Coding of details in very low bit-rate video systems

In this paper, the importance of including small image features at the initial levels of a progressive second generation video coding scheme is presented. It is shown that a number of meaningful small features called details should be coded, even at very low data bit-rates, in order to match their perceptual significance to the human visual system. We propose a method for extracting, perceptually selecting and coding of visual details in a video sequence using morphological techniques. Its application in the framework of a multiresolution segmentation-based coding algorithm yields better results than pure segmentation techniques at higher compression ratios, if the selection step fits some main subjective requirements. Details are extracted and coded separately from the region structure and included in the reconstructed images in a later stage. The bet of considering the local background of a given detail for its perceptual selection breaks the concept ofPeer ReviewedPostprint (published version

New approaches to texture coding in segmentation and feature-based image coding schemes

Peer ReviewedPostprint (published version

Hierarchical morphological segmentation for image sequence coding

This paper deals with a hierarchical morphological segmentation algorithm for image sequence coding. Mathematical morphology is very attractive for this purpose because it efficiently deals with geometrical features such as size, shape, contrast, or connectivity that can be considered as segmentation-oriented features. The algorithm follows a top-down procedure. It first takes into account the global information and produces a coarse segmentation, that is, with a small number of regions. Then, the segmentation quality is improved by introducing regions corresponding to more local information. The algorithm, considering sequences as being functions on a 3-D space, directly segments 3-D regions. A 3-D approach is used to get a segmentation that is stable in time and to directly solve the region correspondence problem. Each segmentation stage relies on four basic steps: simplification, marker extraction, decision, and quality estimation. The simplification removes information from the sequence to make it easier to segment. Morphological filters based on partial reconstruction are proven to be very efficient for this purpose, especially in the case of sequences. The marker extraction identifies the presence of homogeneous 3-D regions. It is based on constrained flat region labeling and morphological contrast extraction. The goal of the decision is to precisely locate the contours of regions detected by the marker extraction. This decision is performed by a modified watershed algorithm. Finally, the quality estimation concentrates on the coding residue, all the information about the 3-D regions that have not been properly segmented and therefore coded. The procedure allows the introduction of the texture and contour coding schemes within the segmentation algorithm. The coding residue is transmitted to the next segmentation stage to improve the segmentation and coding quality. Finally, segmentation and coding examples are presented to show the validity and interest of the coding approach.Peer ReviewedPostprint (published version

Optimising Spatial and Tonal Data for PDE-based Inpainting

Some recent methods for lossy signal and image compression store only a few selected pixels and fill in the missing structures by inpainting with a partial differential equation (PDE). Suitable operators include the Laplacian, the biharmonic operator, and edge-enhancing anisotropic diffusion (EED). The quality of such approaches depends substantially on the selection of the data that is kept. Optimising this data in the domain and codomain gives rise to challenging mathematical problems that shall be addressed in our work. In the 1D case, we prove results that provide insights into the difficulty of this problem, and we give evidence that a splitting into spatial and tonal (i.e. function value) optimisation does hardly deteriorate the results. In the 2D setting, we present generic algorithms that achieve a high reconstruction quality even if the specified data is very sparse. To optimise the spatial data, we use a probabilistic sparsification, followed by a nonlocal pixel exchange that avoids getting trapped in bad local optima. After this spatial optimisation we perform a tonal optimisation that modifies the function values in order to reduce the global reconstruction error. For homogeneous diffusion inpainting, this comes down to a least squares problem for which we prove that it has a unique solution. We demonstrate that it can be found efficiently with a gradient descent approach that is accelerated with fast explicit diffusion (FED) cycles. Our framework allows to specify the desired density of the inpainting mask a priori. Moreover, is more generic than other data optimisation approaches for the sparse inpainting problem, since it can also be extended to nonlinear inpainting operators such as EED. This is exploited to achieve reconstructions with state-of-the-art quality. We also give an extensive literature survey on PDE-based image compression methods

A framework for digital sunken relief generation based on 3D geometric models

Sunken relief is a special art form of sculpture whereby the depicted shapes are sunk into a given surface. This is traditionally created by laboriously carving materials such as stone. Sunken reliefs often utilize the engraved lines or strokes to strengthen the impressions of a 3D presence and to highlight the features which otherwise are unrevealed. In other types of reliefs, smooth surfaces and their shadows convey such information in a coherent manner. Existing methods for relief generation are focused on forming a smooth surface with a shallow depth which provides the presence of 3D figures. Such methods unfortunately do not help the art form of sunken reliefs as they omit the presence of feature lines. We propose a framework to produce sunken reliefs from a known 3D geometry, which transforms the 3D objects into three layers of input to incorporate the contour lines seamlessly with the smooth surfaces. The three input layers take the advantages of the geometric information and the visual cues to assist the relief generation. This framework alters existing techniques in line drawings and relief generation, and then combines them organically for this particular purpose