Color image quality measures and retrieval

The focus of this dissertation is mainly on color image, especially on the images with lossy compression. Issues related to color quantization, color correction, color image retrieval and color image quality evaluation are addressed. A no-reference color image quality index is proposed. A novel color correction method applied to low bit-rate JPEG image is developed. A novel method for content-based image retrieval based upon combined feature vectors of shape, texture, and color similarities has been suggested. In addition, an image specific color reduction method has been introduced, which allows a 24-bit JPEG image to be shown in the 8-bit color monitor with 256-color display. The reduction in download and decode time mainly comes from the smart encoder incorporating with the proposed color reduction method after color space conversion stage. To summarize, the methods that have been developed can be divided into two categories: one is visual representation, and the other is image quality measure. Three algorithms are designed for visual representation: (1) An image-based visual representation for color correction on low bit-rate JPEG images. Previous studies on color correction are mainly on color image calibration among devices. Little attention was paid to the compressed image whose color distortion is evident in low bit-rate JPEG images. In this dissertation, a lookup table algorithm is designed based on the loss of PSNR in different compression ratio. (2) A feature-based representation for content-based image retrieval. It is a concatenated vector of color, shape, and texture features from region of interest (ROI). (3) An image-specific 256 colors (8 bits) reproduction for color reduction from 16 millions colors (24 bits). By inserting the proposed color reduction method into a JPEG encoder, the image size could be further reduced and the transmission time is also reduced. This smart encoder enables its decoder using less time in decoding. Three algorithms are designed for image quality measure (IQM): (1) A referenced IQM based upon image representation in very low-dimension. Previous studies on IQMs are based on high-dimensional domain including spatial and frequency domains. In this dissertation, a low-dimensional domain IQM based on random projection is designed, with preservation of the IQM accuracy in high-dimensional domain. (2) A no-reference image blurring metric. Based on the edge gradient, the degree of image blur can be measured. (3) A no-reference color IQM based upon colorfulness, contrast and sharpness

Evaluation and improvement of the workflow of digital imaging of fine art reproduction in museums

Fine arts refer to a broad spectrum of art formats, ie~painting, calligraphy, photography, architecture, and so forth. Fine art reproductions are to create surrogates of the original artwork that are able to faithfully deliver the aesthetics and feelings of the original. Traditionally, reproductions of fine art are made in the form of catalogs, postcards or books by museums, libraries, archives, and so on (hereafter called museums for simplicity). With the widespread adoption of digital archiving in museums, more and more artwork is reproduced to be viewed on a display. For example, artwork collections are made available through museum websites and Google Art Project for art lovers to view on their own displays. In the thesis, we study the fine art reproduction of paintings in the form of soft copy viewed on displays by answering four questions: (1) what is the impact of the viewing condition and original on image quality evaluation? (2) can image quality be improved by avoiding visual editing in current workflows of fine art reproduction? (3) can lightweight spectral imaging be used for fine art reproduction? and (4) what is the performance of spectral reproductions compared with reproductions by current workflows? We started with evaluating the perceived image quality of fine art reproduction created by representative museums in the United States under controlled and uncontrolled environments with and without the presence of the original artwork. The experimental results suggest that the image quality is highly correlated with the color accuracy of the reproduction only when the original is present and the reproduction is evaluated on a characterized display. We then examined the workflows to create these reproductions, and found that current workflows rely heavily on visual editing and retouching (global and local color adjustments on the digital reproduction) to improve the color accuracy of the reproduction. Visual editing and retouching can be both time-consuming and subjective in nature (depending on experts\u27 own experience and understanding of the artwork) lowering the efficiency of artwork digitization considerably. We therefore propose to improve the workflow of fine art reproduction by (1) automating the process of visual editing and retouching in current workflows based on RGB acquisition systems and by (2) recovering the spectral reflectance of the painting with off-the-shelf equipment under commonly available lighting conditions. Finally, we studied the perceived image quality of reproductions created by current three-channel (RGB) workflows with those by spectral imaging and those based on an exemplar-based method

Adaptive Image Restoration: Perception Based Neural Nework Models and Algorithms.

Abstract This thesis describes research into the field of image restoration. Restoration is a process by which an image suffering some form of distortion or degradation can be recovered to its original form. Two primary concepts within this field have been investigated. The first concept is the use of a Hopfield neural network to implement the constrained least square error method of image restoration. In this thesis, the author reviews previous neural network restoration algorithms in the literature and builds on these algorithms to develop a new faster version of the Hopfield neural network algorithm for image restoration. The versatility of the neural network approach is then extended by the author to deal with the cases of spatially variant distortion and adaptive regularisation. It is found that using the Hopfield-based neural network approach, an image suffering spatially variant degradation can be accurately restored without a substantial penalty in restoration time. In addition, the adaptive regularisation restoration technique presented in this thesis is shown to produce superior results when compared to non-adaptive techniques and is particularly effective when applied to the difficult, yet important, problem of semi-blind deconvolution. The second concept investigated in this thesis, is the difficult problem of incorporating concepts involved in human visual perception into image restoration techniques. In this thesis, the author develops a novel image error measure which compares two images based on the differences between local regional statistics rather than pixel level differences. This measure more closely corresponds to the way humans perceive the differences between two images. Two restoration algorithms are developed by the author based on versions of the novel image error measure. It is shown that the algorithms which utilise this error measure have improved performance and produce visually more pleasing images in the cases of colour and grayscale images under high noise conditions. Most importantly, the perception based algorithms are shown to be extremely tolerant of faults in the restoration algorithm and hence are very robust. A number of experiments have been performed to demonstrate the performance of the various algorithms presented

Image Restoration Using Joint Statistical Modeling in Space-Transform Domain

This paper presents a novel strategy for high-fidelity image restoration by characterizing both local smoothness and nonlocal self-similarity of natural images in a unified statistical manner. The main contributions are three-folds. First, from the perspective of image statistics, a joint statistical modeling (JSM) in an adaptive hybrid space-transform domain is established, which offers a powerful mechanism of combining local smoothness and nonlocal self-similarity simultaneously to ensure a more reliable and robust estimation. Second, a new form of minimization functional for solving image inverse problem is formulated using JSM under regularization-based framework. Finally, in order to make JSM tractable and robust, a new Split-Bregman based algorithm is developed to efficiently solve the above severely underdetermined inverse problem associated with theoretical proof of convergence. Extensive experiments on image inpainting, image deblurring and mixed Gaussian plus salt-and-pepper noise removal applications verify the effectiveness of the proposed algorithm.Comment: 14 pages, 18 figures, 7 Tables, to be published in IEEE Transactions on Circuits System and Video Technology (TCSVT). High resolution pdf version and Code can be found at: http://idm.pku.edu.cn/staff/zhangjian/IRJSM

Evaluation of product sound design within the context of emotion design and emotional branding

Thesis (Master)--Izmir Institute of Technology, Industrial Design, Izmir, 2005Includes bibliographical references (leaves: 111-122)Text in English; Abstract: Turkish and Englishxi, 127 leavesThe main purpose of this thesis is to set out the relationships between the work of product designers and the perceptions of costumers regarding the acceptability of product sounds. Product design that provides aesthetic appeal, pleasure and satisfaction can greatly influence success of a product. Sound as a cognitive artifact, plays a significant role in the cognition of product interaction and in shaping its identity. This thesis will review emotion theories end their application to sound design and sound quality modeling, the measurement of emotional responses to sound, and the relationship between psycho-acoustical sound descriptions and emotions. In addition to that, affects of sounds to emotionally significant brands will be evaluated so as to examine marketing values. One of the main purposes of chapter 2 is to prove knowledge about psychoacoustics; as product sound quality is a basic understanding of the underlying psychoacoustics phenomena. Perception; particularly sound perception and its elements are described during chapter 2. Starting with the description of sound wave and how our hear works, sound perception and auditory sensation is reviewed in continuation. In chapter 3, product sound quality concept and its evaluation principles are reviewed. Thus, in order to understand the coupling between the acoustic perception and the product design; knowledge of general principles for product sound quality are required. Chapter 4 can be considered as two main sections. .How does emotion act as a delighter in product design?. is examined to better understand customer and user experiences impacting pleasure-ability in first section. In the second section, emotion is evaluated through sound design. A qualitative evaluation is done so as to examine cognition and emotion in sound perception. Chapter 5 leads subject through emotional branding. Sounds that carry the brand.s identity are evaluated within. Sound design is re-evaluated as marketing strategy and examined with several instances. Keywords: Product sound design, psychoacoustics, product sound quality, emotion design, emotional branding

Musical timbre: bridging perception with semantics

Musical timbre is a complex and multidimensional entity which provides information regarding the properties of a sound source (size, material, etc.). When it comes to music, however, timbre does not merely carry environmental information, but it also conveys aesthetic meaning. In this sense, semantic description of musical tones is used to express perceptual concepts related to artistic intention. Recent advances in sound processing and synthesis technology have enabled the production of unique timbral qualities which cannot be easily associated with a familiar musical instrument. Therefore, verbal description of these qualities facilitates communication between musicians, composers, producers, audio engineers etc. The development of a common semantic framework for musical timbre description could be exploited by intuitive sound synthesis and processing systems and could even influence the way in which music is being consumed. This work investigates the relationship between musical timbre perception and its semantics. A set of listening experiments in which participants from two different language groups (Greek and English) rated isolated musical tones on semantic scales has tested semantic universality of musical timbre. The results suggested that the salient semantic dimensions of timbre, namely: luminance, texture and mass, are indeed largely common between these two languages. The relationship between semantics and perception was further examined by comparing the previously identified semantic space with a perceptual timbre space (resulting from pairwise dissimilarity rating of the same stimuli). The two spaces featured a substantial amount of common variance suggesting that semantic description can largely capture timbre perception. Additionally, the acoustic correlates of the semantic and perceptual dimensions were investigated. This work concludes by introducing the concept of partial timbre through a listening experiment that demonstrates the influence of background white noise on the perception of musical tones. The results show that timbre is a relative percept which is influenced by the auditory environment