Towards Efficient SDRTV-to-HDRTV by Learning from Image Formation

Modern displays are capable of rendering video content with high dynamic range (HDR) and wide color gamut (WCG). However, the majority of available resources are still in standard dynamic range (SDR). As a result, there is significant value in transforming existing SDR content into the HDRTV standard. In this paper, we define and analyze the SDRTV-to-HDRTV task by modeling the formation of SDRTV/HDRTV content. Our analysis and observations indicate that a naive end-to-end supervised training pipeline suffers from severe gamut transition errors. To address this issue, we propose a novel three-step solution pipeline called HDRTVNet++, which includes adaptive global color mapping, local enhancement, and highlight refinement. The adaptive global color mapping step uses global statistics as guidance to perform image-adaptive color mapping. A local enhancement network is then deployed to enhance local details. Finally, we combine the two sub-networks above as a generator and achieve highlight consistency through GAN-based joint training. Our method is primarily designed for ultra-high-definition TV content and is therefore effective and lightweight for processing 4K resolution images. We also construct a dataset using HDR videos in the HDR10 standard, named HDRTV1K that contains 1235 and 117 training images and 117 testing images, all in 4K resolution. Besides, we select five metrics to evaluate the results of SDRTV-to-HDRTV algorithms. Our final results demonstrate state-of-the-art performance both quantitatively and visually. The code, model and dataset are available at https://github.com/xiaom233/HDRTVNet-plus.Comment: Extended version of HDRTVNe

HDR Image Watermarking

In this Chapter we survey available solutions for HDR image watermarking. First, we briefly discuss watermarking in general terms, with particular emphasis on its requirements that primarily include security, robustness, imperceptibility, capacity and the availability of the original image during recovery. However, with respect to traditional image watermarking, HDR images possess a unique set of features such as an extended range of luminance values to work with and tone-mapping operators against whom it is essential to be robust. These clearly affect the HDR watermarking algorithms proposed in the literature, which we extensively review next, including a thorough analysis of the reported experimental results. As a working example, we also describe the HDR watermarking system that we recently proposed and that focuses on combining imperceptibility, security and robustness to TM operators at the expense of capacity. We conclude the chapter with a critical analysis of the current state and future directions of the watermarking applications in the HDR domain

EverLight: Indoor-Outdoor Editable HDR Lighting Estimation

Because of the diversity in lighting environments, existing illumination estimation techniques have been designed explicitly on indoor or outdoor environments. Methods have focused specifically on capturing accurate energy (e.g., through parametric lighting models), which emphasizes shading and strong cast shadows; or producing plausible texture (e.g., with GANs), which prioritizes plausible reflections. Approaches which provide editable lighting capabilities have been proposed, but these tend to be with simplified lighting models, offering limited realism. In this work, we propose to bridge the gap between these recent trends in the literature, and propose a method which combines a parametric light model with 360{\deg} panoramas, ready to use as HDRI in rendering engines. We leverage recent advances in GAN-based LDR panorama extrapolation from a regular image, which we extend to HDR using parametric spherical gaussians. To achieve this, we introduce a novel lighting co-modulation method that injects lighting-related features throughout the generator, tightly coupling the original or edited scene illumination within the panorama generation process. In our representation, users can easily edit light direction, intensity, number, etc. to impact shading while providing rich, complex reflections while seamlessly blending with the edits. Furthermore, our method encompasses indoor and outdoor environments, demonstrating state-of-the-art results even when compared to domain-specific methods.Comment: 11 pages, 7 figure

Contemplation of tone mapping operators in high dynamic range imaging

The technique of tone mapping has found widespread popularity in the modern era owing to its applications in the digital world. There are a considerable number of tone mapping techniques that have been developed so far. One method may be better than the other in some cases which is determined by the requirement of the user. In this paper, some of the techniques for tone mapping/tone reproduction of high dynamic range images have been contemplated. The classification of tone mapping operators has also been given. However, it has been found that these techniques lack in providing quality of service visualization of high dynamic range images. This paper has tried to highlight the drawbacks in the existing traditional methods so that the tone-mapped techniques can be enhanced

Which tone-mapping operator is the best? A comparative study of perceptual quality

Altres ajuts: CERCA Programme/Generalitat de CatalunyaPublicat sota la llicència Open Access Publishing Agreement, específica d'Optica Publishing Group https://opg.optica.org/submit/review/pdf/CopyrightTransferOpenAccessAgreement-2022-06-27.pdfTone-mapping operators (TMOs) are designed to generate perceptually similar low-dynamic-range images from high-dynamic-range ones. We studied the performance of 15 TMOs in two psychophysical experiments where observers compared the digitally generated tone-mapped images to their corresponding physical scenes. All experiments were performed in a controlled environment, and the setups were designed to emphasize different image properties: in the first experiment we evaluated the local relationships among intensity levels, and in the second one we evaluated global visual appearance among physical scenes and tone-mapped images, which were presented side by side. We ranked the TMOs according to how well they reproduced the results obtained in the physical scene. Our results show that ranking position clearly depends on the adopted evaluation criteria, which implies that, in general, these tone-mapping algorithms consider either local or global image attributes but rarely both. Regarding the question of which TMO is the best, KimKautz ["Consistent tone reproduction," in Proceedings of Computer Graphics and Imaging (2008)] and Krawczyk ["Lightness perception in tone reproduction for high dynamic range images," in Proceedings of Eurographics (2005), p. 3] obtained the better results across the different experiments. We conclude that more thorough and standardized evaluation criteria are needed to study all the characteristics of TMOs, as there is ample room for improvement in future developments

A simplified HDR image processing pipeline for digital photography

High Dynamic Range (HDR) imaging has revolutionized the digital imaging. It allows capture, storage, manipulation, and display of full dynamic range of the captured scene. As a result, it has spawned whole new possibilities for digital photography, from photorealistic to hyper-real. With all these advantages, the technique is expected to replace the conventional 8-bit Low Dynamic Range (LDR) imaging in the future. However, HDR results in an even more complex imaging pipeline including new techniques for capturing, encoding, and displaying images. The goal of this thesis is to bridge the gap between conventional imaging pipeline to the HDR’s in as simple a way as possible. We make three contributions. First we show that a simple extension of gamma encoding suffices as a representation to store HDR images. Second, gamma as a control for image contrast can be ‘optimally’ tuned on a per image basis. Lastly, we show a general tone curve, with detail preservation, suffices to tone map an image (there is only a limited need for the expensive spatially varying tone mappers). All three of our contributions are evaluated psychophysically. Together they support our general thesis that an HDR workflow, similar to that already used in photography, might be used. This said, we believe the adoption of HDR into photography is, perhaps, less difficult than it is sometimes posed to be