![]() After generating our sinusoid, we apply it using linear interpolation across these y values. Then, we map all the y values into a range relative to this user-defined line. For that one, we use a dampening sine function to create a bouncing effect.įor plants, we ask the user to define a line running through the plant from up to down. We can also use similar techniques for even non-boat layers, like the circles example below. We ask the user to click a point at the bottom of the boat, so we can set it in phase with the nearby water. For water and boats, we use the same sine sum within the same image, with the phase offset dependent on the y pixel of the pixel to be translated. All of these are sums of sines (with the exception of clouds, which is a simple translation), but applied in different ways. Process: We bucket our layers into four types of motion - water, boats, clouds, and plants. We'd like to compute a displacement map, which in this implementation is a function on the time step t, that returns an shift. In order to animate these layers, we need to define motions for each of them. Goal: We now have N layers, with a clear foreground element. Results: An inpainted background, that we continue to use to segment new layers. We look for the most similar patch (in the pixels available in the target patch), then copy over the needed pixels. Then, we define an NxN patch around this point, and search through all same sized patches in the source region. Then, we compute high priority places to inpaint - regions that are nearby existing structures in the source region, or regions with high gradients. The key element of this method is the fill order: we first compute the "fill front", or the edges of the remaining target region. Process: We can use a pretty straightforward inpainting algorithm, "Region Filling and Object Removal by Exemplar-Based Image Inpainting", by Criminisi et. So we'd like to inpaint the missing parts! Moreover, when we animate the foreground, it will reveal new parts of the background. However, we have a huge black spot in our background. Goal: Now that we've segmented and matted our foreground, we'd like to continue segmenting new layers.
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