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Matting and Compositing Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1 Traditional matting and composting Photomontage The Two Ways of Life, 1857, Oscar Gustav Rejlander Printed from the original 32 wet collodion negatives. Photographic compositions Lang Ching-shan
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Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

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Page 1: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Matting and Compositing

Digital Visual Effects, Spring 2007Yung-Yu Chuang2007/5/1

Traditional matting and composting

Photomontage

The Two Ways of Life, 1857, Oscar Gustav RejlanderPrinted from the original 32 wet collodion negatives.

Photographic compositions

Lang Ching-shan

Page 2: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Use of mattes for compositing

The Great Train Robbery (1903) matte shot

Use of mattes for compositing

The Great Train Robbery (1903) matte shot

Optical compositing

King Kong (1933) Stop-motion + optical compositing

Digital matting and compositing

The lost world (1925) The lost world (1997)

Miniature, stop-motion Computer-generated images

Page 3: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Digital matting and composting

King Kong (1933) Jurassic Park III (2001)

Optical compositingBlue-screen matting, digital composition,

digital matte painting

Digital matting: bluescreen matting

Forrest Gump (1994)

• The most common approach for films.• Expensive, studio setup.• Not a simple one-step process.

Titanic

Matting and Compositing Matting and Compositing

backgroundreplacement

backgroundediting

Page 4: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Color difference method (Ultimatte)

Blue-screenphotograph

C=F+αB

Spill suppressionif B>G then B=G

F

Matte creationα=B-max(G,R)

α

Chroma-keying (Primatte)

Compositing

BFC )α(α −+= 1

αF B

C

foreground color alpha matte background plate

composite

compositingequationB

F

C

α=0

Compositing

BFC )α(α −+= 1

αF B

Ccomposite

compositingequationB

F

Cα=1

Page 5: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Compositing

BFC )α(α −+= 1

αF B

Ccomposite

compositingequationB

FC

α=0.6

Matting

CobservationBFC )α(α −+= 1

compositingequation

αF B

Matting

CBFC )α(α −+= 1

compositingequation

αF B

Three approaches:

1 reduce #unknowns

2 add observations

3 add priors

Matting (reduce #unknowns)

C

F BB

BFC )α(α −+= 1

differencematting

α

Page 6: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Matting (reduce #unknowns)

C

F

BFC )α(α −+= 1B

blue screenmatting

α

Matting (add observations)

F

BFC )α(α −+= 1

triangulation

α

BFC )α(α −+= 1

BC

Natural image matting

BC

Matting (add priors)

F

BFC )α(α −+= 1

α B

rotoscopingRuzon-Tomasi

FG

BG

unknown

Bayesian image matting

Page 7: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Bayesian framework

posterior probability

likelihood priors

Priors

Optimization

repeat

until converge

1. fix alpha

2. fix F and B

Page 8: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1
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inputtrimapalpha

Results

input composite

Results

Comparisons

input imagetrimap

Comparisons

Bayesian Ruzon-Tomasi

Page 13: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Comparisons

Bayesian Ruzon-Tomasi

Comparisons

input image

Comparisons

Bayesian Mishima

Comparisons

Bayesian Mishima

Page 14: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Video matting

inputvideo

Video matting

inputkeytrimaps

inputvideo

Video matting

interpo-latedtrimaps

inputvideo

Video matting

Page 15: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

interpo-latedtrimaps

inputvideo

outputalpha

Video matting

Compo-site

interpo-latedtrimaps

inputvideo

outputalpha

Video matting

optical flow

Page 16: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

optical flow

Page 17: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1
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Sample composite

Garbage mattes Garbage mattes

Page 19: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Background estimation Background estimation

Alpha matte Comparison

without background

withbackground

Page 20: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1
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C

B

P(F)

Page 22: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

More on matting

Recent progresses on matting• Poisson matting• Two-camera matting methods• Flash matting

Page 23: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Poisson matting Poisson matting

Two-camera matting methods• Invisible lights

– Polarized lights– Infrared

• Thermo-key• Depth Keying (ZCam)

Invisible lights (Infared)

Page 24: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Invisible lights (Infared) Invisible lights (Infared)

Invisible lights (Infared) Invisible lights (Infared)

Page 25: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Invisible lights (Infared) Invisible lights (Polarized)

Invisible lights (Polarized) Thermo-Key

Page 26: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Thermo-Key ZCam

ZCam Flash matting

flash no flash matte

Page 27: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Flash matting

Background is much further than foreground and receives almost no flash light

Flash matting

Foreground flash matting equation

Generate a trimap and directly apply Bayesian matting.

Foreground flash matting Joint Bayesian flash matting

Page 28: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Joint Bayesian flash matting Comparison

flash no flash

Comparison

foreground flash matting

ioint Bayesian flash matting

Flash matting

Page 29: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Shadow mattingand composting

target backgroundsource scene

target backgroundblue screen image target backgroundblue screen composite

Page 30: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

photographblue screen composite photographblue screen composite

Geometric errors

photographblue screen composite

Photometric errors

Page 31: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

S L

C

β

S L

C

β

shadowcompositingequation

Shadow compositing equation

C=βL+(1-β)S

C

β

shadowcompositingequation

Shadow matting

C=βL+(1-β)S

Page 32: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

S L

C

β

shadowcompositingequation

Shadow matting

C=βL+(1-β)S

S L

C

β

shadowcompositingequation

Shadow matting

β

C=βL+(1-β)S

C

S Lβ

shadowcompositingequation

Shadow compositing

C=βL+(1-β)S

Page 33: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1
Page 34: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Geometric errors

target backgroundsource scene target backgroundsource scene

Requirement #1

Page 35: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

target backgroundsource scene

Requirement #2

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Environment matting

photographblue screen matting

F

foreground

Ccomposite

Tbackground

1-αB

traditional compositing equation

Page 45: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

F

foreground

Ccomposite

Tbackground

1-αB

AR

environment compositing equation [Zongker’99]

Environment matting [Zongker’99]

O(k) images

Problem: color dispersion

photographZongker et al.

Problem: glossy surface

photographZongker et al.

Page 46: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Problem: multiple mappings

photographZongker et al.

C Tweightingfunction

W

backgroundcomposite

Arbitrary weighting functionMultimodal oriented Gaussian

Page 47: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Problem: color dispersion

photographZongker et al.high accuracyalgorithm

Glossy surface

photographZongker et al.high accuracyalgorithm

Oriented Gaussian

photograph

withoutorientation

withoutorientation

withoutorientation

withorientation

Page 48: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Problem: multiple mappings

photographZongker et al.high accuracyalgorithm

F

foreground

Ccomposite

Tbackground

1-αB

W

weightingfunction

AR

3

3 observations

3 1 4

11 variables

• A, R• α• F

3

Page 49: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

4

7 variables

• A, R• α• F

33

3 observations

4

5 variables

• A, R• α• F

13

3 observations

A, ρcolorless

3 variables

• A, R• α• F

13

3 observations

A, ρcolorless

T(cx , cy)11

cx , cy , ρspecularlyrefractive

T

M(T , A)A

x

y

(cx, cy)

≈ T(cx, cy)

Stimulus functionStimulus function

Page 50: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

x

y

T(x,y)

Ideal plane in RGB cubeIdeal plane in RGB cube

T(x,y)

x

y

(cx ,cy)C′

Calibrated manifold in RGB cubeCalibrated manifold in RGB cube

T

backgroundmanifold

K

W

C′

C′ → (cx ,cy)

Cρρ = KC

KC′

Estimate cx ,cy and ρEstimate cx ,cy and ρ Problem: noisy matte

Page 51: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

with filteringwithout filtering

Edge-preserving filteringEdge-preserving filtering Input image

Difference thresholding Morphological operation

Page 52: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

Feathering Heuristics for specular highlights

T

backgroundmanifold

K

W

Cρ >1+ε C′

Heuristics for specular highlightsHeuristics for specular highlights

C=ρT(cx, cy)

ρ cx cy

Page 53: Digital Visual Effects, Spring 2007 Yung-Yu Chuang 2007/5/1

=

input estimation foreground(highlights)

Heuristics for specular highlightsHeuristics for specular highlights Composite with highlights

mattingmethod

compositingmodel

BFC )α(α −+= 1color

blending

shadow

refractionreflection

blue-screenBayesian

Shadowmattingβ)L(βSC −+= 1

High-accuracyenv. matting∫+= WBFC