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Yasuko Sugito; Trevor Canham; Javier Vazquez; Marcelo Bertalmio |
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Title |
A Study of Objective Quality Metrics for HLG-Based HDR/WCG Image Coding |
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2021 |
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SMPTE Motion Imaging Journal |
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SMPTE |
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130 |
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4 |
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53 - 65 |
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In this work, we study the suitability of high dynamic range, wide color gamut (HDR/WCG) objective quality metrics to assess the perceived deterioration of compressed images encoded using the hybrid log-gamma (HLG) method, which is the standard for HDR television. Several image quality metrics have been developed to deal specifically with HDR content, although in previous work we showed that the best results (i.e., better matches to the opinion of human expert observers) are obtained by an HDR metric that consists simply in applying a given standard dynamic range metric, called visual information fidelity (VIF), directly to HLG-encoded images. However, all these HDR metrics ignore the chroma components for their calculations, that is, they consider only the luminance channel. For this reason, in the current work, we conduct subjective evaluation experiments in a professional setting using compressed HDR/WCG images encoded with HLG and analyze the ability of the best HDR metric to detect perceivable distortions in the chroma components, as well as the suitability of popular color metrics (including ΔITPR , which supports parameters for HLG) to correlate with the opinion scores. Our first contribution is to show that there is a need to consider the chroma components in HDR metrics, as there are color distortions that subjects perceive but that the best HDR metric fails to detect. Our second contribution is the surprising result that VIF, which utilizes only the luminance channel, correlates much better with the subjective evaluation scores than the metrics investigated that do consider the color components. |
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SCV2021 |
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3671 |
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Alicia Fornes; Josep Llados; Gemma Sanchez; Xavier Otazu; Horst Bunke |
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A Combination of Features for Symbol-Independent Writer Identification in Old Music Scores |
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2010 |
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International Journal on Document Analysis and Recognition |
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IJDAR |
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13 |
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4 |
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243-259 |
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The aim of writer identification is determining the writer of a piece of handwriting from a set of writers. In this paper, we present an architecture for writer identification in old handwritten music scores. Even though an important amount of music compositions contain handwritten text, the aim of our work is to use only music notation to determine the author. The main contribution is therefore the use of features extracted from graphical alphabets. Our proposal consists in combining the identification results of two different approaches, based on line and textural features. The steps of the ensemble architecture are the following. First of all, the music sheet is preprocessed for removing the staff lines. Then, music lines and texture images are generated for computing line features and textural features. Finally, the classification results are combined for identifying the writer. The proposed method has been tested on a database of old music scores from the seventeenth to nineteenth centuries, achieving a recognition rate of about 92% with 20 writers. |
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Springer-Verlag |
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1433-2833 |
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DAG; CAT;CIC |
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FLS2010b |
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1319 |
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T. Widemann; Xavier Otazu |
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Titanias radius and an upper limit on its atmosphere from the September 8, 2001 stellar occultation |
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2009 |
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International Journal of Solar System Studies |
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199 |
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2 |
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458–476 |
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Occultations; Uranus, satellites; Satellites, shapes; Satellites, dynamics; Ices; Satellites, atmospheres |
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On September 8, 2001 around 2 h UT, the largest uranian moon, Titania, occulted Hipparcos star 106829 (alias SAO 164538, a V=7.2, K0 III star). This was the first-ever observed occultation by this satellite, a rare event as Titania subtends only 0.11 arcsec on the sky. The star's unusual brightness allowed many observers, both amateurs or professionals, to monitor this unique event, providing fifty-seven occultations chords over three continents, all reported here. Selecting the best 27 occultation chords, and assuming a circular limb, we derive Titania's radius: View the MathML source (1-σ error bar). This implies a density of View the MathML source using the value View the MathML source derived by Taylor [Taylor, D.B., 1998. Astron. Astrophys. 330, 362–374]. We do not detect any significant difference between equatorial and polar radii, in the limit View the MathML source, in agreement with Voyager limb image retrieval during the 1986 flyby. Titania's offset with respect to the DE405 + URA027 (based on GUST86 theory) ephemeris is derived: ΔαTcos(δT)=−108±13 mas and ΔδT=−62±7 mas (ICRF J2000.0 system). Most of this offset is attributable to a Uranus' barycentric offset with respect to DE405, that we estimate to be: View the MathML source and ΔδU=−85±25 mas at the moment of occultation. This offset is confirmed by another Titania stellar occultation observed on August 1st, 2003, which provides an offset of ΔαTcos(δT)=−127±20 mas and ΔδT=−97±13 mas for the satellite. The combined ingress and egress data do not show any significant hint for atmospheric refraction, allowing us to set surface pressure limits at the level of 10–20 nbar. More specifically, we find an upper limit of 13 nbar (1-σ level) at 70 K and 17 nbar at 80 K, for a putative isothermal CO2 atmosphere. We also provide an upper limit of 8 nbar for a possible CH4 atmosphere, and 22 nbar for pure N2, again at the 1-σ level. We finally constrain the stellar size using the time-resolved star disappearance and reappearance at ingress and egress. We find an angular diameter of 0.54±0.03 mas (corresponding to View the MathML source projected at Titania). With a distance of 170±25 parsecs, this corresponds to a radius of 9.8±0.2 solar radii for HIP 106829, typical of a K0 III giant. |
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CAT @ cat @ Wid2009 |
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1052 |
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Javier Vazquez; C. Alejandro Parraga; Maria Vanrell |
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Title |
Ordinal pairwise method for natural images comparison |
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2009 |
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Perception |
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PER |
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38 |
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180 |
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38(Suppl.)ECVP Abstract Supplement
We developed a new psychophysical method to compare different colour appearance models when applied to natural scenes. The method was as follows: two images (processed by different algorithms) were displayed on a CRT monitor and observers were asked to select the most natural of them. The original images were gathered by means of a calibrated trichromatic digital camera and presented one on top of the other on a calibrated screen. The selection was made by pressing on a 6-button IR box, which allowed observers to consider not only the most natural but to rate their selection. The rating system allowed observers to register how much more natural was their chosen image (eg, much more, definitely more, slightly more), which gave us valuable extra information on the selection process. The results were analysed considering both the selection as a binary choice (using Thurstone's law of comparative judgement) and using Bradley-Terry method for ordinal comparison. Our results show a significant difference in the rating scales obtained. Although this method has been used in colour constancy algorithm comparisons, its uses are much wider, eg to compare algorithms of image compression, rendering, recolouring, etc. |
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CAT @ cat @ VPV2009b |
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1191 |
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Javier Vazquez; C. Alejandro Parraga; Maria Vanrell; Ramon Baldrich |
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Color Constancy Algorithms: Psychophysical Evaluation on a New Dataset |
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2009 |
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Journal of Imaging Science and Technology |
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53 |
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3 |
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031105–9 |
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The estimation of the illuminant of a scene from a digital image has been the goal of a large amount of research in computer vision. Color constancy algorithms have dealt with this problem by defining different heuristics to select a unique solution from within the feasible set. The performance of these algorithms has shown that there is still a long way to go to globally solve this problem as a preliminary step in computer vision. In general, performance evaluation has been done by comparing the angular error between the estimated chromaticity and the chromaticity of a canonical illuminant, which is highly dependent on the image dataset. Recently, some workers have used high-level constraints to estimate illuminants; in this case selection is based on increasing the performance on the subsequent steps of the systems. In this paper we propose a new performance measure, the perceptual angular error. It evaluates the performance of a color constancy algorithm according to the perceptual preferences of humans, or naturalness (instead of the actual optimal solution) and is independent of the visual task. We show the results of a new psychophysical experiment comparing solutions from three different color constancy algorithms. Our results show that in more than a half of the judgments the preferred solution is not the one closest to the optimal solution. Our experiments were performed on a new dataset of images acquired with a calibrated camera with an attached neutral grey sphere, which better copes with the illuminant variations of the scene. |
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CAT @ cat @ VPV2009a |
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1171 |
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