a new image-based rendering approach is proposed, which synthesizes images of clothing from a database of images based on pose information. Pose-dependent appearance and shading information is extracted by image warps and interpolated in pose-space using scattered data interpolation. To allow for appearance changes in image-based methods, a retexturing approach is proposed, which enables texture exchange without a-priori knowledge of the underlying scene properties. Texture deformation and shading are extracted from the input image by a warp to an appropriate reference image. In contrast to classical image-based visualization methods, where animation is restricted to viewpoint change and appearance modification is not possible, the proposed methods allow for complex pose animations and appearance changes. Both approaches build on image warps, not only in the spatial but also in the photometric domain. A new framework for joint spatial and photometric warp optimization is introduced, which estimates mesh-based warp models under a modified brightness constancy assumption. The presented approaches shift computational complexity from the rendering to an a-priori training phase and allow a photo-realistic visualization and modification of clothes, including fine and characteristic details without computationally demanding simulation of the underlying scene and object properties.

Real-world radiance values can range over eight orders of magnitude from starlight to direct sunlight but few digital cameras capture more than three orders in a single Low Dynamic Range (LDR) image. We approach this problem using established High Dynamic Range (HDR) techniques in which multiple images are captured with different exposure times so that all portions of the scene are correctly exposed at least once. These images are then combined to create an HDR image capturing the full range of the scene. HDR capture introduces new challenges; movement in the scene creates faded copies of moving objects, referred to as ghosts. Many techniques have been introduced to handle ghosting, but typically they either address specific types of ghosting, or are computationally very expensive. We address ghosting by first detecting moving objects, then reducing their contribution to the final composite on a frame-by-frame basis. The detection of motion is addressed by performing change detection on exposure-normalized images. Additional special cases are developed based on a priori knowledge of the changing exposures; for example, if exposure is increasing every shot, then any decrease in intensity in the LDR images is a strong indicator of motion. Recent Superpixel over-segmentation techniques are used to refine the detection. We also propose a novel solution for areas that see motion throughout the capture, such as foliage blowing in the wind. Such areas are detected as always moving, and are replaced with information from a single input image, and the replacement of corrupted regions can be tailored to the scenario. We present our approach in the context of a panoramic tele-presence system. Tele-presence systems allow a user to experience a remote environment, aiming to create a realistic sense of "being there" and such a system should therefore provide a high quality visual rendition of the environment. Furthermore, panoramas, by virtue of capturing a greater proportion of a real-world scene, are often exposed to a greater dynamic range than standard photographs. Both facets of this system therefore stand to benefit from HDR imaging techniques. We demonstrate the success of our approach on multiple challenging ghosting scenarios, and compare our results with state-of-the-art methods previously proposed. We also demonstrate computational savings over these methods.

While modern digital cameras incorporate sophisticated engineering, in terms of their core functionality, cameras have changed remarkably little in more than a hundred years. In particular, from a given viewpoint, conventional photography essentially remains limited to manipulating a basic set of controls: exposure time, focus setting, and aperture setting. In this dissertation we present three new methods in this domain, each based on capturing multiple photos with different camera settings. In each case, we show how defocus can be exploited to achieve different goals, extending what is possible with conventional photography. These methods are closely connected, in that all rely on analyzing changes in aperture. First, we present a 3D reconstruction method especially suited for scenes with high geometric complexity, for which obtaining a detailed model is difficult using previous approaches. We show that by controlling both the focus and aperture setting, it is possible compute depth for each pixel independently. To achieve this, we introduce the "confocal constancy" property, which states that as aperture setting varies, the pixel intensity of an in-focus scene point will vary in a scene-independent way that can be predicted by prior calibration. Second, we describe a method for synthesizing photos with adjusted camera settings in post-capture, to achieve changes in exposure, focus setting, etc. from very few input photos. To do this, we capture photos with varying aperture and other settings fixed, then recover the underlying scene representation best reproducing the input. The key to the approach is our layered formulation, which handles occlusion effects but is tractable to invert. This method works with the built-in "aperture bracketing" mode found on most digital cameras. Finally, we develop a "light-efficient" method for capturing an in-focus photograph in the shortest time, or with the highest quality for a given time budget. While the standard approach involves reducing the aperture until the desired region is in-focus, we show that by "spanning" the region with multiple large-aperture photos,we can reduce the total capture time and generate the in-focus photo synthetically. Beyond more efficient capture, our method provides 3D shape at no additional cost.

While modern digital cameras incorporate sophisticated engineering, in terms of their core functionality, cameras have changed remarkably little in more than a hundred years. In particular, from a given viewpoint, conventional photography essentially remains limited to manipulating a basic set of controls: exposure time, focus setting, and aperture setting. In this dissertation we present three new methods in this domain, each based on capturing multiple photos with different camera settings. In each case, we show how defocus can be exploited to achieve different goals, extending what is possible with conventional photography. These methods are closely connected, in that all rely on analyzing changes in aperture. First, we present a 3D reconstruction method especially suited for scenes with high geometric complexity, for which obtaining a detailed model is difficult using previous approaches. We show that by controlling both the focus and aperture setting, it is possible compute depth for each pixel independently. To achieve this, we introduce the "confocal constancy" property, which states that as aperture setting varies, the pixel intensity of an in-focus scene point will vary in a scene-independent way that can be predicted by prior calibration. Second, we describe a method for synthesizing photos with adjusted camera settings in post-capture, to achieve changes in exposure, focus setting, etc. from very few input photos. To do this, we capture photos with varying aperture and other settings fixed, then recover the underlying scene representation best reproducing the input. The key to the approach is our layered formulation, which handles occlusion effects but is tractable to invert. This method works with the built-in "aperture bracketing" mode found on most digital cameras. Finally, we develop a "light-efficient" method for capturing an in-focus photograph in the shortest time, or with the highest quality for a given time budget. While the standard approach involves reducing the aperture until the desired region is in-focus, we show that by "spanning" the region with multiple large-aperture photos,we can reduce the total capture time and generate the in-focus photo synthetically. Beyond more efficient capture, our method provides 3D shape at no additional cost.

Real-world radiance values can range over eight orders of magnitude from starlight to direct sunlight but few digital cameras capture more than three orders in a single Low Dynamic Range (LDR) image. We approach this problem using established High Dynamic Range (HDR) techniques in which multiple images are captured with different exposure times so that all portions of the scene are correctly exposed at least once. These images are then combined to create an HDR image capturing the full range of the scene. HDR capture introduces new challenges; movement in the scene creates faded copies of moving objects, referred to as ghosts. Many techniques have been introduced to handle ghosting, but typically they either address specific types of ghosting, or are computationally very expensive. We address ghosting by first detecting moving objects, then reducing their contribution to the final composite on a frame-by-frame basis. The detection of motion is addressed by performing change detection on exposure-normalized images. Additional special cases are developed based on a priori knowledge of the changing exposures; for example, if exposure is increasing every shot, then any decrease in intensity in the LDR images is a strong indicator of motion. Recent Superpixel over-segmentation techniques are used to refine the detection. We also propose a novel solution for areas that see motion throughout the capture, such as foliage blowing in the wind. Such areas are detected as always moving, and are replaced with information from a single input image, and the replacement of corrupted regions can be tailored to the scenario. We present our approach in the context of a panoramic tele-presence system. Tele-presence systems allow a user to experience a remote environment, aiming to create a realistic sense of "being there" and such a system should therefore provide a high quality visual rendition of the environment. Furthermore, panoramas, by virtue of capturing a greater proportion of a real-world scene, are often exposed to a greater dynamic range than standard photographs. Both facets of this system therefore stand to benefit from HDR imaging techniques. We demonstrate the success of our approach on multiple challenging ghosting scenarios, and compare our results with state-of-the-art methods previously proposed. We also demonstrate computational savings over these methods.