Abstract: The increasing complexity learnt in the layers of a Convolutional Neural Network has proven to be of great help for the task of classification. The topic has received great attention in recently published literature.
Nonetheless, just a handful of works study low-level representations, commonly associated with lower layers. In this paper, we explore recent findings which conclude, counterintuitively, the last layer of the VGG convolutional network is the best to describe a low-level property such as texture. To shed some light on this issue, we are proposing a psychophysical experiment to evaluate the adequacy of different layers of the VGG network for texture retrieval. Results obtained suggest that, whereas the last convolutional layer is a good choice for a specific task of classification, it might not be the best choice as a texture descriptor, showing a very poor performance on texture retrieval. Intermediate layers show the best performance, showing a good combination of basic filters, as in the primary visual cortex, and also a degree of higher level information to describe more complex textures.

Abstract: Achieving visually consistent colors across multiple images is important when images are used in photo albums, websites, and brochures. Unfortunately, only a handful of methods address multi-image color consistency compared to one-to-one color transfer techniques. Furthermore, existing methods do not incorporate high-level features that can assist graphic designers in their work. To address these limitations, we introduce a framework that builds upon a previous palette-based color consistency method and incorporates three high-level features: white balance, saliency, and color naming. We show how these features overcome the limitations of the prior multi-consistency workflow and showcase the user-friendly nature of our framework.

Abstract: Burst image restoration attempts to effectively utilize the complementary cues appearing in sequential images to produce a high-quality image. Most current methods use all the available images to obtain the reconstructed image. However, using more images for burst restoration is not always the best option regarding reconstruction quality and efficiency, as the images acquired by handheld imaging devices suffer from degradation and misalignment caused by the camera noise and shake. In this paper, we extend the perception-distortion tradeoff theory by introducing multiple-frame information. We propose the area of the unattainable region as a new metric for perception-distortion tradeoff evaluation and comparison. Based on this metric, we analyse the performance of burst restoration from the perspective of the perception-distortion tradeoff under both aligned bursts and misaligned bursts situations. Our analysis reveals the importance of inter-frame alignment for burst restoration and shows that the optimal burst length for the restoration model depends both on the degree of degradation and misalignment.

Abstract: rogress in lighting estimation is tracked by computing existing image quality assessment (IQA) metrics on images from standard datasets. While this may appear to be a reasonable approach, we demonstrate that doing so does not correlate to human preference when the estimated lighting is used to relight a virtual scene into a real photograph. To study this, we design a controlled psychophysical experiment where human observers must choose their preference amongst rendered scenes lit using a set of lighting estimation algorithms selected from the recent literature, and use it to analyse how these algorithms perform according to human perception. Then, we demonstrate that none of the most popular IQA metrics from the literature, taken individually, correctly represent human perception. Finally, we show that by learning a combination of existing IQA metrics, we can more accurately represent human preference. This provides a new perceptual framework to help evaluate future lighting estimation algorithms.

Abstract: Bag-of-words based image representation is a successful approach for object recognition. Generally, the subsequent stages of the process: feature detection,feature description, vocabulary construction and image representation are performed independent of the intentioned object classes to be detected. In such a framework, it was found that the combination of different image cues, such as shape and color, often obtains below expected results. This paper presents a novel method for recognizing object categories when using ultiple cues by separately processing the shape and color cues and combining them by modulating the shape features by category specific color attention. Color is used to compute bottom up and top-down attention maps. Subsequently, these color attention maps are used to modulate the weights of the shape features. In regions with higher attention shape features are given more weight than in regions with low attention. We compare our approach with existing methods that combine color and shape cues on five data sets containing varied importance of both cues, namely, Soccer (color predominance), Flower (color and hape parity), PASCAL VOC 2007 and 2009 (shape predominance) and Caltech-101 (color co-interference). The experiments clearly demonstrate that in all five data sets our proposed framework significantly outperforms existing methods for combining color and shape information.

Abstract: Estimation of intrinsic images still remains a challenging task due to weaknesses of ground-truth datasets, which either are too small or present non-realistic issues. On the other hand, end-to-end deep learning architectures start to achieve interesting results that we believe could be improved if important physical hints were not ignored. In this work, we present a twofold framework: (a) a flexible generation of images overcoming some classical dataset problems such as larger size jointly with coherent lighting appearance; and (b) a flexible architecture tying physical properties through intrinsic losses. Our proposal is versatile, presents low computation time, and achieves state-of-the-art results.

Abstract: Color constancy (the ability to perceive colors relatively stable under different illuminants) is the result of several mechanisms spread across different neural levels and responding to several visual scene cues. It is usually measured by estimating the perceived color of a grey patch under an illuminant change. In this work, we hypothesize whether chromatic adaptation (without a reference white or grey) could be driven by certain colors, specifically those corresponding to the universal color terms proposed by Berlin and Kay (1969). To this end we have developed a new psychophysical paradigm in which subjects adjust the color of a test patch (in CIELab space) to match their memory of the best example of a given color chosen from the universal terms list (grey, red, green, blue, yellow, purple, pink, orange and brown). The test patch is embedded inside a Mondrian image and presented on a calibrated CRT screen inside a dark cabin. All subjects were trained to “recall” their most exemplary colors reliably from memory and asked to always produce the same basic colors when required under several adaptation conditions. These include achromatic and colored Mondrian backgrounds, under a simulated D65 illuminant and several colored illuminants. A set of basic colors were measured for each subject under neutral conditions (achromatic background and D65 illuminant) and used as “reference” for the rest of the experiment. The colors adjusted by the subjects in each adaptation condition were compared to the reference colors under the corresponding illuminant and a “constancy index” was obtained for each of them. Our results show that for some colors the constancy index was better than for grey. The set of best adapted colors in each condition were common to a majority of subjects and were dependent on the chromaticity of the illuminant and the chromatic background considered.

Abstract: The aim of this paper is to revisit an old theory of texture perception and
update its computational implementation by extending it to colour. With this in mind we try to capture the optimality of perceptual systems. This is achieved in the proposed approach by sharing well-known early stages of the visual processes and extracting low-dimensional features that perfectly encode adequate properties for a large variety of textures without needing further learning stages. We propose several descriptors in a bag-of-words framework that are derived from different quantisation models on to the feature spaces. Our perceptual features are directly given by the shape and colour attributes of image blobs, which are the textons. In this way we avoid learning visual words and directly build the vocabularies on these lowdimensionaltexton spaces. Main differences between proposed descriptors rely on how co-occurrence of blob attributes is represented in the vocabularies. Our approach overcomes current state-of-art in colour texture description which is proved in several experiments on large texture datasets.