Pradeep Sen

Dual photography

We present a novel photographic technique called dual photography, which exploits Helmholtz reciprocity to interchange the lights and cameras in a scene. With a video projector providing structured illumination, reciprocity permits us to generate pictures from the viewpoint of the projector, even though no camera was present at that location. The technique is completely image-based, requiring no knowledge of scene geometry or surface properties, and by its nature automatically includes all transport paths, including shadows, inter-reflections and caustics. In its simplest form, the technique can be used to take photographs without a camera; we demonstrate this by capturing a photograph using a projector and a photo-resistor. If the photo-resistor is replaced by a camera, we can produce a 4D dataset that allows for relighting with 2D incident illumination. Using an array of cameras we can produce a 6D slice of the 8D reflectance field that allows for relighting with arbitrary light fields. Since an array of cameras can operate in parallel without interference, whereas an array of light sources cannot, dual photography is fundamentally a more efficient way to capture such a 6D dataset than a system based on multiple projectors and one camera. As an example, we show how dual photography can be used to capture and relight scenes.

Image melding: combining inconsistent images using patch-based synthesis

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 L2/L0 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.

A versatile HDR video production system

Although High Dynamic Range (HDR) imaging has been the subject of significant research over the past fifteen years, the goal of acquiring cinema-quality HDR images of fast-moving scenes using available components has not yet been achieved. In this work, we present an optical architecture for HDR imaging that allows simultaneous capture of high, medium, and low-exposure images on three sensors at high fidelity with efficient use of the available light. We also present an HDR merging algorithm to complement this architecture, which avoids undesired artifacts when there is a large exposure difference between the images. We implemented a prototype high-definition HDR-video system and we present still frames from the acquired HDR video, tonemapped with various techniques.

Robust patch-based hdr reconstruction of dynamic scenes

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.

Compressive Dual Photography

The accurate measurement of the light transport characteristics of a complex scene is an important goal in computer graphics and has applications in relighting and dual photography. However, since the light transport data sets are typically very large, much of the previous research has focused on adaptive algorithms that capture them efficiently. In this work, we propose a novel, non‐adaptive algorithm that takes advantage of the compressibility of the light transport signal in a transform domain to capture it with less acquisitions than with standard approaches. To do this, we leverage recent work in the area of compressed sensing, where a signal is reconstructed from a few samples assuming that it is sparse in a transform domain. We demonstrate our approach by performing dual photography and relighting by using a much smaller number of acquisitions than would normally be needed. Because our algorithm is not adaptive, it is also simpler to implement than many of the current approaches.

On filtering the noise from the random parameters in Monte Carlo rendering

Monte Carlo (MC) rendering systems can produce spectacular images but are plagued with noise at low sampling rates. In this work, we observe that this noise occurs in regions of the image where the sample values are a direct function of the random parameters used in the Monte Carlo system. Therefore, we propose a way to identify MC noise by estimating this functional relationship from a small number of input samples. To do this, we treat the rendering system as a black box and calculate the statistical dependency between the outputs and inputs of the system. We then use this information to reduce the importance of the sample values affected by MC noise when applying an image-space, cross-bilateral filter, which removes only the noise caused by the random parameters but preserves important scene detail. The process of using the functional relationships between sample values and the random parameter inputs to filter MC noise is called Random Parameter Filtering (RPF), and we demonstrate that it can produce images in a few minutes that are comparable to those rendered with a thousand times more samples. Furthermore, our algorithm is general because we do not assign any physical meaning to the random parameters, so it works for a wide range of Monte Carlo effects, including depth of field, area light sources, motion blur, and path-tracing. We present results for still images and animated sequences at low sampling rates that have higher quality than those produced with previous approaches.

Silhouette maps for improved texture magnification

Texture mapping is a simple way of increasing visual realism without adding geometrical complexity. Because it is a discrete process, it is important to properly filter samples when the sampling rate of the texture differs from that of the final image. This is particularly problematic when the texture is magnified or minified. While reasonable approaches exist to tackle the minified case, few options exist for improving the quality of magnified textures in real-time applications. Most simply bilinearly interpolate between samples, yielding exceedingly blurry textures. In this paper, we address the real-time magnification problem by extending the silhouette map algorithm to general texturing. In particular, we discuss the creation of these silmap textures as well as a simple filtering scheme that allows for viewing at all levels of magnification. The technique was implemented on current graphics hardware and our results show that we can achieve a level of visual quality comparable to that of a much larger texture.

Patch-based high dynamic range video

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.

Recent Advances in Adaptive Sampling and Reconstruction for Monte Carlo Rendering

Monte Carlo integration is firmly established as the basis for most practical realistic image synthesis algorithms because of its flexibility and generality. However, the visual quality of rendered images often suffers from estimator variance, which appears as visually distracting noise. Adaptive sampling and reconstruction algorithms reduce variance by controlling the sampling density and aggregating samples in a reconstruction step, possibly over large image regions. In this paper we survey recent advances in this area. We distinguish between “a priori” methods that analyze the light transport equations and derive sampling rates and reconstruction filters from this analysis, and “a posteriori” methods that apply statistical techniques to sets of samples to drive the adaptive sampling and reconstruction process. They typically estimate the errors of several reconstruction filters, and select the best filter locally to minimize error. We discuss advantages and disadvantages of recent state‐of‐the‐art techniques, and provide visual and quantitative comparisons. Some of these techniques are proving useful in real‐world applications, and we aim to provide an overview for practitioners and researchers to assess these approaches. In addition, we discuss directions for potential further improvements.

Compressive Rendering: A Rendering Application of Compressed Sensing

Recently, there has been growing interest in compressed sensing (CS), the new theory that shows how a small set of linear measurements can be used to reconstruct a signal if it is sparse in a transform domain. Although CS has been applied to many problems in other fields, in computer graphics, it has only been used so far to accelerate the acquisition of light transport. In this paper, we propose a novel application of compressed sensing by using it to accelerate ray-traced rendering in a manner that exploits the sparsity of the final image in the wavelet basis. To do this, we raytrace only a subset of the pixel samples in the spatial domain and use a simple, greedy CS-based algorithm to estimate the wavelet transform of the image during rendering. Since the energy of the image is concentrated more compactly in the wavelet domain, less samples are required for a result of given quality than with conventional spatial-domain rendering. By taking the inverse wavelet transform of the result, we compute an accurate reconstruction of the desired final image. Our results show that our framework can achieve high-quality images with approximately 75 percent of the pixel samples using a nonadaptive sampling scheme. In addition, we also perform better than other algorithms that might be used to fill in the missing pixel data, such as interpolation or inpainting. Furthermore, since the algorithm works in image space, it is completely independent of scene complexity.