On Interpreting Stereo Disparity

The problems under consideration center around the interpretation of binocular stereo disparity. In particular, the goal is to establish a set of mappings from stereo disparity to corresponding three-dimensional scene geometry. An analysis has been developed that shows how disparity information can be interpreted in terms of three-dimensional scene properties, such as surface depth, discontinuities, and orientation. These theoretical developments have been embodied in a set of computer algorithms for the recovery of scene geometry from input stereo disparity. The results of applying these algorithms to several disparity maps are presented. Comparisons are made to the interpretation of stereo disparity by biological systems.

Bioinformatics inspired algorithm for stereo correspondence

In this paper, we exploit the analogy between protein sequence alignment and image pair correspondence to design a bioinformatics-inspired framework for stereo matching based on dynamic programming. This approach also led to the creation of a meaningfulness graph, which helps to predict matching validity according to image overlap and pixel similarity. Finally, we propose an automatic procedure to estimate automatically all matching parameters. This work is evaluated qualitatively and quantitatively using a standard benchmarking dataset and by conducting stereo matching experiments between images captured at different resolutions. Results confirm the validity of the computer vision/bioinformatics analogy to develop a versatile and accurate low complexity stereo matching algorithm.

The smart vision local navigation aid for blind and visually impaired persons

The SmartVision prototype is a small, cheap and easily wearable navigation aid for blind and visually impaired persons. Its functionality addresses global navigation for guiding the user to some destiny, and local navigation for negotiating paths, sidewalks and corridors, with avoidance of static as well as moving obstacles. Local navigation applies to both in- and outdoor situations. In this article we focus on local navigation: the detection of path borders and obstacles in front of the user and just beyond the reach of the white cane, such that the user can be assisted in centering on the path and alerted to looming hazards. Using a stereo camera worn at chest height, a portable computer in a shoulder-strapped pouch or pocket and only one earphone or small speaker, the system is inconspicuous, it is no hindrence while walking with the cane, and it does not block normal surround sounds. The vision algorithms are optimised such that the system can work at a few frames per second.

Calibration of a Structured Light-Based Stereo Catadioptric Sensor

Catadioptric sensors are combinations of mirrors and lenses made in order to obtain a wide field of view. In this paper we propose a new sensor that has omnidirectional viewing ability and it also provides depth information about the nearby surrounding. The sensor is based on a conventional camera coupled with a laser emitter and two hyperbolic mirrors. Mathematical formulation and precise specifications of the intrinsic and extrinsic parameters of the sensor are discussed. Our approach overcomes limitations of the existing omni-directional sensors and eventually leads to reduced costs of production

Catadioptric stereo based on structured light projection

La percepció per visió es millorada quan es pot gaudir d'un camp de visió ampli. Aquesta tesi es concentra en la percepció visual de la profunditat amb l'ajuda de càmeres omnidireccionals. La percepció 3D s'obté generalment en la visió per computadora utilitzant configuracions estèreo amb el desavantatge del cost computacional elevat a l'hora de buscar els elements visuals comuns entre les imatges. La solució que ofereix aquesta tesi és l'ús de la llum estructurada per resoldre el problema de relacionar les correspondències. S'ha realitzat un estudi sobre els sistemes de visió omnidireccional. S'han avaluat vàries configuracions estèreo i s'ha escollit la millor. Els paràmetres del model són difícils de mesurar directament i, en conseqüència, s'ha desenvolupat una sèrie de mètodes de calibració. Els resultats obtinguts són prometedors i demostren que el sensor pot ésser utilitzat en aplicacions per a la percepció de la profunditat com serien el modelatge de l'escena, la inspecció de canonades, navegació de robots, etc.

Humans ignore motion and stereo cues in favor of a fictional stable world

As we move through the world, our eyes acquire a sequence of images. The information from this sequence is sufficient to determine the structure of a three-dimensional scene, up to a scale factor determined by the distance that the eyes have moved [1, 2]. Previous evidence shows that the human visual system accounts for the distance the observer has walked [3,4] and the separation of the eyes [5-8] when judging the scale, shape, and distance of objects. However, in an immersive virtual-reality environment, observers failed to notice when a scene expanded or contracted, despite having consistent information about scale from both distance walked and binocular vision. This failure led to large errors in judging the size of objects. The pattern of errors cannot be explained by assuming a visual reconstruction of the scene with an incorrect estimate of interocular separation or distance walked. Instead, it is consistent with a Bayesian model of cue integration in which the efficacy of motion and disparity cues is greater at near viewing distances. Our results imply that observers are more willing to adjust their estimate of interocular separation or distance walked than to accept that the scene has changed in size.

Hardware development of the Yorick series of active vision systems

This paper presents a review of the design and development of the Yorick series of active stereo camera platforms and their integration into real-time closed loop active vision systems, whose applications span surveillance, navigation of autonomously guided vehicles (AGVs), and inspection tasks for teleoperation, including immersive visual telepresence. The mechatronic approach adopted for the design of the first system, including head/eye platform, local controller, vision engine, gaze controller and system integration, proved to be very successful. The design team comprised researchers with experience in parallel computing, robot control, mechanical design and machine vision. The success of the project has generated sufficient interest to sanction a number of revisions of the original head design, including the design of a lightweight compact head for use on a robot arm, and the further development of a robot head to look specifically at increasing visual resolution for visual telepresence. The controller and vision processing engines have also been upgraded, to include the control of robot heads on mobile platforms and control of vergence through tracking of an operator's eye movement. This paper details the hardware development of the different active vision/telepresence systems.

A modular head/eye platform for real-time reactive vision

This paper describes the design, implementation and testing of a high speed controlled stereo “head/eye” platform which facilitates the rapid redirection of gaze in response to visual input. It details the mechanical device, which is based around geared DC motors, and describes hardware aspects of the controller and vision system, which are implemented on a reconfigurable network of general purpose parallel processors. The servo-controller is described in detail and higher level gaze and vision constructs outlined. The paper gives performance figures gained both from mechanical tests on the platform alone, and from closed loop tests on the entire system using visual feedback from a feature detector.

A multi-wavelet based technique for calculating dense 2D disparity maps from stereo

A vision based approach for calculating accurate 3D models of the objects is presented. Generally industrial visual inspection systems capable of accurate 3D depth estimation rely on extra hardware tools like laser scanners or light pattern projectors. These tools improve the accuracy of depth estimation but also make the vision system costly and cumbersome. In the proposed algorithm, depth and dimensional accuracy of the produced 3D depth model depends on the existing reference model instead of the information from extra hardware tools. The proposed algorithm is a simple and cost effective software based approach to achieve accurate 3D depth estimation with minimal hardware involvement. The matching process uses the well-known coarse to fine strategy, involving the calculation of matching points at the coarsest level with consequent refinement up to the finest level. Vector coefficients of the wavelet transform-modulus are used as matching features, where wavelet transform-modulus maxima defines the shift invariant high-level features with phase pointing to the normal of the feature surface. The technique addresses the estimation of optimal corresponding points and the corresponding 2D disparity maps leading to the creation of accurate depth perception model.

Touching space : using motion capture and stereo projection to create a virtual haptics of dance

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking.

Instrumental vision

This chapter interrogates stereo-immersive ‘virtual reality’ (VR), the technology that enables a perceiver to experience what it is like to be immersed in a simulated environment. While the simulation is powered by the “geometry engine” (Cutting, 1997: 31) associated with high-end computer imaging technology, the visual experience itself is powered by ordinary human vision: the vision system’s innate capacity to see “in 3D”. To understand and critically appraise stereo-immersive VR, we should study not its purported ‘virtuality’, but its specific visuality, because the ‘reality’ of a so-called ‘virtual environment’ is afforded by the stereoacuity of binocular vision itself. By way of such a critique of the visuality of stereo-immersive VR, this chapter suggests that we think about the ‘practice’ of vision, and consider on what basis vision can have its own ‘materiality’. Pictorial perception is proposed as an exemplary visual mode in which the possibilities of perception might emerge. Against the ‘possibilities’ of vision associated with pictures, the visuality of stereo-immersive VR emerges as a harnessing, or ‘instrumentalisation’ of vision’s innate capabilities. James J. Gibson’s ‘ecological’ approach to vision studies is referenced to show the degree to which developers of VR have sought — and succeeded — to mimic the ‘realness’ of ordinary perceptual reality. This raises a question concerning whether the success of stereo-immersive VR is simultaneously the source of its own perceptual redundancy: for to bring into being the perceptual basis of ordinary ‘real’ reality, is to return the perceiver to what is already familiar and known.

Touching space: Using motion capture and stereo projection to create a "virtual haptics" of dance

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking. © 2010.