Monocular depth estimation, which plays a crucial role in understanding 3D scene geometry, is an ill-posed problem. Recent methods have gained significant improvement by exploring image-level information and hierarchical features from deep convolutional neural networks (DCNNs). These methods model depth estimation as a regression problem and train the regression networks by minimizing mean squared error, which suffers from slow convergence and unsatisfactory local solutions. Besides, existing depth estimation networks employ repeated spatial pooling operations, resulting in undesirable low-resolution feature maps. To obtain high-resolution depth maps, skip-connections or multilayer deconvolution networks are required, which complicates network training and consumes much more computations. To eliminate or at least largely reduce these problems, we introduce a spacing-increasing discretization (SID) strategy to discretize depth and recast depth network learning as an ordinal regression problem. By training the network using an ordinary regression loss, our method achieves much higher accuracy and faster convergence in synch. Furthermore, we adopt a multi-scale network structure which avoids unnecessary spatial pooling and captures multi-scale information in parallel. The proposed deep ordinal regression network (DORN) achieves state-of-the-art results on three challenging benchmarks, i.e., KITTI [16], Make3D [49], and NYU Depth v2 [41], and outperforms existing methods by a large margin.
In this paper, we tackle the problem of estimating the depth of a scene from a single image. This is a challenging task, since a single image on its own does not provide any depth cue. To address this, we exploit the availability of a pool of images for which the depth is known. More specifically, we formulate monocular depth estimation as a discrete-continuous optimization problem, where the continuous variables encode the depth of the superpixels in the input image, and the discrete ones represent relationships between neighboring superpixels. The solution to this discrete-continuous optimization problem is then obtained by performing inference in a graphical model using particle belief propagation. The unary potentials in this graphical model are computed by making use of the images with known depth. We demonstrate the effectiveness of our model in both the indoor and outdoor scenarios. Our experimental evaluation shows that our depth estimates are more accurate than existing methods on standard datasets. We consider the problem of estimating detailed 3D structure from a single still image of an unstructured environment. Our goal is to create 3D models that are both quantitatively accurate as well as visually pleasing. For each small homogeneous patch in the image, we use a Markov random field (MRF) to infer a set of "plane parametersrdquo that capture both the 3D location and 3D orientation of the patch. The MRF, trained via supervised learning, models both image depth cues as well as the relationships between different parts of the image. Other than assuming that the environment is made up of a number of small planes, our model makes no explicit assumptions about the structure of the scene; this enables the algorithm to capture much more detailed 3D structure than does prior art and also give a much richer experience in the 3D flythroughs created using image-based rendering, even for scenes with significant nonvertical structure. Using this approach, we have created qualitatively correct 3D models for 64.9 percent of 588 images downloaded from the Internet. We have also extended our model to produce large-scale 3D models from a few images. We consider the task of depth estimation from a single monocular image. We take a supervised learning approach to this problem, in which we begin by collecting a training set of monocular images (of unstructured outdoor environments which include forests, trees, buildings, etc.) and their corresponding ground-truth depthmaps. Then, we apply supervised learning to predict the depthmap as a function of the image. Depth estimation is a challenging problem, since local features alone are insufficient to estimate depth at a point, and one needs to consider the global context of the image. Our model uses a discriminatively-trained Markov Random Field (MRF) that incorporates multiscale local- and global-image features, and models both depths at individual points as well as the relation between depths at different points. We show that, even on unstructured scenes, our algorithm is frequently able to recover fairly accurate depthmaps.        In this paper, we propose a computational model of the recognition of real world scenes that bypasses the segmentation and the processing of individual objects or regions. The procedure is based on a very low dimensional representation of the scene, that we term the Spatial Envelope. We propose a set of perceptual dimensions (naturalness, openness, roughness, expansion, ruggedness) that represent the dominant spatial structure of a scene. Then, we show that these dimensions may be reliably estimated using spectral and coarsely localized information. The model generates a multidimensional space in which scenes sharing membership in semantic categories (e.g., streets, highways, coasts) are projected closed together. The performance of the spatial envelope model shows that specific information about object shape or identity is not a requirement for scene categorization and that modeling a holistic representation of the scene informs about its probable semantic category.  Stereo matching is one of the most active research areas in computer vision. While a large number of algorithms for stereo correspondence have been developed, relatively little work has been done on characterizing their performance. In this paper, we present a taxonomy of dense, two-frame stereo methods designed to assess the different components and design decisions made in individual stereo algorithms. Using this taxonomy, we compare existing stereo methods and present experiments evaluating the performance of many different variants. In order to establish a common software platform and a collection of data sets for easy evaluation, we have designed a stand-alone, flexible C++ implementation that enables the evaluation of individual components and that can be easily extended to include new algorithms. We have also produced several new multiframe stereo data sets with ground truth, and are making both the code and data sets available on the Web. We tackle the problem of single image depth estimation, which, without additional knowledge, suffers from many ambiguities. Unlike previous approaches that only reason locally, we propose to exploit the global structure of the scene to estimate its depth. To this end, we introduce a hierarchical representation of the scene, which models local depth jointly with mid-level and global scene structures. We formulate single image depth estimation as inference in a graphical model whose edges let us encode the interactions within and across the different layers of our hierarchy. Our method therefore still produces detailed depth estimates, but also leverages higher-level information about the scene. We demonstrate the benefits of our approach over local depth estimation methods on standard indoor datasets.     We describe a technique that automatically generates plausible depth maps from videos using non-parametric depth sampling. We demonstrate our technique in cases where past methods fail (non-translating cameras and dynamic scenes). Our technique is applicable to single images as well as videos. For videos, we use local motion cues to improve the inferred depth maps, while optical flow is used to ensure temporal depth consistency. For training and evaluation, we use a Kinect-based system to collect a large data set containing stereoscopic videos with known depths. We show that our depth estimation technique outperforms the state-of-the-art on benchmark databases. Our technique can be used to automatically convert a monoscopic video into stereo for 3D visualization, and we demonstrate this through a variety of visually pleasing results for indoor and outdoor scenes, including results from the feature film Charade. 