High level methods for scene exploration

Virtual worlds exploration techniques are used in a wide variety of domains — from graph drawing to robot motion. This paper is dedicated to virtual world exploration techniques which have to help a human being to understand a 3D scene. An improved method of viewpoint quality estimation is presented in the paper, together with a new off-line method for automatic 3D scene exploration, based on a virtual camera. The automatic exploration method is working in two steps. In the first step, a set of “good” viewpoints is computed. The second step uses this set of points of view to compute a camera path around the scene. Finally, we define a notion of semantic distance between objects of the scene to improve the approach.

Generating Realistic Camera Shake for Virtual Scenes

When depicting both virtual and physical worlds, the viewer's impression of presence in these worlds is strongly linked to camera motion. Plausible and artist-controlled camera movement can substantially increase scene immersion. While physical camera motion exhibits subtle details of position, rotation, and acceleration, these details are often missing for virtual camera motion. In this work, we analyze camera movement using signal theory. Our system allows us to stylize a smooth user-defined virtual base camera motion by enriching it with plausible details. A key component of our system is a database of videos filmed by physical cameras. These videos are analyzed with a camera-motion estimation algorithm (structure-from-motion) and labeled manually with a specific style. By considering spectral properties of location, orientation and acceleration, our solution learns camera motion details. Consequently, an arbitrary virtual base motion, defined in any conventional animation package, can be automatically modified according to a user-selected style. In an animation package the camera motion base path is typically defined by the user via function curves. Another possibility is to obtain the camera path by using a mixed reality camera in motion capturing studio. As shown in our experiments, the resulting shots are still fully artist-controlled, but appear richer and more physically plausible.

Increasing Realism and Supporting Content Planning for Dynamic Scenes in a Mixed Reality System incorporating a Time-of-Flight Camera

For broadcasting purposes MIXED REALITY, the combination of real and virtual scene content, has become ubiquitous nowadays. Mixed Reality recording still requires expensive studio setups and is often limited to simple color keying. We present a system for Mixed Reality applications which uses depth keying and provides threedimensional mixing of real and artificial content. It features enhanced realism through automatic shadow computation which we consider a core issue to obtain realism and a convincing visual perception, besides the correct alignment of the two modalities and correct occlusion handling. Furthermore we present a possibility to support placement of virtual content in the scene. Core feature of our system is the incorporation of a TIME-OF-FLIGHT (TOF)-camera device. This device delivers real-time depth images of the environment at a reasonable resolution and quality. This camera is used to build a static environment model and it also allows correct handling of mutual occlusions between real and virtual content, shadow computation and enhanced content planning. The presented system is inexpensive, compact, mobile, flexible and provides convenient calibration procedures. Chroma-keying is replaced by depth-keying which is efficiently performed on the GRAPHICS PROCESSING UNIT (GPU) by the usage of an environment model and the current ToF-camera image. Automatic extraction and tracking of dynamic scene content is herewith performed and this information is used for planning and alignment of virtual content. An additional sustainable feature is that depth maps of the mixed content are available in real-time, which makes the approach suitable for future 3DTV productions. The presented paper gives an overview of the whole system approach including camera calibration, environment model generation, real-time keying and mixing of virtual and real content, shadowing for virtual content and dynamic object tracking for content planning.

Automatic Data Normalization and Parameterization for Optical Motion Tracking

Methods for optical motion capture often require timeconsuming manual processing before the data can be used for subsequent tasks such as retargeting or character animation. These processing steps restrict the applicability of motion capturing especially for dynamic VR-environments with real time requirements. To solve these problems, we present two additional, fast and automatic processing stages based on our motion capture pipeline presented in [HSK05]. A normalization step aligns the recorded coordinate systems with the skeleton structure to yield a common and intuitive data basis across different recording sessions. A second step computes a parameterization based on automatically extracted main movement axes to generate a compact motion description. Our method does not restrict the placement of marker bodies nor the recording setup, and only requires a short calibration phase.

Lag Camera: A Moving Multi-Camera Array for Scene-Acquisition

Many applications, such as telepresence, virtual reality, and interactive walkthroughs, require a three-dimensional(3D)model of real-world environments. Methods, such as lightfields, geometric reconstruction and computer vision use cameras to acquire visual samples of the environment and construct a model. Unfortunately, obtaining models of real-world locations is a challenging task. In particular, important environments are often actively in use, containing moving objects, such as people entering and leaving the scene. The methods previously listed have difficulty in capturing the color and structure of the environment while in the presence of moving and temporary occluders. We describe a class of cameras called lag cameras. The main concept is to generalize a camera to take samples over space and time. Such a camera, can easily and interactively detect moving objects while continuously moving through the environment. Moreover, since both the lag camera and occluder are moving, the scene behind the occluder is captured by the lag camera even from viewpoints where the occluder lies in between the lag camera and the hidden scene. We demonstrate an implementation of a lag camera, complete with analysis and captured environments.

Interactive Augmentation of Live Images using a HDR Stereo Camera

Adding virtual objects to real environments plays an important role in todays computer graphics: Typical examples are virtual furniture in a real room and virtual characters in real movies. For a believable appearance, consistent lighting of the virtual objects is required. We present an augmented reality system that displays virtual objects with consistent illumination and shadows in the image of a simple webcam. We use two high dynamic range video cameras with fisheye lenses permanently recording the environment illumination. A sampling algorithm selects a few bright parts in one of the wide angle images and the corresponding points in the second camera image. The 3D position can then be calculated using epipolar geometry. Finally, the selected point lights are used in a multi pass algorithm to draw the virtual object with shadows. To validate our approach, we compare the appearance and shadows of the synthetic objects with real objects.

Registration of Sub-Sequence and Multi-Camera Reconstructions for Camera Motion Estimation

This paper presents different application scenarios for which the registration of sub-sequence reconstructions or multi-camera reconstructions is essential for successful camera motion estimation and 3D reconstruction from video. The registration is achieved by merging unconnected feature point tracks between the reconstructions. One application is drift removal for sequential camera motion estimation of long sequences. The state-of-the-art in drift removal is to apply a RANSAC approach to find unconnected feature point tracks. In this paper an alternative spectral algorithm for pairwise matching of unconnected feature point tracks is used. It is then shown that the algorithms can be combined and applied to novel scenarios where independent camera motion estimations must be registered into a common global coordinate system. In the first scenario multiple moving cameras, which capture the same scene simultaneously, are registered. A second new scenario occurs in situations where the tracking of feature points during sequential camera motion estimation fails completely, e.g., due to large occluding objects in the foreground, and the unconnected tracks of the independent reconstructions must be merged. In the third scenario image sequences of the same scene, which are captured under different illuminations, are registered. Several experiments with challenging real video sequences demonstrate that the presented techniques work in practice.

Algorithms For Automatic And Robust Registration Of 3D Head Scans

wo methods for registering laser-scans of human heads and transforming them to a new semantically consistent topology defined by a user-provided template mesh are described. Both algorithms are stated within the Iterative Closest Point framework. The first method is based on finding landmark correspondences by iteratively registering the vicinity of a landmark with a re-weighted error function. Thin-plate spline interpolation is then used to deform the template mesh and finally the scan is resampled in the topology of the deformed template. The second algorithm employs a morphable shape model, which can be computed from a database of laser-scans using the first algorithm. It directly optimizes pose and shape of the morphable model. The use of the algorithm with PCA mixture models, where the shape is split up into regions each described by an individual subspace, is addressed. Mixture models require either blending or regularization strategies, both of which are described in detail. For both algorithms, strategies for filling in missing geometry for incomplete laser-scans are described. While an interpolation-based approach can be used to fill in small or smooth regions, the model-driven algorithm is capable of fitting a plausible complete head mesh to arbitrarily small geometry, which is known as "shape completion". The importance of regularization in the case of extreme shape completion is shown.

Visual Fixation for 3D Video Stabilization

Visual fixation is employed by humans and some animals to keep a specific 3D location at the center of the visual gaze. Inspired by this phenomenon in nature, this paper explores the idea to transfer this mechanism to the context of video stabilization for a handheld video camera. A novel approach is presented that stabilizes a video by fixating on automatically extracted 3D target points. This approach is different from existing automatic solutions that stabilize the video by smoothing. To determine the 3D target points, the recorded scene is analyzed with a stateof- the-art structure-from-motion algorithm, which estimates camera motion and reconstructs a 3D point cloud of the static scene objects. Special algorithms are presented that search either virtual or real 3D target points, which back-project close to the center of the image for as long a period of time as possible. The stabilization algorithm then transforms the original images of the sequence so that these 3D target points are kept exactly in the center of the image, which, in case of real 3D target points, produces a perfectly stable result at the image center. Furthermore, different methods of additional user interaction are investigated. It is shown that the stabilization process can easily be controlled and that it can be combined with state-of-theart tracking techniques in order to obtain a powerful image stabilization tool. The approach is evaluated on a variety of videos taken with a hand-held camera in natural scenes.

Effects of camera aperture correction on keying and compositing of broadcast video

This contribution discusses the effects of camera aperture correction in broadcast video on colour-based keying. The aperture correction is used to ’sharpen’ an image and is one element that distinguishes the ’TV-look’ from ’film-look’. ’If a very high level of sharpening is applied, as is the case in many TV productions then this significantly shifts the colours around object boundaries with hight contrast. This paper discusses these effects and their impact on keying and describes a simple low-pass filter to compensate for them. Tests with colour-based segmentation algorithms show that the proposed compensation is an effective way of decreasing the keying artefacts on object boundaries.

Impact Study of Nonverbal Facial Cues on Spontaneous Chatting with Virtual Humans

Non-verbal communication (NVC) is considered to represent more than 90 percent of everyday communication. In virtual world, this important aspect of interaction between virtual humans (VH) is strongly neglected. This paper presents a user-test study to demonstrate the impact of automatically generated graphics-based NVC expression on the dialog quality: first, we wanted to compare impassive and emotion facial expression simulation for impact on the chatting. Second, we wanted to see whether people like chatting within a 3D graphical environment. Our model only proposes facial expressions and head movements induced from spontaneous chatting between VHs. Only subtle facial expressions are being used as nonverbal cues - i.e. related to the emotional model. Motion capture animations related to hand gestures, such as cleaning glasses, were randomly used to make the virtual human lively. After briefly introducing the technical architecture of the 3D-chatting system, we focus on two aspects of chatting through VHs. First, what is the influence of facial expressions that are induced from text dialog? For this purpose, we exploited an emotion engine extracting an emotional content from a text and depicting it into a virtual character developed previously [GAS11]. Second, as our goal was not addressing automatic generation of text, we compared the impact of nonverbal cues in conversation with a chatbot or with a human operator with a wizard of oz approach. Among main results, the within group study -involving 40 subjects- suggests that subtle facial expressions impact significantly not only on the quality of experience but also on dialog understanding.

Real-time depth camera tracking with CAD models and ICP

In recent years, depth cameras have been widely utilized in camera tracking for augmented and mixed reality. Many of the studies focus on the methods that generate the reference model simultaneously with the tracking and allow operation in unprepared environments. However, methods that rely on predefined CAD models have their advantages. In such methods, the measurement errors are not accumulated to the model, they are tolerant to inaccurate initialization, and the tracking is always performed directly in reference model's coordinate system. In this paper, we present a method for tracking a depth camera with existing CAD models and the Iterative Closest Point (ICP) algorithm. In our approach, we render the CAD model using the latest pose estimate and construct a point cloud from the corresponding depth map. We construct another point cloud from currently captured depth frame, and find the incremental change in the camera pose by aligning the point clouds. We utilize a GPGPU-based implementation of the ICP which efficiently uses all the depth data in the process. The method runs in real-time, it is robust for outliers, and it does not require any preprocessing of the CAD models. We evaluated the approach using the Kinect depth sensor, and compared the results to a 2D edge-based method, to a depth-based SLAM method, and to the ground truth. The results show that the approach is more stable compared to the edge-based method and it suffers less from drift compared to the depth-based SLAM.