Abstract: This paper describes an affect-responsive interactive photo-frame application that offers its user a different experience with every use. It relies on visual analysis of activity levels and facial expressions of its users to select responses from a database of short video segments. This ever-growing database is automatically prepared by an offline analysis of user-uploaded videos. The resulting system matches its user’s affect along dimensions of valence and arousal, and gradually adapts its response to each specific user. In an extended mode, two such systems are coupled and feed each other with visual content. The strengths and weaknesses of the system are assessed through a usability study, where a Wizard-of-Oz response logic is contrasted with the fully automatic system that uses affective and activity-based features, either alone, or in tandem.

Abstract: Impact factor 2010: 2.92
Impact factor 2011/2012?: 3.32
Color constancy algorithms are generally based on the simplifying assumption that the spectral distribution of a light source is uniform across scenes. However, in reality, this assumption is often violated due to the presence of multiple light sources. In this paper, we will address more realistic scenarios where the uniform light-source assumption is too restrictive. First, a methodology is proposed to extend existing algorithms by applying color constancy locally to image patches, rather than globally to the entire image. After local (patch-based) illuminant estimation, these estimates are combined into more robust estimations, and a local correction is applied based on a modified diagonal model. Quantitative and qualitative experiments on spectral and real images show that the proposed methodology reduces the influence of two light sources simultaneously present in one scene. If the chromatic difference between these two illuminants is more than 1° , the proposed framework outperforms algorithms based on the uniform light-source assumption (with error-reduction up to approximately 30%). Otherwise, when the chromatic difference is less than 1° and the scene can be considered to contain one (approximately) uniform light source, the performance of the proposed method framework is similar to global color constancy methods.

Abstract: Motion perception is an amazing innate ability of the creatures on the planet. This adroitness entails a functional advantage that enables species to compete better in the wild. The motion perception ability is usually employed at different levels, allowing from the simplest interaction with the ’physis’ up to the most transcendental survival tasks. Among the five classical perception system , vision is the most widely used in the motion perception field. Millions years of evolution have led to a highly specialized visual system in humans, which is characterized by a tremendous accuracy as well as an extraordinary robustness. Although humans and an immense diversity of species can distinguish moving object with a seeming simplicity, it has proven to be a difficult and non trivial problem from a computational perspective. In the field of Computer Vision, the detection of moving objects is a challenging and fundamental research area. This can be referred to as the ’origin’ of vast and numerous vision-based research sub-areas. Nevertheless, from the bottom to the top of this hierarchical analysis, the foundations still relies on when and where motion has occurred in an image. Pixels corresponding to moving objects in image sequences can be identified by measuring changes in their values. However, a pixel’s value (representing a combination of color and brightness) could also vary due to other factors such as: variation in scene illumination, camera noise and nonlinear sensor responses among others. The challenge lies in detecting if the changes in pixels’ value are caused by a genuine object movement or not. An additional challenging aspect in motion detection is represented by moving cast shadows. The paradox arises because a moving object and its cast shadow share similar motion patterns. However, a moving cast shadow is not a moving object. In fact, a shadow represents a photometric illumination effect caused by the relative position of the object with respect to the light sources. Shadow detection methods are mainly divided in two domains depending on the application field. One normally consists of static images where shadows are casted by static objects, whereas the second one is referred to image sequences where shadows are casted by moving objects. For the first case, shadows can provide additional geometric and semantic cues about shape and position of its casting object as well as the localization of the light source. Although the previous information can be extracted from static images as well as video sequences, the main focus in the second area is usually change detection, scene matching or surveillance. In this context, a shadow can severely affect with the analysis and interpretation of the scene. The work done in the thesis is focused on the second case, thus it addresses the problem of detection and removal of moving cast shadows in video sequences in order to enhance the detection of moving object.