Appearance-based image splitting for HDR display systems

High dynamic range displays that incorporate two optically-coupled image planes have recently been developed. This dual image plane design requires that a given HDR input image be split into two complementary standard dynamic range components that drive the coupled systems, therefore there existing image splitting issue. In this research, two types of HDR display systems (hardcopy and softcopy HDR display) are constructed to facilitate the study of HDR image splitting algorithm for building HDR displays. A new HDR image splitting algorithm which incorporates iCAM06 image appearance model is proposed, seeking to create displayed HDR images that can provide better image quality. The new algorithm has potential to improve image details perception, colorfulness and better gamut utilization. Finally, the performance of the new iCAM06-based HDR image splitting algorithm is evaluated and compared with widely spread luminance square root algorithm through psychophysical studies

Objective and subjective assessment of perceptual factors in HDR content processing

The development of the display and camera technology makes high dynamic range (HDR) image become more and more popular. High dynamic range image give us pleasant image which has more details that makes high dynamic range image has good quality. This paper shows us the some important techniques in HDR images. And it also presents the work the author did. The paper is formed of three parts. The first part is an introduction of HDR image. From this part we can know why HDR image has good quality

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

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

Development of a workflow to apply the iCAM06 Tonemapping to HDR video sequences

In dieser Arbeit wird auf die theoretischen Grundlagen von digitalen Filmkameras, des Dynamikumfangs und der HDR Technologie eingegangen. Im Einzelnen werden die Spezifikationen der digitalen Filmkamera RED Epic sowie des Tonemapping-Operators iCAM06 aufgeführt. In der Durchführung war es das Ziel, den erhöhten Dynamikumfang einer mit dieser Kamera aufgezeichneten Szene mit iCAM06 zu komprimieren und diesen auf einem handelsüblichen Monitor darzustellen. In der Auswertung werden Bildergebnisse für unterschiedliche Übergabeparameter demonstriert und dokumentiert

High-capacity watermarking of high dynamic range images

High dynamic range (HDR) imaging techniques address the need to capture the full range of color and light that the human eyes can perceive in the real world. HDR technology is becoming more and more pervasive. In fact, most of the cameras and smartphones available on the market are capable of capturing HDR images. Among the challenges posed by the spread of this new technology there is the increasing need to design proper techniques to protect the intellectual property of HDR digital media. In this paper, we speculate about the use of watermarking techniques to cope with the peculiarities of HDR media to prevent the misappropriation of HDR images

TESTING COLOR APPEARANCE MODELS IN COMPLEX SCENE

The sensation of sight is our primary mechanism to perceive the world around us. However it is not yet perfectly clear how the human visual system works. The images of the world are formed on the retina, captured by sensors and converted in signals sent to the brain. Here the signals are processed and somehow interpreted, thus we are able to see. A lot of information, hypothesis, hints come from a field of the optical (or visual) illusions. These illusions have led many scientists and researchers to ask themselves why we are not able to interpret in a correct way some particular scenes. The word \u201cinterpret\u201d underlines the fact that the brain, and not only the eye, is involved in the process of vision. If our sight worked as a measurement tool, similar to a spectrophotometer, we would not perceive, for example, the simultaneous contrast phenomenon, in which a grey patch placed on a black background appears lighter than an identical coloured patch on a white background. So, why do we perceive the patches as different, while the light that reaches the eyes is the same? In the same way we would not be able to distinguish a white paper seen in a room lit with a red light from a red paper seen under a white light, however humans can do this. These phenomena are called colour appearance phenomena. Simulating the appearance is the objective of a range of computational models called colour appearance models. In this dissertation themes about colour appearance models are addressed. Specific experiments, performed by human observers, aim to evaluate and measure the appearance. Different algorithms are tested in order to compare the results of the computational model with the human sensations about colours. From these data, a new printing pipeline is developed, able to simulate the appearance of advertising billboard in different context