Naturalness of warping is gaining extensive attention in image stitching. Recent warps such as SPHP, AANAP and GSP, use a global similarity to effectively mitigate projective distortion (which enlarges regions), however, they necessarily bring in perspective distortion (which generates inconsistency). In this paper, we propose a quasi-homography warp, which balances perspective distortion against projective distortion in the non-overlapping region, to create natural-looking mosaics. Our approach formulates the warp as a solution of a system of bivariate equations, where perspective distortion and projective distortion are characterized as slope preservation and scale linearization respectively. Our proposed warp only relies on a global homography thus is totally parameter-free. A comprehensive experiment shows that quasi-homography outperforms some state-of-the-art warps in urban scenes, including homography, AutoStitch and SPHP. A user study demonstrates that quasi-homography wins most users' favor as well, comparing to homography and SPHP.
 Many tasks in computer vision involve assigning a label (such as disparity) to every pixel. A common constraint is that the labels should vary smoothly almost everywhere while preserving sharp discontinuities that may exist, e.g., at object boundaries. These tasks are naturally stated in terms of energy minimization. The authors consider a wide class of energies with various smoothness constraints. Global minimization of these energy functions is NP-hard even in the simplest discontinuity-preserving case. Therefore, our focus is on efficient approximation algorithms. We present two algorithms based on graph cuts that efficiently find a local minimum with respect to two types of large moves, namely expansion moves and swap moves. These moves can simultaneously change the labels of arbitrarily large sets of pixels. In contrast, many standard algorithms (including simulated annealing) use small moves where only one pixel changes its label at a time. Our expansion algorithm finds a labeling within a known factor of the global minimum, while our swap algorithm handles more general energy functions. Both of these algorithms allow important cases of discontinuity preserving energies. We experimentally demonstrate the effectiveness of our approach for image restoration, stereo and motion. On real data with ground truth, we achieve 98 percent accuracy. Image stitching with large parallax is a challenging problem. Global alignment usually introduces noticeable artifacts. A common strategy is to perform partial alignment to facilitate the search for a good seam for stitching. Different from existing approaches where the seam estimation process is performed sequentially after alignment, we explicitly use the estimated seam to guide the process of optimizing local alignment so that the seam quality gets improved over each iteration. Furthermore, a novel structure-preserving warping method is introduced to preserve salient curve and line structures during the warping. These measures substantially improve the effectiveness of our method in dealing with a wide range of challenging images with large parallax. In this paper we introduce a new algorithm for image and video texture synthesis. In our approach, patch regions from a sample image or video are transformed and copied to the output and then stitched together along optimal seams to generate a new (and typically larger) output. In contrast to other techniques, the size of the patch is not chosen a-priori, but instead a graph cut technique is used to determine the optimal patch region for any given offset between the input and output texture. Unlike dynamic programming, our graph cut technique for seam optimization is applicable in any dimension. We specifically explore it in 2D and 3D to perform video texture synthesis in addition to regular image synthesis. We present approximative offset search techniques that work well in conjunction with the presented patch size optimization. We show results for synthesizing regular, random, and natural images and videos. We also demonstrate how this method can be used to interactively merge different images to generate new scenes. We describe an interactive, computer-assisted framework for combining parts of a set of photographs into a single composite picture, a process we call "digital photomontage." Our framework makes use of two techniques primarily: graph-cut optimization, to choose good seams within the constituent images so that they can be combined as seamlessly as possible; and gradient-domain fusion, a process based on Poisson equations, to further reduce any remaining visible artifacts in the composite. Also central to the framework is a suite of interactive tools that allow the user to specify a variety of high-level image objectives, either globally across the image, or locally through a painting-style interface. Image objectives are applied independently at each pixel location and generally involve a function of the pixel values (such as "maximum contrast") drawn from that same location in the set of source images. Typically, a user applies a series of image objectives iteratively in order to create a finished composite. The power of this framework lies in its generality; we show how it can be used for a wide variety of applications, including "selective composites" (for instance, group photos in which everyone looks their best), relighting, extended depth of field, panoramic stitching, clean-plate production, stroboscopic visualization of movement, and time-lapse mosaics.  This paper presents a technique to automatically stitch multiple images at varying orientations and exposures to create a composite panorama that preserves the angular extent and dynamic range of the inputs. The main contribution of our method is that it allows for large exposure differences, large scene motion or other misregistrations between frames and requires no extra camera hardware. To do this, we introduce a two-step graph cut approach. The purpose of the first step is to fix the positions of moving objects in the scene. In the second step, we fill in the entire available dynamic range. We introduce data costs that encourage consistency and higher signal-to-noise ratios, and seam costs that encourage smooth transitions. Our method is simple to implement and effective. We demonstrate the effectiveness of our approach on several input sets with varying exposures and camera orientations.