Download 3-D shape estimation and image restoration : exploiting by Paolo Favaro PDF

By Paolo Favaro

In the components of photo processing and desktop imaginative and prescient, there's a specific desire for software program that could, given an unfocused or motion-blurred snapshot, infer the three-d form of a scene. This e-book describes the analytical strategies that move into designing such software program, delineates the choices open to programmers, and offers unique algorithms. Written for readers with pursuits in picture processing and desktop imaginative and prescient and with backgrounds in engineering, technological know-how or arithmetic, this hugely useful text/reference is offered to complex scholars or people with a level that incorporates simple linear algebra and calculus courses.

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10. The practical value of the last proposition is to state that, the more “irregular” the radiance, the more resolving power it has. When we can project structured light on the scene, the proposition establishes that “high-frequency” patterns should be used in conjunction with shape from defocus. An “infinitely irregular” pattern should therefore be universally exciting, as conjectured in the previous section. This is why in the experiments in the next chapters we always use highly textured scenes.

17) when it exists; with an abuse of notation we could write Hs† = (Hs∗ Hs )−1 Hs∗ . 18) where Id is the identity in RW ×W . Note that this is a finite-dimensional linear operator, represented therefore by a matrix. 4). Unfortunately, the scene is seldom a plane and even less often equifocal. A more general scenario is when the scene is made of a continuous surface s that does not have self-occlusions. 9), is shift-varying. In this section we reintroduce the imaging model from a different point of view.

The practical value of the last proposition is to state that, the more “irregular” the radiance, the more resolving power it has. When we can project structured light on the scene, the proposition establishes that “high-frequency” patterns should be used in conjunction with shape from defocus. An “infinitely irregular” pattern should therefore be universally exciting, as conjectured in the previous section. This is why in the experiments in the next chapters we always use highly textured scenes.

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