La mesure de la forme 3D du visage est une problématique qui attire de plus en plus de chercheurs et qui trouve son application dans des domaines divers tels que la biométrie, l’animation et la chirurgie faciale. Les solutions actuelles sont souvent basées sur des systèmes projecteur/caméra et utilisent de la lumière structurée pour compenser l’insuffisance de la texture faciale. L’information 3D est ensuite calculée en décodant la distorsion des patrons projetés sur le visage. Une des techniques les plus utilisées de la lumière structurée est la codification sinusoïdale par décalage de phase qui permet une numérisation 3D de résolution pixélique. Cette technique exige une étape de déroulement de phase, sensible à l’éclairage ambiant surtout quand le nombre de patrons projetés est limité. En plus, la projection de plusieurs patrons impacte le délai de numérisation et peut générer des artefacts surtout pour la capture d’un visage en mouvement. Une alternative aux approches projecteur-caméra consiste à estimer l’information 3D par appariement stéréo suivi par une triangulation optique. Cependant, le modèle calculé par cette technique est généralement non-dense et manque de précision. Des travaux récents proposent la super-résolution pour densifier et débruiter les images de profondeur. La super-résolution a été particulièrement proposée pour les caméras 3D TOF (Time-Of-Flight) qui fournissent des scans 3D très bruités. Ce travail de thèse propose une solution de numérisation 3D à faible coût avec un schéma de super-résolution spatio-temporelle. Elle utilise un système multi-caméra étalonné assisté par une source de projection non-étalonnée. Elle est particulièrement adaptée à la reconstruction 3D de visages, i.e. rapide et mobile. La solution proposée est une approche hybride qui associe la stéréovision et la codification sinusoïdale par décalage de phase, et qui non seulement profite de leurs avantages mais qui surmonte leurs faiblesses. Le schéma de la super-résolution proposé permet de corriger l’information 3D, de compléter la vue scannée du visage en traitant son aspect déformable. / 3D face measurement is increasingly demanded for many applications such as bio-metrics, animation and facial surgery. Current solutions often employ a structured light camera/projector device to overcome the relatively uniform appearance of skin. Depth in-formation is recovered by decoding patterns of the projected structured light. One of the most widely used structured-light coding is sinusoidal phase shifting which allows a 3Ddense resolution. Current solutions mostly utilize more than three phase-shifted sinusoidal patterns to recover the depth information, thus impacting the acquisition delay. They further require projector-camera calibration whose accuracy is crucial for phase to depth estimation step. Also, they need an unwrapping stage which is sensitive to ambient light, especially when the number of patterns decreases. An alternative to projector-camera systems consists of recovering depth information by stereovision using a multi-camera system. A stereo matching step finds correspondence between stereo images and the 3D information is obtained by optical triangulation. However, the model computed in this way generally is quite sparse. To up sample and denoise depth images, researchers looked into super-resolution techniques. Super-resolution was especially proposed for time-of-flight cameras which have very low data quality and a very high random noise. This thesis proposes a3D acquisition solution with a 3D space-time non-rigid super-resolution capability, using a calibrated multi-camera system coupled with a non calibrated projector device, which is particularly suited to 3D face scanning, i.e. rapid and easily movable. The proposed solution is a hybrid stereovision and phase-shifting approach, using two shifted patterns and a texture image, which not only takes advantage of the assets of stereovision and structured light but also overcomes their weaknesses. The super-resolution scheme involves a 3D non-rigid registration for 3D artifacts correction in the presence of small non-rigid deformations as facial expressions.

This thesis presents an approach for configuring and calibrating a network of RGB-D sensors used to guide a robotic arm to interact with objects that get rapidly modeled in 3D. The system is based on Microsoft Kinect sensors for 3D data acquisition. The work presented here also details an analysis and experimental study of the Kinect’s depth sensor capabilities and performance. The study comprises examination of the resolution, quantization error, and random distribution of depth data. In addition, the effects of color and reflectance characteristics of an object are also analyzed. The study examines two versions of Kinect sensors, one dedicated to operate with the Xbox 360 video game console and the more recent Microsoft Kinect for Windows version. The study of the Kinect sensor is extended to the design of a rapid acquisition system dedicated to large workspaces by the linkage of multiple Kinect units to collect 3D data over a large object, such as an automotive vehicle. A customized calibration method for this large workspace is proposed which takes advantage of the rapid 3D measurement technology embedded in the Kinect sensor and provides registration accuracy between local sections of point clouds that is within the range of the depth measurements accuracy permitted by the Kinect technology. The method is developed to calibrate all Kinect units with respect to a reference Kinect. The internal calibration of the sensor in between the color and depth measurements is also performed to optimize the alignment between the modalities. The calibration of the 3D vision system is also extended to formally estimate its configuration with respect to the base of a manipulator robot, therefore allowing for seamless integration between the proposed vision platform and the kinematic control of the robot. The resulting vision-robotic system defines the comprehensive calibration of reference Kinect with the robot. The latter can then be used to interact under visual guidance with large objects, such as vehicles, that are positioned within a significantly enlarged field of view created by the network of RGB-D sensors. The proposed design and calibration method is validated in a real world scenario where five Kinect sensors operate collaboratively to rapidly and accurately reconstruct a 180 degrees coverage of the surface shape of various types of vehicles from a set of individual acquisitions performed in a semi-controlled environment, that is an underground parking garage. The vehicle geometrical properties generated from the acquired 3D data are compared with the original dimensions of the vehicle.

Virtual reality systems are nowadays common part of many research institutes due to its low cost and effective visualization of data. They mostly allow visualization and exploration of virtual worlds, but many lack user interaction. In this paper we suggest multi-camera optical system, which allows effective user interaction, thereby increasing immersion of virtual system. This paper describes the calibration process of multiple cameras using point correspondences.

Orientador: Antonio Maria Garcia Tommaselli / Resumo: A combinação de duas lentes com FOV hiper-hemisférico em posição opostas pode gerar um sistema omnidirecional (FOV 360°) leve, compacto e de baixo custo, como Ricoh Theta S e GoPro Fusion. Entretanto, apenas algumas técnicas e modelos matemáticos para a calibração um sistema com duas lentes hiper-hemisféricas são apresentadas na literatura. Nesta pesquisa, é avaliado e definido um modelo geométrico para calibração de sistemas omnidirecionais compostos por duas lentes hiper-hemisféricas e apresenta-se algumas aplicações com esse tipo de sistema. A calibração das câmaras foi realizada no programa CMC (calibração de múltiplas câmeras) utilizando imagens obtidas a partir de vídeos feitos com a câmara Ricoh Theta S no campo de calibração 360°. A câmara Ricoh Theta S é composto por duas lentes hiper-hemisféricas fisheye que cobrem 190° cada uma. Com o objetivo de avaliar as melhorias na utilização de pontos em comum entre as imagens, dois conjuntos de dados de pontos foram considerados: (1) apenas pontos no campo hemisférico, e (2) pontos em todo o campo de imagem (isto é, adicionar pontos no campo de imagem hiper-hemisférica). Primeiramente, os modelos ângulo equisólido, equidistante, estereográfico e ortogonal combinados com o modelo de distorção Conrady-Brown foram testados para a calibração de um sensor da câmara Ricoh Theta S. Os modelos de ângulo-equisólido e estereográfico apresentaram resultados melhores do que os outros modelos. Portanto, esses dois modelos de projeção for... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The arrangement of two hyper-hemispherical fisheye lenses in opposite position can design a light weight, small and low-cost omnidirectional system (360° FOV), e.g. Ricoh Theta S and GoPro Fusion. However, only a few techniques are presented in the literature to calibrate a dual-fisheye system. In this research, a geometric model for dual-fisheye system calibration was evaluated, and some applications with this type of system are presented. The calibrating bundle adjustment was performed in CMC (calibration of multiple cameras) software by using the Ricoh Theta video frames of the 360° calibration field. The Ricoh Theta S system is composed of two hyper-hemispherical fisheye lenses with 190° FOV each one. In order to evaluate the improvement in applying points in the hyper-hemispherical image field, two data set of points were considered: (1) observations that are only in the hemispherical field, and (2) points in all image field, i.e. adding points in the hyper-hemispherical image field. First, one sensor of the Ricoh Theta S system was calibrated in a bundle adjustment based on the equidistant, equisolid-angle, stereographic and orthogonal models combined with Conrady-Brown distortion model. Results showed that the equisolid-angle and stereographic models can provide better solutions than those of the others projection models. Therefore, these two projection models were implemented in a simultaneous camera calibration, in which the both Ricoh Theta sensors were considered i... (Complete abstract click electronic access below) / Mestre

<p dir="ltr">Accurate 3D point clouds are crucial in various fields, and the advancement of software algorithms has facilitated the reconstruction of 3D models from high-quality images. Notably, both single-camera and multi-camera systems have gained popularity in obtaining these images. While single-camera setups offer simplicity and cost-effectiveness, multi-camera systems provide a broader field of view and improved coverage. However, a crucial gap persists, a lack of direct comparison and comprehensive analysis regarding the quality of point clouds acquired from each system. This thesis aims to bridge this gap by evaluating the point cloud quality obtained from both single-camera and multi-camera systems, considering various factors such as lighting conditions, camera settings, and the stability of multi-camera setup in the 3D reconstruction process. Our research also aims to provide insights into how these factors influence the quality and performance of the reconstructed point clouds. By understanding the strengths and limitations of each system, researchers and professionals can make informed decisions when selecting the most suitable 3D imaging approach for their specific applications. To achieve these objectives, we designed and utilized a custom rig with three vertically stacked cameras, each equipped with a fixed camera lens, and maintained uniform lighting conditions. Additionally, we employed a single-camera system with a zoom lens and non uniform lighting conditions. Through noise analysis, our results revealed several crucial findings. The single-camera system exhibited relatively higher noise levels, likely due to non-uniform lighting and the use of a zoom lens. In contrast, the multi-camera system demonstrated lower noise levels, which can be attributed to well-lit conditions and the use of fixed lenses. However, within the multi-camera system, instances of significant instability led to a substantial increase in noise levels in the reconstructed point cloud compared to more stable conditions. Our noise analysis showed the multi-camera system preformed better compared to the single-camera system in terms of noise quality. However, it is crucial to recognize that noise detection also revealed the influence of factors like lighting conditions, camera calibration and camera stability of multi-camera systems on the reconstruction process.</p>

Time-of-Flight (ToF)-Kameras erzeugen Tiefenbilder (3D-Bilder), indem sie Infrarotlicht aussenden und die Zeit messen, bis die Reflexion des Lichtes wieder empfangen wird. Durch den Einsatz mehrerer ToF-Kameras können ihre vergleichsweise geringere Auflösungen überwunden, das Sichtfeld vergrößert und Verdeckungen reduziert werden. Der gleichzeitige Betrieb birgt jedoch die Möglichkeit von Störungen, die zu fehlerhaften Tiefenmessungen führen. Das Problem der gegenseitigen Störungen tritt nicht nur bei Mehrkamerasystemen auf, sondern auch wenn mehrere unabhängige ToF-Kameras eingesetzt werden. In dieser Arbeit wird eine neue optische Synchronisation vorgestellt, die keine zusätzliche Hardware oder Infrastruktur erfordert, um ein Zeitmultiplexverfahren (engl. Time-Division Multiple Access, TDMA) für die Anwendung mit ToF-Kameras zu nutzen, um so die Störungen zu vermeiden. Dies ermöglicht es einer Kamera, den Aufnahmeprozess anderer ToF-Kameras zu erkennen und ihre Aufnahmezeiten schnell zu synchronisieren, um störungsfrei zu arbeiten. Anstatt Kabel zur Synchronisation zu benötigen, wird nur die vorhandene Hardware genutzt, um eine optische Synchronisation zu erreichen. Dazu wird die Firmware der Kamera um das Synchronisationsverfahren erweitert. Die optische Synchronisation wurde konzipiert, implementiert und in einem Versuchsaufbau mit drei ToF-Kameras verifiziert. Die Messungen zeigen die Wirksamkeit der vorgeschlagenen optischen Synchronisation. Während der Experimente wurde die Bildrate durch das zusätzliche Synchronisationsverfahren lediglich um etwa 1 Prozent reduziert. / Time-of-Flight (ToF) cameras produce depth images (three-dimensional images) by measuring the time between the emission of infrared light and the reception of its reflection. A setup of multiple ToF cameras may be used to overcome their comparatively low resolution, increase the field of view, and reduce occlusion. However, the simultaneous operation of multiple ToF cameras introduces the possibility of interference resulting in erroneous depth measurements. The problem of interference is not only related to a collaborative multicamera setup but also to multiple ToF cameras operating independently. In this work, a new optical synchronization for ToF cameras is presented, requiring no additional hardware or infrastructure to utilize a time-division multiple access (TDMA) scheme to mitigate interference. It effectively enables a camera to sense the acquisition process of other ToF cameras and rapidly synchronizes its acquisition times to operate without interference. Instead of requiring cables to synchronize, only the existing hardware is utilized to enable an optical synchronization. To achieve this, the camera’s firmware is extended with the synchronization procedure. The optical synchronization has been conceptualized, implemented, and verified with an experimental setup deploying three ToF cameras. The measurements show the efficacy of the proposed optical synchronization. During the experiments, the frame rate was reduced by only about 1% due to the synchronization procedure.

Ce mémoire s'intéresse à la vision par ordinateur appliquée à des projets d'art technologique. Le sujet traité est la calibration de systèmes de caméras et de projecteurs dans des applications de suivi et de reconstruction 3D en arts visuels et en art performatif. Le mémoire s'articule autour de deux collaborations avec les artistes québécois Daniel Danis et Nicolas Reeves. La géométrie projective et les méthodes de calibration classiques telles que la calibration planaire et la calibration par géométrie épipolaire sont présentées pour introduire les techniques utilisées dans ces deux projets. La collaboration avec Nicolas Reeves consiste à calibrer un système caméra-projecteur sur tête robotisée pour projeter des vidéos en temps réel sur des écrans cubiques mobiles. En plus d'appliquer des méthodes de calibration classiques, nous proposons une nouvelle technique de calibration de la pose d'une caméra sur tête robotisée. Cette technique utilise des plans elliptiques générés par l'observation d'un seul point dans le monde pour déterminer la pose de la caméra par rapport au centre de rotation de la tête robotisée. Le projet avec le metteur en scène Daniel Danis aborde les techniques de calibration de systèmes multi-caméras. Pour son projet de théâtre, nous avons développé un algorithme de calibration d'un réseau de caméras wiimotes. Cette technique basée sur la géométrie épipolaire permet de faire de la reconstruction 3D d'une trajectoire dans un grand volume à un coût minime. Les résultats des techniques de calibration développées sont présentés, de même que leur utilisation dans des contextes réels de performance devant public. / This thesis focuses on computer vision applications for technological art projects. Camera and projector calibration is discussed in the context of tracking applications and 3D reconstruction in visual arts and performance art. The thesis is based on two collaborations with québécois artists Daniel Danis and Nicolas Reeves. Projective geometry and classical camera calibration techniques, such as planar calibration and calibration from epipolar geometry, are detailed to introduce the techniques implemented in both artistic projects. The project realized in collaboration with Nicolas Reeves consists of calibrating a pan-tilt camera-projector system in order to adapt videos to be projected in real time on mobile cubic screens. To fulfil the project, we used classical camera calibration techniques combined with our proposed camera pose calibration technique for pan-tilt systems. This technique uses elliptic planes, generated by the observation of a point in the scene while the camera is panning, to compute the camera pose in relation to the rotation centre of the pan-tilt system. The project developed in collaboration with Daniel Danis is based on multi-camera calibration. For this studio theatre project, we developed a multi-camera calibration algorithm to be used with a wiimote network. The technique based on epipolar geometry allows 3D reconstruction of a trajectory in a large environment at a low cost. The results obtained from the camera calibration techniques implemented are presented alongside their application in real public performance contexts.

Ce mémoire s'intéresse à la vision par ordinateur appliquée à des projets d'art technologique. Le sujet traité est la calibration de systèmes de caméras et de projecteurs dans des applications de suivi et de reconstruction 3D en arts visuels et en art performatif. Le mémoire s'articule autour de deux collaborations avec les artistes québécois Daniel Danis et Nicolas Reeves. La géométrie projective et les méthodes de calibration classiques telles que la calibration planaire et la calibration par géométrie épipolaire sont présentées pour introduire les techniques utilisées dans ces deux projets. La collaboration avec Nicolas Reeves consiste à calibrer un système caméra-projecteur sur tête robotisée pour projeter des vidéos en temps réel sur des écrans cubiques mobiles. En plus d'appliquer des méthodes de calibration classiques, nous proposons une nouvelle technique de calibration de la pose d'une caméra sur tête robotisée. Cette technique utilise des plans elliptiques générés par l'observation d'un seul point dans le monde pour déterminer la pose de la caméra par rapport au centre de rotation de la tête robotisée. Le projet avec le metteur en scène Daniel Danis aborde les techniques de calibration de systèmes multi-caméras. Pour son projet de théâtre, nous avons développé un algorithme de calibration d'un réseau de caméras wiimotes. Cette technique basée sur la géométrie épipolaire permet de faire de la reconstruction 3D d'une trajectoire dans un grand volume à un coût minime. Les résultats des techniques de calibration développées sont présentés, de même que leur utilisation dans des contextes réels de performance devant public. / This thesis focuses on computer vision applications for technological art projects. Camera and projector calibration is discussed in the context of tracking applications and 3D reconstruction in visual arts and performance art. The thesis is based on two collaborations with québécois artists Daniel Danis and Nicolas Reeves. Projective geometry and classical camera calibration techniques, such as planar calibration and calibration from epipolar geometry, are detailed to introduce the techniques implemented in both artistic projects. The project realized in collaboration with Nicolas Reeves consists of calibrating a pan-tilt camera-projector system in order to adapt videos to be projected in real time on mobile cubic screens. To fulfil the project, we used classical camera calibration techniques combined with our proposed camera pose calibration technique for pan-tilt systems. This technique uses elliptic planes, generated by the observation of a point in the scene while the camera is panning, to compute the camera pose in relation to the rotation centre of the pan-tilt system. The project developed in collaboration with Daniel Danis is based on multi-camera calibration. For this studio theatre project, we developed a multi-camera calibration algorithm to be used with a wiimote network. The technique based on epipolar geometry allows 3D reconstruction of a trajectory in a large environment at a low cost. The results obtained from the camera calibration techniques implemented are presented alongside their application in real public performance contexts.