Camera shake during exposure leads to objectionable image blur and ruins many photographs. Conventional blind deconvolution methods typically assume frequency-domain constraints on images, or overly simplified parametric forms for the motion path during camera shake. Real camera motions can follow convoluted paths, and a spatial domain prior can better maintain visually salient image characteristics. We introduce a method to remove the effects of camera shake from seriously blurred images. The method assumes a uniform camera blur over the image and negligible in-plane camera rotation. In order to estimate the blur from the camera shake, the user must specify an image region without saturation effects. We show results for a variety of digital photographs taken from personal photo collections.

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 multi-scale 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.

We introduce Gaussian process dynamical models (GPDMs) for nonlinear time series analysis, with applications to learning models of human pose and motion from high-dimensional motion capture data. A GPDM is a latent variable model. It comprises a low-dimensional latent space with associated dynamics, as well as a map from the latent space to an observation space. We marginalize out the model parameters in closed form by using Gaussian process priors for both the dynamical and the observation mappings. This results in a nonparametric model for dynamical systems that accounts for uncertainty in the model. We demonstrate the approach and compare four learning algorithms on human motion capture data, in which each pose is 50-dimensional. Despite the use of small data sets, the GPDM learns an effective representation of the nonlinear dynamics in these spaces.

The paper addresses the problem of recovering 3D non-rigid shape models from image sequences. For example, given a video recording of a talking person, we would like to estimate a 3D model of the lips and the full face and its internal modes of variation. Many solutions that recover 3D shape from 2D image sequences have been proposed; these so-called structure-from-motion techniques usually assume that the 3D object is rigid. For example, C. Tomasi and T. Kanades' (1992) factorization technique is based on a rigid shape matrix, which produces a tracking matrix of rank 3 under orthographic projection. We propose a novel technique based on a non-rigid model, where the 3D shape in each frame is a linear combination of a set of basis shapes. Under this model, the tracking matrix is of higher rank, and can be factored in a three-step process to yield pose, configuration and shape. To the best of our knowledge, this is the first model free approach that can recover from single-view video sequences nonrigid shape models. We demonstrate this new algorithm on several video sequences. We were able to recover 3D non-rigid human face and animal models with high accuracy.

We approach the problem of stylistic motion synthesis by learning motion patterns from a highly varied set of motion capture sequences. Each sequence may have a distinct choreography, performed in a distinct sytle. Learning identifies common choreographic elements across sequences, the different styles in which each element is performed, and a small number of stylistic degrees of freedom which span the many variations in the dataset. The learned model can synthesize novel motion data in any interpolation or extrapolation of styles. For example, it can convert novice ballet motions into the more graceful modern dance of an expert. The model can also be driven by video, by scripts or even by noise to generate new choreography and synthesize virtual motion-capture in many styles.

This paper describes methods for recovering time-varying shape and motion of nonrigid 3D objects from uncalibrated 2D point tracks. For example, given a video recording of a talking person, we would like to estimate the 3D shape of the face at each instant and learn a model of facial deformation. Time-varying shape is modeled as a rigid transformation combined with a nonrigid deformation. Reconstruction is ill-posed if arbitrary deformations are allowed, and thus additional assumptions about deformations are required. We first suggest restricting shapes to lie within a low-dimensional subspace and describe estimation algorithms. However, this restriction alone is insufficient to constrain reconstruction. To address these problems, we propose a reconstruction method using a Probabilistic Principal Components Analysis (PPCA) shape model and an estimation algorithm that simultaneously estimates 3D shape and motion for each instant, learns the PPCA model parameters, and robustly fills-in missing data points. We then extend the model to represent temporal dynamics in object shape, allowing the algorithm to robustly handle severe cases of missing data.