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276
Recognizing action at a distance
- PROCEEDINGS OF THE IEEE INTERNATIONAL CONFERENCE ON COMPUTER VISION
, 2003
"... Our goal is to recognize human actions at a distance, at resolutions where a whole person may be, say, 30 pixels tall. We introduce a novel motion descriptor based on optical flow measurements in a spatio-temporal volume for each stabilized human figure, and an associated similarity measure to be us ..."
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Cited by 504 (20 self)
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Our goal is to recognize human actions at a distance, at resolutions where a whole person may be, say, 30 pixels tall. We introduce a novel motion descriptor based on optical flow measurements in a spatio-temporal volume for each stabilized human figure, and an associated similarity measure to be used in a nearest-neighbor framework. Making use of noisy optical flow measurements is the key challenge, which is addressed by treating optical flow not as precise pixel displacements, but rather as a spatial pattern of noisy measurements which are carefully smoothed and aggregated to form our spatio-temporal motion descriptor. To classify the action being performed by a human figure in a query sequence, we retrieve nearest neighbor(s) from a database of stored, annotated video sequences. We can also use these retrieved exemplars to transfer 2D/3D skeletons onto the figures in the query sequence, as well as two forms of data-based action synthesis “Do as I Do” and “Do as I Say”. Results are demonstrated on ballet, tennis as well as football datasets.
Graphcut textures: Image and video synthesis using graph cuts
- ACM Transactions on Graphics, SIGGRAPH 2003
, 2003
"... This banner was generated by merging the source images in Figure 6 using our interactive texture merging technique. In this paper we introduce a new algorithm for image and video texture synthesis. In our approach, patch regions from a sample image or video are transformed and copied to the output a ..."
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Cited by 490 (9 self)
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This banner was generated by merging the source images in Figure 6 using our interactive texture merging technique. In this paper we introduce a new algorithm for image and video texture synthesis. In our approach, patch regions from a sample image or video are transformed and copied to the output and then stitched together along optimal seams to generate a new (and typically larger) output. In contrast to other techniques, the size of the patch is not chosen a-priori, but instead a graph cut technique is used to determine the optimal patch region for any given offset between the input and output texture. Unlike dynamic programming, our graph cut technique for seam optimization is applicable in any dimension. We specifically explore it in 2D and 3D to perform video texture synthesis in addition to regular image synthesis. We present approximative offset search techniques that work well in conjunction with the presented patch size optimization. We show results for synthesizing regular, random, and natural images and videos. We also demonstrate how this method can be used to interactively merge different images to generate new scenes.
Image analogies
, 2001
"... Figure 1 An image analogy. Our problem is to compute a new “analogous ” image B ′ that relates to B in “the same way ” as A ′ relates to A. Here, A, A ′ , and B are inputs to our algorithm, and B ′ is the output. The full-size images are shown in Figures 10 and 11. This paper describes a new framewo ..."
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Cited by 455 (8 self)
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Figure 1 An image analogy. Our problem is to compute a new “analogous ” image B ′ that relates to B in “the same way ” as A ′ relates to A. Here, A, A ′ , and B are inputs to our algorithm, and B ′ is the output. The full-size images are shown in Figures 10 and 11. This paper describes a new framework for processing images by example, called “image analogies. ” The framework involves two stages: a design phase, in which a pair of images, with one image purported to be a “filtered ” version of the other, is presented as “training data”; and an application phase, in which the learned filter is applied to some new target image in order to create an “analogous” filtered result. Image analogies are based on a simple multiscale autoregression, inspired primarily by recent results in texture synthesis. By choosing different types of source image pairs as input, the framework supports a wide variety of “image filter ” effects, including traditional image filters, such as blurring or embossing; improved texture synthesis, in which some textures are synthesized with higher quality than by previous approaches; super-resolution, in which a higher-resolution image is inferred from a low-resolution source; texture transfer, in which images are “texturized ” with some arbitrary source texture; artistic filters, in which various drawing and painting styles are synthesized based on scanned real-world examples; and texture-by-numbers, in which realistic scenes, composed of a variety of textures, are created using a simple painting interface.
Motion Graphs
, 2002
"... In this paper we present a novel method for creating realistic, controllable motion. Given a corpus of motion capture data, we automatically construct a directed graph called a motion graph that encapsulates connections among the database. The motion graph consists both of pieces of original motion ..."
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Cited by 380 (6 self)
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In this paper we present a novel method for creating realistic, controllable motion. Given a corpus of motion capture data, we automatically construct a directed graph called a motion graph that encapsulates connections among the database. The motion graph consists both of pieces of original motion and automatically generated transitions. Motion can be generated simply by building walks on the graph. We present a general framework for extracting particular graph walks that meet a user's specifications. We then show how this framework can be applied to the specific problem of generating different styles of locomotion along arbitrary paths.
Dynamic Textures
, 2002
"... Dynamic textures are sequences of images of moving scenes that exhibit certain stationarity properties in time; these include sea-waves, smoke, foliage, whirlwind etc. We present a novel characterization of dynamic textures that poses the problems of modeling, learning, recognizing and synthesizing ..."
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Cited by 377 (18 self)
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Dynamic textures are sequences of images of moving scenes that exhibit certain stationarity properties in time; these include sea-waves, smoke, foliage, whirlwind etc. We present a novel characterization of dynamic textures that poses the problems of modeling, learning, recognizing and synthesizing dynamic textures on a firm analytical footing. We borrow tools from system identification to capture the "essence" of dynamic textures; we do so by learning (i.e. identifying) models that are optimal in the sense of maximum likelihood or minimum prediction error variance. For the special case of second-order stationary processes, we identify the model sub-optimally in closed-form. Once learned, a model has predictive power and can be used for extrapolating synthetic sequences to infinite length with negligible computational cost. We present experimental evidence that, within our framework, even low-dimensional models can capture very complex visual phenomena.
Interactive Control of Avatars Animated with Human Motion Data
, 2002
"... Real-time control of three-dimensional avatars is an important problem in the context of computer games and virtual environments. Avatar animation and control is difficult, however, because a large repertoire of avatar behaviors must be made available, and the user must be able to select from this s ..."
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Cited by 369 (38 self)
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Real-time control of three-dimensional avatars is an important problem in the context of computer games and virtual environments. Avatar animation and control is difficult, however, because a large repertoire of avatar behaviors must be made available, and the user must be able to select from this set of behaviors, possibly with a low-dimensional input device. One appealing approach to obtaining a rich set of avatar behaviors is to collect an extended, unlabeled sequence of motion data appropriate to the application. In this paper, we show that such a motion database can be preprocessed for flexibility in behavior and efficient search and exploited for real-time avatar control. Flexibility is created by identifying plausible transitions between motion segments, and efficient search through the resulting graph structure is obtained through clustering. Three interface techniques are demonstrated for controlling avatar motion using this data structure: the user selects from a set of available choices, sketches a path through an environment, or acts out a desired motion in front of a video camera. We demonstrate the flexibility of the approach through four different applications and compare the avatar motion to directly recorded human motion.
Motion Texture: A Two-Level Statistical Model for Character Motion Synthesis
- ACM Transactions on Graphics
, 2002
"... In this paper, we describe a novel technique, called motion texture, for synthesizing complex human-figure motion (e.g., dancing) that is statistically similar to the original motion captured data. We de- fine motion texture as a set of motion textons and their distribution, which characterize the s ..."
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Cited by 211 (2 self)
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In this paper, we describe a novel technique, called motion texture, for synthesizing complex human-figure motion (e.g., dancing) that is statistically similar to the original motion captured data. We de- fine motion texture as a set of motion textons and their distribution, which characterize the stochastic and dynamic nature of the captured motion. Specifically, a motion texton is modeled by a linear dynamic system (LDS) while the texton distribution is represented by a transition matrix indicating how likely each texton is switched to another. We have designed a maximum likelihood algorithm to learn the motion textons and their relationship from the captured dance motion. The learnt motion texture can then be used to generate new animations automatically and/or edit animation sequences interactively. Most interestingly, motion texture can be manipulated at different levels, either by changing the fine details of a specific motion at the texton level or by designing a new choreography at the distribution level. Our approach is demonstrated by many synthesized sequences of visually compelling dance motion.
Implicit Probabilistic Models of Human Motion for Synthesis and Tracking Hedvig Sidenblen
- In European Conference on Computer Vision
, 2002
"... This paper addresses the problem of probabilistically modeling 3D human motion for synthesis and tracking. Given the high dimensional nature of human motion, learning an explicit probabilistic model from available training data is currently impractical. Instead we exploit methods from texture synthe ..."
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Cited by 201 (4 self)
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This paper addresses the problem of probabilistically modeling 3D human motion for synthesis and tracking. Given the high dimensional nature of human motion, learning an explicit probabilistic model from available training data is currently impractical. Instead we exploit methods from texture synthesis that treat images as representing an implicit empirical distribution . These methods replace the problem of representing the probability of a texture pattern with that of searching the training data for similar instances of that pattern. We extend this idea to temporal data representing 3D human motion with a large database of example motions. To make the method useful in practice, we must address the problem of efficient search in a large training set
Spacetime faces: High resolution capture for modeling and animation
- IN ACM TRANSACTIONS ON GRAPHICS (PROC. OF ACM SIGGRAPH)
, 2004
"... We present an end-to-end system that goes from video sequences to high resolution, editable, dynamically controllable face models. The capture system employs synchronized video cameras and structured light projectors to record videos of a moving face from multiple viewpoints. A novel spacetime stere ..."
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Cited by 193 (7 self)
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We present an end-to-end system that goes from video sequences to high resolution, editable, dynamically controllable face models. The capture system employs synchronized video cameras and structured light projectors to record videos of a moving face from multiple viewpoints. A novel spacetime stereo algorithm is introduced to compute depth maps accurately and overcome over-fitting deficiencies in prior work. A new template fitting and tracking procedure fills in missing data and yields point correspondence across the entire sequence without using markers. We demonstrate a datadriven, interactive method for inverse kinematics that draws on the large set of fitted templates and allows for posing new expressions by dragging surface points directly. Finally, we describe new tools that model the dynamics in the input sequence to enable new animations, created via key-framing or texture-synthesis techniques.
Video-based face recognition using probabilistic appearance manifolds
- In Proc. IEEE Conference on Computer Vision and Pattern Recognition
, 2003
"... This paper presents a novel method to model and recognize human faces in video sequences. Each registered person is represented by a low-dimensional appearance manifold in the ambient image space. The complex nonlinear appearance manifold expressed as a collection of subsets (named pose manifolds), ..."
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Cited by 176 (5 self)
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This paper presents a novel method to model and recognize human faces in video sequences. Each registered person is represented by a low-dimensional appearance manifold in the ambient image space. The complex nonlinear appearance manifold expressed as a collection of subsets (named pose manifolds), and the connectivity among them. Each pose manifold is approximated by an affine plane. To construct this representation, exemplars are sampled from videos, and these exemplars are clustered with a K-means algorithm; each cluster is represented as a plane computed through principal component analysis (PCA). The connectivity between the pose manifolds encodes the transition probability between images in each of the pose manifold and is learned from a training video sequences. A maximum a posteriori formulation is presented for face recognition in test video sequences by integrating the likelihood that the input image comes from a particular pose manifold and the transition probability to this pose manifold from the previous frame. To recognize faces with partial occlusion, we introduce a weight mask into the process. Extensive experiments demonstrate that the proposed algorithm outperforms existing frame-based face recognition methods with temporal voting schemes. 1
