We present an algorithm and the associated single-view capture methodology to acquire the detailed 3D shape, bends, and wrinkles of deforming surfaces. Moving 3D data has been difficult to obtain by methods that rely on known surface features, structured light, or silhouettes. Multispectral photometric stereo is an attractive alternative because it can recover a dense normal field from an untextured surface. We show how to capture such data, which in turn allows us to demonstrate the strengths and limitations of our simple frame-to-frame registration over time. Experiments were performed on monocular video sequences of untextured cloth and faces with and without white makeup. Subjects were filmed under spatially separated red, green, and blue lights. Our first finding is that the color photometric stereo setup is able to produce smoothly varying per-frame reconstructions with high detail. Second, when these 3D reconstructions are augmented with 2D tracking results, one can register both the surfaces and relax the homogenous-color restriction of the single-hue subject. Quantitative and qualitative experiments explore both the practicality and limitations of this simple multispectral capture system.

Light occlusions are one of the most significant difficulties of photometric stereo methods. When three or more images are available without occlusion, the local surface orientation is overdetermined so that shape can be computed and the shadowed pixels can be discarded. In this paper, we look at the challenging case when only two images are available without occlusion, leading to a one degree of freedom ambiguity per pixel in the local orientation. We show that, in the presence of noise, integrability alone cannot resolve this ambiguity and reconstruct the geometry in the shadowed regions. As the problem is ill-posed in the presence of noise, we describe two regularization schemes that improve the numerical performance of the algorithm while preserving the data. Finally, the paper describes how this theory applies in the framework of color photometric stereo where one is restricted to only three images and light occlusions are common. Experiments on synthetic and real image sequences are presented.

This paper presents a vision-based system for interaction with a display via hand pointing. An attention mechanism based on face and hand detection allows users in the camera’s field of view to take control of the interface. Face recognition is used for identification and customisation. The system allows the user to control the screen pointer by tracking their fist. On-screen items can be selected using one of four activation mechanisms. Current sample applications include browsing image and video collections as well as viewing a gallery of 3D objects. In experiments we demonstrate the performance of the vision components in challenging conditions and compare it to that of other systems. 1

We present a new formulation to multi-view stereo that treats the problem as probabilistic 3D segmentation. Previous work has used the stereo photo-consistency criterion as a detector of the boundary between the 3D scene and the surrounding empty space. Here we show how the same criterion can also provide a foreground/background model that can predict if a 3D location is inside or outside the scene. This model replaces the commonly used naive foreground model based on ballooning which is known to perform poorly in concavities. We demonstrate how the probabilistic visibility is linked to previous work on depth-map fusion and we present a multi-resolution graph-cut implementation using the new ballooning term that is very efficient both in terms of computation time and memory requirements.

We present an algorithm and the associated capture methodology to acquire and track the detailed 3D shape, bends, and wrinkles of deforming surfaces. Moving 3D data has been difficult to obtain by methods that rely on known surface features, structured light, or silhouettes. Multispec- tral photometric stereo is an attractive alternative because it can recover a dense normal field from an un-textured surface. We show how to capture such data and register it over time to generate a single deforming surface. Experiments were performed on video sequences of un- textured cloth, filmed under spatially separated red, green, and blue light sources. Our first finding is that using zero- depth-silhouettes as the initial boundary condition already produces rather smoothly varying per-frame reconstructions with high detail. Second, when these 3D reconstructions are augmented with 2D optical flow, one can register the first frame's reconstruction to every subsequent frame.

We present a new approach to camera calibration as a part of a complete and practical system to recover digital copies of sculpture from uncalibrated image sequences taken under turntable motion. In this paper, we introduce the concept of the silhouette coherence of a set of silhouettes generated by a 3D object. We show how the maximization of the silhouette coherence can be exploited to recover the camera poses and focal length. Silhouette coherence can be considered as a generalization of the well-known epipolar tangency constraint for calculating motion from silhouettes or outlines alone. Further, silhouette coherence exploits all the geometric information encoded in the silhouette (not just at epipolar tangency points) and can be used in many practical situations where point correspondences or outer epipolar tangents are unavailable. We present an algorithm for exploiting silhouette coherence to efficiently and reliably estimate camera motion. We use this algorithm to reconstruct very high quality 3D models from uncalibrated circular motion sequences, even when epipolar tangency points are not available or the silhouettes are truncated. The algorithm has been integrated into a practical system and has been tested on more than 50 uncalibrated sequences to produce high quality photo-realistic models. Three illustrative examples are included in this paper. The algorithm is also evaluated quantitatively by comparing it to a state-of-the-art system that exploits only epipolar tangents.

This paper addresses the problem of obtaining complete, detailed reconstructions of shiny textureless objects. We present an algorithm which uses silhouettes of the object, as well as images obtained under varying illumination conditions. In contrast with previous photometric stereo techniques, ours is not limited to a single viewpoint and produces accurate reconstructions in full 3D. A number of images of the object are obtained from multiple viewpoints, under varying lighting conditions. Starting from the silhouettes, the algorithm recovers camera motion and constructs the object’s visual hull. This is then used to recover the illumination and initialise a multi-view photometric stereo scheme to obtain a closed surface reconstruction. The contributions of the paper are twofold: Firstly we describe a robust technique to estimate light directions and intensities and secondly, we introduce a novel formulation of photometric stereo which combines multiple viewpoints and hence allows closed surface reconstructions. The algorithm has been implemented as a practical model acquisition system. Here, a quantitative evaluation of the algorithm on synthetic data is presented together with a complete reconstruction of a challenging real object.