Encoding high dynamic range and wide color gamut imagery

In dieser Dissertation wird ein szenischer Bewegtbilddatensatz mit erweitertem Dynamikumfang (High Dynamic Range, HDR) und großem Farbumfang (Wide Color Gamut, WCG) eingeführt und es werden Modelle zur Kodierung von HDR und WCG Bildern vorgestellt. Die objektive und visuelle Evaluation neuer HDR und WCG Bildverarbeitungsalgorithmen, Kompressionsverfahren und Bildwiedergabegeräte erfordert einen Referenzdatensatz hoher Qualität. Daher wird ein neuer HDR- und WCG-Video-Datensatz mit einem Dynamikumfang von bis zu 18 fotografischen Blenden eingeführt. Er enthält inszenierte und dokumentarische Szenen. Die einzelnen Szenen sind konzipiert um eine Herausforderung für Tone Mapping Operatoren, Gamut Mapping Algorithmen, Kompressionscodecs und HDR und WCG Bildanzeigegeräte darzustellen. Die Szenen sind mit professionellem Licht, Maske und Filmausstattung aufgenommen. Um einen cinematischen Bildeindruck zu erhalten, werden digitale Filmkameras mit ‘Super-35 mm’ Sensorgröße verwendet. Der zusätzliche Informationsgehalt von HDR- und WCG-Videosignalen erfordert im Vergleich zu Signalen mit herkömmlichem Dynamikumfang eine neue und effizientere Signalkodierung. Ein Farbraum für HDR und WCG Video sollte nicht nur effizient quantisieren, sondern wegen der unterschiedlichen Monitoreigenschaften auf der Empfängerseite auch für die Dynamik- und Farbumfangsanpassung geeignet sein. Bisher wurden Methoden für die Quantisierung von HDR Luminanzsignalen vorgeschlagen. Es fehlt jedoch noch ein entsprechendes Modell für Farbdifferenzsignale. Es werden daher zwei neue Farbräume eingeführt, die sich sowohl für die effiziente Kodierung von HDR und WCG Signalen als auch für die Dynamik- und Farbumfangsanpassung eignen. Diese Farbräume werden mit existierenden HDR und WCG Farbsignalkodierungen des aktuellen Stands der Technik verglichen. Die vorgestellten Kodierungsschemata erlauben es, HDR- und WCG-Video mittels drei Farbkanälen mit 12 Bits tonaler Auflösung zu quantisieren, ohne dass Quantisierungsartefakte sichtbar werden. Während die Speicherung und Übertragung von HDR und WCG Video mit 12-Bit Farbtiefe pro Kanal angestrebt wird, unterstützen aktuell verbreitete Dateiformate, Videoschnittstellen und Kompressionscodecs oft nur niedrigere Bittiefen. Um diese existierende Infrastruktur für die HDR Videoübertragung und -speicherung nutzen zu können, wird ein neues bildinhaltsabhängiges Quantisierungsschema eingeführt. Diese Quantisierungsmethode nutzt Bildeigenschaften wie Rauschen und Textur um die benötigte tonale Auflösung für die visuell verlustlose Quantisierung zu schätzen. Die vorgestellte Methode erlaubt es HDR Video mit einer Bittiefe von 10 Bits ohne sichtbare Unterschiede zum Original zu quantisieren und kommt mit weniger Rechenkraft im Vergleich zu aktuellen HDR Bilddifferenzmetriken aus

Inverse tone mapping

The introduction of High Dynamic Range Imaging in computer graphics has produced a novelty in Imaging that can be compared to the introduction of colour photography or even more. Light can now be captured, stored, processed, and finally visualised without losing information. Moreover, new applications that can exploit physical values of the light have been introduced such as re-lighting of synthetic/real objects, or enhanced visualisation of scenes. However, these new processing and visualisation techniques cannot be applied to movies and pictures that have been produced by photography and cinematography in more than one hundred years. This thesis introduces a general framework for expanding legacy content into High Dynamic Range content. The expansion is achieved avoiding artefacts, producing images suitable for visualisation and re-lighting of synthetic/real objects. Moreover, it is presented a methodology based on psychophysical experiments and computational metrics to measure performances of expansion algorithms. Finally, a compression scheme, inspired by the framework, for High Dynamic Range Textures, is proposed and evaluated

Situated Displays in Telecommunication

In face to face conversation, numerous cues of attention, eye contact, and gaze direction provide important channels of information. These channels create cues that include turn taking, establish a sense of engagement, and indicate the focus of conversation. However, some subtleties of gaze can be lost in common videoconferencing systems, because the single perspective view of the camera doesn't preserve the spatial characteristics of the face to face situation. In particular, in group conferencing, the `Mona Lisa effect' makes all observers feel that they are looked at when the remote participant looks at the camera. In this thesis, we present designs and evaluations of four novel situated teleconferencing systems, which aim to improve the teleconferencing experience. Firstly, we demonstrate the effectiveness of a spherical video telepresence system in that it allows a single observer at multiple viewpoints to accurately judge where the remote user is placing their gaze. Secondly, we demonstrate the gaze-preserving capability of a cylindrical video telepresence system, but for multiple observers at multiple viewpoints. Thirdly, we demonstrated the further improvement of a random hole autostereoscopic multiview telepresence system in conveying gaze by adding stereoscopic cues. Lastly, we investigate the influence of display type and viewing angle on how people place their trust during avatar-mediated interaction. The results show the spherical avatar telepresence system has the ability to be viewed qualitatively similarly from all angles and demonstrate how trust can be altered depending on how one views the avatar. Together these demonstrations motivate the further study of novel display configurations and suggest parameters for the design of future teleconferencing systems

Inverse tone mapping

The introduction of High Dynamic Range Imaging in computer graphics has produced a novelty in Imaging that can be compared to the introduction of colour photography or even more. Light can now be captured, stored, processed, and finally visualised without losing information. Moreover, new applications that can exploit physical values of the light have been introduced such as re-lighting of synthetic/real objects, or enhanced visualisation of scenes. However, these new processing and visualisation techniques cannot be applied to movies and pictures that have been produced by photography and cinematography in more than one hundred years. This thesis introduces a general framework for expanding legacy content into High Dynamic Range content. The expansion is achieved avoiding artefacts, producing images suitable for visualisation and re-lighting of synthetic/real objects. Moreover, it is presented a methodology based on psychophysical experiments and computational metrics to measure performances of expansion algorithms. Finally, a compression scheme, inspired by the framework, for High Dynamic Range Textures, is proposed and evaluated.EThOS - Electronic Theses Online ServiceEngineering and Physical Sciences Research Council (EPSRC) (EP/D032148)GBUnited Kingdo

Widening the view angle of auto-multiscopic display, denoising low brightness light field data and 3D reconstruction with delicate details

This doctoral thesis will present the results of my work into widening the viewing angle of the auto-multiscopic display, denoising light filed data the enhancement of captured light filed data captured in low light circumstance, and the attempts on reconstructing the subject surface with delicate details from microscopy image sets. The automultiscopic displays carefully control the distribution of emitted light over space, direction (angle) and time so that even a static image displayed can encode parallax across viewing directions (light field). This allows simultaneous observation by multiple viewers, each perceiving 3D from their own (correct) perspective. Currently, the illusion can only be effectively maintained over a narrow range of viewing angles. We propose and analyze a simple solution to widen the range of viewing angles for automultiscopic displays that use parallax barriers. We insert a refractive medium, with a high refractive index, between the display and parallax barriers. The inserted medium warps the exitant lightfield in a way that increases the potential viewing angle. We analyze the consequences of this warp and build a prototype with a 93% increase in the effective viewing angle. Additionally, we developed an integral images synthesis method that can address the refraction introduced by the inserted medium efficiently without the use of ray tracing. Capturing light field image with a short exposure time is preferable for eliminating the motion blur but it also leads to low brightness in a low light environment, which results in a low signal noise ratio. Most light field denoising methods apply regular 2D image denoising method to the sub-aperture images of a 4D light field directly, but it is not suitable for focused light field data whose sub-aperture image resolution is too low to be applied regular denoising methods. Therefore, we propose a deep learning denoising method based on micro lens images of focused light field to denoise the depth map and the original micro lens image set simultaneously, and achieved high quality total focused images from the low focused light field data. In areas like digital museum, remote researching, 3D reconstruction with delicate details of subjects is desired and technology like 3D reconstruction based on macro photography has been used successfully for various purposes. We intend to push it further by using microscope rather than macro lens, which is supposed to be able to capture the microscopy level details of the subject. We design and implement a scanning method which is able to capture microscopy image set from a curve surface based on robotic arm, and the 3D reconstruction method suitable for the microscopy image set

Photography and Social Life: An Ethnography of Chinese Amateur Photography Online

This dissertation explores the ‘middle-brow’ (Bourdieu, 1990) photography practices of contemporary Chinese people in the digital era and how they produce, circulate, and consume photographic images on and off the Internet. Through participant observation and interviews with Chinese photo hobbyists and professionals working in the visual-Internet industry based in London, Beijing, or in the virtual world, it asks how the marriage between photography and the Internet in China has been similar to, or distinct from, its counterparts in the rest of the world, consolidating a vernacular photo-scape that has emerged alongside China’s booming Internet economy and socio-economic transformation over the past forty years. The research further addresses the agencies of both individuals and images, which determine what people want from photography in today’s China and what photography wants from this new networked, mediated society. The dissertation moves across persons, communities, organisations, and real and virtual sites, making it a multi-sited ethnography that traces social relations and ‘the circulation of cultural meanings, objects, and identities in diffuse time-space’ (Marcus, 1995: 96). The thesis presents a panoramic picture of the everyday practices carried out by Chinese amateur photographers, who are often imagined and categorised as the country’s middle class. The study focuses on two main aspects. The first is the activity of amateur photography, including the conspicuous consumption of photographic equipment and participation in relevant events, as well as social behaviours on and off of Internet photography platforms. The second involves the judgement and appreciation of photographic images on sites such as Tuchong, focusing on various kinds of aesthetic strategies around and within photographic images. The combination of the two has helped photo hobbyists in China to shape their values, career paths, and new identities in the context of digitalisation and the rise of social media

Structureless Camera Motion Estimation of Unordered Omnidirectional Images

This work aims at providing a novel camera motion estimation pipeline from large collections of unordered omnidirectional images. In oder to keep the pipeline as general and flexible as possible, cameras are modelled as unit spheres, allowing to incorporate any central camera type. For each camera an unprojection lookup is generated from intrinsics, which is called P2S-map (Pixel-to-Sphere-map), mapping pixels to their corresponding positions on the unit sphere. Consequently the camera geometry becomes independent of the underlying projection model. The pipeline also generates P2S-maps from world map projections with less distortion effects as they are known from cartography. Using P2S-maps from camera calibration and world map projection allows to convert omnidirectional camera images to an appropriate world map projection in oder to apply standard feature extraction and matching algorithms for data association. The proposed estimation pipeline combines the flexibility of SfM (Structure from Motion) - which handles unordered image collections - with the efficiency of PGO (Pose Graph Optimization), which is used as back-end in graph-based Visual SLAM (Simultaneous Localization and Mapping) approaches to optimize camera poses from large image sequences. SfM uses BA (Bundle Adjustment) to jointly optimize camera poses (motion) and 3d feature locations (structure), which becomes computationally expensive for large-scale scenarios. On the contrary PGO solves for camera poses (motion) from measured transformations between cameras, maintaining optimization managable. The proposed estimation algorithm combines both worlds. It obtains up-to-scale transformations between image pairs using two-view constraints, which are jointly scaled using trifocal constraints. A pose graph is generated from scaled two-view transformations and solved by PGO to obtain camera motion efficiently even for large image collections. Obtained results can be used as input data to provide initial pose estimates for further 3d reconstruction purposes e.g. to build a sparse structure from feature correspondences in an SfM or SLAM framework with further refinement via BA. The pipeline also incorporates fixed extrinsic constraints from multi-camera setups as well as depth information provided by RGBD sensors. The entire camera motion estimation pipeline does not need to generate a sparse 3d structure of the captured environment and thus is called SCME (Structureless Camera Motion Estimation).:1 Introduction 1.1 Motivation 1.1.1 Increasing Interest of Image-Based 3D Reconstruction 1.1.2 Underground Environments as Challenging Scenario 1.1.3 Improved Mobile Camera Systems for Full Omnidirectional Imaging 1.2 Issues 1.2.1 Directional versus Omnidirectional Image Acquisition 1.2.2 Structure from Motion versus Visual Simultaneous Localization and Mapping 1.3 Contribution 1.4 Structure of this Work 2 Related Work 2.1 Visual Simultaneous Localization and Mapping 2.1.1 Visual Odometry 2.1.2 Pose Graph Optimization 2.2 Structure from Motion 2.2.1 Bundle Adjustment 2.2.2 Structureless Bundle Adjustment 2.3 Corresponding Issues 2.4 Proposed Reconstruction Pipeline 3 Cameras and Pixel-to-Sphere Mappings with P2S-Maps 3.1 Types 3.2 Models 3.2.1 Unified Camera Model 3.2.2 Polynomal Camera Model 3.2.3 Spherical Camera Model 3.3 P2S-Maps - Mapping onto Unit Sphere via Lookup Table 3.3.1 Lookup Table as Color Image 3.3.2 Lookup Interpolation 3.3.3 Depth Data Conversion 4 Calibration 4.1 Overview of Proposed Calibration Pipeline 4.2 Target Detection 4.3 Intrinsic Calibration 4.3.1 Selected Examples 4.4 Extrinsic Calibration 4.4.1 3D-2D Pose Estimation 4.4.2 2D-2D Pose Estimation 4.4.3 Pose Optimization 4.4.4 Uncertainty Estimation 4.4.5 PoseGraph Representation 4.4.6 Bundle Adjustment 4.4.7 Selected Examples 5 Full Omnidirectional Image Projections 5.1 Panoramic Image Stitching 5.2 World Map Projections 5.3 World Map Projection Generator for P2S-Maps 5.4 Conversion between Projections based on P2S-Maps 5.4.1 Proposed Workflow 5.4.2 Data Storage Format 5.4.3 Real World Example 6 Relations between Two Camera Spheres 6.1 Forward and Backward Projection 6.2 Triangulation 6.2.1 Linear Least Squares Method 6.2.2 Alternative Midpoint Method 6.3 Epipolar Geometry 6.4 Transformation Recovery from Essential Matrix 6.4.1 Cheirality 6.4.2 Standard Procedure 6.4.3 Simplified Procedure 6.4.4 Improved Procedure 6.5 Two-View Estimation 6.5.1 Evaluation Strategy 6.5.2 Error Metric 6.5.3 Evaluation of Estimation Algorithms 6.5.4 Concluding Remarks 6.6 Two-View Optimization 6.6.1 Epipolar-Based Error Distances 6.6.2 Projection-Based Error Distances 6.6.3 Comparison between Error Distances 6.7 Two-View Translation Scaling 6.7.1 Linear Least Squares Estimation 6.7.2 Non-Linear Least Squares Optimization 6.7.3 Comparison between Initial and Optimized Scaling Factor 6.8 Homography to Identify Degeneracies 6.8.1 Homography for Spherical Cameras 6.8.2 Homography Estimation 6.8.3 Homography Optimization 6.8.4 Homography and Pure Rotation 6.8.5 Homography in Epipolar Geometry 7 Relations between Three Camera Spheres 7.1 Three View Geometry 7.2 Crossing Epipolar Planes Geometry 7.3 Trifocal Geometry 7.4 Relation between Trifocal, Three-View and Crossing Epipolar Planes 7.5 Translation Ratio between Up-To-Scale Two-View Transformations 7.5.1 Structureless Determination Approaches 7.5.2 Structure-Based Determination Approaches 7.5.3 Comparison between Proposed Approaches 8 Pose Graphs 8.1 Optimization Principle 8.2 Solvers 8.2.1 Additional Graph Solvers 8.2.2 False Loop Closure Detection 8.3 Pose Graph Generation 8.3.1 Generation of Synthetic Pose Graph Data 8.3.2 Optimization of Synthetic Pose Graph Data 9 Structureless Camera Motion Estimation 9.1 SCME Pipeline 9.2 Determination of Two-View Translation Scale Factors 9.3 Integration of Depth Data 9.4 Integration of Extrinsic Camera Constraints 10 Camera Motion Estimation Results 10.1 Directional Camera Images 10.2 Omnidirectional Camera Images 11 Conclusion 11.1 Summary 11.2 Outlook and Future Work Appendices A.1 Additional Extrinsic Calibration Results A.2 Linear Least Squares Scaling A.3 Proof Rank Deficiency A.4 Alternative Derivation Midpoint Method A.5 Simplification of Depth Calculation A.6 Relation between Epipolar and Circumferential Constraint A.7 Covariance Estimation A.8 Uncertainty Estimation from Epipolar Geometry A.9 Two-View Scaling Factor Estimation: Uncertainty Estimation A.10 Two-View Scaling Factor Optimization: Uncertainty Estimation A.11 Depth from Adjoining Two-View Geometries A.12 Alternative Three-View Derivation A.12.1 Second Derivation Approach A.12.2 Third Derivation Approach A.13 Relation between Trifocal Geometry and Alternative Midpoint Method A.14 Additional Pose Graph Generation Examples A.15 Pose Graph Solver Settings A.16 Additional Pose Graph Optimization Examples Bibliograph

The outbursts and environments of novae

Classical and Recurrent novae (CNe/RNe) are interacting close binary systems in which mass is transferred from a donor star to the surface of an accreting compact companion resulting in an outburst. Their study is important for our understanding of several branches of modern day astrophysics. The work presented in this thesis has focused on three particular topics: (i) Nova V458 Vulpeculae and its surrounding planetary nebula; (ii) Detailed nova light curves from the Solar Mass Ejection Imager (SMEI); and (iii) Vl721 Aquilae, an usually fast, luminous, and highly extinguished nova. A brief account is also given of more generalised work on novae in M31, and areas for future investigation are discussed. Nova V458 Vulpeculae is one of only two novae observed to lie within a planetary neb- ula (PN). Due to the outburst a light echo effect within the PN is experienced. Using Ha data taken over four years the illumination of the PN with time has been examined and a 3D visualisation obtained. Comparison of light echo data from PN models gen- erated with the morphokinematical modelling tool XS5 to observed PN light echo data indicate the presence of a PN with a bipolar external shell and an elliptical internal shell. Results have also confirmed that the PN is at a distance of 13 kpc. SMEI is a space-borne instrument based on-board the Coriolis satellite. It provides precision visible-light photometry of point sources down to 8th magnitude and near complete sky-map coverage at 102-minute cadence. Using SMEI data detailed light curves of novae have been obtained which offer unprecedented temporal resolution around, and especially before, maximum light, a phase of the nova eruption normally not covered by ground-based observations. They have allowed the exploration of fun- damental parameters for individual objects including the epoch of the initial explosion, the reality and duration of any pre-maximum halt, the presence of secondary maxima, speed of decline of the initial light curve, plus precise timing of the onset of dust for- mation. The SME1 data archive undoubtedly holds a plethora of transient events and variable stars. A code designed to search for such events has been created and imple- mented on four years of SME1 data from one of its three cameras generating over 1500 variable objects, some of which were un-catalogued and are potentially very interest- mg. Finally data on the unusually fast and luminous Nova Vl721 Aquilae has been exam- ined. Pre-outburst N1R images from the 2MASS catalogue revealed the presence of a progenitor system, the absolute magnitudes and colours of which suggested the object to have a sub-giant secondary, and so belong to the U Sco class of RNe. Post-outburst spectra of the object revealed the presence of triple-peaked Ha and 01 profiles. Spec- tral fitting of these profiles indicated a high ejection velocity of 3350 km S-l. The triple-peaked nature of the Ha profile suggested that the accretion disc of the system is viewed face-on. This is supported by models created in XS5, which also indicated an axis ratio of rv 1.4 for the ejecta

The Kodak Picture Spot sign: American photographic viewing and twentieth-century corporate visual culture

This dissertation is the first in-depth study focusing solely on Kodak Picture Spots — signs placed into the landscape that highlight particular views and promote specific subjects to photograph. Eastman Kodak Company placed these branded markers along the roadside beginning in the 1920s, in several World’s Fairs from mid-century through the 1980s, and at various Disney parks from the late 1950s until Kodak’s bankruptcy in 2012. These picture-taking signs encouraged and mediated sightseeing in order to spur photographic activity, sell product, and equate places with pictures. Using an interdisciplinary approach, the dissertation examines the roles these little-studied photographic objects and their vernacular corporate-controlled views, settings, and activities play in the acquisition and distribution of images, real and ideal. Recommended views have a long history, dating back to eighteenth-century British pre-selected vistas and lasting into twenty-first-century digital culture. Picture Spots promote what Nathan Jurgenson calls “conspicuous photography,” a unique set of expectations and actions tied to corporate culture and technology. Chapter One explores Picturesque-era precursors related to gardens, tourism, and accoutrements such as maps and optical devices, including the Claude Glass and stereoscope, in eighteenth- and nineteenth-century England and America. Chapter Two examines early American tourism and the initial Kodak campaign of an estimated 5,000 metal signs placed along new roads between 1920 and 1925. Chapter Three charts Kodak’s long-standing association with international expositions, concentrating on the 1964-65 New York World’s Fair where Kodak installed nearly 50 signs. Chapter Four considers the partnership of Kodak and Disney, starting with the debut of Picture Spot signs at Disneyland circa 1959 and subsequent incorporation into all U.S. Disney parks. The dissertation concludes with developments in smaller venues as well as contemporary corporate viewing via social media and camera phones. Selfie sticks and other accessories also aid in reifying conspicuous photography in new and interrelated ways. Due to the ubiquity of photographs today, further aggregated on the internet by enthusiasts using hashtags, picture-taking signs have developed into nostalgic objects and tourist destinations unto themselves