On the Information Rates of the Plenoptic Function

The {\it plenoptic function} (Adelson and Bergen, 91) describes the visual information available to an observer at any point in space and time. Samples of the plenoptic function (POF) are seen in video and in general visual content, and represent large amounts of information. In this paper we propose a stochastic model to study the compression limits of the plenoptic function. In the proposed framework, we isolate the two fundamental sources of information in the POF: the one representing the camera motion and the other representing the information complexity of the "reality" being acquired and transmitted. The sources of information are combined, generating a stochastic process that we study in detail. We first propose a model for ensembles of realities that do not change over time. The proposed model is simple in that it enables us to derive precise coding bounds in the information-theoretic sense that are sharp in a number of cases of practical interest. For this simple case of static realities and camera motion, our results indicate that coding practice is in accordance with optimal coding from an information-theoretic standpoint. The model is further extended to account for visual realities that change over time. We derive bounds on the lossless and lossy information rates for this dynamic reality model, stating conditions under which the bounds are tight. Examples with synthetic sources suggest that in the presence of scene dynamics, simple hybrid coding using motion/displacement estimation with DPCM performs considerably suboptimally relative to the true rate-distortion bound.Comment: submitted to IEEE Transactions in Information Theor

A new approach to subjectively assess quality of plenoptic content

Plenoptic content is becoming increasingly popular thanks to the availability of acquisition and display devices. Thanks to image-based rendering techniques, a plenoptic content can be rendered in real time in an interactive manner allowing virtual navigation through the captured scenes. This way of content consumption enables new experiences, and therefore introduces several challenges in terms of plenoptic data processing, transmission and consequently visual quality evaluation. In this paper, we propose a new methodology to subjectively assess the visual quality of plenoptic content. We also introduce a prototype software to perform subjective quality assessment according to the proposed methodology. The proposed methodology is further applied to assess the visual quality of a light field compression algorithm. Results show that this methodology can be successfully used to assess the visual quality of plenoptic content

Compression and visual quality assessment for light field contents

Since its invention in the 19th century, photography has allowed to create durable images of the world around us by capturing the intensity of light that flows through a scene, first analogically by using light-sensitive material, and then, with the advent of electronic image sensors, digitally. However, one main limitation of both analog and digital photography lays in its inability to capture any information about the direction of light rays. Through traditional photography, each three-dimensional scene is projected onto a 2D plane; consequently, no information about the position of the 3D objects in space is retained. Light field photography aims at overcoming these limitations by recording the direction of light along with its intensity. In the past, several acquisition technologies have been presented to properly capture light field information, and portable devices have been commercialized to the general public. However, a considerably larger volume of data is generated when compared to traditional photography. Thus, new solutions must be designed to face the challenges light field photography poses in terms of storage, representation, and visualization of the acquired data. In particular, new and efficient compression algorithms are needed to sensibly reduce the amount of data that needs to be stored and transmitted, while maintaining an adequate level of perceptual quality. In designing new solutions to address the unique challenges posed by light field photography, one cannot forgo the importance of having reliable, reproducible means of evaluating their performance, especially in relation to the scenario in which they will be consumed. To that end, subjective assessment of visual quality is of paramount importance to evaluate the impact of compression, representation, and rendering models on user experience. Yet, the standardized methodologies that are commonly used to evaluate the visual quality of traditional media content, such as images and videos, are not equipped to tackle the challenges posed by light field photography. New subjective methodologies must be tailored for the new possibilities this new type of imaging offers in terms of rendering and visual experience. In this work, we address the aforementioned problems by both designing new methodologies for visual quality evaluation of light field contents, and outlining a new compression solution to efficiently reduce the amount of data that needs to be transmitted and stored. We first analyse how traditional methodologies for subjective evaluation of multimedia contents can be adapted to suit light field data, and, we propose new methodologies to reliably assess the visual quality while maintaining user engagement. Furthermore, we study how user behavior is affected by the visual quality of the data. We employ subjective quality assessment to compare several state-of-the-art solutions in light field coding, in order to find the most promising approaches to minimize the volume of data without compromising on the perceptual quality. To that means, we define and inspect several coding approaches for light field compression, and we investigate the impact of color subsampling on the final rendered content. Lastly, we propose a new coding approach to perform light field compression, showing significant improvement with respect to the state of the art

Rate-distortion analysis for light field coding and streaming

A theoretical framework to analyze the rate-distortion performance of a light field coding and streaming system is proposed. This framework takes into account the statistical properties of the light field images, the accuracy of the geometry information used in disparity compensation, and the prediction dependency structure or transform used to exploit correlation among views. Using this framework, the effect that various parameters have on compression efficiency is studied. The framework reveals that the efficiency gains from more accurate geometry, increase as correlation between images increases. The coding gains due to prediction suggested by the framework match those observed from experimental results. This framework is also used to study the performance of light field streaming by deriving a view-trajectory-dependent rate-distortion function. Simulation results show that the streaming results depend both the prediction structure and the viewing trajectory. For instance, independent coding of images gives the best streaming performance for certain view trajectories. These and other trends described by the simulation results agree qualitatively with actual experimental streaming results. Key words: light fields, light field coding, light field streaming, rate-distortion theory, statistical signal processin