Modeling Light. Michal Havlik : Computational Photography Alexei Efros, CMU, Fall 2007
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1 Modeling Light Michal Havlik : Computational Photography Alexei Efros, CMU, Fall 2007
2 The Plenoptic Function Figure by Leonard McMillan Q: What is the set of all things that we can ever see? A: The Plenoptic Function (Adelson & Bergen) Let s start with a stationary person and try to parameterize everything that he can see
3 Grayscale snapshot is intensity of light P(θ,φ) Seen from a single view point At a single time Averaged over the wavelengths of the visible spectrum (can also do P(x,y), but spherical coordinate are nicer)
4 Color snapshot is intensity of light P(θ,φ,λ) Seen from a single view point At a single time As a function of wavelength
5 A movie is intensity of light P(θ,φ,λ,t) Seen from a single view point Over time As a function of wavelength
6 Holographic movie is intensity of light Seen from ANY viewpoint Over time As a function of wavelength P(θ,φ,λ,t,V X,V Y,V Z )
7 The Plenoptic Function P(θ,φ,λ,t,V X,V Y,V Z ) Can reconstruct every possible view, at every moment, from every position, at every wavelength Contains every photograph, every movie, everything that anyone has ever seen! it completely captures our visual reality! Not bad for a function
8 Sampling Plenoptic Function (top view) Just lookup -- Quicktime VR
9 Ray Let s not worry about time and color: 5D 3D position 2D direction P(θ,φ, θ,φ,v X,V Y,V Z ) Slide by Rick Szeliski and Michael Cohen
10 How can we use this? Lighting No Change in Radiance Surface Camera
11 Ray Reuse Infinite line Assume light is constant (vacuum) 4D 2D direction 2D position non-dispersive medium Slide by Rick Szeliski and Michael Cohen
12 Only need plenoptic surface
13 Synthesizing novel views Slide by Rick Szeliski and Michael Cohen
14 Lumigraph / Lightfield Outside convex space 4D Empty Stuff Slide by Rick Szeliski and Michael Cohen
15 Lumigraph - Organization 2D position 2D direction θ s Slide by Rick Szeliski and Michael Cohen
16 Lumigraph - Organization 2D position 2D position s u 2 plane parameterization Slide by Rick Szeliski and Michael Cohen
17 Lumigraph - Organization 2D position 2D position t s,t s,t u,v v 2 plane parameterization s u u,v Slide by Rick Szeliski and Michael Cohen
18 Lumigraph - Organization Hold s,t constant Let u,v vary An image s,t u,v Slide by Rick Szeliski and Michael Cohen
19 Lumigraph / Lightfield
20 Lumigraph - Capture Idea 1 Move camera carefully over s,t plane Gantry see Lightfield paper s,t u,v Slide by Rick Szeliski and Michael Cohen
21 Lumigraph - Capture Idea 2 Move camera anywhere Rebinning see Lumigraph paper s,t u,v Slide by Rick Szeliski and Michael Cohen
22 Lumigraph - Rendering For each output pixel determine s,t,u,v either use closest discrete RGB interpolate near values s u Slide by Rick Szeliski and Michael Cohen
23 Lumigraph - Rendering Nearest closest s closest u draw it Blend 16 nearest quadrilinear interpolation s u Slide by Rick Szeliski and Michael Cohen
24 Plenoptic Function/Light Field/Lumigraph
25 Omnidirectional Panoramas
26 Omnidirectional Panoramas
27 Omnidirectional Panoramas
28 Omnidirectional Panoramas
29 Omnidirectional Panoramas
30 Omnidirectional Panoramas
31 Stanford multi-camera array pixels 30 fps 128 cameras synchronized timing continuous streaming flexible arrangement
32 Ways to use large camera arrays widely spaced light field capture tightly packed high-performance imaging intermediate spacing synthetic aperture photography
33 Synthetic Aperture Image
34 Example using 45 cameras [Vaish CVPR 2004]
35
36 Tiled camera array Can we match the image quality of a cinema camera? world s largest video camera no parallax for distant objects poor lenses limit image quality seamless mosaicing isn t hard
37 Tiled panoramic image (before geometric or color calibration)
38 Tiled panoramic image (after calibration and blending)
39 Tiled camera array Can we match the image quality of a cinema camera? world s largest video camera no parallax for distant objects poor lenses limit image quality seamless mosaicing isn t hard per-camera exposure metering HDR within and between tiles
40 same exposure in all cameras individually metered checkerboard of exposures
41 High-performance photography as multidimensional sampling spatial resolution field of view frame rate dynamic range bits of precision depth of field focus setting color sensitivity
42 Spacetime aperture shaping shorten exposure time to freeze motion dark stretch contrast to restore level noisy increase (synthetic) aperture to capture more light decreases depth of field
43 center of aperture: few cameras, long exposure high depth of field, low noise, but action is blurred periphery of aperture: many cameras, short exposure freezes action, low noise, but low depth of field
44
45
46 Light field photography using a handheld plenoptic camera Ren Ng, Marc Levoy, Mathieu Brédif, Gene Duval, Mark Horowitz and Pat Hanrahan
47 Conventional versus light field camera
48 Conventional versus light field camera uv-plane st-plane
49 Prototype camera Contax medium format camera Kodak 16-megapixel sensor Adaptive Optics microlens array 125µ square-sided microlenses pixels lenses = pixels per lens
50
51 Digitally stopping-down Σ Σ stopping down = summing only the central portion of each microlens
52 Digital refocusing Σ Σ refocusing = summing windows extracted from several microlenses
53 Example of digital refocusing
54 Digitally moving the observer Σ moving the observer = moving the window we extract from the microlenses Σ
55 Example of moving the observer
56 Moving backward and forward
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