We present Readout Guidance, a method for controlling text-to-image diffusion models with learned signals. Readout Guidance uses readout heads, lightweight networks trained to extract signals from the features of a pre-trained, frozen diffusion model at every timestep. These readouts can encode single-image properties, such as pose, depth, and edges; or higher-order properties that relate multiple images, such as correspondence and appearance similarity. Furthermore, by comparing the readout estimates to a user-defined target, and back-propagating the gradient through the readout head, these estimates can be used to guide the sampling process. Compared to prior methods for conditional generation, Readout Guidance requires significantly fewer added parameters and training samples, and offers a convenient and simple recipe for reproducing different forms of conditional control under a single framework, with a single architecture and sampling procedure. We showcase these benefits in the applications of drag-based manipulation, identity-consistent generation, and spatially aligned control. Project page: https://readout-guidance.github.io.

Obtaining high-quality 3D reconstructions of room-scale scenes is of paramount importance for upcoming applications in AR or VR. These range from mixed reality applications for teleconferencing, virtual measuring, virtual room planing, to robotic applications. While current volume-based view synthesis methods that use neural radiance fields (NeRFs) show promising results in reproducing the appearance of an object or scene, they do not reconstruct an actual surface. The volumetric representation of the surface based on densities leads to artifacts when a surface is extracted using Marching Cubes, since during optimization, densities are accumulated along the ray and are not used at a single sample point in isolation. Instead of this volumetric representation of the surface, we propose to represent the surface using an implicit function (truncated signed distance function). We show how to incorporate this representation in the NeRF framework, and extend it to use depth measurements from a commodity RGB-D sensor, such as a Kinect. In addition, we propose a pose and camera re-finement technique which improves the overall reconstruction quality. In contrast to concurrent work on integrating depth priors in NeRF which concentrates on novel view synthesis, our approach is able to reconstruct high-quality, metrical 3D reconstructions.

We present the first method capable of photorealistically reconstructing deformable scenes using photos/videos captured casually from mobile phones. Our approach augments neural radiance fields (NeRF) by optimizing an additional continuous volumetric deformation field that warps each observed point into a canonical 5D NeRF. We observe that these NeRF-like deformation fields are prone to local minima, and propose a coarse-to-fine optimization method for coordinate-based models that allows for more robust optimization. By adapting principles from geometry processing and physical simulation to NeRF-like models, we propose an elastic regularization of the deformation field that further improves robustness. We show that our method can turn casually captured selfie photos/videos into deformable NeRF models that allow for photorealistic renderings of the subject from arbitrary viewpoints, which we dub "nerfies." We evaluate our method by collecting time-synchronized data using a rig with two mobile phones, yielding train/validation images of the same pose at different viewpoints. We show that our method faithfully reconstructs non-rigidly deforming scenes and reproduces unseen views with high fidelity.

We present a real-time bidirectional communication system that lets two people, separated by distance, experience a face-to-face conversation as if they were copresent. It is the first telepresence system that is demonstrably better than 2D videoconferencing, as measured using participant ratings (e.g., presence, attentiveness, reaction-gauging, engagement), meeting recall, and observed nonverbal behaviors (e.g., head nods, eyebrow movements). This milestone is reached by maximizing audiovisual fidelity and the sense of copresence in all design elements, including physical layout, lighting, face tracking, multi-view capture, microphone array, multi-stream compression, loudspeaker output, and lenticular display. Our system achieves key 3D audiovisual cues (stereopsis, motion parallax, and spatialized audio) and enables the full range of communication cues (eye contact, hand gestures, and body language), yet does not require special glasses or body-worn microphones/headphones. The system consists of a head-tracked autostereoscopic display, high-resolution 3D capture and rendering subsystems, and network transmission using compressed color and depth video streams. Other contributions include a novel image-based geometry fusion algorithm, free-space dereverberation, and talker localization.

Neural Radiance Fields (NeRF) are able to reconstruct scenes with unprecedented fidelity, and various recent works have extended NeRF to handle dynamic scenes. A common approach to reconstruct such non-rigid scenes is through the use of a learned deformation field mapping from coordinates in each input image into a canonical template coordinate space. However, these deformation-based approaches struggle to model changes in topology, as topological changes require a discontinuity in the deformation field, but these deformation fields are necessarily continuous. We address this limitation by lifting NeRFs into a higher dimensional space, and by representing the 5D radiance field corresponding to each individual input image as a slice through this "hyper-space". Our method is inspired by level set methods, which model the evolution of surfaces as slices through a higher dimensional surface. We evaluate our method on two tasks: (i) interpolating smoothly between "moments", i.e., configurations of the scene, seen in the input images while maintaining visual plausibility, and (ii) novel-view synthesis at fixed moments. We show that our method, which we dub HyperNeRF , outperforms existing methods on both tasks. Compared to Nerfies, HyperNeRF reduces average error rates by 4.1% for interpolation and 8.6% for novel-view synthesis, as measured by LPIPS. Additional videos, results, and visualizations are available at hypernerf.github.io.

Abstract Efficient rendering of photo‐realistic virtual worlds is a long standing effort of computer graphics. Modern graphics techniques have succeeded in synthesizing photo‐realistic images from hand‐crafted scene representations. However, the automatic generation of shape, materials, lighting, and other aspects of scenes remains a challenging problem that, if solved, would make photo‐realistic computer graphics more widely accessible. Concurrently, progress in computer vision and machine learning have given rise to a new approach to image synthesis and editing, namely deep generative models. Neural rendering is a new and rapidly emerging field that combines generative machine learning techniques with physical knowledge from computer graphics, e.g., by the integration of differentiable rendering into network training. With a plethora of applications in computer graphics and vision, neural rendering is poised to become a new area in the graphics community, yet no survey of this emerging field exists. This state‐of‐the‐art report summarizes the recent trends and applications of neural rendering. We focus on approaches that combine classic computer graphics techniques with deep generative models to obtain controllable and photorealistic outputs. Starting with an overview of the underlying computer graphics and machine learning concepts, we discuss critical aspects of neural rendering approaches. Specifically, our emphasis is on the type of control, i.e., how the control is provided, which parts of the pipeline are learned, explicit vs. implicit control, generalization, and stochastic vs. deterministic synthesis. The second half of this state‐of‐the‐art report is focused on the many important use cases for the described algorithms such as novel view synthesis, semantic photo manipulation, facial and body reenactment, relighting, free‐viewpoint video, and the creation of photo‐realistic avatars for virtual and augmented reality telepresence. Finally, we conclude with a discussion of the social implications of such technology and investigate open research problems.

We explore total scene capture --- recording, modeling, and rerendering a scene under varying appearance such as season and time of day. Starting from Internet photos of a tourist landmark, we apply traditional 3D reconstruction to register the photos and approximate the scene as a point cloud. For each photo, we render the scene points into a deep framebuffer, and train a deep neural network to learn the mapping of these initial renderings to the actual photos. This rerendering network also takes as input a latent appearance vector and a semantic mask indicating the location of transient objects like pedestrians. The model is evaluated on several datasets of publicly available images spanning a broad range of illumination conditions. We create short videos that demonstrate realistic manipulation of the image viewpoint, appearance, and semantic labels. We also compare results to prior work on scene reconstruction from Internet photos.

Editing talking-head video to change the speech content or to remove filler words is challenging. We propose a novel method to edit talking-head video based on its transcript to produce a realistic output video in which the dialogue of the speaker has been modified, while maintaining a seamless audio-visual flow (i.e. no jump cuts). Our method automatically annotates an input talking-head video with phonemes, visemes, 3D face pose and geometry, reflectance, expression and scene illumination per frame. To edit a video, the user has to only edit the transcript, and an optimization strategy then chooses segments of the input corpus as base material. The annotated parameters corresponding to the selected segments are seamlessly stitched together and used to produce an intermediate video representation in which the lower half of the face is rendered with a parametric face model. Finally, a recurrent video generation network transforms this representation to a photorealistic video that matches the edited transcript. We demonstrate a large variety of edits, such as the addition, removal, and alteration of words, as well as convincing language translation and full sentence synthesis.

Motivated by augmented and virtual reality applications such as telepresence, there has been a recent focus in real-time performance capture of humans under motion. However, given the real-time constraint, these systems often suffer from artifacts in geometry and texture such as holes and noise in the final rendering, poor lighting, and low-resolution textures. We take the novel approach to augment such real-time performance capture systems with a deep architecture that takes a rendering from an arbitrary viewpoint, and jointly performs completion, super resolution, and denoising of the imagery in real-time. We call this approach neural (re-)rendering , and our live system "LookinGood". Our deep architecture is trained to produce high resolution and high quality images from a coarse rendering in real-time. First, we propose a self-supervised training method that does not require manual ground-truth annotation. We contribute a specialized reconstruction error that uses semantic information to focus on relevant parts of the subject, e.g. the face. We also introduce a salient reweighing scheme of the loss function that is able to discard outliers. We specifically design the system for virtual and augmented reality headsets where the consistency between the left and right eye plays a crucial role in the final user experience. Finally, we generate temporally stable results by explicitly minimizing the difference between two consecutive frames. We tested the proposed system in two different scenarios: one involving a single RGB-D sensor, and upper body reconstruction of an actor, the second consisting of full body 360° capture. Through extensive experimentation, we demonstrate how our system generalizes across unseen sequences and subjects.

Video production is a collaborative process in which stakeholders regularly review drafts of the edited video to indicate problems and offer suggestions for improvement. Although practitioners prefer in-person feedback, most reviews are conducted asynchronously via email due to scheduling and location constraints. The use of this impoverished medium is challenging for both providers and consumers of feedback. We introduce VidCrit, a system for providing asynchronous feedback on drafts of edited video that incorporates favorable qualities of an in-person review. This system consists of two separate interfaces: (1) A feedback recording interface captures reviewers' spoken comments, mouse interactions, hand gestures and other physical reactions. (2) A feedback viewing interface transcribes and segments the recorded review into topical comments so that the video author can browse the review by either text or timelines. Our system features novel methods to automatically segment a long review session into topical text comments, and to label such comments with additional contextual information. We interviewed practitioners to inform a set of design guidelines for giving and receiving feedback, and based our system's design on these guidelines. Video reviewers using our system preferred our feedback recording interface over email for providing feedback due to the reduction in time and effort. In a fixed amount of time, reviewers provided 10.9 (σ=5.09) more local comments than when using text. All video authors rated our feedback viewing interface preferable to receiving feedback via e-mail.

This paper introduces a method to modify the apparent relative pose and distance between camera and subject given a single portrait photo. Our approach fits a full perspective camera and a parametric 3D head model to the portrait, and then builds a 2D warp in the image plane to approximate the effect of a desired change in 3D. We show that this model is capable of correcting objectionable artifacts such as the large noses sometimes seen in "selfies," or to deliberately bring a distant camera closer to the subject. This framework can also be used to re-pose the subject, as well as to create stereo pairs from an input portrait. We show convincing results on both an existing dataset as well as a new dataset we captured to validate our method.

We describe Lamello, an approach for creating tangible input components that recognize user interaction via passive acoustic sensing. Lamello employs comb-like structures with varying-length tines at interaction points (e.g., along slider paths). Moving a component generates tine strikes; a real-time audio processing pipeline analyzes the resultant sounds and emits high-level interaction events. Our main contributions are in the co-design of the tine structures, information encoding schemes, and audio analysis. We demonstrate 3D printed Lamello-powered buttons, sliders, and dials.

We propose a new computer vision task we call “distractor prediction.” Distractors are the regions of an image that draw attention away from the main subjects and reduce the overall image quality. Removing distractors-for example, using in-painting - can improve the composition of an image. In this work we created two datasets of images with user annotations to identify the characteristics of distractors. We use these datasets to train an algorithm to predict distractor maps. Finally, we use our predictor to automatically enhance images.

Searching for scenes in movies is a time-consuming but crucial task for film studies scholars, film professionals, and new media artists. In pilot interviews we have found that such users search for a wide variety of clips---e.g., actions, props, dialogue phrases, character performances, locations---and they return to particular scenes they have seen in the past. Today, these users find relevant clips by watching the entire movie, scrubbing the video timeline, or navigating via DVD chapter menus. Increasingly, users can also index films through transcripts---however, dialogue often lacks visual context, character names, and high level event descriptions. We introduce SceneSkim, a tool for searching and browsing movies using synchronized captions, scripts and plot summaries. Our interface integrates information from such sources to allow expressive search at several levels of granularity: Captions provide access to accurate dialogue, scripts describe shot-by-shot actions and settings, and plot summaries contain high-level event descriptions. We propose new algorithms for finding word-level caption to script alignments, parsing text scripts, and aligning plot summaries to scripts. Film studies graduate students evaluating SceneSkim expressed enthusiasm about the usability of the proposed system for their research and teaching.

Abstract We present an interactive system for composing realistic images of an object under arbitrary pose and appearance specified by sketching. Our system draws inspiration from a traditional illustration workflow: The user first sketches rough ‘masses’ of the object, as ellipses, to define an initial abstract pose that can then be refined with more detailed contours as desired. The system is made robust to partial or inaccurate sketches using a reduced‐dimensionality model of pose space learnt from a labelled collection of photos. Throughout the composition process, interactive visual feedback is provided to guide the user. Finally, the user's partial or complete sketch, complemented with appearance requirements, is used to constrain the automatic synthesis of a novel, high‐quality, realistic image.

Patch-based synthesis is a powerful framework for numerous image and video editing applications such as hole-filling, retargeting, and reshuffling. In all these applications, a patch-based objective function is optimized through a patch search-and-vote process. However, existing techniques typically use fixed-size square patches when comparing the distance between two patches in the search process. This presents a fundamental limitation for these methods, since many patches cover multiple regions that can move, occlude, or otherwise behave independently in source and target images. We address this problem by using masks to down-weight some pixels in the patch-comparison operation. The main challenge is to choose the right mask according to the content during the search-and-vote process. We show how simple user assistance can lead to excellent results in challenging hole-filling examples. In addition, we propose a fully automated solution by learning a model to predict an appropriate mask using a set of features extracted around each patch. The model is trained using a manually annotated dataset, augmented with simulated divergence from ground truth. We demonstrate that our proposed method improves over existing approaches for single-and multi-image hole-filling applications.

During recent years remarkable progress has been made in visual saliency modeling. Our interest is in video saliency. Since videos are fundamentally different from still images, they are viewed differently by human observers. For example, the time each video frame is observed is a fraction of a second, while a still image can be viewed leisurely. Therefore, video saliency estimation methods should differ substantially from image saliency methods. In this paper we propose a novel method for video saliency estimation, which is inspired by the way people watch videos. We explicitly model the continuity of the video by predicting the saliency map of a given frame, conditioned on the map from the previous frame. Furthermore, accuracy and computation speed are improved by restricting the salient locations to a carefully selected candidate set. We validate our method using two gaze-tracked video datasets and show we outperform the state-of-the-art.

With dozens or even hundreds of photos in today's digital photo albums, editing an entire album can be a daunting task. Existing automatic tools operate on individual photos without ensuring consistency of appearance between photographs that share content. In this paper, we present a new method for consistent editing of photo collections. Our method automatically enforces consistent appearance of images that share content without any user input. When the user does make changes to selected images, these changes automatically propagate to other images in the collection, while still maintaining as much consistency as possible. This makes it possible to interactively adjust an entire photo album in a consistent manner by manipulating only a few images. Our method operates by efficiently constructing a graph with edges linking photo pairs that share content. Consistent appearance of connected photos is achieved by globally optimizing a quadratic cost function over the entire graph, treating user-specified edits as constraints in the optimization. The optimization is fast enough to provide interactive visual feedback to the user. We demonstrate the usefulness of our approach using a number of personal and professional photo collections, as well as internet collections.

Despite significant progress in high dynamic range (HDR) imaging over the years, it is still difficult to capture high-quality HDR video with a conventional, off-the-shelf camera. The most practical way to do this is to capture alternating exposures for every LDR frame and then use an alignment method based on optical flow to register the exposures together. However, this results in objectionable artifacts whenever there is complex motion and optical flow fails. To address this problem, we propose a new approach for HDR reconstruction from alternating exposure video sequences that combines the advantages of optical flow and recently introduced patch-based synthesis for HDR images. We use patch-based synthesis to enforce similarity between adjacent frames, increasing temporal continuity. To synthesize visually plausible solutions, we enforce constraints from motion estimation coupled with a search window map that guides the patch-based synthesis. This results in a novel reconstruction algorithm that can produce high-quality HDR videos with a standard camera. Furthermore, our method is able to synthesize plausible texture and motion in fast-moving regions, where either patch-based synthesis or optical flow alone would exhibit artifacts. We present results of our reconstructed HDR video sequences that are superior to those produced by current approaches.

Current methods for combining two different images produce visible artifacts when the sources have very different textures and structures. We present a new method for synthesizing a transition region between two source images, such that inconsistent color, texture, and structural properties all change gradually from one source to the other. We call this process image melding . Our method builds upon a patch-based optimization foundation with three key generalizations: First, we enrich the patch search space with additional geometric and photometric transformations. Second, we integrate image gradients into the patch representation and replace the usual color averaging with a screened Poisson equation solver. And third, we propose a new energy based on mixed L 2 /L 0 norms for colors and gradients that produces a gradual transition between sources without sacrificing texture sharpness. Together, all three generalizations enable patch-based solutions to a broad class of image melding problems involving inconsistent sources: object cloning, stitching challenging panoramas, hole filling from multiple photos, and image harmonization. In several cases, our unified method outperforms previous state-of-the-art methods specifically designed for those applications.

High dynamic range (HDR) imaging from a set of sequential exposures is an easy way to capture high-quality images of static scenes, but suffers from artifacts for scenes with significant motion. In this paper, we propose a new approach to HDR reconstruction that draws information from all the exposures but is more robust to camera/scene motion than previous techniques. Our algorithm is based on a novel patch-based energy-minimization formulation that integrates alignment and reconstruction in a joint optimization through an equation we call the HDR image synthesis equation. This allows us to produce an HDR result that is aligned to one of the exposures yet contains information from all of them. We present results that show considerable improvement over previous approaches.

This paper considers the problem of computing scene depth from a stereo pair of cameras under a sequence of illumination directions. By integrating parallax and shading cues, we obtain both metric depth and fine surface details. Casting this problem into the filter flow framework [16], enables a convex formulation of the problem, and thus a globally optimal solution. We demonstrate high quality, continuous depth maps on a range of examples.

Detailed 3D visual models of indoor spaces, from walls and floors to objects and their configurations, can provide extensive knowledge about the environments as well as rich contextual information of people living therein. Vision-based 3D modeling has only seen limited success in applications, as it faces many technical challenges that only a few experts understand, let alone solve. In this work we utilize (Kinect style) consumer depth cameras to enable non-expert users to scan their personal spaces into 3D models. We build a prototype mobile system for 3D modeling that runs in real-time on a laptop, assisting and interacting with the user on-the-fly. Color and depth are jointly used to achieve robust 3D registration. The system offers online feedback and hints, tolerates human errors and alignment failures, and helps to obtain complete scene coverage. We show that our prototype system can both scan large environments (50 meters across) and at the same time preserve fine details (centimeter accuracy). The capability of detailed 3D modeling leads to many promising applications such as accurate 3D localization, measuring dimensions, and interactive visualization.

This paper presents a new efficient method for recovering reliable local sets of dense correspondences between two images with some shared content. Our method is designed for pairs of images depicting similar regions acquired by different cameras and lenses, under non-rigid transformations, under different lighting, and over different backgrounds. We utilize a new coarse-to-fine scheme in which nearest-neighbor field computations using Generalized PatchMatch [Barnes et al. 2010] are interleaved with fitting a global non-linear parametric color model and aggregating consistent matching regions using locally adaptive constraints. Compared to previous correspondence approaches, our method combines the best of two worlds: It is dense, like optical flow and stereo reconstruction methods, and it is also robust to geometric and photometric variations, like sparse feature matching. We demonstrate the usefulness of our method using three applications for automatic example-based photograph enhancement: adjusting the tonal characteristics of a source image to match a reference, transferring a known mask to a new image, and kernel estimation for image deblurring.

Image triage is a common task in digital photography. Determining which photos are worth processing for sharing with friends and family and which should be deleted to make room for new ones can be a challenge, especially on a device with a small screen like a mobile phone or camera. In this work we explore the importance of local structure changes?e.g. human pose, appearance changes, object orientation, etc.?to the photographic triage task. We perform a user study in which subjects are asked to mark regions of image pairs most useful in making triage decisions. From this data, we train a model for image saliency in the context of other images that we call cosaliency. This allows us to create collection-aware crops that can augment the information provided by existing thumbnailing techniques for the image triage task.

We discuss calibration and removal of "vignetting" (radial falloff) and exposure (gain) variations from sequences of images. Even when the response curve is known, spatially varying ambiguities prevent us from recovering the vignetting, exposure, and scene radiances uniquely. However, the vignetting and exposure variations can nonetheless be removed from the images without resolving these ambiguities or the previously known scale and gamma ambiguities. Applications include panoramic image mosaics, photometry for material reconstruction, image-based rendering, and preprocessing for correlation-based vision algorithms.

This paper describes a photometric stereo method designed for surfaces with spatially-varying BRDFs, including surfaces with both varying diffuse and specular properties. Our optimization-based method builds on the observation that most objects are composed of a small number of fundamental materials by constraining each pixel to be representable by a combination of at most two such materials. This approach recovers not only the shape but also material BRDFs and weight maps, yielding accurate rerenderings under novel lighting conditions for a wide variety of objects. We demonstrate examples of interactive editing operations made possible by our approach.

We present a novel approach for summarizing video in the form of a multiscale image that is continuous in both the spatial domain and across the scale dimension: There are no hard borders between discrete moments in time, and a user can zoom smoothly into the image to reveal additional temporal details. We call these artifacts tapestries because their continuous nature is akin to medieval tapestries and other narrative depictions predating the advent of motion pictures. We propose a set of criteria for such a summarization, and a series of optimizations motivated by these criteria. These can be performed as an entirely offline computation to produce high quality renderings, or by adjusting some optimization parameters the later stages can be solved in real time, enabling an interactive interface for video navigation. Our video tapestries combine the best aspects of two common visualizations, providing the visual clarity of DVD chapter menus with the information density and multiple scales of a video editing timeline representation. In addition, they provide continuous transitions between zoom levels. In a user study, participants preferred both the aesthetics and efficiency of tapestries over other interfaces for visual browsing.

This paper presents interactive image editing tools using a new randomized algorithm for quickly finding approximate nearest-neighbor matches between image patches. Previous research in graphics and vision has leveraged such nearest-neighbor searches to provide a variety of high-level digital image editing tools. However, the cost of computing a field of such matches for an entire image has eluded previous efforts to provide interactive performance. Our algorithm offers substantial performance improvements over the previous state of the art (20-100x), enabling its use in interactive editing tools. The key insights driving the algorithm are that some good patch matches can be found via random sampling, and that natural coherence in the imagery allows us to propagate such matches quickly to surrounding areas. We offer theoretical analysis of the convergence properties of the algorithm, as well as empirical and practical evidence for its high quality and performance. This one simple algorithm forms the basis for a variety of tools -- image retargeting, completion and reshuffling -- that can be used together in the context of a high-level image editing application. Finally, we propose additional intuitive constraints on the synthesis process that offer the user a level of control unavailable in previous methods.

We explore the use of tracked 2D object motion to enable novel approaches to interacting with video. These include moving annotations, video navigation by direct manipulation of objects, and creating an image composite from multiple video frames. Features in the video are automatically tracked and grouped in an off-line preprocess that enables later interactive manipulation. Examples of annotations include speech and thought balloons, video graffiti, path arrows, video hyperlinks, and schematic storyboards. We also demonstrate a direct-manipulation interface for random frame access using spatial constraints, and a drag-and-drop interface for assembling still images from videos. Taken together, our tools can be employed in a variety of applications including film and video editing, visual tagging, and authoring rich media such as hyperlinked video.

We present a video-based interface that allows users of all skill levels to quickly create cutout-style animations by performing the character motions. The puppeteer first creates a cast of physical puppets using paper, markers and scissors. He then physically moves these puppets to tell a story. Using an inexpensive overhead camera our system tracks the motions of the puppets and renders them on a new background while removing the puppeteer's hands. Our system runs in real-time (at 30 fps) so that the puppeteer and the audience can immediately see the animation that is created. Our system also supports a variety of constraints and effects including articulated characters, multi-track animation, scene changes, camera controls, 2 1/2-D environments, shadows, and animation cycles. Users have evaluated our system both quantitatively and qualitatively: In tests of low-level dexterity, our system has similar accuracy to a mouse interface. For simple story telling, users prefer our system over either a mouse interface or traditional puppetry. We demonstrate that even first-time users, including an eleven-year-old, can use our system to quickly turn an original story idea into an animation.

We present a method for visualizing short video clips in a single static image, using the visual language of storyboards. These schematic storyboards are composed from multiple input frames and annotated using outlines, arrows, and text describing the motion in the scene. The principal advantage of this storyboard representation over standard representations of video -- generally either a static thumbnail image or a playback of the video clip in its entirety -- is that it requires only a moment to observe and comprehend but at the same time retains much of the detail of the source video. Our system renders a schematic storyboard layout based on a small amount of user interaction. We also demonstrate an interaction technique to scrub through time using the natural spatial dimensions of the storyboard. Potential applications include video editing, surveillance summarization, assembly instructions, composition of graphic novels, and illustration of camera technique for film studies.

We discuss calibration and removal of "vignetting" (radial falloff) and exposure (gain) variations from sequences of images. Unique solutions for vignetting, exposure and scene radiances are possible when the response curve is known. When the response curve is unknown, an exponential ambiguity prevents us from recovering these parameters uniquely. However, the vignetting and exposure variations can nonetheless be removed from the images without resolving this ambiguity. Applications include panoramic image mosaics, photometry for material reconstruction, image-based rendering, and preprocessing for correlation-based vision algorithms.

This paper describes a photometric stereo method designed for surfaces with spatially-varying BRDFs, including surfaces with both varying diffuse and specular properties. Our method builds on the observation that most objects are composed of a small number of fundamental materials. This approach recovers not only the shape but also material BRDFs and weight maps, yielding compelling results for a wide variety of objects. We also show examples of interactive lighting and editing operations made possible by our method.

In this paper, we explore the problem of enhancing still pictures with subtly animated motions. We limit our domain to scenes containing passive elements that respond to natural forces in some fashion. We use a semi-automatic approach, in which a human user segments the scene into a series of layers to be individually animated. Then, a "stochastic motion texture" is automatically synthesized using a spectral method, i.e., the inverse Fourier transform of a filtered noise spectrum. The motion texture is a time-varying 2D displacement map, which is applied to each layer. The resulting warped layers are then recomposited to form the animated frames. The result is a looping video texture created from a single still image, which has the advantages of being more controllable and of generally higher image quality and resolution than a video texture created from a video source. We demonstrate the technique on a variety of photographs and paintings.

In this paper, we describe a method for extracting shadows from one natural scene and inserting them into another. We develop physically-based shadow matting and compositing equations and use these to pull a shadow matte from a source scene in which the shadow is cast onto an arbitrary planar background. We then acquire the photometric and geometric properties of the target scene by sweeping oriented linear shadows (cast by a straight object) across it. From these shadow scans, we can construct a shadow displacement map without requiring camera or light source calibration. This map can then be used to deform the original shadow matte. We demonstrate our approach for both indoor scenes with controlled lighting and for outdoor scenes using natural lighting.

Article Fake fur rendering Share on Author: Dan B. Goldman Industrial Light and Magic, P.O. Box 2459, San Rafael, CA Industrial Light and Magic, P.O. Box 2459, San Rafael, CAView Profile Authors Info & Claims SIGGRAPH '97: Proceedings of the 24th annual conference on Computer graphics and interactive techniquesAugust 1997 Pages 127–134https://doi.org/10.1145/258734.258807Published:03 August 1997 54citation1,882DownloadsMetricsTotal Citations54Total Downloads1,882Last 12 Months34Last 6 weeks4 Get Citation AlertsNew Citation Alert added!This alert has been successfully added and will be sent to:You will be notified whenever a record that you have chosen has been cited.To manage your alert preferences, click on the button below.Manage my AlertsNew Citation Alert!Please log in to your account Save to BinderSave to BinderCreate a New BinderNameCancelCreateExport CitationPublisher SiteGet Access