Johannes Kopf

Unsupervised Joint Object Discovery and Segmentation in Internet Images

We present a new unsupervised algorithm to discover and segment out common objects from large and diverse image collections. In contrast to previous co-segmentation methods, our algorithm performs well even in the presence of significant amounts of noise images (images not containing a common object), as typical for datasets collected from Internet search. The key insight to our algorithm is that common object patterns should be salient within each image, while being sparse with respect to smooth transformations across other images. We propose to use dense correspondences between images to capture the sparsity and visual variability of the common object over the entire database, which enables us to ignore noise objects that may be salient within their own images but do not commonly occur in others. We performed extensive numerical evaluation on established co-segmentation datasets, as well as several new datasets generated using Internet search. Our approach is able to effectively segment out the common object for diverse object categories, while naturally identifying images where the common object is not present.

Low-cost 360 stereo photography and video capture

A number of consumer-grade spherical cameras have recently appeared, enabling affordable monoscopic VR content creation in the form of full 360° X 180° spherical panoramic photos and videos. While monoscopic content is certainly engaging, it fails to leverage a main aspect of VR HMDs, namely stereoscopic display. Recent stereoscopic capture rigs involve placing many cameras in a ring and synthesizing an omni-directional stereo panorama enabling a user to look around to explore the scene in stereo. In this work, we describe a method that takes images from two 360° spherical cameras and synthesizes an omni-directional stereo panorama with stereo in all directions. Our proposed method has a lower equipment cost than camera-ring alternatives, can be assembled with currently available off-the-shelf equipment, and is relatively small and light-weight compared to the alternatives. We validate our method by generating both stills and videos. We have conducted a user study to better understand what kinds of geometric processing are necessary for a pleasant viewing experience. We also discuss several algorithmic variations, each with their own time and quality trade-offs.

360° video stabilization

We present a hybrid 3D-2D algorithm for stabilizing 360° video using a deformable rotation motion model. Our algorithm uses 3D analysis to estimate the rotation between key frames that are appropriately spaced such that the right amount of motion has occurred to make that operation reliable. For the remaining frames, it uses 2D optimization to maximize the visual smoothness of feature point trajectories. A new low-dimensional flexible deformed rotation motion model enables handling small translational jitter, parallax, lens deformation, and rolling shutter wobble. Our 3D-2D architecture achieves better robustness, speed, and smoothing ability than either pure 2D or 3D methods can provide. Stabilizing a video with our method takes less time than playing it at normal speed. The results are sufficiently smooth to be played back at high speed-up factors; for this purpose we present a simple 360° hyperlapse algorithm that remaps the video frame time stamps to balance the apparent camera velocity.

Bringing portraits to life

We present a technique to automatically animate a still portrait, making it possible for the subject in the photo to come to life and express various emotions. We use a driving video (of a different subject) and develop means to transfer the expressiveness of the subject in the driving video to the target portrait. In contrast to previous work that requires an input video of the target face to reenact a facial performance, our technique uses only a single target image. We animate the target image through 2D warps that imitate the facial transformations in the driving video. As warps alone do not carry the full expressiveness of the face, we add fine-scale dynamic details which are commonly associated with facial expressions such as creases and wrinkles. Furthermore, we hallucinate regions that are hidden in the input target face, most notably in the inner mouth. Our technique gives rise to reactive profiles, where people in still images can automatically interact with their viewers. We demonstrate our technique operating on numerous still portraits from the internet.

Virtual Rephotography: Novel View Prediction Error for 3D Reconstruction

The ultimate goal of many image-based modeling systems is to render photo-realistic novel views of a scene without visible artifacts. Existing evaluation metrics and benchmarks focus mainly on the geometric accuracy of the reconstructed model, which is, however, a poor predictor of visual accuracy. Furthermore, using only geometric accuracy by itself does not allow evaluating systems that either lack a geometric scene representation or utilize coarse proxy geometry. Examples include a light field and most image-based rendering systems. We propose a unified evaluation approach based on novel view prediction error that is able to analyze the visual quality of any method that can render novel views from input images. One key advantage of this approach is that it does not require ground truth geometry. This dramatically simplifies the creation of test datasets and benchmarks. It also allows us to evaluate the quality of an unknown scene during the acquisition and reconstruction process, which is useful for acquisition planning. We evaluate our approach on a range of methods, including standard geometry-plus-texture pipelines as well as image-based rendering techniques, compare it to existing geometry-based benchmarks, demonstrate its utility for a range of use cases, and present a new virtual rephotography-based benchmark for image-based modeling and rendering systems.

Casual 3D photography

We present an algorithm that enables casual 3D photography. Given a set of input photos captured with a hand-held cell phone or DSLR camera, our algorithm reconstructs a 3D photo, a central panoramic, textured, normal mapped, multi-layered geometric mesh representation. 3D photos can be stored compactly and are optimized for being rendered from viewpoints that are near the capture viewpoints. They can be rendered using a standard rasterization pipeline to produce perspective views with motion parallax. When viewed in VR, 3D photos provide geometrically consistent views for both eyes. Our geometric representation also allows interacting with the scene using 3D geometry-aware effects, such as adding new objects to the scene and artistic lighting effects. Our 3D photo reconstruction algorithm starts with a standard structure from motion and multi-view stereo reconstruction of the scene. The dense stereo reconstruction is made robust to the imperfect capture conditions using a novel near envelope cost volume prior that discards erroneous near depth hypotheses. We propose a novel parallax-tolerant stitching algorithm that warps the depth maps into the central panorama and stitches two color-and-depth panoramas for the front and back scene surfaces. The two panoramas are fused into a single non-redundant, well-connected geometric mesh. We provide videos demonstrating users interactively viewing and manipulating our 3D photos.

Temporally coherent completion of dynamic video

We present an automatic video completion algorithm that synthesizes missing regions in videos in a temporally coherent fashion. Our algorithm can handle dynamic scenes captured using a moving camera. State-of-the-art approaches have difficulties handling such videos because viewpoint changes cause image-space motion vectors in the missing and known regions to be inconsistent. We address this problem by jointly estimating optical flow and color in the missing regions. Using pixel-wise forward/backward flow fields enables us to synthesize temporally coherent colors. We formulate the problem as a non-parametric patch-based optimization. We demonstrate our technique on numerous challenging videos.

Smooth Image Sequences for Data-driven Morphing

Smoothness is a quality that feels aesthetic and pleasing to the human eye. We present an algorithm for finding “as‐smooth‐as‐possible” sequences in image collections. In contrast to previous work, our method does not assume that the images show a common 3D scene, but instead may depict different object instances with varying deformations, and significant variation in lighting, texture, and color appearance. Our algorithm does not rely on a notion of camera pose, view direction, or 3D representation of an underlying scene, but instead directly optimizes the smoothness of the apparent motion of local point matches among the collection images. We increase the smoothness of our sequences by performing a global similarity transform alignment, as well as localized geometric wobble reduction and appearance stabilization. Our technique gives rise to a new kind of image morphing algorithm, in which the in‐between motion is derived in a data‐driven manner from a smooth sequence of real images without any user intervention. This new type of morph can go far beyond the ability of traditional techniques. We also demonstrate that our smooth sequences allow exploring large image collections in a stable manner.

Analysis and Controlled Synthesis of Inhomogeneous Textures

Many interesting real‐world textures are inhomogeneous and/or anisotropic. An inhomogeneous texture is one where various visual properties exhibit significant changes across the textures spatial domain. Examples include perceptible changes in surface color, lighting, local texture pattern and/or its apparent scale, and weathering effects, which may vary abruptly, or in a continuous fashion. An anisotropic texture is one where the local patterns exhibit a preferred orientation, which also may vary across the spatial domain. While many example‐based texture synthesis methods can be highly effective when synthesizing uniform (stationary) isotropic textures, synthesizing highly non‐uniform textures, or ones with spatially varying orientation, is a considerably more challenging task, which so far has remained underexplored. In this paper, we propose a new method for automatic analysis and controlled synthesis of such textures. Given an input texture exemplar, our method generates a source guidance map comprising: (i) a scalar progression channel that attempts to capture the low frequency spatial changes in color, lighting, and local pattern combined, and (ii) a direction field that captures the local dominant orientation of the texture. Having augmented the texture exemplar with this guidance map, users can exercise better control over the synthesized result by providing easily specified target guidance maps, which are used to constrain the synthesis process.

Co-segmentation for space-time co-located collections

We present a co-segmentation technique for space-time co-located image collections. These prevalent collections capture various dynamic events, usually by multiple photographers, and may contain multiple co-occurring objects which are not necessarily part of the intended foreground object, resulting in ambiguities for traditional co-segmentation techniques. Thus, to disambiguate what the common foreground object is, we introduce a weakly supervised technique, where we assume only a small seed, given in the form of a single segmented image. We take a distributed approach, where local belief models are propagated and reinforced with similar images. Our technique progressively expands the foreground and background belief models across the entire collection. The technique exploits the power of the entire set of image without building a global model, and thus successfully overcomes large variability in appearance of the common foreground object. We demonstrate that our method outperforms previous co-segmentation techniques on challenging space-time co-located collections, including dense benchmark datasets which were adapted for our novel problem setting.