Shape Recipes: Scene Representations that Refer to the Image

The goal of low-level vision is to estimate an underlying scene, given an observed image. Real-world scenes (e.g., albedos or shapes) can be very complex, conventionally requiring high dimensional representations which are hard to estimate and store. We propose a low-dimensional representation, called a scene recipe, that relies on the image itself to describe the complex scene configurations. Shape recipes are an example: these are the regression coefficients that predict the bandpassed shape from bandpassed image data. We describe the benefits of this representation, and show two uses illustrating their properties: (1) we improve stereo shape estimates by learning shape recipes at low resolution and applying them at full resolution; (2) Shape recipes implicitly contain information about lighting and materials and we use them for material segmentation.

Multiple Resolution Image Classification

Binary image classifiction is a problem that has received much attention in recent years. In this paper we evaluate a selection of popular techniques in an effort to find a feature set/ classifier combination which generalizes well to full resolution image data. We then apply that system to images at one-half through one-sixteenth resolution, and consider the corresponding error rates. In addition, we further observe generalization performance as it depends on the number of training images, and lastly, compare the system's best error rates to that of a human performing an identical classification task given teh same set of test images.

Inferring 3D Structure with a Statistical Image-Based Shape Model

We present an image-based approach to infer 3D structure parameters using a probabilistic "shape+structure'' model. The 3D shape of a class of objects may be represented by sets of contours from silhouette views simultaneously observed from multiple calibrated cameras. Bayesian reconstructions of new shapes can then be estimated using a prior density constructed with a mixture model and probabilistic principal components analysis. We augment the shape model to incorporate structural features of interest; novel examples with missing structure parameters may then be reconstructed to obtain estimates of these parameters. Model matching and parameter inference are done entirely in the image domain and require no explicit 3D construction. Our shape model enables accurate estimation of structure despite segmentation errors or missing views in the input silhouettes, and works even with only a single input view. Using a dataset of thousands of pedestrian images generated from a synthetic model, we can perform accurate inference of the 3D locations of 19 joints on the body based on observed silhouette contours from real images.

A Unified Statistical and Information Theoretic Framework for Multi-modal Image Registration

We formulate and interpret several multi-modal registration methods in the context of a unified statistical and information theoretic framework. A unified interpretation clarifies the implicit assumptions of each method yielding a better understanding of their relative strengths and weaknesses. Additionally, we discuss a generative statistical model from which we derive a novel analysis tool, the "auto-information function", as a means of assessing and exploiting the common spatial dependencies inherent in multi-modal imagery. We analytically derive useful properties of the "auto-information" as well as verify them empirically on multi-modal imagery. Among the useful aspects of the "auto-information function" is that it can be computed from imaging modalities independently and it allows one to decompose the search space of registration problems.

Three-Dimensional Recognition of Solid Objects from a Two-Dimensional Image

This thesis addresses the problem of recognizing solid objects in the three-dimensional world, using two-dimensional shape information extracted from a single image. Objects can be partly occluded and can occur in cluttered scenes. A model based approach is taken, where stored models are matched to an image. The matching problem is separated into two stages, which employ different representations of objects. The first stage uses the smallest possible number of local features to find transformations from a model to an image. This minimizes the amount of search required in recognition. The second stage uses the entire edge contour of an object to verify each transformation. This reduces the chance of finding false matches.

Image Chunking: Defining Spatial Building Blocks for Scene Analysis

Rapid judgments about the properties and spatial relations of objects are the crux of visually guided interaction with the world. Vision begins, however, with essentially pointwise representations of the scene, such as arrays of pixels or small edge fragments. For adequate time-performance in recognition, manipulation, navigation, and reasoning, the processes that extract meaningful entities from the pointwise representations must exploit parallelism. This report develops a framework for the fast extraction of scene entities, based on a simple, local model of parallel computation.sAn image chunk is a subset of an image that can act as a unit in the course of spatial analysis. A parallel preprocessing stage constructs a variety of simple chunks uniformly over the visual array. On the basis of these chunks, subsequent serial processes locate relevant scene components and assemble detailed descriptions of them rapidly. This thesis defines image chunks that facilitate the most potentially time-consuming operations of spatial analysis---boundary tracing, area coloring, and the selection of locations at which to apply detailed analysis. Fast parallel processes for computing these chunks from images, and chunk-based formulations of indexing, tracing, and coloring, are presented. These processes have been simulated and evaluated on the lisp machine and the connection machine.

The Image Irradiance Equation: Its Solution and Application

How much information about the shape of an object can be inferred from its image? In particular, can the shape of an object be reconstructed by measuring the light it reflects from points on its surface? These questions were raised by Horn [HO70] who formulated a set of conditions such that the image formation can be described in terms of a first order partial differential equation, the image irradiance equation. In general, an image irradiance equation has infinitely many solutions. Thus constraints necessary to find a unique solution need to be identified. First we study the continuous image irradiance equation. It is demonstrated when and how the knowledge of the position of edges on a surface can be used to reconstruct the surface. Furthermore we show how much about the shape of a surface can be deduced from so called singular points. At these points the surface orientation is uniquely determined by the measured brightness. Then we investigate images in which certain types of silhouettes, which we call b-silhouettes, can be detected. In particular we answer the following question in the affirmative: Is there a set of constraints which assure that if an image irradiance equation has a solution, it is unique? To this end we postulate three constraints upon the image irradiance equation and prove that they are sufficient to uniquely reconstruct the surface from its image. Furthermore it is shown that any two of these constraints are insufficient to assure a unique solution to an image irradiance equation. Examples are given which illustrate the different issues. Finally, an overview of known numerical methods for computing solutions to an image irradiance equation are presented.

The Representation of Image Texture

This thesis explores how to represent image texture in order to obtain information about the geometry and structure of surfaces, with particular emphasis on locating surface discontinuities. Theoretical and psychophysical results lead to the following conclusions for the representation of image texture: (1) A texture edge primitive is needed to identify texture change contours, which are formed by an abrupt change in the 2-D organization of similar items in an image. The texture edge can be used for locating discontinuities in surface structure and surface geometry and for establishing motion correspondence. (2) Abrupt changes in attributes that vary with changing surface geometry ??ientation, density, length, and width ??ould be used to identify discontinuities in surface geometry and surface structure. (3) Texture tokens are needed to separate the effects of different physical processes operating on a surface. They represent the local structure of the image texture. Their spatial variation can be used in the detection of texture discontinuities and texture gradients, and their temporal variation may be used for establishing motion correspondence. What precisely constitutes the texture tokens is unknown; it appears, however, that the intensity changes alone will not suffice, but local groupings of them may. (4) The above primitives need to be assigned rapidly over a large range in an image.

Festival Images: brand image and stakeholders' brand relationship types at the Edinburgh Festival Fringe.

The Edinburgh Festival Fringe (The Fringe) is the largest arts festival in the world and it has inspired the creation of similar festivals world-wide. Since its conception in 1947, the Fringe has demonstrated significant growth in visitor numbers; ticket sales; and its economic contribution. Despite this, the sustainable future of Edinburgh’s festivals is debated as Edinburgh, ‘the Festival City’, faces threats from other festival destinations. Festivals position Edinburgh creatively in contrast to the city’s traditionally perceived image as a cultural-historic centre. Despite this, little research has been undertaken into the creative and cultural significance of Edinburgh’s festivals, including the Fringe. This interdisciplinary research grounded in marketing, tourism, and festival and event management; and underpinned by constructivism, presents an understanding of types of brand relationships that exist between the Fringe and its primary stakeholders. This is achieved through defining both the Fringe brand image and its primary stakeholders; and applying these definitions to the development of a typology of Fringe-stakeholders’ brand relationships. The significance of this study is evident within its topic of inquiry and the research methods applied. In the little-considered arena of arts festivals and their stakeholders, this is the first in-depth study into the Fringe as a festival and festival brand. Within this, the definition of a Fringe brand image contributes to understanding the cultural and creative significance of the Fringe. Furthermore, this research contributes a unique understanding of the types of stakeholders that are engaged with the Fringe. The types of brand relationships that exist between these stakeholders and the Fringe are another significant contribution to knowledge and understanding. While specific to the present context, these findings may prove transferable to further festivals or events, and related areas and industries. The contribution made by this research to the methodological developments in festival and event studies is of additional significance. The application of visual research methods, including semiotic analysis and photo-elicitation within phenomenological interviews, has previously been applied in marketing, consumer, and tourism research, but not to the understanding of festival brands and stakeholders’ brand relationship types. Findings of this research illustrate that existing marketing and consumer brand frameworks and stakeholder theories are applicable to festivals. Further, it is possible to define ‘a’ Fringe brand image which is subjective and contradictory. The unique open-access and organic, operational model of the Fringe facilitates its many contributors, and consumers. Fringe stakeholders may be categorised according to their level of engagement with the Fringe (as primary or secondary) and their particular stakeholder role(s), which are varied and multiple. Fringe-stakeholder brand relationship types are overwhelmingly positive; and are based upon interpersonal relationship dimensions (including friendships, marriages, kinships and partnerships). Fringe-stakeholder brand relationship types can be classified therefore as having similar dimensions to those brand relationship types previously described for consumer products and brands.

Accurate Range Image Registration: Eliminating or Modelling Outliers

Liu, Yonghuai, Liu, Honghai, Li, Longzhuang, Wei, Baogang. Accurate Range Image Registration: Eliminating or Modelling Outliers. Proceedings of 12th IEEE Conference on Emerging Technologies and Factory Automation, 2007, pp. 1316-1323. Sponsorship: IEEE

Using hybrid knowledge engineering and image processing in color virtual restoration of ancient murals

IEEE Transactions on Knowledge and Data Engineering, vol. 15, no. 5, pp. 1338-1343, 2003.

Modelling uncertainty in agricultural image analysis

C.M. Onyango, J.A. Marchant and R. Zwiggelaar, 'Modelling uncertainty in agricultural image analysis', Computers and Electronics in Agriculture 17 (3), 295-305 (1997)

Inspection of teats by colour image analysis for automatic milking systems

C.R. Bull, N.J.B. McFarlane, R. Zwiggelaar, C.J. Allen and T.T. Mottram, 'Inspection of teats by colour image analysis for automatic milking systems', Computers and Electronics in Agriculture 15 (1), 15-26 (1996)

Cellular automata and non-static image processing for embodied robot systems on a massively parallel processor array

Huelse, M, Barr, D R W, Dudek, P: Cellular Automata and non-static image processing for embodied robot systems on a massively parallel processor array. In: Adamatzky, A et al. (eds) AUTOMATA 2008, Theory and Applications of Cellular Automata. Luniver Press, 2008, pp. 504-510. Sponsorship: EPSRC