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Robert Benavente; C. Alejandro Parraga; Maria Vanrell |
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Title |
Colour categories boundaries are better defined in contextual conditions |
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2009 |
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Perception |
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PER |
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38 |
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36 |
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In a previous experiment [Parraga et al, 2009 Journal of Imaging Science and Technology 53(3)] the boundaries between basic colour categories were measured by asking subjects to categorize colour samples presented in isolation (ie on a dark background) using a YES/NO paradigm. Results showed that some boundaries (eg green – blue) were very diffuse and the subjects' answers presented bimodal distributions, which were attributed to the emergence of non-basic categories in those regions (eg turquoise). To confirm these results we performed a new experiment focussed on the boundaries where bimodal distributions were more evident. In this new experiment rectangular colour samples were presented surrounded by random colour patches to simulate contextual conditions on a calibrated CRT monitor. The names of two neighbouring colours were shown at the bottom of the screen and subjects selected the boundary between these colours by controlling the chromaticity of the central patch, sliding it across these categories' frontier. Results show that in this new experimental paradigm, the formerly uncertain inter-colour category boundaries are better defined and the dispersions (ie the bimodal distributions) that occurred in the previous experiment disappear. These results may provide further support to Berlin and Kay's basic colour terms theory. |
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CAT @ cat @ BPV2009 |
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1192 |
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Author |
C. Alejandro Parraga; Javier Vazquez; Maria Vanrell |
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Title |
A new cone activation-based natural images dataset |
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2009 |
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Perception |
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PER |
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36 |
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180 |
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We generated a new dataset of digital natural images where each colour plane corresponds to the human LMS (long-, medium-, short-wavelength) cone activations. The images were chosen to represent five different visual environments (eg forest, seaside, mountain snow, urban, motorways) and were taken under natural illumination at different times of day. At the bottom-left corner of each picture there was a matte grey ball of approximately constant spectral reflectance (across the camera's response spectrum,) and nearly Lambertian reflective properties, which allows to compute (and remove, if necessary) the illuminant's colour and intensity. The camera (Sigma Foveon SD10) was calibrated by measuring its sensor's spectral responses using a set of 31 spectrally narrowband interference filters. This allowed conversion of the final camera-dependent RGB colour space into the Smith and Pokorny (1975) cone activation space by means of a polynomial transformation, optimised for a set of 1269 Munsell chip reflectances. This new method is an improvement over the usual 3 × 3 matrix transformation which is only accurate for spectrally-narrowband colours. The camera-to-LMS transformation can be recalculated to consider other non-human visual systems. The dataset is available to download from our website. |
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CAT @ cat @ PVV2009 |
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1193 |
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Olivier Penacchio; C. Alejandro Parraga |
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Title |
What is the best criterion for an efficient design of retinal photoreceptor mosaics? |
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2011 |
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Perception |
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PER |
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40 |
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197 |
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The proportions of L, M and S photoreceptors in the primate retina are arguably determined by evolutionary pressure and the statistics of the visual environment. Two information theory-based approaches have been recently proposed for explaining the asymmetrical spatial densities of photoreceptors in humans. In the first approach Garrigan et al (2010 PLoS ONE 6 e1000677), a model for computing the information transmitted by cone arrays which considers the differential blurring produced by the long-wavelength accommodation of the eye’s lens is proposed. Their results explain the sparsity of S-cones but the optimum depends weakly on the L:M cone ratio. In the second approach (Penacchio et al, 2010 Perception 39 ECVP Supplement, 101), we show that human cone arrays make the visual representation scale-invariant, allowing the total entropy of the signal to be preserved while decreasing individual neurons’ entropy in further retinotopic representations. This criterion provides a thorough description of the distribution of L:M cone ratios and does not depend on differential blurring of the signal by the lens. Here, we investigate the similarities and differences of both approaches when applied to the same database. Our results support a 2-criteria optimization in the space of cone ratios whose components are arguably important and mostly unrelated.
[This work was partially funded by projects TIN2010-21771-C02-1 and Consolider-Ingenio 2010-CSD2007-00018 from the Spanish MICINN. CAP was funded by grant RYC-2007-00484] |
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Admin @ si @ PeP2011a |
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1719 |
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C. Alejandro Parraga; Olivier Penacchio; Maria Vanrell |
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Title |
Retinal Filtering Matches Natural Image Statistics at Low Luminance Levels |
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2011 |
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Perception |
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PER |
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40 |
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96 |
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The assumption that the retina’s main objective is to provide a minimum entropy representation to higher visual areas (ie efficient coding principle) allows to predict retinal filtering in space–time and colour (Atick, 1992 Network 3 213–251). This is achieved by considering the power spectra of natural images (which is proportional to 1/f2) and the suppression of retinal and image noise. However, most studies consider images within a limited range of lighting conditions (eg near noon) whereas the visual system’s spatial filtering depends on light intensity and the spatiochromatic properties of natural scenes depend of the time of the day. Here, we explore whether the dependence of visual spatial filtering on luminance match the changes in power spectrum of natural scenes at different times of the day. Using human cone-activation based naturalistic stimuli (from the Barcelona Calibrated Images Database), we show that for a range of luminance levels, the shape of the retinal CSF reflects the slope of the power spectrum at low spatial frequencies. Accordingly, the retina implements the filtering which best decorrelates the input signal at every luminance level. This result is in line with the body of work that places efficient coding as a guiding neural principle. |
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Admin @ si @ PPV2011 |
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1720 |
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Author |
Xavier Otazu |
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Title |
Perceptual tone-mapping operator based on multiresolution contrast decomposition |
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2012 |
Publication |
Perception |
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PER |
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41 |
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86 |
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Tone-mapping operators (TMO) are used to display high dynamic range(HDR) images in low dynamic range (LDR) displays. Many computational and biologically inspired approaches have been used in the literature, being many of them based on multiresolution decompositions. In this work, a simple two stage model for TMO is presented. The first stage is a novel multiresolution contrast decomposition, which is inspired in a pyramidal contrast decomposition (Peli, 1990 Journal of the Optical Society of America7(10), 2032-2040).
This novel multiresolution decomposition represents the Michelson contrast of the image at different spatial scales. This multiresolution contrast representation, applied on the intensity channel of an opponent colour decomposition, is processed by a non-linear saturating model of V1 neurons (Albrecht et al, 2002 Journal ofNeurophysiology 88(2) 888-913). This saturation model depends on the visual frequency, and it has been modified in order to include information from the extended Contrast Sensitivity Function (e-CSF) (Otazu et al, 2010 Journal ofVision10(12) 5).
A set of HDR images in Radiance RGBE format (from CIS HDR Photographic Survey and Greg Ward database) have been used to test the model, obtaining a set of LDR images. The resulting LDR images do not show the usual halo or color modification artifacts. |
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0301-0066 |
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Admin @ si @ Ota2012 |
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2179 |
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Author |
Olivier Penacchio; Laura Dempere-Marco; Xavier Otazu |
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Title |
Switching off brightness induction through induction-reversed images |
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2012 |
Publication |
Perception |
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PER |
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41 |
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208 |
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Brightness induction is the modulation of the perceived intensity of an
area by the luminance of surrounding areas. Although V1 is traditionally regarded as
an area mostly responsive to retinal information, neurophysiological evidence
suggests that it may explicitly represent brightness information. In this work, we
investigate possible neural mechanisms underlying brightness induction. To this end,
we consider the model by Z Li (1999 Computation and Neural Systems10187-212)
which is constrained by neurophysiological data and focuses on the part of V1
responsible for contextual influences. This model, which has proven to account for
phenomena such as contour detection and preattentive segmentation, shares with
brightness induction the relevant effect of contextual influences. Importantly, the
input to our network model derives from a complete multiscale and multiorientation
wavelet decomposition, which makes it possible to recover an image reflecting the
perceived luminance and successfully accounts for well known psychophysical
effects for both static and dynamic contexts. By further considering inverse problem
techniques we define induction-reversed images: given a target image, we build an
image whose perceived luminance matches the actual luminance of the original
stimulus, thus effectively canceling out brightness induction effects. We suggest that
induction-reversed images may help remove undesired perceptual effects and can
find potential applications in fields such as radiological image interpretation |
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Admin @ si @ PDO2012a |
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2180 |
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Author |
Jordi Roca; C. Alejandro Parraga; Maria Vanrell |
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Title |
Predicting categorical colour perception in successive colour constancy |
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2012 |
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Perception |
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PER |
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41 |
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138 |
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Colour constancy is a perceptual mechanism that seeks to keep the colour of objects relatively stable under an illumination shift. Experiments haveshown that its effects depend on the number of colours present in the scene. We
studied categorical colour changes under different adaptation states, in particular, whether the colour categories seen under a chromatically neutral illuminant are the same after a shift in the chromaticity of the illumination. To do this, we developed the chromatic setting paradigm (2011 Journal of Vision11 349), which is as an extension of achromatic setting to colour categories. The paradigm exploits the ability of subjects to reliably reproduce the most representative examples of each category, adjusting multiple test patches embedded in a coloured Mondrian. Our experiments were run on a CRT monitor (inside a dark room) under various simulated illuminants and restricting the number of colours of the Mondrian background to three, thus weakening the adaptation effect. Our results show a change in the colour categories present before (under neutral illumination) and after adaptation (under coloured illuminants) with a tendency for adapted colours to be less saturated than before adaptation. This behaviour was predicted by a simple
affine matrix model, adjusted to the chromatic setting results. |
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Admin @ si @ RPV2012 |
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2188 |
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Author |
Xavier Otazu; Maria Vanrell; C. Alejandro Parraga |
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Title |
Mutiresolution Wavelet Framework Reproduces Induction Effects |
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2007 |
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Perception 36:167–167, supp |
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CAT @ cat @ OVP2007 |
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842 |
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C. Alejandro Parraga; Robert Benavente; Maria Vanrell |
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Modeling Colour-Naming Space with Fuzzy Sets |
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2007 |
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Perception 36:198–198, supp |
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Xavier Otazu; Maria Vanrell; C. Alejandro Parraga |
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Colour induction effects are modelled by a low-level multiresolution wavelet framework |
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Perception 37(Suppl.): 107 |
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Xavier Otazu; Maria Vanrell |
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A surround-induction function to unify assimilation and contrast in a computational model of color apearance |
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2005 |
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Perception supplement, ECVP05 Abstracts, 34: 215 |
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C. Alejandro Parraga; Robert Benavente; Maria Vanrell |
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Towards a general model of colour categorization which considers context |
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2010 |
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Perception. ECVP Abstract Supplement |
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PER |
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39 |
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86 |
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In two previous experiments [Parraga et al, 2009 J. of Im. Sci. and Tech 53(3) 031106; Benavente et al,2009 Perception 38 ECVP Supplement, 36] the boundaries of basic colour categories were measured.
In the first experiment, samples were presented in isolation (ie on a dark background) and boundaries were measured using a yes/no paradigm. In the second, subjects adjusted the chromaticity of a sample presented on a random Mondrian background to find the boundary between pairs of adjacent colours.
Results from these experiments showed significant di erences but it was not possible to conclude whether this discrepancy was due to the absence/presence of a colourful background or to the di erences in the paradigms used. In this work, we settle this question by repeating the first experiment (ie samples presented on a dark background) using the second paradigm. A comparison of results shows that
although boundary locations are very similar, boundaries measured in context are significantly di erent(more di use) than those measured in isolation (confirmed by a Student’s t-test analysis on the subject’s answers statistical distributions). In addition, we completed the mapping of colour name space by measuring the boundaries between chromatic colours and the achromatic centre. With these results we
completed our parametric fuzzy-sets model of colour naming space. |
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1326 |
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Olivier Penacchio; C. Alejandro Parraga; Maria Vanrell |
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Title |
Natural Scene Statistics account for Human Cones Ratios |
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2010 |
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Perception. ECVP Abstract Supplement |
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PER |
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39 |
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101 |
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In two previous experiments [Parraga et al, 2009 J. of Im. Sci. and Tech 53(3) 031106; Benavente et al,2009 Perception 38 ECVP Supplement, 36] the boundaries of basic colour categories were measured.
In the first experiment, samples were presented in isolation (ie on a dark background) and boundaries were measured using a yes/no paradigm. In the second, subjects adjusted the chromaticity of a sample presented on a random Mondrian background to find the boundary between pairs of adjacent colours.
Results from these experiments showed significant di erences but it was not possible to conclude whether this discrepancy was due to the absence/presence of a colourful background or to the di erences in the paradigms used. In this work, we settle this question by repeating the first experiment (ie samples presented on a dark background) using the second paradigm. A comparison of results shows that
although boundary locations are very similar, boundaries measured in context are significantly di erent(more di use) than those measured in isolation (confirmed by a Student’s t-test analysis on the subject’s answers statistical distributions). In addition, we completed the mapping of colour name space by measuring the boundaries between chromatic colours and the achromatic centre. With these results we completed our parametric fuzzy-sets model of colour naming space. |
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Ramon Baldrich |
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Perceptual approach to a computational colour-texture representation for surface inspection. |
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2001 |
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Robert Benavente |
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A Parametric Model for Computational Colour Naming |
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2007 |
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PhD Thesis, Universitat Autonoma de Barcelona-CVC |
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Ediciones Graficas Rey |
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Maria Vanrell |
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Javier Vazquez |
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Title |
Colour Constancy in Natural Through Colour Naming and Sensor Sharpening |
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2011 |
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PhD Thesis, Universitat Autonoma de Barcelona-CVC |
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Colour is derived from three physical properties: incident light, object reflectance and sensor sensitivities. Incident light varies under natural conditions; hence, recovering scene illuminant is an important issue in computational colour. One way to deal with this problem under calibrated conditions is by following three steps, 1) building a narrow-band sensor basis to accomplish the diagonal model, 2) building a feasible set of illuminants, and 3) defining criteria to select the best illuminant. In this work we focus on colour constancy for natural images by introducing perceptual criteria in the first and third stages.
To deal with the illuminant selection step, we hypothesise that basic colour categories can be used as anchor categories to recover the best illuminant. These colour names are related to the way that the human visual system has evolved to encode relevant natural colour statistics. Therefore the recovered image provides the best representation of the scene labelled with the basic colour terms. We demonstrate with several experiments how this selection criterion achieves current state-of-art results in computational colour constancy. In addition to this result, we psychophysically prove that usual angular error used in colour constancy does not correlate with human preferences, and we propose a new perceptual colour constancy evaluation.
The implementation of this selection criterion strongly relies on the use of a diagonal
model for illuminant change. Consequently, the second contribution focuses on building an appropriate narrow-band sensor basis to represent natural images. We propose to use the spectral sharpening technique to compute a unique narrow-band basis optimised to represent a large set of natural reflectances under natural illuminants and given in the basis of human cones. The proposed sensors allow predicting unique hues and the World colour Survey data independently of the illuminant by using a compact singularity function. Additionally, we studied different families of sharp sensors to minimise different perceptual measures. This study brought us to extend the spherical sampling procedure from 3D to 6D.
Several research lines still remain open. One natural extension would be to measure the
effects of using the computed sharp sensors on the category hypothesis, while another might be to insert spatial contextual information to improve category hypothesis. Finally, much work still needs to be done to explore how individual sensors can be adjusted to the colours in a scene. |
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Maria Vanrell;Graham D. Finlayson |
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1785 |
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Jaime Moreno |
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Perceptual Criteria on Image Compresions |
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2011 |
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PhD Thesis, Universitat Autonoma de Barcelona-CVC |
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Nowadays, digital images are used in many areas in everyday life, but they tend to be big. This increases amount of information leads us to the problem of image data storage. For example, it is common to have a representation a color pixel as a 24-bit number, where the channels red, green, and blue employ 8 bits each. In consequence, this kind of color pixel can specify one of 224 ¼ 16:78 million colors. Therefore, an image at a resolution of 512 £ 512 that allocates 24 bits per pixel, occupies 786,432 bytes. That is why image compression is important. An important feature of image compression is that it can be lossy or lossless. A compressed image is acceptable provided these losses of image information are not perceived by the eye. It is possible to assume that a portion of this information is redundant. Lossless Image Compression is defined as to mathematically decode the same image which was encoded. In Lossy Image Compression needs to identify two features inside the image: the redundancy and the irrelevancy of information. Thus, lossy compression modifies the image data in such a way when they are encoded and decoded, the recovered image is similar enough to the original one. How similar is the recovered image in comparison to the original image is defined prior to the compression process, and it depends on the implementation to be performed. In lossy compression, current image compression schemes remove information considered irrelevant by using mathematical criteria. One of the problems of these schemes is that although the numerical quality of the compressed image is low, it shows a high visual image quality, e.g. it does not show a lot of visible artifacts. It is because these mathematical criteria, used to remove information, do not take into account if the viewed information is perceived by the Human Visual System. Therefore, the aim of an image compression scheme designed to obtain images that do not show artifacts although their numerical quality can be low, is to eliminate the information that is not visible by the Human Visual System. Hence, this Ph.D. thesis proposes to exploit the visual redundancy existing in an image by reducing those features that can be unperceivable for the Human Visual System. First, we define an image quality assessment, which is highly correlated with the psychophysical experiments performed by human observers. The proposed CwPSNR metrics weights the well-known PSNR by using a particular perceptual low level model of the Human Visual System, e.g. the Chromatic Induction Wavelet Model (CIWaM). Second, we propose an image compression algorithm (called Hi-SET), which exploits the high correlation and self-similarity of pixels in a given area or neighborhood by means of a fractal function. Hi-SET possesses the main features that modern image compressors have, that is, it is an embedded coder, which allows a progressive transmission. Third, we propose a perceptual quantizer (½SQ), which is a modification of the uniform scalar quantizer. The ½SQ is applied to a pixel set in a certain Wavelet sub-band, that is, a global quantization. Unlike this, the proposed modification allows to perform a local pixel-by-pixel forward and inverse quantization, introducing into this process a perceptual distortion which depends on the surround spatial information of the pixel. Combining ½SQ method with the Hi-SET image compressor, we define a perceptual image compressor, called ©SET. Finally, a coding method for Region of Interest areas is presented, ½GBbBShift, which perceptually weights pixels into these areas and maintains only the more important perceivable features in the rest of the image. Results presented in this report show that CwPSNR is the best-ranked image quality method when it is applied to the most common image compression distortions such as JPEG and JPEG2000. CwPSNR shows the best correlation with the judgement of human observers, which is based on the results of psychophysical experiments obtained for relevant image quality databases such as TID2008, LIVE, CSIQ and IVC. Furthermore, Hi-SET coder obtains better results both for compression ratios and perceptual image quality than the JPEG2000 coder and other coders that use a Hilbert Fractal for image compression. Hence, when the proposed perceptual quantization is introduced to Hi-SET coder, our compressor improves its numerical and perceptual e±ciency. When ½GBbBShift method applied to Hi-SET is compared against MaxShift method applied to the JPEG2000 standard and Hi-SET, the images coded by our ROI method get the best results when the overall image quality is estimated. Both the proposed perceptual quantization and the ½GBbBShift method are generalized algorithms that can be applied to other Wavelet based image compression algorithms such as JPEG2000, SPIHT or SPECK. |
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Ediciones Graficas Rey |
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Xavier Otazu |
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978-84-938351-3-2 |
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Admin @ si @ Mor2011 |
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1786 |
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Eduard Vazquez |
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Unsupervised image segmentation based on material reflectance description and saliency |
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2011 |
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PhD Thesis, Universitat Autonoma de Barcelona-CVC |
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Image segmentations aims to partition an image into a set of non-overlapped regions, called segments. Despite the simplicity of the definition, image segmentation raises as a very complex problem in all its stages. The definition of segment is still unclear. When asking to a human to perform a segmentation, this person segments at different levels of abstraction. Some segments might be a single, well-defined texture whereas some others correspond with an object in the scene which might including multiple textures and colors. For this reason, segmentation is divided in bottom-up segmentation and top-down segmentation. Bottom up-segmentation is problem independent, that is, focused on general properties of the images such as textures or illumination. Top-down segmentation is a problem-dependent approach which looks for specific entities in the scene, such as known objects. This work is focused on bottom-up segmentation. Beginning from the analysis of the lacks of current methods, we propose an approach called RAD. Our approach overcomes the main shortcomings of those methods which use the physics of the light to perform the segmentation. RAD is a topological approach which describes a single-material reflectance. Afterwards, we cope with one of the main problems in image segmentation: non supervised adaptability to image content. To yield a non-supervised method, we use a model of saliency yet presented in this thesis. It computes the saliency of the chromatic transitions of an image by means of a statistical analysis of the images derivatives. This method of saliency is used to build our final approach of segmentation: spRAD. This method is a non-supervised segmentation approach. Our saliency approach has been validated with a psychophysical experiment as well as computationally, overcoming a state-of-the-art saliency method. spRAD also outperforms state-of-the-art segmentation techniques as results obtained with a widely-used segmentation dataset show |
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Ramon Baldrich |
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Admin @ si @ Vaz2011b |
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1835 |
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