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

The Influence of media displays and image quality attributes for HDR image reproductions

High Dynamic Range (HDR) photography has been in existence at least since the time of Ansel Adams, with his experiments using analog film and darkroom techniques for the production of black and white prints in the 1940\u27s (Ashbrook, 2010). This photographic method has the ability to provide a more accurate representation of a scene through a greater range of the light and dark areas captured in an image. In the mid-20th century HDR Photography it has continued to grow in popularity among those interested in photography wishing to optimize their resulting image beyond a more commonly used technique. Presently, the limitations of commonly available reproduction technologies can lead to unpredictable output results through media such as monitor displays and inkjet prints. The purpose of this research was to determine the influence of quality attributes and image content on the preference of display media for HDR image reproductions. To achieve this purpose, a psychophysical experiment was conducted of 38 observers with previous imaging related exposure. This part of the study consisted of HDR comparisons across both a monitor display device and inkjet prints. Through qualitative and quantitative methods, common trends were identified among observer responses. The results show that for inkjet prints are the most preferred for the output of HDR images, specifically when printed on a metallic substrate. Additionally, the content of displayed images can directly impact display preference depending on the viewer\u27s perception and relationship formed with the photographic image. When evaluating HDR images across two media platforms, quality attributes comprising of a strong influence towards preference are sharpness, naturalness, contrast and highlights while artifacts, physical qualities and shadows were found to have barely any influence. Within the attributes related to HDR, relationships between attributes are found to be significant regarding image evaluation, leading to areas of further research

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

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

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

Impact of tone-mapping operators and viewing devices on visual quality of experience

© 2016 IEEE. The development of HDR imaging is seen as an important step towards improving the visual quality of experience (QoE) of the end user in many applications. In practice, Tone-mapping operators (TMOs) provide a useful means for converting a high dynamic range (HDR) image to a low dynamic range (LDR) image in order to achieve better visualization on standard displays. Although mobile devices are becoming popular, the techniques for displaying the content of HDR images on the screens of such devices are still in the early stages. While several studies have been conducted to evaluate TMOs on conventional displays, few studies have been carried out to date to evaluate TMOs on small screen displays, such as those used in mobile devices. In this paper we evaluate, using subjective and objective methods, the most popular Tone-mapping-operators in different mobile displays and resolutions under normal viewing conditions for the end-user. Preliminary results show that small screen displays (SSDs) have an impact on the performance of TMOs compared to computer displays. In general, the larger the mobile resolution, the better the subjective results. We also found clear differences between SSDs and LDRs performances. The best TMO for mobile displays is iCAM06 and for computer displays it is Photographic Reproduction

Measuring quality of omnidirectional high dynamic range content

Although HDR content processing, coding and quality assessment have been largely addressed in the last few years, little to no work has been concentrating on how to assess quality in HDR for 360 or omnidirectional content. This paper is an attempt to answer to various questions in this direction. As a minimum, a new data set for 360 HDR content is proposed and a new methodology is designed to assess subjective quality of HDR 360 content when it is displayed on SDR HMD after applying various tone mapping operators. The results are then analyzed and conclusions are drawn

A practical guide and software for analysing pairwise comparison experiments

Most popular strategies to capture subjective judgments from humans involve the construction of a unidimensional relative measurement scale, representing order preferences or judgments about a set of objects or conditions. This information is generally captured by means of direct scoring, either in the form of a Likert or cardinal scale, or by comparative judgments in pairs or sets. In this sense, the use of pairwise comparisons is becoming increasingly popular because of the simplicity of this experimental procedure. However, this strategy requires non-trivial data analysis to aggregate the comparison ranks into a quality scale and analyse the results, in order to take full advantage of the collected data. This paper explains the process of translating pairwise comparison data into a measurement scale, discusses the benefits and limitations of such scaling methods and introduces a publicly available software in Matlab. We improve on existing scaling methods by introducing outlier analysis, providing methods for computing confidence intervals and statistical testing and introducing a prior, which reduces estimation error when the number of observers is low. Most of our examples focus on image quality assessment.Comment: Code available at https://github.com/mantiuk/pwcm