BACKGROUND OF THE INVENTION
`
`1. Field of the Invention
`
`One or more embodiments of the invention are related to the field of image analysis
`and image enhancement, (suggested class 382, subclass 254). More particularly, but
`not by way of limitation, one or more embodiments of the invention enable an image
`sequence depth enhancement system and method that allows for the rapid conversion
`of a sequence of two-dimensional images into three-dimensional images.
`
`2. Description of the Related Art
`
`Prior art patents describingKnown methods for the colorizing of black and white feature
`films involved the identification of gray scale regions within a picture followed by the
`application of a pre-selected color transform or lookup tables for the gray scale within each
`region defined by a masking operation covering the extent of each selected region and the
`subsequent application of said masked regions from one frame to many subsequent frames.
`The primary difference between U.S. Pat. No. 4,984,072, System And Method For Color
`Image Enhancement, and U.S. Pat. No. 3,705,762, Method For Converting
`Black-And-White Films To Color Films, is the manner by which the regions of interest
`(ROIs) are isolated and masked, how that information is transferred to subsequent frames
`and how that mask information is modified to conform with changes in the underlying
`image data. In the U.S. Pat. No. 4,984,072 system, the region is masked by an operator via
`a one-bit painted overlay and operator manipulated using a digital paintbrush method
`frame by frame to match the movement. In the U.S. Pat. No. 3,705,762 process, each
`region is outlined or rotoscoped by an operator using vector polygons, which are then
`adjusted frame by frame by the operator, to create animated masked ROIs.
`
`In both systems the color transform lookup tables and regions selected are applied and
`modified manually to each frame in succession to compensate for changes in the image
`data which the operator detects visually. All changes and movement of the underlying
`luminance gray scale is subjectively detected by the operator and the masks are
`sequentially corrected manually by the use of an interface device such as a mouse for
`moving or adjusting mask shapes to compensate for the detected movement. In all cases the
`underlying gray scale is a passive recipient of the mask containing pre-selected color
`transforms with all modifications of the mask under operator detection and modification.
`In these prior inventions the mask information does not contain any information specific to
`the underlying luminance gray scale and therefore no automatic position and shape
`correction of the mask to correspond with image feature displacement and distortion from
`one frame to another is possible.
`
`Existing systems that are utilized to convert two-dimensional images to
`three-dimensional images generally require the creation of wire frame models for
`objects in images. The creation of wire frame models is a large undertaking in terms
`of labor. These systems also do not utilize the underlying luminance gray scale of
`objects in the images to automatically position and correct the shape of the masks of
`the objects to correspond with image feature displacement and distortion from one
`frame to another. Hence, great amounts of labor are required to manually shape
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`masks for applying depth or Z-dimension data to the objects. Motion objects that
`move from frame to frame thus require a great deal of human intervention. In
`addition, there are no known solutions for enhancing two-dimensional images into
`three-dimensional images that utilize composite backgrounds of multiple images in a
`frame for spreading depth information to background and masked objects. Hence
`there is a need for an image sequence depth enhancement system and method.
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`BRIEF SUMMARY OF THE INVENTION
`
`In the system and methodEmbodiments of the present invention, classify scenes to be
`colorized are classifiedand/or converted from two-dimensional to three-dimensional
`into movies into two separate categories; either background elements (i.e. sets and
`foreground elements that are stationary) or motion elements (e.g., actors, automobiles, etc)
`that move throughout the scene. These background elements and motion elements are
`treated separately in this invention similar to the manner in which traditional animation is
`produced.
`
`Motion Elements: The motion elements are displayed as a series of sequential tiled frame
`sets or thumbnail images complete with background elements. The motion elements are
`masked in a key frame using a multitude of operator interface tools common to paint
`systems as well as unique tools such as relative bimodal thresholding in which masks are
`applied selectively to contiguous light or dark areas bifurcated by a cursor brush. After the
`key frame is fully designed and masked, all mask information from the key frame is then
`applied to all frames in the display-using mask fitting techniques that include:
`
`1. Automatic mask fitting using Fast Fourier Transform and Gradient Decent Calculations
`based on luminance and pattern matching which references the same masked area of the
`key frame followed by all prior subsequent frames in succession.
`
`2. Bezier curve animation with edge detection as an automatic animation guide
`
`3. Polygon animation with edge detection as an automatic animation guide
`
`In another embodiment of this invention, these background elements and motion elements
`are combined separately into single frame representations of multiple frames, as tiled
`frame sets or as a single frame composite of all elements (i.e., including both motion and
`backgrounds/foregrounds) that then becomes a visual reference database for the computer
`controlled application of masks within a sequence composed of a multiplicity of frames.
`Each pixel address within the reference visual database corresponds to mask/lookup table
`address within the digital frame and X, Y, Z location of subsequent “raw” frames that were
`used to create the reference visual database. Masks are applied to subsequent frames based
`on various differentiating image processing methods such as edge detection combined with
`pattern recognition and other sub-mask analysis, aided by operator segmented regions of
`interest from reference objects or frames, and operator directed detection of subsequent
`regions corresponding to the original region of interest. In this manner, the gray scale
`actively determines the location and shape of each mask (and corresponding color lookup
`from frame to frame for colorization projects or depth information for
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`two-dimensional to three-dimensional conversion projects) that is applied in a keying
`fashion within predetermined and operator controlled regions of interest.
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`Camera Pan Background and Static Foreground Elements: Stationary foreground and
`background elements in a plurality of sequential images comprising a camera pan are
`combined and fitted together using a series of phase correlation, image fitting and focal
`length estimation techniques to create a composite single frame that represents the series of
`images used in its construction. During the process of this construction the motion
`elements are removed through operator adjusted global placement of overlapping
`sequential frames.
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`TheFor colorization projects, the single background image representing the series of
`camera pan images is color designed using multiple color transform look up tables limited
`only by the number of pixels in the display. This allows the designer to include as much
`detail as desired including air brushing of mask information and other mask application
`techniques that provide maximum creative expression. For depth conversion projects,
`(i.e., two-dimensional to three-dimensional movie conversion for example), the single
`background image representing the series of camera pan images is utilized to set
`depths of the various items in the background. Once the background color/depth design
`is completed the mask information is transferred automatically to all the frames that were
`used to create the single composited image. In this manner, color or depth is performed
`once per scene instead of once per frame, with color/depth information automatically
`spread to individual frames via embodiments of the invention.
`
`ImageIn one or more embodiments of the invention, image offset information relative
`to each frame is registered in a text file during the creation of the single composite image
`representing the pan and used to apply the single composite mask to all the frames used to
`create the composite image.
`
`Since the foreground moving elements have been masked separately prior to the
`application of the background mask, the background mask information is applied wherever
`there is no pre-existing mask information.
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`Static Camera Scenes With and Without Film Weave, Minor Camera Following and
`Camera Drift: In scenes where there is minor camera movement or film weave resulting
`from the sprocket transfer from 35 mm or 16 mm film to digital format, the motion objects
`are first fully masked using the techniques listed above. All frames in the scene are then
`processed automatically to create a single image that represents both the static foreground
`elements and background elements, eliminating all masked moving objects where they
`both occlude and expose the background.
`
`Where ever the masked moving object exposes the background or foreground the instance
`of background and foreground previously occluded is copied into the single image with
`priority and proper offsets to compensate for camera movement. The offset information is
`included in a text file associated with each single representation of the background so that
`the resulting mask information can be applied to each frame in the scene with proper mask
`offsets.
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`The single background image representing the series of static camera frames is color
`designed using multiple color transform look up tables limited only by the number of
`pixels in the display. Where the motion elements occlude the background elements
`continuously within the series of sequential frames they are seen as black figure that are
`ignored and masked over. The black objects are ignored during the masking operation
`because the resulting background mask is later applied to all frames used to create the
`single representation of the background only where there is no pre-existing mask. This
`allows the designer to include as much detail as desired including air brushing of mask
`information and other mask application techniques that provide maximum creative
`expression. Once the background color design is completed the mask information is
`transferred automatically to all the frames that were used to create the single composited
`image. For depth projects, the distance from the camera to each item in the composite
`frame is automatically transferred to all the frames that were used to create the
`single composited image. By shifting masked background objects horizontally more
`or less, there precise depth is thus set in a secondary viewpoint frame that
`corresponds to each frame in the scene. Areas where no image data exists for a
`second viewpoint may be marked in one or more embodiments of the invention using
`a user defined color that allows for the creation missing data to ensure that no
`artifacts occur during the two-dimension to three-dimension conversion process. Any
`technique known may be utilized in embodiments of the invention to cover areas in
`the background where unknown data exists, i.e., that may not be borrowed from
`another scene/frame for example. After assigning depths to objects in the composite
`background, a second viewpoint image may be created for each image in a scene in
`order to produce a stereoscopic view of the movie, for example a left eye view where
`the original frames in the scene are assigned to the right eye viewpoint.
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`BRIEF DESCRIPTION OF THE DRAWINGS
`
`The patent of application file contains at least one drawing executed in color. Copies
`of this patent or patent application publication with color drawing(s) will be
`provided by the Office upon request and payment of the necessary fee.
`
`FIG. 1 shows a plurality of feature film or television film frames representing a scene
`or cut in which there is a single instance or perceptive of a background.
`
`FIG. 2 shows an isolated background processed scene from the plurality of frames
`shown in FIG. 1 in which all motion elements are removed using various subtraction
`and differencing techniques. The single background image is then used to create a
`background mask overlay representing designer selected color lookup tables in
`which dynamic pixel colors automatically compensate or adjust for moving shadows
`and other changes in luminance.
`
`FIG. 3 shows a representative sample of each motion object (M-Object) in the scene
`receives a mask overlay that represents designer selected color lookup tables in which
`dynamic pixel colors automatically compensate or adjust for moving shadows and
`other changes in luminance as the M-Object moves within the scene.
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`FIG. 4 shows all mask elements of the scene are then rendered to create a fully
`colored frame in which M-Object masks are applied to each appropriate frame in the
`scene followed by the background mask, which is applied only where there is no
`pre-existing mask in a Boolean manner.
`
`FIGS. 5A and 5B show a series of sequential frames loaded into display memory in
`which one frame is fully masked with the background (key frame) and ready for
`mask propagation to the subsequent frames via automatic mask fitting methods.
`
`FIGS. 6A and 6B show the child window displaying an enlarged and scalable single
`image of the series of sequential images in display memory. The Child window
`enables the operator to manipulate masks interactively on a single frame or in
`multiple frames during real time or slowed motion.
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`FIGS. 7A and 7B shows a single mask (flesh) is propagated automatically to all
`frames in the display memory.
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`FIG. 8 shows all masks associated with the motion object are propagated to all
`sequential frames in display memory.
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`FIG. 9A shows a picture of a face.
`
`FIG. 9B shows a close up of the face in FIG. 9A wherein the “small dark” pixels
`shown in FIG. 9B are used to calculate a weighed index using bilinear interpolation.
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`FIGS. 10A-D show searching for a Best Fit on the Error Surface: An error surface
`calculation in the Gradient Descent Search method involves calculating mean
`squared differences of pixels in the square fit box centered on reference image pixel
`(x0, y0), between the reference image frame and the corresponding (offset) location
`(x, y) on the search image frame.
`
`FIGS. 11A-C show a second search box derived from a descent down the error
`surface gradient (evaluated separately), for which the evaluated error function is
`reduced, possibly minimized, with respect to the original reference box (evident from
`visual comparison of the boxes with the reference box in FIGS. 10A, B, C and D.).
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`FIG. 12 depicts the gradient component evaluation. The error surface gradient is
`calculated as per definition of the gradient. Vertical and horizontal error deviations
`are evaluated at four positions near the search box center position, and combined to
`provide an estimate of the error gradient for that position. 12.
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`FIG. 13 shows a propagated mask in the first sequential instance where there is little
`discrepancy between the underlying image data and the mask data. The dress mask
`and hand mask can be clearly seen to be off relative to the image data.
`
`FIG. 14 shows that by using the automatic mask fitting routine, the mask data
`adjusts to the image data by referencing the underlying image data in the preceding
`image.
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`FIG. 15 shows the mask data in later images within the sequence show marked
`discrepancy relative to the underlying image data. Eye makeup, lipstick, blush, hair,
`face, dress and hand image data are all displaced relative to the mask data.
`
`FIG. 16 shows that the mask data is adjusted automatically based on the underlying
`image data from the previous mask and underlying image data.
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`FIG. 17 shows the mask data from FIG. 16 is shown with appropriate color
`transforms after whole frame automatic mask fitting. The mask data is adjusted to fit
`the underlying luminance pattern based on data from the previous frame or from the
`initial key frame.
`
`FIG. 18 shows polygons that are used to outline a region of interest for masking in
`frame one. The square polygon points snap to the edges of the object of interest.
`Using a Bezier curve the Bezier points snap to the object of interest and the control
`points/curves shape to the edges.
`
`FIG. 19 shows the entire polygon or Bezier curve is carried to a selected last frame in
`the display memory where the operator adjusts the polygon points or Bezier points
`and curves using the snap function which automatically snaps the points and curves
`to the edges of the object of interest.
`
`FIG. 20 shows that if there is a marked discrepancy between the points and curves in
`frames between the two frames where there was an operator interactive adjustment,
`the operator will further adjust a frame in the middle of the plurality of frames
`where there is maximum error of fit.
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`FIG. 21 shows that when it is determined that the polygons or Bezier curves are
`correctly animating between the two adjusted frames, the appropriate masks are
`applied to all frames.
`
`FIG. 22 shows the resulting masks from a polygon or Bezier animation with
`automatic point and curve snap to edges. The brown masks are the color transforms
`and the green masks are the arbitrary color masks.
`
`FIG. 23 shows an example of two pass blending: The objective in two-pass blending is
`to eliminate moving objects from the final blended mosaic. This can be done by first
`blending the frames so the moving object is completely removed from the left side of
`the background mosaic. As shown in FIG. 23, the character can is removed from the
`scene, but can still be seen in the right side of the background mosaic.
`
`FIG. 24 shows the second pass blend. A second background mosaic is then generated,
`where the blend position and width is used so that the moving object is removed from
`the right side of the final background mosaic. As shown in FIG. 24, the character can
`is removed from the scene, but can still be seen the left side of the background
`mosaic. In the second pass blend as shown in FIG. 24, the moving character is shown
`on the left.
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`FIG. 25 shows the final background corresponding to FIGS. 23-24. The two-passes
`are blended together to generate the final blended background mosaic with the
`moving object removed from the scene. As shown in FIG. 25, the final blended
`background with moving character is removed.
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`FIG. 26 shows an edit frame pair window.
`
`FIG. 27 shows sequential frames representing a camera pan that are loaded into
`memory. The motion object (butler moving left to the door) has been masked with a
`series of color transform information leaving the background black and white with
`no masks or color transform information applied.
`
`FIG. 28 shows six representative sequential frames of the pan above are displayed for
`clarity.
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`FIG. 29 shows the composite or montage image of the entire camera pan that was
`built using phase correlation techniques. The motion object (butler) included as a
`transparency for reference by keeping the first and last frame and averaging the
`phase correlation in two directions. The single montage representation of the pan is
`color designed using the same color transform masking techniques as used for the
`foreground object.
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`FIG. 30 shows that the sequence of frames in the camera pan after the background
`mask color transforms the montage has been applied to each frame used to create the
`montage. The mask is applied where there is no pre-existing mask thus retaining the
`motion object mask and color transform information while applying the background
`information with appropriate offsets.
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`FIG. 31 shows a selected sequence of frames in the pan for clarity after the color
`background masks have been automatically applied to the frames where there is no
`pre-existing masks.
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`FIG. 32 shows a sequence of frames in which all moving objects (actors) are masked
`with separate color transforms.
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`FIG. 33 shows a sequence of selected frames for clarity prior to background mask
`information. All motion elements have been fully masked using the automatic
`mask-fitting algorithm.
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`FIG. 34 shows the stationary background and foreground information minus the
`previously masked moving objects. In this case, the single representation of the
`complete background has been masked with color transforms in a manner similar to
`the motion objects. Note that outlines of removed foreground objects appear
`truncated and unrecognizable due to their motion across the input frame sequence
`interval., i.e., the black objects in the frame represent areas in which the motion
`objects (actors) never expose the background and foreground. The black objects are
`ignored during the masking operation because the resulting background mask is
`later applied to all frames used to create the single representation of the background
`only where there is no pre-existing mask.
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`FIG. 35 shows the sequential frames in the static camera scene cut after the
`background mask information has been applied to each frame with appropriate
`offsets and where there is no pre-existing mask information.
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`FIG. 36 shows a representative sample of frames from the static camera scene cut
`after the background information has been applied with appropriate offsets and
`where there is no pre-existing mask information.
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`FIGS. 37A-C show embodiments of the Mask Fitting functions, including calculate fit
`grid and interpolate mask on fit grid.
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`FIGS. 38A-B show embodiments of the extract background functions.
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`FIGS. 39A-C show embodiments of the snap point functions.
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`FIGS. 40A-C show embodiments of the bimodal threshold masking functions.
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`FIGS. 41A-B show embodiments of the calculate fit value functions.
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`FIG. 42 shows two image frames that are separated in time by several frames, of a
`person levitating a crystal ball wherein the various objects in the image frames are to
`be converted from two-dimensional objects to three-dimensional objects.
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`FIG. 43 shows the masking of the first object in the first image frame that is to be
`converted from a two-dimensional image to a three-dimensional image.
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`FIG. 44 shows the masking of the second object in the first image frame.
`
`FIG. 45 shows the two masks in color in the first image frame allowing for the
`portions associated with the masks to be viewed.
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`FIG. 46 shows the masking of the third object in the first image frame.
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`FIG. 47 shows the three masks in color in the first image frame allowing for the
`portions associated with the masks to be viewed.
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`FIG. 48 shows the masking of the fourth object in the first image frame.
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`FIG. 49 shows the masking of the fifth object in the first image frame.
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`FIG. 50 shows a control panel for the creation of three-dimensional images, including
`the association of layers and three-dimensional objects to masks within an image
`frame, specifically showing the creation of a Plane layer for the sleeve of the person in
`the image.
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`FIG. 51 shows a three-dimensional view of the various masks shown in FIGS. 43-49,
`wherein the mask associated with the sleeve of the person is shown as a Plane layer
`that is rotated toward the left and right viewpoints on the right of the page.
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`FIG. 52 shows a slightly rotated view of FIG. 51.
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`FIG. 53 shows a slightly rotated view of FIG. 51.
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`FIG. 54 shows a control panel specifically showing the creation of a sphere object for
`the crystal ball in front of the person in the image.
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`FIG. 55 shows the application of the sphere object to the flat mask of the crystal ball,
`that is shown within the sphere and as projected to the front and back of the sphere
`to show the depth assigned to the crystal ball.
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`FIG. 56 shows a top view of the three-dimensional representation of the first image
`frame showing the Z-dimension assigned to the crystal ball shows that the crystal ball
`is in front of the person in the scene.
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`FIG. 57 shows that the sleeve plane rotating in the X-axis to make the sleeve appear
`to be coming out of the image more.
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`FIG. 58 shows a control panel specifically showing the creation of a Head object for
`application to the person's face in the image, i.e., to give the person's face realistic
`depth without requiring a wire model for example.
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`FIG. 59 shows the Head object in the three-dimensional view, too large and not
`aligned with the actual person's head.
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`FIG. 60 shows the Head object in the three-dimensional view, resized to fit the
`person's face and aligned, e.g., translated to the position of the actual person's head.
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`FIG. 61 shows the Head object in the three-dimensional view, with the Y-axis
`rotation shown by the circle and Y-axis originating from the person's head thus
`allowing for the correct rotation of the Head object to correspond to the orientation
`of the person's face.
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`FIG. 62 shows the Head object also rotated slightly clockwise, about the Z-axis to
`correspond to the person's slightly tilted head.
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`FIG. 63 shows the propagation of the masks into the second and final image frame.
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`FIG. 64 shows the original position of the mask corresponding to the person's hand.
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`FIG. 65 shows the reshaping of the mask, that can be performed automatically
`and/or manually, wherein any intermediate frames get the tweened depth
`information between the first image frame masks and the second image frame masks.
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`FIG. 66 shows the missing information for the left viewpoint as highlighted in color
`on the left side of the masked objects in the lower image when the foreground object,
`here a crystal ball is translated to the right.
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`FIG. 67 shows the missing information for the right viewpoint as highlighted in color
`on the right side of the masked objects in the lower image when the foreground
`object, here a crystal ball is translated to the left.
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`FIG. 68 shows an anaglyph of the final depth enhanced first image frame viewable
`with Red/Blue 3-D glasses.
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`FIG. 69 shows an anaglyph of the final depth enhanced second and last image frame
`viewable with Red/Blue 3-D glasses, note rotation of person's head, movement of
`person's hand and movement of crystal ball.
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`FIG. 70 shows the right side of the crystal ball with fill mode “smear”, wherein the
`pixels with missing information for the left viewpoint, i.e., on the right side of the
`crystal ball are taken from the right edge of the missing image pixels and “smeared”
`horizontally to cover the missing information.
`
` DETAILED DESCRIPTION OF A PREFERRED EMBODIMENT OF THE
`INVENTION
`
`Feature Film and TV series Data Preparation for Colorization/Depth enhancement:
`Feature films are tele-cined or transferred from 35 mm or 16 mm film using a high
`resolution scanner such as a 10-bit Spirit Data Cine or similar device to HDTV (1920 by
`1080 24P) or data-cined on a laser film scanner such as that manufactured by Imagica
`Corp. of America at a larger format 2000 lines to 4000 lines and up to 16 bits of grayscale.
`The high resolution frame files are then converted to standard digital files such as
`uncompressed TIFTIP files or uncompressed TGA files typically in 16 bit three-channel
`linear format or 8 bit three channel linear format. If the source data is HDTV, the 10-bit
`HDTV frame files are converted to similar TIF or TGA uncompressed files at either 16-bits
`or 8-bit per channel. Each frame pixel is then averaged such that the three channels are
`merged to create a single 16 bit channel or 8 bit channel respectively. Any other scanning
`technologies capable of scanning an existing film to digital format may be utilized.
`Currently, many movies are generated entirely in digital format, and thus may be
`utilized without scanning the movie.
`
`Digitization Telecine and Format Independence Monochrome elements of either 35 or 16
`mm negative or positive film are digitized at various resolutions and bit depth within a high
`resolution film scanner such as that performed with a Spirit DataCine by Philips and
`Eastman Kodak which transfers either 525 or 625 formats, HDTV, (TVHDTV)
`1280×720/60 Hz progressive, 2K, DTV (ATSC) formats like 1920×1080/24 Hz/25 Hz
`progressive and 1920×1080/48 Hz/50 Hz segmented frame or 1920×1080 50 I as
`examples. The invention provides improved methods for editing film into motion pictures.
`Visual images are transferred from developed motion picture film to a high definition
`video storage medium, which is a storage medium adapted to store images and to display
`images in conjunction with display equipment having a scan density substantially greater
`than that of an NTSC compatible video storage medium and associated display equipment.
`The visual images are also transferred, either from the motion picture film or the high
`definition video storage medium to a digital data storage format adapted for use with
`digital nonlinear motion picture editing equipment. After the visual images have been
`transferred to the high definition video storage medium, the digital nonlinear motion
`picture editing equipment is used to generate an edit decision list, to which the motion
`picture film is then conformed. The high definition video storage medium will beis
`generally adapted to store and display visual images having a scan density of at least 1080
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`horizontal lines. Electronic or optical transformation may be utilized to allow use of visual
`aspect ratios that make full use of the storage formats used in the method. This digitized
`film data as well as data already transferred from film to one of a multiplicity of formats
`such as HDTV are entered into a conversion system such as the HDTV Still Store
`manufactured by Avica Technology Corporation. Such large scale digital buffers and data
`converters are capable of converting digital image to all standard formats such as 1080i
`HDTV formats such as 720p, and 1080p/24. An Asset Management System server
`provides powerful local and server back ups and archiving to standard SCSI devices,
`C2-level security, streamlined menu selection and multiple criteria data base searches.
`
`During the process of digitizing images from motion picture film the mechanical
`positioning of the film frame in the telecine machine suffers from an imprecision known as
`“film weave”, which cannot be fully eliminated. However various film registration and
`ironing or flattening gate assemblies are available such as that embodied in Eastman Kodak
`Company's U.S. Pat. No. 5,328,073, Film Registration and Ironing Gate Assembly, which
`involves the use of a gate with a positioning location or aperture for focal positioning of an
`image frame of a strip film with edge perforations. Undersized first and second pins enter a
`pair of transversely aligned perforations of the film to register the image frame with the
`aperture. An undersized third pin enters a third perforation spaced along the film from the
`second pin and then pulls the film obliquely to a reference line extending between the first
`and second pins to nest against the first and second pins the perforations thereat and
`register the image frame precisely at the positioning location or aperture. A pair of flexible
`bands extending along the film edges adjacent the positioning location moves
`progressively into incrementally increasing contact with the film to iron it and clamp its
`perforations against the gate. The pins register the image frame precisely with the
`positioning location, and the bands maintain the image frame in precise focal position.
`Positioning can be further enhanced following the precision mechanical capture of im