Patrick Ledda

Inverse tone mapping

In recent years many Tone Mapping Operators (TMOs) have been presented in order to display High Dynamic Range Images (HDRI) on typical display devices. TMOs compress the luminance range while trying to maintain contrast. The dual of tone mapping, inverse tone mapping, expands a Low Dynamic Range Image (LDRI) into a HDRI. HDRIs contain a broader range of physical values that can be perceived by the human visual system. The majority of todays media is stored in low dynamic range. Inverse Tone Mapping Operators (iTMOs) could thus potentially revive all of this content for use in high dynamic range display and image-based lighting. We propose an approximate solution to this problem that uses median-cut to find the areas considered of high luminance and subsequently apply a density estimation to generate an Expand-map in order to extend the range in the high luminance areas using an inverse Photographic Tone Reproduction operator.

A local model of eye adaptation for high dynamic range images

In the real world, the human eye is confronted with a wide range of luminances from bright sunshine to low night light. Our eyes cope with this vast range of intensities by adaptation; changing their sensitivity to be responsive at different illumination levels. This adaptation is highly localized, allowing us to see both dark and bright regions of a high dynamic range environment. In this paper we present a new model of eye adaptation based on physiological data. The model, which can be easily integrated into existing renderers, can function either as a static local tone mapping operator for single high dynamic range image, or as a temporal adaptation model taking into account time elapsed and intensity of preadaptation for a dynamic sequence. We finally validate our technique with a high dynamic range display and a psychophysical study.

Selective quality rendering by exploiting human inattentional blindness: looking but not seeing

There are two major influences on human visual attention: bottom-up and top-down processing. Bottom-up processing is the automatic direction of gaze to lively or colourful objects as determined by low-level vision. In contrast, top-down processing is consciously directed attention in the pursuit of predetermined goals or tasks. Previous work in perception-based rendering has exploited bottom-up visual attention to control detail (and therefore time) spent on rendering parts of a scene. In this paper, we demonstrate the principle of Inattentional Blindness, a major side effect of top-down processing, where portions of the scene unrelated to the specific task go unnoticed. In our experiment, we showed a pair of animations rendered at different quality levels to 160 subjects, and then asked if they noticed a change. We instructed half the subjects to simply watch our animation, while the other half performed a specific task during the animation.When parts of the scene, outside the focus of this task, were rendered at lower quality, almost none of the task-directed subjects noticed, whereas the difference was clearly visible to the control group. Our results clearly show that top-down visual processing can be exploited to reduce rendering times substantially without compromising perceived visual quality in interactive tasks.

High Dynamic Range Imaging and Low Dynamic Range Expansion for Generating HDR Content

In the last few years, researchers in the field of High Dynamic Range (HDR) Imaging have focused on providing tools for expanding Low Dynamic Range (LDR) content for the generation of HDR images due to the growing popularity of HDR in applications, such as photography and rendering via Image‐Based Lighting, and the imminent arrival of HDR displays to the consumer market. LDR content expansion is required due to the lack of fast and reliable consumer level HDR capture for still images and videos. Furthermore, LDR content expansion, will allow the re‐use of legacy LDR stills, videos and LDR applications created, over the last century and more, to be widely available. The use of certain LDR expansion methods, those that are based on the inversion of Tone Mapping Operators (TMOs), has made it possible to create novel compression algorithms that tackle the problem of the size of HDR content storage, which remains one of the major obstacles to be overcome for the adoption of HDR. These methods are used in conjunction with traditional LDR compression methods and can evolve accordingly. The goal of this report is to provide a comprehensive overview on HDR Imaging, and an in depth review on these emerging topics.

A wide field, high dynamic range, stereographic viewer

In this paper we present a High Dynamic Range viewer based on the 120-degree field-of-view LEEP (Large Expanse Extra Perspective) stereo optics used in the original NASA virtual reality systems. By combining these optics with an intense backlighting system (20 Kcd/m2) and layered transparencies, we are able to reproduce the absolute luminance levels and full dynamic range of almost any visual environment. This is important because it allows us to display environments with luminance levels that would not be displayable on a standard monitor. This technology may enable researchers to conduct controlled experiments in visual contrast, chromatic adaptation, and disability and discomfort glare without the usual limitations of dynamic range and field of view imposed by conventional CRT display systems. In this paper, we describe the basic system and techniques used to produce the transparency layers from a high dynamic range rendering or scene capture. We further present a series of psychophysical experiments demonstrating the devices ability to reproduce visual percepts, and compare this result to the real scene and a visibility matching tone reproduction operator presented on a conventional CRT display.

Expanding low dynamic range videos for high dynamic range applications

In this paper we introduce an algorithm and related methods that expand the contrast range of Low Dynamic Range (LDR) videos in order to regenerate missing High Dynamic Range (HDR) data. For content generated from single exposure LDR sequences, this is clearly an under constrained problem. We achieved the expansion by inverting established tone mapping operator, a process we term inverse tone mapping. This approach is augmented by a number of methods which help expand the luminance for the required pixels while avoiding artifacts. These methods may be used to convert the large libraries of available legacy LDR content for use, for instance, on new content-starved HDR devices. Moreover, these same methods may be used to provide animated emissive surfaces for image based lighting (IBL). We demonstrate results for all the above applications and validate the resultant HDR videos with original HDR references using the HDR Visual Difference Predictor (HDR-VDP) image metric.

A framework for inverse tone mapping

In recent years many tone mapping operators (TMOs) have been presented in order to display high dynamic range images (HDRI) on typical display devices. TMOs compress the luminance range while trying to maintain contrast. The inverse of tone mapping, inverse tone mapping, expands a low dynamic range image (LDRI) into an HDRI. HDRIs contain a broader range of physical values that can be perceived by the human visual system. We propose a new framework that approximates a solution to this problem. Our framework uses importance sampling of light sources to find the areas considered to be of high luminance and subsequently applies density estimation to generate an expand map in order to extend the range in the high luminance areas using an inverse tone mapping operator. The majority of today’s media is stored in the low dynamic range. Inverse tone mapping operators (iTMOs) could thus potentially revive all of this content for use in high dynamic range display and image based lighting (IBL). Moreover, we show another application that benefits quick capture of HDRIs for use in IBL.

A psychophysical evaluation of inverse tone mapping techniques

In recent years inverse tone mapping techniques have been proposed for enhancing low‐dynamic range (LDR) content for a high‐dynamic range (HDR) experience on HDR displays, and for image based lighting. In this paper, we present a psychophysical study to evaluate the performance of inverse (reverse) tone mapping algorithms. Some of these techniques are computationally expensive because they need to resolve quantization problems that can occur when expanding an LDR image. Even if they can be implemented efficiently on hardware, the computational cost can still be high. An alternative is to utilize less complex operators; although these may suffer in terms of accuracy. Our study investigates, firstly, if a high level of complexity is needed for inverse tone mapping and, secondly, if a correlation exists between image content and quality. Two main applications have been considered: visualization on an HDR monitor and image‐based lighting.

Psychophysically based artistic techniques for increased perceived realism of virtual environments

The perceived realism of a computer generated image depends on the accuracy of the modeling and illumination calculations, the limitations of the display device, and the way in which the Human Visual System processes this information. A real environment is unlikely to be pristine but will have accumulated dirt, dust and scratches from everyday use. Although human observers do not perhaps consciously take note of these phenomena, the absence of such features from the synthetic representation of that real scene may indeed affect the viewers perceived realism of the virtual environment. This paper presents a series of psychophysical experiments to examine whether perceived realism of a virtual environment may be improved by adding textures artistically enhanced.

Dynamic range compression by differential zone mapping based on psychophysical experiments

In this paper we present a new technique for the display of High Dynamic Range (HDR) images on Low Dynamic Range (LDR) displays. The described process has three stages. First, the input image is segmented into luminance zones. Second, the tone mapping operator (TMO) that performs better in each zone is automatically selected. Finally, the resulting tone mapping (TM) outputs for each zone are merged, generating the final LDR output image. To establish the TMO that performs better in each luminance zone we conducted a preliminary psychophysical experiment using a set of HDR images and six different TMOs. We validated our composite technique on several (new) HDR images and conducted a further psychophysical experiment, using an HDR display as reference, that establishes the advantages of our hybrid three-stage approach over a traditional individual TMO.