We present an approach for identifying picturesque highlights from large amounts of egocentric video data. Given a set of egocentric videos captured over the course of a vacation, our method analyzes the videos and looks for images that have good picturesque and artistic properties. We introduce novel techniques to automatically determine aesthetic features such as composition, symmetry and color vibrancy in egocentric videos and rank the video frames based on their photographic qualities to generate highlights. Our approach also uses contextual information such as GPS, when available, to assess the relative importance of each geographic location where the vacation videos were shot. Furthermore, we specifically leverage the properties of egocentric videos to improve our highlight detection. We demonstrate results on a new egocentric vacation dataset which includes 26.5 hours of videos taken over a 14 day vacation that spans many famous tourist destinations and also provide results from a user-study to access our results.
The other approach for vacation highlights is to look at the image aesthetics. These include high-level semantic features based on photography techniques @cite_4 , finding good composition for graphics image of a 3D object @cite_42 and cropping and retargeting based on an evaluation of the composition of the image like the rule-of-thirds, diagonal dominance and visual balance @cite_14 . We took inspiration from such approaches and developed novel algorithms to detect composition, symmetry and color vibrancy for egocentric videos.
@cite_14 @cite_42 @cite_4
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We present a video summarization approach for egocentric or "wearable" camera data. Given hours of video, the proposed method produces a compact storyboard summary of the camera wearer's day. In contrast to traditional keyframe selection techniques, the resulting summary focuses on the most important objects and people with which the camera wearer interacts. To accomplish this, we develop region cues indicative of high-level saliency in egocentric video--such as the nearness to hands, gaze, and frequency of occurrence--and learn a regressor to predict the relative importance of any new region based on these cues. Using these predictions and a simple form of temporal event detection, our method selects frames for the storyboard that reflect the key object-driven happenings. We adjust the compactness of the final summary given either an importance selection criterion or a length budget; for the latter, we design an efficient dynamic programming solution that accounts for importance, visual uniqueness, and temporal displacement. Critically, the approach is neither camera-wearer-specific nor object-specific; that means the learned importance metric need not be trained for a given user or context, and it can predict the importance of objects and people that have never been seen previously. Our results on two egocentric video datasets show the method's promise relative to existing techniques for saliency and summarization. We present a video summarization approach for egocentric or “wearable” camera data. Given hours of video, the proposed method produces a compact storyboard summary of the camera wearer's day. In contrast to traditional keyframe selection techniques, the resulting summary focuses on the most important objects and people with which the camera wearer interacts. To accomplish this, we develop region cues indicative of high-level saliency in egocentric video — such as the nearness to hands, gaze, and frequency of occurrence — and learn a regressor to predict the relative importance of any new region based on these cues. Using these predictions and a simple form of temporal event detection, our method selects frames for the storyboard that reflect the key object-driven happenings. Critically, the approach is neither camera-wearer-specific nor object-specific; that means the learned importance metric need not be trained for a given user or context, and it can predict the importance of objects and people that have never been seen previously. Our results with 17 hours of egocentric data show the method's promise relative to existing techniques for saliency and summarization. In this paper we propose a novel aesthetic model emphasizing psycho-visual statistics extracted from multiple levels in contrast to earlier approaches that rely only on descriptors suited for image recognition or based on photographic principles. At the lowest level, we determine dark-channel, sharpness and eye-sensitivity statistics over rectangular cells within a frame. At the next level, we extract Sentibank features (1,200 pre-trained visual classifiers) on a given frame, that invoke specific sentiments such as "colorful clouds", "smiling face" etc. and collect the classifier responses as frame-level statistics. At the topmost level, we extract trajectories from video shots. Using viewer's fixation priors, the trajectories are labeled as foreground, and background camera on which statistics are computed. Additionally, spatio-temporal local binary patterns are computed that capture texture variations in a given shot. Classifiers are trained on individual feature representations independently. On thorough evaluation of 9 different types of features, we select the best features from each level -- dark channel, affect and camera motion statistics. Next, corresponding classifier scores are integrated in a sophisticated low-rank fusion framework to improve the final prediction scores. Our approach demonstrates strong correlation with human prediction on 1,000 broadcast quality videos released by NHK as an aesthetic evaluation dataset. We present an approach to synthesizing photographic images conditioned on semantic layouts. Given a semantic label map, our approach produces an image with photographic appearance that conforms to the input layout. The approach thus functions as a rendering engine that takes a two-dimensional semantic specification of the scene and produces a corresponding photographic image. Unlike recent and contemporaneous work, our approach does not rely on adversarial training. We show that photographic images can be synthesized from semantic layouts by a single feedforward network with appropriate structure, trained end-to-end with a direct regression objective. The presented approach scales seamlessly to high resolutions; we demonstrate this by synthesizing photographic images at 2-megapixel resolution, the full resolution of our training data. Extensive perceptual experiments on datasets of outdoor and indoor scenes demonstrate that images synthesized by the presented approach are considerably more realistic than alternative approaches. The results are shown in the supplementary video at this https URL