Contents Thissectionofthecoursenotesisorganizedasfollows: 1.Introductorymaterialforthissection.Thisincludesabriefoverviewofrelatedandcomplimentarymaterialtophotogrammetricmodeling, suchasstructurefrommotion,stereocorrespondence,shapefrom silhouettes,cameracalibration,laserscanning,andimage-basedrendering. 2.Abibliographyofrelatedpapers. 3.Areprintof: PaulE.Debevec,CamilloJ.Taylor,andJitendraMalik.ModelingandRenderingArchitecturefrom Photographs.InSIGGRAPH96,August1996,pp.11-20. 4.NotesonphotogrammetricrecoveryofarchesandsurfacesofrevolutionwrittenbyGeorgeBorshukov. 5.Copiesoftheslidesusedforthepresentation. Moreinformationcanbefoundin[10],[5],and[13],availableat: http://www.cs.berkeley.edu/debevec/Thesis 1 Introduction Thecreationofthree-dimensionalmodelsofexistingarchitecturalsceneswiththeaidofthecomputerhas beencommonplaceforsometime,andtheresultingmodelshavebeenbothentertainingvirtualenvironments aswellasvaluablevisualizationtools.Large-scaleeffortshavepushedthecampusesofI

We present a method of recovering high dynamic range radiance maps from photographs taken with conventional imaging equipment. In our method, multiple photographs of the scene are taken with different amounts of exposure. Our algorithm uses these differently exposed photographs to recover the response function of the imaging process, up to factor of scale, using the assumption of reciprocity. With the known response function, the algorithm can fuse the multiple photographs into a single, high dynamic range radiance map whose pixel values are proportional to the true radiance values in the scene. We demonstrate our method on images acquired with both photochemical and digital imaging processes. We discuss how this work is applicable in many areas of computer graphics involving digitized photographs, including image-based modeling, image compositing, and image processing. Lastly, we demonstrate a few applications of having high dynamic range radiance maps, such as synthesizing realistic motion blur and simulating the response of the human visual system.

This paper provides a tutorial introduction to visual servo control of robotic manipulators. Since the topic spans many disciplines our goal is limited to providing a basic conceptual framework. We begin by reviewing the prerequisite topics from robotics and computer vision, including a brief review of coordinate transformations, velocity representation, and a description of the geometric aspects of the image formation process. We then present a taxonomy of visual servo control systems. The two major classes of systems, position-based and image-based systems, are then discussed. Since any visual servo system must be capable of tracking image features in a sequence of images, we include an overview of feature-based and correlation-based methods for tracking. We conclude the tutorial with a number of observations on the current directions of the research field of visual servo control. 1 Introduction Today there are over 800,000 robots in the world, mostly working in factory environment...

. The problem of finding the internal orientation of a camera (camera calibration) is extremely important for practical applications. In this paper a complete method for calibrating a camera is presented. In contrast with existing methods it does not require a calibration object with a known 3D shape. The new method requires only point matches from image sequences. It is shown, using experiments with noisy data, that it is possible to calibrate a camera just by pointing it at the environment, selecting points of interest and then tracking them in the image as the camera moves. It is not necessary to know the camera motion. The camera calibration is computed in two steps. In the first step the epipolar transformation is found. Two methods for obtaining the epipoles are discussed, one due to Sturm is based on projective invariants, the other is based on a generalisation of the essential matrix. The second step of the computation uses the so-called Kruppa equations which link the epipolar...

In this paper we present a robust method for automatically matching features in images corresponding to the same physical point on an object seen from two arbitrary viewpoints. Unlike conventional stereo matching approaches we assume no prior knowledge about the relative camera positions and orientations. In fact in our application this is the information we wish to determine from the image feature matches. Features are detected in two or more images and characterised using affine texture invariants. The problem of window effects is explicitly addressed by our method - our feature characterisation is invariant to linear transformations of the image data including rotation, stretch and skew. The feature matching process is optimised for a structure-from-motion application where we wish to ignore unreliable matches at the expense of reducing the number of feature matches.

this paper we present & new method for separating and recovering the motion and shape of multiple independently moving objects in sequence of images. The method does not require prior knowledge of the number of objects, nor is dependent on any grouping of features into an object at the image level. For this purpose, we introduce a mathematical construct of object shapes, called the shape interaction matrix, which is invariant to both the object motions and the selection of coordinate systems. This invariant structure is computable solely from the observed trajectories of image features without grouping them into individual objects

We have created a system for capturing both the three-dimensional geometry and color and shading information for human facial expressions. We use this data to reconstruct photorealistic, 3D animations of the captured expressions. The system uses a large set of sampling points on the face to accurately track the three dimensional deformations of the face. Simultaneously with the tracking of the geometric data, we capture multiple high resolution, registered video images of the face. These images are used to create a texture map sequence for a three dimensional polygonal face model which can then be rendered on standard 3D graphics hardware. The resulting facial animation is surprisingly life-like and looks very much like the original live performance. Separating the capture of the geometry from the texture images eliminates much of the variance in the image data due to motion, which increases compression ratios. Although the primary emphasis of our work is not compression we have investigated the use of a novel method to compress the geometric data based on principal components analysis. The texture sequence is compressed using an MPEG4 video codec. Animations reconstructed from 512x512 pixel textures look good at data rates as low as 240 Kbits per second.

Proceedings of the 1998IEEE International Conference on Computer Vision, Bombay, India An algorithm to detect depth discontinuities from a stereo pair of images is presented. The algorithm matches individual pixels in corresponding scanline pairs while allowing occluded pixels to remain unmatched, then propagates the information between scanlines by means of a fast postprocessor. The algorithm handles large untextured regions, uses a measure of pixel dissimilarity that is insensitive to image sampling, and prunes bad search nodes to increase the speed of dynamic programming. The computation is relatively fast, taking about 1.5 microseconds per pixel per disparity on a workstation. Approximate disparity mapsand precise depth discontinuities (along both horizontal and vertical boundaries) are shown for five stereo images containing textured, untextured, fronto-parallel, and slanted objects. 1 Introduction Cartoon artists have known the perceptual importance of depth discontinuities for...

We present an end-to-end system that goes from video sequences to high resolution, editable, dynamically controllable face models. The capture system employs synchronized video cameras and structured light projectors to record videos of a moving face from multiple viewpoints. A novel spacetime stereo algorithm is introduced to compute depth maps accurately and overcome over-fitting deficiencies in prior work. A new template fitting and tracking procedure fills in missing data and yields point correspondence across the entire sequence without using markers. We demonstrate a datadriven, interactive method for inverse kinematics that draws on the large set of fitted templates and allows for posing new expressions by dragging surface points directly. Finally, we describe new tools that model the dynamics in the input sequence to enable new animations, created via key-framing or texture-synthesis techniques.

Determining the rigid transformation relating 2D images to known 3D geometry is a classical problem in photogrammetry and computer vision. Heretofore, the best methods for solving the problem have relied on iterative optimization methods which cannot be proven to converge and/or which do not effectively account for the orthonormal structure of rotation matrices. We show that the pose estimation problem can be formulated as that of minimizing an error metric based on collinearity in object (as opposed to image) space. Using object space collinearity error, we derive an iterative algorithm which directly computes orthogonal rotation matrices and which is globally convergent. Experimentally, we show that the method is computationally efficient, that it is no less accurate than the best currently employed optimization methods, and that it outperforms all tested methods in robustness to outliers. Chien-Ping Lu, Silicon Graphics Inc. cplu@engr.sgi.com y Greg Hager, Department of Computer...