Single-image RGB Photometric Stereo With Spatially-varying Albedo

We present a single-shot system to recover surface geometry of objects with spatially-varying albedos, from images captured under a calibrated RGB photometric stereo setup---with three light directions multiplexed across different color channels in the observed RGB image. Since the problem is ill-posed point-wise, we assume that the albedo map can be modeled as piece-wise constant with a restricted number of distinct albedo values. We show that under ideal conditions, the shape of a non-degenerate local constant albedo surface patch can theoretically be recovered exactly. Moreover, we present a practical and efficient algorithm that uses this model to robustly recover shape from real images. Our method first reasons about shape locally in a dense set of patches in the observed image, producing shape distributions for every patch. These local distributions are then combined to produce a single consistent surface normal map. We demonstrate the efficacy of the approach through experiments on both synthetic renderings as well as real captured images.Comment: 3DV 2016. Project page at http://www.ttic.edu/chakrabarti/rgbps

Brilliance, contrast, colorfulness, and the perceived volume of device color gamut

With the advent of digital video and cinema media technologies, much more is possible in achieving brighter and more vibrant colors, colors that transcend our experience. The challenge is in the realization of these possibilities in an industry rooted in 1950s technology where color gamut is represented with little or no insight into the way an observer perceives color as a complex mixture of the observer’s intentions, desires, and interests. By today’s standards, five perceptual attributes – brightness, lightness, colorfulness, chroma, and hue - are believed to be required for a complete specification. As a compelling case for such a representation, a display system is demonstrated that is capable of displaying color beyond the realm of object color, perceptually even beyond the spectrum locus of pure color. All this begs the question: Just what is meant by perceptual gamut? To this end, the attributes of perceptual gamut are identified through psychometric testing and the color appearance models CIELAB and CIECAM02. Then, by way of demonstration, these attributes were manipulated to test their application in wide gamut displays. In concert with these perceptual attributes and their manipulation, Ralph M. Evans’ concept of brilliance as an attribute of perception that extends beyond the realm of everyday experience, and the theoretical studies of brilliance by Y. Nayatani, a method was developed for producing brighter, more colorful colors and deeper, darker colors with the aim of preserving object color perception – flesh tones in particular. The method was successfully demonstrated and tested in real images using psychophysical methods in the very real, practical application of expanding the gamut of sRGB into an emulation of the wide gamut, xvYCC encoding

A Qualitative and Quantitative Evaluation of 8 Clear Sky Models

We provide a qualitative and quantitative evaluation of 8 clear sky models used in Computer Graphics. We compare the models with each other as well as with measurements and with a reference model from the physics community. After a short summary of the physics of the problem, we present the measurements and the reference model, and how we "invert" it to get the model parameters. We then give an overview of each CG model, and detail its scope, its algorithmic complexity, and its results using the same parameters as in the reference model. We also compare the models with a perceptual study. Our quantitative results confirm that the less simplifications and approximations are used to solve the physical equations, the more accurate are the results. We conclude with a discussion of the advantages and drawbacks of each model, and how to further improve their accuracy

Digital Color Imaging

This paper surveys current technology and research in the area of digital color imaging. In order to establish the background and lay down terminology, fundamental concepts of color perception and measurement are first presented us-ing vector-space notation and terminology. Present-day color recording and reproduction systems are reviewed along with the common mathematical models used for representing these devices. Algorithms for processing color images for display and communication are surveyed, and a forecast of research trends is attempted. An extensive bibliography is provided

Color-Perception-Guided Display Power Reduction for Virtual Reality

Battery life is an increasingly urgent challenge for today's untethered VR and AR devices. However, the power efficiency of head-mounted displays is naturally at odds with growing computational requirements driven by better resolution, refresh rate, and dynamic ranges, all of which reduce the sustained usage time of untethered AR/VR devices. For instance, the Oculus Quest 2, under a fully-charged battery, can sustain only 2 to 3 hours of operation time. Prior display power reduction techniques mostly target smartphone displays. Directly applying smartphone display power reduction techniques, however, degrades the visual perception in AR/VR with noticeable artifacts. For instance, the "power-saving mode" on smartphones uniformly lowers the pixel luminance across the display and, as a result, presents an overall darkened visual perception to users if directly applied to VR content. Our key insight is that VR display power reduction must be cognizant of the gaze-contingent nature of high field-of-view VR displays. To that end, we present a gaze-contingent system that, without degrading luminance, minimizes the display power consumption while preserving high visual fidelity when users actively view immersive video sequences. This is enabled by constructing a gaze-contingent color discrimination model through psychophysical studies, and a display power model (with respect to pixel color) through real-device measurements. Critically, due to the careful design decisions made in constructing the two models, our algorithm is cast as a constrained optimization problem with a closed-form solution, which can be implemented as a real-time, image-space shader. We evaluate our system using a series of psychophysical studies and large-scale analyses on natural images. Experiment results show that our system reduces the display power by as much as 24% with little to no perceptual fidelity degradation

Studies in ambient intelligent lighting

The revolution in lighting we are arguably experiencing is led by technical developments in the area of solid state lighting technology. The improved lifetime, efficiency and environmentally friendly raw materials make LEDs the main contender for the light source of the future. The core of the change is, however, not in the basic technology, but in the way users interact with it and the way the quality of the produced effect on the environment is judged. With the new found freedom the users can switch their focus from the confines of the technology to the expression of their needs, regardless of the details of the lighting system. Identifying the user needs, creating an effective language to communicate them to the system, and translating them to control signals that fulfill them, as well as defining the means to measure the quality of the produced result are the topic of study of a new multidisciplinary area of study, Ambient Intelligent Lighting. This thesis describes a series of studies in the field of Ambient Intelligent Lighting, divided in two parts. The first part of the thesis demonstrates how, by adopting a user centric design philosophy, the traditional control paradigms can be superseded by novel, so-called effect driven controls. Chapter 3 describes an algorithm that, using statistical methods and image processing, generates a set of colors based on a term or set of terms. The algorithm uses Internet image search engines (Google Images, Flickr) to acquire a set of images that represent a term and subsequently extracts representative colors from the set. Additionally, an estimate of the quality of the extracted set of colors is computed. Based on the algorithm, a system that automatically enriches music with lyrics based images and lighting was built and is described. Chapter 4 proposes a novel effect driven control algorithm, enabling users easy, natural and system agnostic means to create a spatial light distribution. By using an emerging technology, visible light communication, and an intuitive effect definition, a real time interactive light design system was developed. Usability studies on a virtual prototype of the system demonstrated the perceived ease of use and increased efficiency of an effect driven approach. In chapter 5, using stochastic models, natural temporal light transitions are modeled and reproduced. Based on an example video of a natural light effect, a Markov model of the transitions between colors of a single light source representing the effect is learned. The model is a compact, easy to reproduce, and as the user studies show, recognizable representation of the original light effect. The second part of the thesis studies the perceived quality of one of the unique capabilities of LEDs, chromatic temporal transitions. Using psychophysical methods, existing spatial models of human color vision were found to be unsuitable for predicting the visibility of temporal artifacts caused by the digital controls. The chapters in this part demonstrate new perceptual effects and make the first steps towards building a temporal model of human color vision. In chapter 6 the perception of smoothness of digital light transitions is studied. The studies presented demonstrate the dependence of the visibility of digital steps in a temporal transition on the frequency of change, chromaticity, intensity and direction of change of the transition. Furthermore, a clear link between the visibility of digital steps and flicker visibility is demonstrated. Finally, a new, exponential law for the dependence of the threshold speed of smooth transitions on the changing frequency is hypothesized and proven in subsequent experiments. Chapter 7 studies the discrimination and preference of different color transitions between two colors. Due to memory effects, the discrimination threshold for complete transitions was shown to be larger than the discrimination threshold for two single colors. Two linear transitions in different color spaces were shown to be significantly preferred over a set of other, curved, transitions. Chapter 8 studies chromatic and achromatic flicker visibility in the periphery. A complex change of both the absolute visibility thresholds for different frequencies, as well as the critical flicker frequency is observed. Finally, an increase in the absolute visibility thresholds caused by an addition of a mental task in central vision is demonstrated