This paper presents a new technique to simultaneously estimate the depth map and the all-in-focus image of a scene, both at super-resolution, from a plenoptic camera.A plenoptic camera uses a microlens array to measure the radiance and direction of all the light rays in a scene. It is composed of n×n microlenses and each of them generates a m×m image. Previous approaches to the depth and all-infocus estimation problem processed the plenoptic image, generated a n×n×m focal stack, and were able to obtain a n×n depth map and all-in-focus image of the scene. This is a major drawback of the plenoptic camera approach to 3DTV since the total resolution of the camera n 2 m 2 is divided by m 2 to obtain a final resolution of n 2 pixels. In our approach we propose a new super-resolution focal stack that is combined with multiview depth estimation. This technique allows a theoretical resolution of approximately n 2 m 2 /4 pixels. This is an o(m 2 ) increment over previous approaches.From a practical point of view, in typical scenes we are able to increase 25 times the resolution of previous techniques. The time complexity of the algorithm makes possible to obtain real-time processing for 3DTV using appropriate hardware (GPU's or FPGA's) so it could be used in plenoptic video-cameras.
Depth range cameras are a promising solution for the 3DTV production chain. The generation of color images with their accompanying depth value simplifies the transmission bandwidth problem in 3DTV and yields a direct input for autostereoscopic displays. Recent developments in plenoptic video-cameras make it possible to introduce 3D cameras that operate similarly to traditional cameras. The use of plenoptic cameras for 3DTV has some benefits with respect to 3D capture systems based on dual stereo cameras since there is no need for geometric and color calibration or frame synchronization. This paper presents a method for simultaneously recovering depth and all-in-focus images from a plenoptic camera in near real time using graphics processing units (GPUs). Previous methods for 3D reconstruction using plenoptic images suffered from the drawback of low spatial resolution. A method that overcomes this deficiency is developed on parallel hardware to obtain near real-time 3D reconstruction with a final spatial resolution of800×600pixels. This resolution is suitable as an input to some autostereoscopic displays currently on the market and shows that real-time 3DTV based on plenoptic video-cameras is technologically feasible.
The use of 3D visualization technologies offers a unique opportunity to reconstruct historical cities that no longer exist or have been substantially modified. In this paper, we use the oldest preserved map of the city of San Cristóbal de La Laguna, created in 1588 by the engineer Leonardo Torriani, as the basis for its 3D virtual recreation. This map shows the first non-fortified Spanish colonial city whose plan provided a model for the colonial cities in America. These distinct features made San Cristóbal de La Laguna a UNESCO world heritage site. In our work, we present a map-based workflow for 3D reconstruction that balances fidelity to the original map with the integration of other historical sources and the current status of the city. This leads to the development of several 3D models from those distinct sources whose integration provides the 3D reconstruction of the city in the 16th century. The results of this project can be applied to other similar maps that were created in Europe at that time.
Museums have been the main centers for the dissemination of cultural heritage throughout history. In recent years, they have been increasingly digitizing their content, so that it is now common for each museum to have free digital content available on the Web. This can be photographs of the works with detailed information or even objects created in three dimensions. It is also common to find virtual museums, which might be a representation of an existing museum that has been digitized or a museum created only in digital format. This paper describes the creation of a virtual museum of Spanish clothing from the 16th century, one that exists only in digital format, accessible from a computer or digital tablet. In order to create the museum, various documentation and drawings or pictures of the clothing of that time were studied. The costumes were then created in a specialized 3D costume-modeling program called Marvelous Designer. A 3D model of the exhibition hall was created in Blender, and finally, everything was assembled in the Unity videogame engine, where the interactive part was also added, allowing the virtual visitors to walk through the hall as if they were visiting a real museum.
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