Image Quality Assessment of High Dynamic Range and Wide Color Gamut Images Maxime Rousselot
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Color Models
Color Models Jian Huang CS456 Main Color Spaces • CIE XYZ, xyY • RGB, CMYK • HSV (Munsell, HSL, IHS) • Lab, UVW, YUV, YCrCb, Luv, Differences in Color Spaces • What is the use? For display, editing, computation, compression, …? • Several key (very often conflicting) features may be sought after: – Additive (RGB) or subtractive (CMYK) – Separation of luminance and chromaticity – Equal distance between colors are equally perceivable CIE Standard • CIE: International Commission on Illumination (Comission Internationale de l’Eclairage). • Human perception based standard (1931), established with color matching experiment • Standard observer: a composite of a group of 15 to 20 people CIE Experiment CIE Experiment Result • Three pure light source: R = 700 nm, G = 546 nm, B = 436 nm. CIE Color Space • 3 hypothetical light sources, X, Y, and Z, which yield positive matching curves • Y: roughly corresponds to luminous efficiency characteristic of human eye CIE Color Space CIE xyY Space • Irregular 3D volume shape is difficult to understand • Chromaticity diagram (the same color of the varying intensity, Y, should all end up at the same point) Color Gamut • The range of color representation of a display device RGB (monitors) • The de facto standard The RGB Cube • RGB color space is perceptually non-linear • RGB space is a subset of the colors human can perceive • Con: what is ‘bloody red’ in RGB? CMY(K): printing • Cyan, Magenta, Yellow (Black) – CMY(K) • A subtractive color model dye color absorbs reflects cyan red blue and green magenta green blue and red yellow blue red and green black all none RGB and CMY • Converting between RGB and CMY RGB and CMY HSV • This color model is based on polar coordinates, not Cartesian coordinates. -
COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING
COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING Color space A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components (e.g. RGB and CMYK are color models). However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application. Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space. This "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. In the most generic sense of the definition above, color spaces can be defined without the use of a color model. These spaces, such as Pantone, are in effect a given set of names or numbers which are defined by the existence of a corresponding set of physical color swatches. This article focuses on the mathematical model concept. Understanding the concept Most people have heard that a wide range of colors can be created by the primary colors red, blue, and yellow, if working with paints. Those colors then define a color space. We can specify the amount of red color as the X axis, the amount of blue as the Y axis, and the amount of yellow as the Z axis, giving us a three-dimensional space, wherein every possible color has a unique position. -
Camera Raw Workflows
RAW WORKFLOWS: FROM CAMERA TO POST Copyright 2007, Jason Rodriguez, Silicon Imaging, Inc. Introduction What is a RAW file format, and what cameras shoot to these formats? How does working with RAW file-format cameras change the way I shoot? What changes are happening inside the camera I need to be aware of, and what happens when I go into post? What are the available post paths? Is there just one, or are there many ways to reach my end goals? What post tools support RAW file format workflows? How do RAW codecs like CineForm RAW enable me to work faster and with more efficiency? What is a RAW file? In simplest terms is the native digital data off the sensor's A/D converter with no further destructive DSP processing applied Derived from a photometrically linear data source, or can be reconstructed to produce data that directly correspond to the light that was captured by the sensor at the time of exposure (i.e., LOG->Lin reverse LUT) Photometrically Linear 1:1 Photons Digital Values Doubling of light means doubling of digitally encoded value What is a RAW file? In film-analogy would be termed a “digital negative” because it is a latent representation of the light that was captured by the sensor (up to the limit of the full-well capacity of the sensor) “RAW” cameras include Thomson Viper, Arri D-20, Dalsa Evolution 4K, Silicon Imaging SI-2K, Red One, Vision Research Phantom, noXHD, Reel-Stream “Quasi-RAW” cameras include the Panavision Genesis In-Camera Processing Most non-RAW cameras on the market record to 8-bit YUV formats -
Creating 4K/UHD Content Poster
Creating 4K/UHD Content Colorimetry Image Format / SMPTE Standards Figure A2. Using a Table B1: SMPTE Standards The television color specification is based on standards defined by the CIE (Commission 100% color bar signal Square Division separates the image into quad links for distribution. to show conversion Internationale de L’Éclairage) in 1931. The CIE specified an idealized set of primary XYZ SMPTE Standards of RGB levels from UHDTV 1: 3840x2160 (4x1920x1080) tristimulus values. This set is a group of all-positive values converted from R’G’B’ where 700 mv (100%) to ST 125 SDTV Component Video Signal Coding for 4:4:4 and 4:2:2 for 13.5 MHz and 18 MHz Systems 0mv (0%) for each ST 240 Television – 1125-Line High-Definition Production Systems – Signal Parameters Y is proportional to the luminance of the additive mix. This specification is used as the color component with a color bar split ST 259 Television – SDTV Digital Signal/Data – Serial Digital Interface basis for color within 4K/UHDTV1 that supports both ITU-R BT.709 and BT2020. 2020 field BT.2020 and ST 272 Television – Formatting AES/EBU Audio and Auxiliary Data into Digital Video Ancillary Data Space BT.709 test signal. ST 274 Television – 1920 x 1080 Image Sample Structure, Digital Representation and Digital Timing Reference Sequences for The WFM8300 was Table A1: Illuminant (Ill.) Value Multiple Picture Rates 709 configured for Source X / Y BT.709 colorimetry ST 296 1280 x 720 Progressive Image 4:2:2 and 4:4:4 Sample Structure – Analog & Digital Representation & Analog Interface as shown in the video ST 299-0/1/2 24-Bit Digital Audio Format for SMPTE Bit-Serial Interfaces at 1.5 Gb/s and 3 Gb/s – Document Suite Illuminant A: Tungsten Filament Lamp, 2854°K x = 0.4476 y = 0.4075 session display. -
Ultra HD Playout & Delivery
Ultra HD Playout & Delivery SOLUTION BRIEF The next major advancement in television has arrived: Ultra HD. By 2020 more than 40 million consumers around the world are projected to be watching close to 250 linear UHD channels, a figure that doesn’t include VOD (video-on-demand) or OTT (over-the-top) UHD services. A complete UHD playout and delivery solution from Harmonic will help you to meet that demand. 4K UHD delivers a screen resolution four times that of 1080p60. Not to be confused with the 4K digital cinema format, a professional production and cinema standard with a resolution of 4096 x 2160, UHD is a broadcast and OTT standard with a video resolution of 3840 x 2160 pixels at 24/30 fps and 8-bit color sampling. Second-generation UHD specifications will reach a frame rate of 50/60 fps at 10 bits. When combined with advanced technologies such as high dynamic range (HDR) and wide color gamut (WCG), the home viewing experience will be unlike anything previously available. The expected demand for UHD content will include all types of programming, from VOD movie channels to live global sporting events such as the World Cup and Olympics. UHD-native channel deployments are already on the rise, including the first linear UHD channel in North America, NASA TV UHD, launched in 2015 via a partnership between Harmonic and NASA’s Marshall Space Flight Center. The channel highlights incredible imagery from the U.S. space program using an end-to-end UHD playout, encoding and delivery solution from Harmonic. The Harmonic UHD solution incorporates the latest developments in IP networking and compression technology, including HEVC (High- Efficiency Video Coding) signal transport and HDR enhancement. -
Method for Compensating for Color Differences Between Different Images of a Same Scene
(19) TZZ¥ZZ__T (11) EP 3 001 668 A1 (12) EUROPEAN PATENT APPLICATION (43) Date of publication: (51) Int Cl.: 30.03.2016 Bulletin 2016/13 H04N 1/60 (2006.01) (21) Application number: 14306471.5 (22) Date of filing: 24.09.2014 (84) Designated Contracting States: (72) Inventors: AL AT BE BG CH CY CZ DE DK EE ES FI FR GB • Sheikh Faridul, Hasan GR HR HU IE IS IT LI LT LU LV MC MK MT NL NO 35576 CESSON-SÉVIGNÉ (FR) PL PT RO RS SE SI SK SM TR • Stauder, Jurgen Designated Extension States: 35576 CESSON-SÉVIGNÉ (FR) BA ME • Serré, Catherine 35576 CESSON-SÉVIGNÉ (FR) (71) Applicants: • Tremeau, Alain • Thomson Licensing 42000 SAINT-ETIENNE (FR) 92130 Issy-les-Moulineaux (FR) • CENTRE NATIONAL DE (74) Representative: Browaeys, Jean-Philippe LA RECHERCHE SCIENTIFIQUE -CNRS- Technicolor 75794 Paris Cedex 16 (FR) 1, rue Jeanne d’Arc • Université Jean Monnet de Saint-Etienne 92443 Issy-les-Moulineaux (FR) 42023 Saint-Etienne Cedex 2 (FR) (54) Method for compensating for color differences between different images of a same scene (57) The method comprises the steps of: - for each combination of a first and second illuminants, applying its corresponding chromatic adaptation matrix to the colors of a first image to compensate such as to obtain chromatic adapted colors forming a chromatic adapted image and calculating the difference between the colors of a second image and the chromatic adapted colors of this chromatic adapted image, - retaining the combination of first and second illuminants for which the corresponding calculated difference is the smallest, - compensating said color differences by applying the chromatic adaptation matrix corresponding to said re- tained combination to the colors of said first image. -
CONGRESSO SET 2016 Painel UHD - ATEME 31 De Agosto Kinetoscope
Transforming Video Delivery CONGRESSO SET 2016 Painel UHD - ATEME 31 de Agosto Kinetoscope 1897 1951 12 DC 1949 1997 2 ATEME © 1991-2016. Confidential & Proprietary HDR 3 ATEME © 1991-2016. Confidential & Proprietary AGENDA • HDR10 • O que é? • Background • Alternativas • Padronização / Adoção • Exemplos de Workflow • Conclusão 4 ATEME © 1991-2016. Confidential & Proprietary HDR10 – What? 5 ATEME © 1991-2016. Confidential & Proprietary HDR10 – What? • HDR10 – Collection of Technologies and Specifications • HEVC Main 10 Profile • Color Sub-sampling: 4:2:0 • Bit Depth: 10 bit • EOTF: SMPTE ST 2084 (PQ) • Color Primaries: ITU-R BT.2020 • Metadata: SMPTE ST 2086, MaxFALL, MaxCLL • Grading color volume, frame average e content light levels • Allow the TV to determine how much processing is required to adapt the content to its own characteristics (without unnecessarily altering it) 6 ATEME © 1991-2016. Confidential & Proprietary HDR10 Background – HDR / WCG • High Dynamic Range (HDR) • Represent a greater range of luminance levels, closer to the human eye range of luminance • Wide Color Gamut (WCG) • BT.2020: pure spectral primary colors • This wide color gamut encompasses 75.8% of the visible colors, vs. the current color space BT.709 with 35.9% Human Vision UHD BT.2020 HD BT.709 7 ATEME © 1991-2016. Confidential & Proprietary HDR10 Background – HEVC in a Nutshell H264 (Mbps) HEVC (Mbps) 30-50% bitrate savings vs. H264 SD 1.5 to 2.5 0.8 to 1.5 HD 5 to 9 2.5 to 4.5 New resolution: 4K 4Kp60 N/A 10 to 18 H264 HEVC Premium viewing experience over unmanaged networks Block Size 16 x 16 64 x 64 Partitions Multiple Inter, Hierarchical quad, down to 4 x 4 down to 8x8 and 4x4 Intra Modes 9 35 Transform sizes 8x8, 4x4 32x32, 16,x16, 8x8, 4x4 8 ATEME © 1991-2016. -
Khronos Data Format Specification
Khronos Data Format Specification Andrew Garrard Version 1.2, Revision 1 2019-03-31 1 / 207 Khronos Data Format Specification License Information Copyright (C) 2014-2019 The Khronos Group Inc. All Rights Reserved. This specification is protected by copyright laws and contains material proprietary to the Khronos Group, Inc. It or any components may not be reproduced, republished, distributed, transmitted, displayed, broadcast, or otherwise exploited in any manner without the express prior written permission of Khronos Group. You may use this specification for implementing the functionality therein, without altering or removing any trademark, copyright or other notice from the specification, but the receipt or possession of this specification does not convey any rights to reproduce, disclose, or distribute its contents, or to manufacture, use, or sell anything that it may describe, in whole or in part. This version of the Data Format Specification is published and copyrighted by Khronos, but is not a Khronos ratified specification. Accordingly, it does not fall within the scope of the Khronos IP policy, except to the extent that sections of it are normatively referenced in ratified Khronos specifications. Such references incorporate the referenced sections into the ratified specifications, and bring those sections into the scope of the policy for those specifications. Khronos Group grants express permission to any current Promoter, Contributor or Adopter member of Khronos to copy and redistribute UNMODIFIED versions of this specification in any fashion, provided that NO CHARGE is made for the specification and the latest available update of the specification for any version of the API is used whenever possible. -
Yasser Syed & Chris Seeger Comcast/NBCU
Usage of Video Signaling Code Points for Automating UHD and HD Production-to-Distribution Workflows Yasser Syed & Chris Seeger Comcast/NBCU Comcast TPX 1 VIPER Architecture Simpler Times - Delivering to TVs 720 1920 601 HD 486 1080 1080i 709 • SD - HD Conversions • Resolution, Standard Dynamic Range and 601/709 Color Spaces • 4:3 - 16:9 Conversions • 4:2:0 - 8-bit YUV video Comcast TPX 2 VIPER Architecture What is UHD / 4K, HFR, HDR, WCG? HIGH WIDE HIGHER HIGHER DYNAMIC RESOLUTION COLOR FRAME RATE RANGE 4K 60p GAMUT Brighter and More Colorful Darker Pixels Pixels MORE FASTER BETTER PIXELS PIXELS PIXELS ENABLED BY DOLBYVISION Comcast TPX 3 VIPER Architecture Volume of Scripted Workflows is Growing Not considering: • Live Events (news/sports) • Localized events but with wider distributions • User-generated content Comcast TPX 4 VIPER Architecture More Formats to Distribute to More Devices Standard Definition Broadcast/Cable IPTV WiFi DVDs/Files • More display devices: TVs, Tablets, Mobile Phones, Laptops • More display formats: SD, HD, HDR, 4K, 8K, 10-bit, 8-bit, 4:2:2, 4:2:0 • More distribution paths: Broadcast/Cable, IPTV, WiFi, Laptops • Integration/Compositing at receiving device Comcast TPX 5 VIPER Architecture Signal Normalization AUTOMATED LOGIC FOR CONVERSION IN • Compositing, grading, editing SDR HLG PQ depends on proper signal BT.709 BT.2100 BT.2100 normalization of all source files (i.e. - Still Graphics & Titling, Bugs, Tickers, Requires Conversion Native Lower-Thirds, weather graphics, etc.) • ALL content must be moved into a single color volume space. Normalized Compositing • Transformation from different Timeline/Switcher/Transcoder - PQ-BT.2100 colourspaces (BT.601, BT.709, BT.2020) and transfer functions (Gamma 2.4, PQ, HLG) Convert Native • Correct signaling allows automation of conversion settings. -
How Close Is Close Enough? Specifying Colour Tolerances for Hdr and Wcg Displays
HOW CLOSE IS CLOSE ENOUGH? SPECIFYING COLOUR TOLERANCES FOR HDR AND WCG DISPLAYS Jaclyn A. Pytlarz, Elizabeth G. Pieri Dolby Laboratories Inc., USA ABSTRACT With a new high-dynamic-range (HDR) and wide-colour-gamut (WCG) standard defined in ITU-R BT.2100 (1), display and projector manufacturers are racing to extend their visible colour gamut by brightening and widening colour primaries. The question is: how close is close enough? Having this answer is increasingly important for both consumer and professional display manufacturers who strive to balance design trade-offs. In this paper, we present “ground truth” visible colour differences from a psychophysical experiment using HDR laser cinema projectors with near BT.2100 colour primaries up to 1000 cd/m2. We present our findings, compare colour difference metrics, and propose specifying colour tolerances for HDR/WCG displays using the ΔICTCP (2) metric. INTRODUCTION AND BACKGROUND From initial display design to consumer applications, measuring colour differences is a vital component of the imaging pipeline. Now that the industry has moved towards displays with higher dynamic range as well as wider, more saturated colours, no standardized method of measuring colour differences exists. In display calibration, aside from metamerism effects, it is crucial that the specified tolerances align with human perception. Otherwise, one of two undesirable situations might result: first, tolerances are too large and calibrated displays will not appear to visually match; second, tolerances are unnecessarily tight and the calibration process becomes uneconomic. The goal of this paper is to find a colour difference measurement metric for HDR/WCG displays that balances the two and closely aligns with human vision. -
Khronos Data Format Specification
Khronos Data Format Specification Andrew Garrard Version 1.3.1 2020-04-03 1 / 281 Khronos Data Format Specification License Information Copyright (C) 2014-2019 The Khronos Group Inc. All Rights Reserved. This specification is protected by copyright laws and contains material proprietary to the Khronos Group, Inc. It or any components may not be reproduced, republished, distributed, transmitted, displayed, broadcast, or otherwise exploited in any manner without the express prior written permission of Khronos Group. You may use this specification for implementing the functionality therein, without altering or removing any trademark, copyright or other notice from the specification, but the receipt or possession of this specification does not convey any rights to reproduce, disclose, or distribute its contents, or to manufacture, use, or sell anything that it may describe, in whole or in part. This version of the Data Format Specification is published and copyrighted by Khronos, but is not a Khronos ratified specification. Accordingly, it does not fall within the scope of the Khronos IP policy, except to the extent that sections of it are normatively referenced in ratified Khronos specifications. Such references incorporate the referenced sections into the ratified specifications, and bring those sections into the scope of the policy for those specifications. Khronos Group grants express permission to any current Promoter, Contributor or Adopter member of Khronos to copy and redistribute UNMODIFIED versions of this specification in any fashion, provided that NO CHARGE is made for the specification and the latest available update of the specification for any version of the API is used whenever possible. -
JPEG-HDR: a Backwards-Compatible, High Dynamic Range Extension to JPEG
JPEG-HDR: A Backwards-Compatible, High Dynamic Range Extension to JPEG Greg Ward Maryann Simmons BrightSide Technologies Walt Disney Feature Animation Abstract What we really need for HDR digital imaging is a compact The transition from traditional 24-bit RGB to high dynamic range representation that looks and displays like an output-referred (HDR) images is hindered by excessively large file formats with JPEG, but holds the extra information needed to enable it as a no backwards compatibility. In this paper, we demonstrate a scene-referred standard. The next generation of HDR cameras simple approach to HDR encoding that parallels the evolution of will then be able to write to this format without fear that the color television from its grayscale beginnings. A tone-mapped software on the receiving end won’t know what to do with it. version of each HDR original is accompanied by restorative Conventional image manipulation and display software will see information carried in a subband of a standard output-referred only the tone-mapped version of the image, gaining some benefit image. This subband contains a compressed ratio image, which from the HDR capture due to its better exposure. HDR-enabled when multiplied by the tone-mapped foreground, recovers the software will have full access to the original dynamic range HDR original. The tone-mapped image data is also compressed, recorded by the camera, permitting large exposure shifts and and the composite is delivered in a standard JPEG wrapper. To contrast manipulation during image editing in an extended color naïve software, the image looks like any other, and displays as a gamut.