Intrinsic decomposition is a fundamental mid-level vision problem that plays a crucial role in various inverse rendering and computational photography pipelines. Generating highly accurate intrinsic decompositions is an inherently under-constrained task that requires precisely estimating continuous-valued shading and albedo. In this work, we achieve high-resolution intrinsic decomposition by breaking the problem into two parts. First, we present a dense ordinal shading formulation using a shift- and scale-invariant loss in order to estimate ordinal shading cues without restricting the predictions to obey the intrinsic model. We then combine low- and high-resolution ordinal estimations using a second network to generate a shading estimate with both global coherency and local details. We encourage the model to learn an accurate decomposition by computing losses on the estimated shading as well as the albedo implied by the intrinsic model. We develop a straightforward method for generating dense pseudo ground truth using our model’s predictions and multi-illumination data, enabling generalization to in-the-wild imagery. We present exhaustive qualitative and quantitative analysis of our predicted intrinsic components against state-of-the-art methods. Finally, we demonstrate the real-world applicability of our estimations by performing otherwise difficult editing tasks such as recoloring and relighting.

Intrinsic image decomposition aims to separate the surface reflectance and the effects from the illumination given a single photograph. Due to the complexity of the problem, most prior works assume a single-color illumination and a Lambertian world, which limits their use in illumination-aware image editing applications. In this work, we separate an input image into its diffuse albedo, colorful diffuse shading, and specular residual components. We arrive at our result by gradually removing first the single-color illumination and then the Lambertian-world assumptions. We show that by dividing the problem into easier sub-problems, in-the-wild colorful diffuse shading estimation can be achieved despite the limited ground-truth datasets. Our extended intrinsic model enables illumination-aware analysis of photographs and can be used for image editing applications such as specularity removal and per-pixel white balancing.

Flash is an essential tool as it often serves as the sole controllable light source in everyday photography. However, the use of flash is a binary decision at the time a photograph is captured with limited control over its characteristics such as strength or color. In this work, we study the computational control of the flash light in photographs taken with or without flash. We present a physically moti-vated intrinsic formulation for flash photograph formation and develop flash decomposition and generation methods for flash and no-flash photographs, respectively. We demonstrate that our intrinsic formulation outperforms alternatives in the literature and allows us to computationally control flash in in-the-wild images.

Common editing operations performed by professional photographers include the cleanup operations: de-emphasizing distracting elements and enhancing subjects. These edits are challenging, requiring a delicate balance between manipulating the viewer's attention while maintaining photo realism. While recent approaches can boast successful examples of attention attenuation or amplification, most of them also suffer from frequent unrealistic edits. We propose a realism loss for saliency-guided image enhancement to maintain high realism across varying image types, while attenuating distractors and amplifying objects of interest. Evaluations with professional photographers confirm that we achieve the dual objective of realism and effectiveness, and outperform the recent approaches on their own datasets, while requiring a smaller memory footprint and runtime. We thus offer a viable solution for automating image enhancement and photo cleanup operations.

Despite significant advancements in network-based image harmonization techniques, there still exists a domain disparity between typical training pairs and real-world composites encountered during inference. Most existing methods are trained to reverse global edits made on segmented image regions, which fail to accurately capture the lighting inconsistencies between the foreground and background found in composited images. In this work, we introduce a self-supervised illumination harmonization approach formulated in the intrinsic image domain. First, we estimate a simple global lighting model from mid-level vision representations to generate a rough shading for the foreground region. A network then refines this inferred shading to generate a harmonious re-shading that aligns with the background scene. In order to match the color appearance of the foreground and background, we utilize ideas from prior harmonization approaches to perform parameterized image edits in the albedo domain. To validate the effectiveness of our approach, we present results from challenging real-world composites and conduct a user study to objectively measure the enhanced realism achieved compared to state-of-the-art harmonization methods.

Neural networks have shown great abilities in estimating depth from a single image. However, the inferred depth maps are well below one-megapixel resolution and often lack fine-grained details, which limits their practicality. Our method builds on our analysis on how the input resolution and the scene structure affects depth estimation performance. We demonstrate that there is a trade-off between a consistent scene structure and the high-frequency details, and merge low- and high-resolution estimations to take advantage of this duality using a simple depth merging network. We present a double estimation method that improves the whole-image depth estimation and a patch selection method that adds local details to the final result. We demonstrate that by merging estimations at different resolutions with changing context, we can generate multi-megapixel depth maps with a high level of detail using a pre-trained model.

Abstract Image‐Based Rendering allows users to easily capture a scene using a single camera and then navigate freely with realistic results. However, the resulting renderings are completely static, and dynamic effects – such as fire, waterfalls or small waves – cannot be reproduced. We tackle the challenging problem of enabling free‐viewpoint navigation including such stationary dynamic effects, but still maintaining the simplicity of casual capture. Using a single camera – instead of previous complex synchronized multi‐camera setups – means that we have unsynchronized videos of the dynamic effect from multiple views, making it hard to blend them when synthesizing novel views. We present a solution that allows smooth free‐viewpoint video‐based rendering (VBR) of such scenes using temporal Laplacian pyramid decomposition video, enabling spatio‐temporal blending. For effects such as fire and waterfalls, that are semi‐transparent and occupy 3D space, we first estimate their spatial volume. This allows us to create per‐video geometries and alpha‐matte videos that we can blend using our frequency‐dependent method. We also extend Laplacian blending to the temporal dimension to remove additional temporal seams. We show results on scenes containing fire, waterfalls or rippling waves at the seaside, bringing these scenes to life.

The goal of natural image matting is the estimation of opacities of a user-defined foreground object that is essential in creating realistic composite imagery. Natural matting is a challenging process due to the high number of unknowns in the mathematical modeling of the problem, namely the opacities as well as the foreground and background layer colors, while the original image serves as the single observation. In this paper, we propose the estimation of the layer colors through the use of deep neural networks prior to the opacity estimation. The layer color estimation is a better match for the capabilities of neural networks, and the availability of these colors substantially increase the performance of opacity estimation due to the reduced number of unknowns in the compositing equation. A prominent approach to matting in parallel to ours is called sampling-based matting, which involves gathering color samples from known-opacity regions to predict the layer colors. Our approach outperforms not only the previous hand-crafted sampling algorithms, but also current data-driven methods. We hence classify our method as a hybrid sampling- and learning-based approach to matting, and demonstrate the effectiveness of our approach through detailed ablation studies using alternative network architectures.

In this work, we propose two ensemble methods leveraging a crowd workforce to improve video annotation, with a focus on video object segmentation. Their shared principle is that while individual candidate results may likely be insufficient, they often complement each other so that they can be combined into something better than any of the individual results---the very spirit of collaborative working. For one, we extend a standard polygon-drawing interface to allow workers to annotate negative space, and combine the work of multiple workers instead of relying on a single best one as commonly done in crowdsourced image segmentation. For the other, we present a method to combine multiple automatic propagation algorithms with the help of the crowd. Such combination requires an understanding of where the algorithms fail, which we gather using a novel coarse scribble video annotation task. We evaluate our ensemble methods, discuss our design choices for them, and make our web-based crowdsourcing tools and results publicly available.

Accurate representation of soft transitions between image regions is essential for high-quality image editing and compositing. Current techniques for generating such representations depend heavily on interaction by a skilled visual artist, as creating such accurate object selections is a tedious task. In this work, we introduce semantic soft segments , a set of layers that correspond to semantically meaningful regions in an image with accurate soft transitions between different objects. We approach this problem from a spectral segmentation angle and propose a graph structure that embeds texture and color features from the image as well as higher-level semantic information generated by a neural network. The soft segments are generated via eigendecomposition of the carefully constructed Laplacian matrix fully automatically. We demonstrate that otherwise complex image editing tasks can be done with little effort using semantic soft segments.

We present a novel, purely affinity-based natural image matting algorithm. Our method relies on carefully defined pixel-to-pixel connections that enable effective use of information available in the image and the trimap. We control the information flow from the known-opacity regions into the unknown region, as well as within the unknown region itself, by utilizing multiple definitions of pixel affinities. This way we achieve significant improvements on matte quality near challenging regions of the foreground object. Among other forms of information flow, we introduce color-mixture flow, which builds upon local linear embedding and effectively encapsulates the relation between different pixel opacities. Our resulting novel linear system formulation can be solved in closed-form and is robust against several fundamental challenges in natural matting such as holes and remote intricate structures. While our method is primarily designed as a standalone natural matting tool, we show that it can also be used for regularizing mattes obtained by various sampling-based methods. Our evaluation using the public alpha matting benchmark suggests a significant performance improvement over the state-of-the-art.

We present a new method for decomposing an image into a set of soft color segments that are analogous to color layers with alpha channels that have been commonly utilized in modern image manipulation software. We show that the resulting decomposition serves as an effective intermediate image representation, which can be utilized for performing various, seemingly unrelated, image manipulation tasks. We identify a set of requirements that soft color segmentation methods have to fulfill, and present an in-depth theoretical analysis of prior work. We propose an energy formulation for producing compact layers of homogeneous colors and a color refinement procedure, as well as a method for automatically estimating a statistical color model from an image. This results in a novel framework for automatic and high-quality soft color segmentation that is efficient, parallelizable, and scalable. We show that our technique is superior in quality compared to previous methods through quantitative analysis as well as visually through an extensive set of examples. We demonstrate that our soft color segments can easily be exported to familiar image manipulation software packages and used to produce compelling results for numerous image manipulation applications without forcing the user to learn new tools and workflows.

Due to the widespread use of compositing in contemporary feature films, green-screen keying has become an essential part of postproduction workflows. To comply with the ever-increasing quality requirements of the industry, specialized compositing artists spend countless hours using multiple commercial software tools, while eventually having to resort to manual painting because of the many shortcomings of these tools. Due to the sheer amount of manual labor involved in the process, new green-screen keying approaches that produce better keying results with less user interaction are welcome additions to the compositing artist’s arsenal. We found that—contrary to the common belief in the research community—production-quality green-screen keying is still an unresolved problem with its unique challenges. In this article, we propose a novel green-screen keying method utilizing a new energy minimization-based color unmixing algorithm. We present comprehensive comparisons with commercial software packages and relevant methods in literature, which show that the quality of our results is superior to any other currently available green-screen keying solution. It is important to note that, using the proposed method, these high-quality results can be generated using only one-tenth of the manual editing time that a professional compositing artist requires to process the same content having all previous state-of-the-art tools at one’s disposal.

Most of the mobile applications require efficient and precise computation of the device pose, and almost every mobile device has inertial sensors already equipped together with a camera. This fact makes sensor fusion quite attractive for increasing efficiency during pose tracking. However, the state-of-the-art fusion algorithms have a major shortcoming: lack of well-defined uncertainty introduced to the system during the prediction stage of the fusion filters. Such a drawback results in determining covariances heuristically, and hence, requirement for data-dependent tuning to achieve high performance or even convergence of these filters. In this paper, we propose an inertially-aided visual odometry system that requires neither heuristics nor parameter tuning; computation of the required uncertainties on all the estimated variables are obtained after minimum number of assumptions. Moreover, the proposed system simultaneously estimates the metric scale of the pose computed from a monocular image stream. The experimental results indicate that the proposed scale estimation outperforms the state-of-the-art methods, whereas the pose estimation step yields quite acceptable results in real-time on resource constrained systems.

Free viewpoint video enables interactive viewpoint selection in real world scenes, which is attractive for many applications such as sports visualization. Multi-camera registration is one of the difficult tasks in such systems. We introduce the concept of a static high resolution master camera for improved long-term multiview alignment. All broadcast cameras are aligned to a common reference. Our approach builds on frame-to-frame alignment, extended into a recursive long-term estimation process, which is shown to be accurate, robust and stable over long sequences.

We propose a complete still image based 2D-3D mobile conversion system for touch screen use. The system consists of interactive segmentation followed by 3D rendering. The interactive segmentation is conducted dynamically by color Gaussian mixture model updates and dynamic-iterative graph-cut. A coloring gesture is used to guide the way and entertain the user during the process. Output of the image segmentation is then fed to the 3D rendering stage of the system. For rendering stage, two novel improvements are proposed to handle holes resulting from depth image based rendering process. These improvements are also expected to enhance the 3D perception. These two methods are subjectively tested and their results are presented.