Download 3D Video and Its Applications by Takashi Matsuyama, Shohei Nobuhara, Takeshi Takai, Tony Tung PDF

By Takashi Matsuyama, Shohei Nobuhara, Takeshi Takai, Tony Tung

This publication provides a large evaluate of state of the art 3D video construction applied sciences and functions. The textual content opens with a concise creation to the sector, prior to studying the layout and calibration equipment for multi-view digital camera platforms, together with functional implementation applied sciences. a number algorithms are then defined for generating 3D video from video info. a variety of 3D video functions also are validated. good points: describes real-time synchronized multi-view video catch, and item monitoring with a gaggle of energetic cameras; discusses geometric and photometric digicam calibration, and 3D video studio layout with lively cameras; examines 3D form and movement reconstruction, texture mapping and picture rendering, and lights atmosphere estimation; demonstrates appealing 3D visualization, visible contents research and modifying, 3D physique motion research, and information compression; highlights the remainder demanding situations and the interesting avenues for destiny study in 3D video technology.

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30(4), 562–576 (2008) 15. : Light field rendering. In: Proc. of ACM SIGGRAPH, pp. 31–42 (1996) 16. : Dynamic memory: architecture for real time integration of visual perception, camera action, and network communication. In: Proc. of IEEE Conference on Computer Vision and Pattern Recognition, vol. 2, pp. 728–735 (2000) 17. : Real-time multitarget tracking by a cooperative distributed vision system. Proc. IEEE 90(7), 1136–1150 (2002) 44 2 Multi-camera Systems for 3D Video Production 18. : Development of multiband color imaging systems for recordings of art paintings.

6, the lighting environment estimation itself involves difficult problems. Especially, it would be almost impossible to estimate the 3D spatial distribution of detailed spectral characteristics of lighting environments, because an object in motion disturbs lighting environments by its shadows as well as inter-reflections with the background scene. In summary, it would be a practical method for multi-camera photometric calibration to employ the relative multi-camera photometric calibration and then normalize RGB values based on the RGB responses of an absolutely calibrated camera.

Hence it does not guarantee that the calibrated color is the “true” color of the object. 3 Camera Calibration 39 Fig. 11 Textures generated from Fig. 10(a) and (b), respectively. The red arrows indicate texture boundaries introduced by photometric characteristics variations among the cameras. ©2009 IPSJ [22]. Fig. 12 Macbeth color checker. 2 Absolute Multi-camera Photometric Calibration Assuming that the vignetting calibration is done, the absolute color calibration adjusts RGB color channel gains of a camera so that RGB values for reference color patterns coincide with predefined standard responses.

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