Perceived dynamic range of HDR images

Although high dynamic range (HDR) imaging has gained great popularity and acceptance in both the scientific and commercial domains, the relationship between perceptually accurate, content-independent dynamic range and objective measures has not been fully explored. In this paper, a new methodology for perceived dynamic range evaluation of complex stimuli in HDR conditions is proposed. A subjective study with 20 participants was conducted and correlations between mean opinion scores (MOS) and three image features were analyzed. Strong Spearman correlations between MOS and objective DR measure and between MOS and image key were found. An exploratory analysis reveals that additional image characteristics should be considered when modeling perceptually-based dynamic range metrics. Finally, one of the outcomes of the study is the perceptually annotated HDR image dataset with MOS values, that can be used for HDR imaging algorithms and metric validation, content selection and analysis of aesthetic image attributes

A model of perceived dynamic range for HDR images

For High Dynamic Range (HDR) content, the dynamic range of an image is an important characteristic in algorithm design and validation, analysis of aesthetic attributes and content selection. Traditionally, it has been computed as the ratio between the maximum and minimum pixel luminance, a purely objective measure; however, the human visual system's perception of dynamic range is more complex and has been largely neglected in the literature. In this paper, a new methodology for measuring perceived dynamic range (PDR) of chromatic and achromatic HDR images is proposed. PDR can benefit HDR in a number of ways: for evaluating inverse tone mapping operators and HDR compression methods; aesthetically; or as a parameter for content selection in perceptual studies. A subjective study was conducted on a data set of 36 chromatic and achromatic HDR images. Results showed a strong agreement across participants' allocated scores. In addition, a high correlation between ratings of the chromatic and achromatic stimuli was found. Based on the results from a pilot study, five objective measures (pixel-based dynamic range, image key, area of bright regions, contrast and colorfulness) were selected as candidates for a PDR predictor model; two of which have been found to be significant contributors to the model. Our analyses show that this model performs better than individual metrics for both achromatic and chromatic stimuli

Perceived Dynamic Range of HDR Images with no Semantic Information

Computing dynamic range of high dynamic range (HDR) content is an important procedure when selecting the test material, designing and validating algorithms, or analyzing aesthetic attributes of HDR content. It can be computed on a pixelbased level, measured through subjective tests or predicted using a mathematical model. However, all these methods have certain limitations. This paper investigates whether dynamic range of modeled images with no semantic information, but with the same first order statistics as the original, natural content, is perceived the same as for the corresponding natural images. If so, it would be possible to improve the perceived dynamic range (PDR) predictor model by using additional objective metrics, more suitable for such synthetic content. Within the subjective study, three experiments were conducted with 43 participants. The results show significant correlation between the mean opinion scores for the two image groups. Nevertheless, natural images still seem to provide better cues for evaluation of PDR

Lighting Quality Evaluations using Images on a High Dynamic Range Display

Limited research comparing participant ratings of luminous environments to ratings of images of those environments indicates that images can be a reasonable surrogate for the real space, particularly on ratings related to aesthetics. However, the realism of such images when presented on computer screens is potentially limited by conventional display technologies that cannot reproduce the full range of luminances in real spaces. In this pilot experiment we used a new, high dynamic range (HDR) computer monitor capable of producing screen luminances and contrasts comparable to those in a real space. Fifty-four participants viewed three images of a conventional office in two display modes: HDR monitor and conventional monitor. Participants rated each image for room appearance, environmental satisfaction and realism. These ratings were also compared to similar ratings made by participants in an earlier experiment (reported in 1998) who occupied the real spaces depicted in the images. Results indicate that computer screen images are perceived in a similar way as real luminous environments. HDR images are perceived differently than images on a conventional monitor: they are rated as brighter and less attractive, as expected. Given their more authentic luminances, HDR images should be perceived as more similar to the real space, but our results neither support nor refute this

High-fidelity colour reproduction for high-dynamic-range imaging

The aim of this thesis is to develop a colour reproduction system for high-dynamic-range (HDR) imaging. Classical colour reproduction systems fail to reproduce HDR images because current characterisation methods and colour appearance models fail to cover the dynamic range of luminance present in HDR images. HDR tone-mapping algorithms have been developed to reproduce HDR images on low-dynamic-range media such as LCD displays. However, most of these models have only considered luminance compression from a photographic point of view and have not explicitly taken into account colour appearance. Motivated by the idea to bridge the gap between crossmedia colour reproduction and HDR imaging, this thesis investigates the fundamentals and the infrastructure of cross-media colour reproduction. It restructures cross-media colour reproduction with respect to HDR imaging, and develops a novel cross-media colour reproduction system for HDR imaging. First, our HDR characterisation method enables us to measure HDR radiance values to a high accuracy that rivals spectroradiometers. Second, our colour appearance model enables us to predict human colour perception under high luminance levels. We first built a high-luminance display in order to establish a controllable high-luminance viewing environment. We conducted a psychophysical experiment on this display device to measure perceptual colour attributes. A novel numerical model for colour appearance was derived from our experimental data, which covers the full working range of the human visual system. Our appearance model predicts colour and luminance attributes under high luminance levels. In particular, our model predicts perceived lightness and colourfulness to a significantly higher accuracy than other appearance models. Finally, a complete colour reproduction pipeline is proposed using our novel HDR characterisation and colour appearance models. Results indicate that our reproduction system outperforms other reproduction methods with statistical significance. Our colour reproduction system provides high-fidelity colour reproduction for HDR imaging, and successfully bridges the gap between cross-media colour reproduction and HDR imaging

Optimal exposure compression for high dynamic range content

High dynamic range (HDR) imaging has become one of the foremost imaging methods capable of capturing and displaying the full range of lighting perceived by the human visual system in the real world. A number of HDR compression methods for both images and video have been developed to handle HDR data, but none of them has yet been adopted as the method of choice. In particular, the backwards-compatible methods that always maintain a stream/image that allow part of the content to be viewed on conventional displays make use of tone mapping operators which were developed to view HDR images on traditional displays. There are a large number of tone mappers, none of which is considered the best as the images produced could be deemed subjective. This work presents an alternative to tone mapping-based HDR content compression by identifying a single exposure that can reproduce the most information from the original HDR image. This single exposure can be adapted to fit within the bit depth of any traditional encoder. Any additional information that may be lost is stored as a residual. Results demonstrate quality is maintained as well, and better, than other traditional methods. Furthermore, the presented method is backwards-compatible, straightforward to implement, fast and does not require choosing tone mappers or settings

Watermarking of HDR images in the spatial domain with HVS-imperceptibility

This paper presents a watermarking method in the spatial domain with HVS-imperceptibility for High Dynamic Range (HDR) images. The proposed method combines the content readability afforded by invisible watermarking with the visual ownership identification afforded by visible watermarking. The HVS-imperceptibility is guaranteed thanks to a Luma Variation Tolerance (LVT) curve, which is associated with the transfer function (TF) used for HDR encoding and provides the information needed to embed an imperceptible watermark in the spatial domain. The LVT curve is based on the inaccuracies between the non-linear digital representation of the linear luminance acquired by an HDR sensor and the brightness perceived by the Human Visual System (HVS) from the linear luminance displayed on an HDR screen. The embedded watermarks remain imperceptible to the HVS as long as the TF is not altered or the normal calibration and colorimetry conditions of the HDR screen remain unchanged. Extensive qualitative and quantitative evaluations on several HDR images encoded by two widely-used TFs confirm the strong HVSimperceptibility capabilities of the method, as well as the robustness of the embedded watermarks to tone mapping, lossy compression, and common signal processing operations

A JPEG backward-compatible HDR image compression

High Dynamic Range (HDR) imaging is expected to become one of the technologies that could shape next generation of consumer digital photography. Manufacturers are rolling out cameras and displays capable of capturing and rendering HDR images. The popularity and full public adoption of HDR content is however hindered by the lack of standards in evaluation of quality, file formats, and compression, as well as large legacy base of Low Dynamic Range (LDR) displays that are unable to render HDR. To facilitate wide spread of HDR usage, the backward compatibility of HDR technology with commonly used legacy image storage, rendering, and compression is necessary. Although many tone-mapping algorithms were developed for generating viewable LDR images from HDR content, there is no consensus on which algorithm to use and under which conditions. This paper, via a series of subjective evaluations, demonstrates the dependency of perceived quality of the tone-mapped LDR images on environmental parameters and image content. Based on the results of subjective tests, it proposes to extend JPEG file format, as the most popular image format, in a backward compatible manner to also deal with HDR pictures. To this end, the paper provides an architecture to achieve such backward compatibility with JPEG and demonstrates efficiency of a simple implementation of this framework when compared to the state of the art HDR image compression

Understanding exposure for reverse tone mapping

High dynamic range (HDR) displays are capable of providing a rich visual experience by boosting both luminance and contrast beyond what conventional displays can offer.We envision that HDR capture and display hardware will soon reach the mass market and become mainstream in most fields, from entertainment to scientific visualization. This will necessarily lead to an extensive redesign of the imaging pipeline. However, a vast amount of legacy content is available, captured and stored using the traditional, low dynamic range (LDR) pipeline. The immediate question that arises is: will our current LDR digital material be properly visualized on an HDR display? The answer to this question involves the process known as reverse tone mapping (the expansion of luminance and contrast to match those of the HDR display) for which no definite solution exists. This paper studies the specific problem of reverse tone mapping for imperfect legacy still images, where some regions are under- or overexposed. First, we show the results of a psychophysical study compared with first-order image statistics, in an attempt to gain some understanding in what makes an image be perceived as incorrectly exposed; second, we propose a methodology to evaluate existing reverse tone mapping algorithms in the case of imperfect legacy content

Fully-automatic inverse tone mapping algorithm based on dynamic mid-level tone mapping

High Dynamic Range (HDR) displays can show images with higher color contrast levels and peak luminosities than the common Low Dynamic Range (LDR) displays. However, most existing video content is recorded and/or graded in LDR format. To show LDR content on HDR displays, it needs to be up-scaled using a so-called inverse tone mapping algorithm. Several techniques for inverse tone mapping have been proposed in the last years, going from simple approaches based on global and local operators to more advanced algorithms such as neural networks. Some of the drawbacks of existing techniques for inverse tone mapping are the need for human intervention, the high computation time for more advanced algorithms, limited low peak brightness, and the lack of the preservation of the artistic intentions. In this paper, we propose a fully-automatic inverse tone mapping operator based on mid-level mapping capable of real-time video processing. Our proposed algorithm allows expanding LDR images into HDR images with peak brightness over 1000 nits, preserving the artistic intentions inherent to the HDR domain. We assessed our results using the full-reference objective quality metrics HDR-VDP-2.2 and DRIM, and carrying out a subjective pair-wise comparison experiment. We compared our results with those obtained with the most recent methods found in the literature. Experimental results demonstrate that our proposed method outperforms the current state-of-the-art of simple inverse tone mapping methods and its performance is similar to other more complex and time-consuming advanced techniques