Abstract: In this article we provide an overview of color name applications in computer vision. Color names are linguistic labels which humans use to communicate color. Computational color naming learns a mapping from pixels values to color names. In recent years color names have been applied to a wide variety of computer vision applications, including image classification, object recognition, texture classification, visual tracking and action recognition. Here we provide an overview of these results which show that in general color names outperform photometric invariants as a color representation.

Abstract: Describing persons and their actions is a challenging problem due to variations in pose, scale and viewpoint in real-world images. Recently, semantic pyramids approach [1] for pose normalization has shown to provide excellent results for gender and action recognition. The performance of semantic pyramids approach relies on robust image description and is therefore limited due to the use of shallow local features. In the context of object recognition [2] and object detection [3], convolutional neural networks (CNNs) or deep features have shown to improve the performance over the conventional shallow features.
We propose deep semantic pyramids for human attributes and action recognition. The method works by constructing spatial pyramids based on CNNs of different part locations. These pyramids are then combined to obtain a single semantic representation. We validate our approach on the Berkeley and 27 Human Attributes datasets for attributes classification. For action recognition, we perform experiments on two challenging datasets: Willow and PASCAL VOC 2010. The proposed deep semantic pyramids provide a significant gain of 17.2%, 13.9%, 24.3% and 22.6% compared to the standard shallow semantic pyramids on Berkeley, 27 Human Attributes, Willow and PASCAL VOC 2010 datasets respectively. Our results also show that deep semantic pyramids outperform conventional CNNs based on the full bounding box of the person. Finally, we compare our approach with state-of-the-art methods and show a gain in performance compared to best methods in literature.

Abstract: Projector-camera systems are designed to improve the projection quality by comparing original images with their captured projections, which is usually complicated due to high photometric and geometric variations. Many research works address this problem using their own test data which makes it extremely difficult to compare different proposals. This paper has two main contributions. Firstly, we introduce a new database of acquired image projections (DAcImPro) that, covering photometric and geometric conditions and providing data for ground-truth computation, can serve to evaluate different algorithms in projector-camera systems. Secondly, a new object recognition scenario from acquired projections is presented, which could be of a great interest in such domains, as home video projections and public presentations. We show that the task is more challenging than the classical recognition problem and thus requires additional pre-processing, such as color compensation or projection area selection.

Abstract: This paper presents the systems developed by LIUM and CVC for the WMT16 Multimodal Machine Translation challenge. We explored various comparative methods, namely phrase-based systems and attentional recurrent neural networks models trained using monomodal or multimodal data. We also performed a human evaluation in order to estimate theusefulness of multimodal data for human machine translation and image description generation. Our systems obtained the best results for both tasks according to the automatic evaluation metrics BLEU and METEOR.

Abstract: Automatic analysis of visual art, such as paintings, is a challenging inter-disciplinary research problem. Conventional approaches only rely on global scene characteristics by encoding holistic information for computational painting categorization.We argue that such approaches are sub-optimal and that discriminative common visual structures provide complementary information for painting classification. We present an approach that encodes both the global scene layout and discriminative latent common structures for computational painting categorization. The region of interests are automatically extracted, without any manual part labeling, by training class-specific deformable part-based models. Both holistic and region-of-interests are then described using multi-scale dense convolutional features. These features are pooled separately using Fisher vector encoding and concatenated afterwards in a single image representation. Experiments are performed on a challenging dataset with 91 different painters and 13 diverse painting styles. Our approach outperforms the standard method, which only employs the global scene characteristics. Furthermore, our method achieves state-of-the-art results outperforming a recent multi-scale deep features based approach [11] by 6.4% and 3.8% respectively on artist and style classification.

Abstract: To recognise objects is perhaps the most important task an autonomous system, either biological or artificial needs to perform. In the context of human vision, this is partly achieved by recognizing the colour of surfaces despite changes in the wavelength distribution of the illumination, a property called colour constancy. Correct surface colour recognition may be adequately accomplished by colour category matching without the need to match colours precisely, therefore categorical colour constancy is likely to play an important role for object identification to be successful. The main aim of this work is to study the relationship between colour constancy and categorical colour perception. Previous studies of colour constancy have shown the influence of factors such the spatio-chromatic properties of the background, individual observer's performance, semantics, etc. However there is very little systematic study of these influences. To this end, we developed a new approach to colour constancy which includes both individual observers' categorical perception, the categorical structure of the background, and their interrelations resulting in a more comprehensive characterization of the phenomenon. In our study, we first developed a new method to analyse the categorical structure of 3D colour space, which allowed us to characterize individual categorical colour perception as well as quantify inter-individual variations in terms of shape and centroid location of 3D categorical regions. Second, we developed a new colour constancy paradigm, termed chromatic setting, which allows measuring the precise location of nine categorically-relevant points in colour space under immersive illumination. Additionally, we derived from these measurements a new colour constancy index which takes into account the magnitude and orientation of the chromatic shift, memory effects and the interrelations among colours and a model of colour naming tuned to each observer/adaptation state. Our results lead to the following conclusions: (1) There exists large inter-individual variations in the categorical structure of colour space, and thus colour naming ability varies significantly but this is not well predicted by low-level chromatic discrimination ability; (2) Analysis of the average colour naming space suggested the need for an additional three basic colour terms (turquoise, lilac and lime) for optimal colour communication; (3) Chromatic setting improved the precision of more complex linear colour constancy models and suggested that mechanisms other than cone gain might be best suited to explain colour constancy; (4) The categorical structure of colour space is broadly stable under illuminant changes for categorically balanced backgrounds; (5) Categorical inconstancy exists for categorically unbalanced backgrounds thus indicating that categorical information perceived in the initial stages of adaptation may constrain further categorical perception.