This paper presents a method for future localization: to predict a set of plausible trajectories of ego-motion given a depth image. We predict paths avoiding obstacles, between objects, even paths turning around a corner into space behind objects. As a byproduct of the predicted trajectories of ego-motion, we discover in the image the empty space occluded by foreground objects. We use no image based features such as semantic labeling segmentation or object detection recognition for this algorithm. Inspired by proxemics, we represent the space around a person using an EgoSpace map, akin to an illustrated tourist map, that measures a likelihood of occlusion at the egocentric coordinate system. A future trajectory of ego-motion is modeled by a linear combination of compact trajectory bases allowing us to constrain the predicted trajectory. We learn the relationship between the EgoSpace map and trajectory from the EgoMotion dataset providing in-situ measurements of the future trajectory. A cost function that takes into account partial occlusion due to foreground objects is minimized to predict a trajectory. This cost function generates a trajectory that passes through the occluded space, which allows us to discover the empty space behind the foreground objects. We quantitatively evaluate our method to show predictive validity and apply to various real world scenes including walking, shopping, and social interactions.
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. Existing approaches to nonrigid structure from motion assume that the instantaneous 3D shape of a deforming object is a linear combination of basis shapes. These bases are object dependent and therefore have to be estimated anew for each video sequence. In contrast, we propose a dual approach to describe the evolving 3D structure in trajectory space by a linear combination of basis trajectories. We describe the dual relationship between the two approaches, showing that they both have equal power for representing 3D structure. We further show that the temporal smoothness in 3D trajectories alone can be used for recovering nonrigid structure from a moving camera. The principal advantage of expressing deforming 3D structure in trajectory space is that we can define an object independent basis. This results in a significant reduction in unknowns and corresponding stability in estimation. We propose the use of the Discrete Cosine Transform (DCT) as the object independent basis and empirically demonstrate that it approaches Principal Component Analysis (PCA) for natural motions. We report the performance of the proposed method, quantitatively using motion capture data, and qualitatively on several video sequences exhibiting nonrigid motions, including piecewise rigid motion, partially nonrigid motion (such as a facial expressions), and highly nonrigid motion (such as a person walking or dancing). We present an approach that takes multiple videos captured by social cameras---cameras that are carried or worn by members of the group involved in an activity---and produces a coherent "cut" video of the activity. Footage from social cameras contains an intimate, personalized view that reflects the part of an event that was of importance to the camera operator (or wearer). We leverage the insight that social cameras share the focus of attention of the people carrying them. We use this insight to determine where the important "content" in a scene is taking place, and use it in conjunction with cinematographic guidelines to select which cameras to cut to and to determine the timing of those cuts. A trellis graph representation is used to optimize an objective function that maximizes coverage of the important content in the scene, while respecting cinematographic guidelines such as the 180-degree rule and avoiding jump cuts. We demonstrate cuts of the videos in various styles and lengths for a number of scenarios, including sports games, street performances, family activities, and social get-togethers. We evaluate our results through an in-depth analysis of the cuts in the resulting videos and through comparison with videos produced by a professional editor and existing commercial solutions. Wearable cameras capture a first-person view of the world, and offer a hands-free way to record daily experiences or special events. Yet, not every frame is worthy of being captured and stored. We propose to automatically predict “snap points” in unedited egocentric video—that is, those frames that look like they could have been intentionally taken photos. We develop a generative model for snap points that relies on a Web photo prior together with domain-adapted features. Critically, our approach avoids strong assumptions about the particular content of snap points, focusing instead on their composition. Using 17 hours of egocentric video from both human and mobile robot camera wearers, we show that the approach accurately isolates those frames that human judges would believe to be intentionally snapped photos. In addition, we demonstrate the utility of snap point detection for improving object detection and keyframe selection in egocentric video. 