1. The perception of Shading and Reflectance E.H. Adelson, A.P. Pentland Presenter: Stefan Zickler

2. The “Intrinsic Image”  the underlying physical properties of a scene.  Looking at a 2D image, what does its 3-dimensional source model look like?

3. What makes an image?  A combination of three factors: Lighting Shading Reflectance

4. Lighting  Variables: Number of light sources Intensity Position Distribution (Spot-light or Global)

5. Reflectance  How a surface’s material changes the light: Color Absorbance Transparency Etc…

6. Shading  A change to the angle of incidence of light based on the surface normal.

7. a simple formulation of an image in terms of reflectance and shading  I(x,y) = r(x,y) s(x,y) r(x,y) is the reflectance image s(x,y) is the shading image / luminance image  where s(x,y) = λ N(x,y)·L N(x,y) is the surface normal L is the illumination direction λ is the “luminous flux”, meaning intensity of light.

8. The bad news  Any 2D image can be described by infinitely many 3D models of shading and reflectance (the most simple being a flat 2D screen, colored with the image).

9. The good news  Humans are easily able to reason about which intrinsic 3D model is likely to be the correct one.  Therefore, a computer should be able do the same…

10. How do we find the best intrinsic image?  A perception should correspond to the simplest or likeliest explanation.  One way to define simplicity is by introducing a cost-function.

11. The “workshop” metaphor  A generative model for shading, reflectance, and lighting.  We have three workers: Painter Sheet Metal Worker Lighting Designer

12. The painter  Can paint polygons with certain colors.  Works on the reflectance component of our image.

13. The metal-worker  Can cut out new pieces of metal  Can bend pieces of metal  This is the shading component of our image.

14. The Lighting Designer  Can position lights to illuminate a scene.  Can chose between flood lights and spot lights.

15. What does this give us?  A fairly complete generative model to create any arbitrary 3D scene  How do we enforce simplistic solutions? Through a cost-function.

16. The pricelist  Painter Fees: Paint rectangular patch: $5 each Paint general polygon: $5 each  Sheet Metal Worker Fees: Right angle cuts $2 each Odd angle cuts $5 each Right angle bends $2 each Odd angle bends $5 each  Lighting Designer Fees: Flood light $5 each Custom spot light $30 each

17.  Painter’s solution: Paint 9 polygons: $180 Setup 1 flood light $5 Cut 1 rectangle $8 Total $193  Sheet metal worker's solution: Cut 24 odd angles $120 Bend 6 odd angles $30 Set up 1 flood light $5 Total $155  Lighting Designer's solution: Cut 1 Rectangle $8 Set up 9 spot lights$270 Total $278 Each worker can create an entire image with a minimum of help from the other workers.

18. We need a supervisor  His role: Coordinate the three workers to find a cooperative solution with the minimum overall cost.  In more scientific terms: To perform a search through the entire solution space and find the point of minimum overall cost.

19. The supervisor’s solution:  Supervisor's solution: Cut 1 rectangle $8 Paint 3 rectangles $5 Bend 2 right angles $4 Supervisor's fee $30 Total $47  Compare to: Painter’s solution:$193 Metal Worker’s solution:$155 Lighting Worker’s solution:$278

20. Tweaking the price-list: Discouraging naïve solutions  Make naïve solutions expensive.  We don’t want our algorithm to simply create a painted 2D screen.  On the other hand we don’t want to make things like paint too expensive so that they never get used.  Cooperative solutions should be cheaper than single workers

21. Is there an optimal pricelist?  Price-list values can be determined experimentally and tweaked in a way that they deliver the most likely solution for most images.  However, there is no universal price list that correctly describes all possible images.

22. The main problem with this workshop theory  The search space for cooperative solutions of our workers is enormous, as there are infinitely many ways of combining their skills  Even for small scenes, there exists no efficient search algorithm to solve this problem in a simultaneous fashion.

23. Their solution  Instead of a simultaneous cooperative model, we use a simplified, multi-stage generative model.  Where have we seen this before?

24. Stage 1: The Shape Specialist  Assumptions: image was made by orthographic projection. We are given the observed x,y coordinates of all edges and vertices in the image.  Operations: We can move vertices among the z axis

25. Shape Specialist Contd.  Simple solutions are enforced by assigning higher costs to non-right angles.  Compactness (shorter edges) and planarity (less angle-variance) are rewarded.  This cost-metric works for most figures, but not all of them.

26. Stage 2: Lighting Specialist  Given the shape from the previous specialist, find the lighting direction that best explains the observed luminance variation in terms of shading.  This can be estimated linearly by solving for the light direction L of two connected surfaces: I 1 = r 1 λ N 1 ·L I 2 = r 2 λ N 2 ·L Where r(x,y) is an estimated average, and λ=1

27. Stage 3: Reflectance specialist  Given the shape and lighting from the previous two specialists, explain any left-over differences by painting the surfaces.

28. An example:

29. The problem with this approach  Real world scenes don’t look like this:

30. The problem with this approach  Instead, they look more like this:

31. Some Other Shortcomings  Tuning the cost-factors is done manually. There will never be a single set of parameters that will correctly describe all scenes.  A psychologist’s approach to computer science: not much information on how far this approach can scale up to more complex scenes, not much work on coming up with a better search algorithm or parameter learning.  How well this approach works on random, real-world scenes is questionable.