Advanced High Dynamic Range Imaging Theory and Practice 1st Edition Francesco Banterle Newest Edition 2025
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Advanced High Dynamic Range Imaging Theory and
Practice 1st Edition Francesco Banterle Digital Instant
Download
Author(s): Francesco Banterle, Alessandro Artusi, Kurt Debattista, Alan
Chalmers
ISBN(s): 9781568817194, 1568817193
Edition: 1
File Details: PDF, 10.01 MB
Year: 2011
Language: english
Advanced High Dynamic Range Imaging                                                              Foreword by   Francesco Banterle
Francesco Banterle • Alessandro Artusi
                                                                                             Holly Rushmeier    Alessandro Artusi
Kurt Debattista • Alan Chalmers
Foreword by Holly Rushmeier                                                                                       Kurt Debattista
High dynamic range (HDR) imaging is the term given to the capture, storage, manipu-                                Alan Chalmers
lation, transmission, and display of images that more accurately represent the wide
range of real-world lighting levels. With the advent of a true HDR video system and its
20 year history of creating static images, HDR is finally ready to enter the “mainstream”
of imaging technology. This book provides a comprehensive practical guide to facilitate
the widespread adoption of HDR technology. By examining the key problems associ-
ated with HDR imaging and providing detailed methods to overcome these problems,
the authors hope readers will be inspired to adopt HDR as their preferred approach for
imaging the real world. Key HDR algorithms are provided as MATLAB code as part of
the HDR Toolbox.
                                                                                                     Advanced
“This book provides a practical introduction to the emerging new discipline of high
dynamic range imaging that combines photography and computer graphics. . . By
providing detailed equations and code, the book gives the reader the tools needed
                         Download MATLAB
                                                                                                       Imaging
                         source code for the book at
                         www.advancedhdrbook.com
         Advanced
High Dynamic Range
           Imaging
This page intentionally left blank
         Advanced
High Dynamic Range
           Imaging
       Theory and Practice
       Francesco Banterle
        Alessandro Artusi
          Kurt Debattista
           Alan Chalmers
                     A K Peters, Ltd.
               Natick, Massachusetts
CRC Press
Taylor & Francis Group
6000 Broken Sound Parkway NW, Suite 300
Boca Raton, FL 33487-2742
© 2011 by Taylor & Francis Group, LLC
CRC Press is an imprint of Taylor & Francis Group, an Informa business
This book contains information obtained from authentic and highly regarded sources. Reason-
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                     To my parents. —FB
1   Introduction                                                                           1
    1.1 Light, Human Vision, and Color Spaces . . . . . . . . . .                          4
2   HDR Pipeline                                                                           11
    2.1 HDR Content Generation . . . . . . . . . . . . . . . . . .                         12
    2.2 HDR Content Storing . . . . . . . . . . . . . . . . . . . .                        22
    2.3 Visualization of HDR Content . . . . . . . . . . . . . . . .                       26
3   Tone Mapping                                                                           33
    3.1 TMO MATLAB Framework . . . . . . . . .            .   .   .   .   .   .   .   .    36
    3.2 Global Operators . . . . . . . . . . . . . . .    .   .   .   .   .   .   .   .    38
    3.3 Local Operators . . . . . . . . . . . . . . . .   .   .   .   .   .   .   .   .    61
    3.4 Frequency-Based Operators . . . . . . . . .       .   .   .   .   .   .   .   .    75
    3.5 Segmentation Operators . . . . . . . . . . .      .   .   .   .   .   .   .   .    86
    3.6 New Trends to the Tone Mapping Problem            .   .   .   .   .   .   .   .   103
    3.7 Summary . . . . . . . . . . . . . . . . . . .     .   .   .   .   .   .   .   .   112
                                     vii
viii                                                                                 CONTENTS
6      Evaluation                                                                            175
       6.1 Psychophysical Experiments . . . . . . . . . . . . . . . . .                      175
       6.2 Error Metric . . . . . . . . . . . . . . . . . . . . . . . . .                    187
       6.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . .                     190
Bibliography 239
Index                                                                                        258
                                                      Foreword
We perceive the world through the scattering of light from objects to our
eyes. Imaging techniques seek to simulate the array of light that reaches our
eyes to provide the illusion of sensing scenes directly. Both photography
and computer graphics deal with the generation of images. Both disciplines
have to cope with the high dynamic range in the energy of visible light that
human eyes can sense. Traditionally photography and computer graphics
took different approaches to the high dynamic range problem. Work over
the last ten years, though, has unified these disciplines and created powerful
new tools for the creation of complex, compelling, and realistic images.
This book provides a practical introduction to the emerging new discipline
of high dynamic range imaging that combines photography and computer
graphics.
    Historically, traditional wet photography managed the recording of high
dynamic range imagery through careful design of camera optics and the
material layers that form film. The ingenious processes that were invented
enabled the recording of images that appeared identical to real-life scenes.
Further, traditional photography facilitated artistic adjustments by the
photographer in the darkroom during the development process. However,
the complex relationship between the light incident on the film and the
chemistry of the material layers that form the image made wet photogra-
phy unsuitable for light measurement.
    The early days of computer graphics also used ingenious methods to
work around two physical constraints—inadequate computational capabil-
ities for simulating light transport and display devices with limited dynamic
range. To address the limited computational capabilities, simple heuristics
such as Phong reflectance were developed to mimic the final appearance
of objects. By designing heuristics appropriately, images were computed
that always fit the narrow display range. It wasn’t until the early 1980s
                                     ix
x                                                                    Foreword
that computational capability had increased to the point that full lighting
simulations were possible, at least on simple scenes.
    I had my own first experience with the yet-unnamed field of high dy-
namic range imaging in the mid-1980s. I was studying one particular ap-
proach to lighting simulation—radiosity. I was part of a team that designed
experiments to demonstrate that the lengthy computation required for full
lighting simulation gave results superior to results using simple heuristics.
Naively, several of us thought that simply photographing our simulated
image from a computer screen and comparing it to a photograph of a real
scene would be a simple way to demonstrate that our simulated image was
more accurate. Our simple scene, now known as the Cornell box, was just
an empty cube with one blue wall, one red wall, a white wall, a floor and
ceiling, and a flat light source that was flush with the cube ceiling. We
quickly encountered the complexity of film processing. For example, the
very red light from our tungsten light source, when reflected from a white
surface, looked red on film—if we used the same film to image our com-
puter screen and the real box. Gary Meyer, a senior member of the team
who was writing his dissertation on color in computer graphics, patiently
explained to us how complicated the path was from incident light to the
recorded photographic image.
    Since we could not compare images with photography, and we had no
digital cameras at the time, we could only measure light directly with a
photometer that measured light over a broad range of wavelengths and in-
cident angles. Since this gave only a crude evaluation of the accuracy of
the lighting simulation, we turned to the idea of having people view the
simulated image on the computer screen and the real scene directly through
view cameras to eliminate obvious three-dimensional cues. However, here
we encountered the dynamic range problem since viewing the light source
directly impaired the perception of the real scene and simulated scene to-
gether. Our expectation was that the two would look the same, but color
constancy in human vision wreaked havoc with simultaneously displaying
a bright red tungsten source and the simulated image with the light source
clipped to monitor white. Our solution at that time for the comparison
was to simply block the direct view of the light source in both scenes. We
successfully showed that in images with limited dynamic range, our simu-
lations were more accurate when compared to a real scene than previous
heuristics, but we left the high dynamic range problem hanging.
    Through the 1980s and 1990s lighting simulations increased in efficiency
and sophistication. Release of physically accurate global illumination soft-
ware such as Greg Ward’s Radiance made such simulations widely acces-
sible. For a while users were satisfied to scale and clip computed values
in somewhat arbitrary ways to map the high dynamic range of computed
imagery to the low dynamic range cathode ray tube devices in use at the
Foreword                                                                  xi
time. Jack Tumblin, an engineer who had been working on the problem of
presenting high dynamic range images in flight simulators, ran across the
work in computer graphics lighting simulation and assumed that a princi-
pled way to map physical lighting values to a display had been developed
in computer graphics. Finding out that in fact there was no such principled
approach, he began mining past work in photography and television that
accounted for human perception in the design of image capture and display
systems, developing the first tone mapping algorithms in computer graph-
ics. Through the late 1990s the research community began to study alter-
native tone mapping algorithms and to consider their usefulness in increas-
ing the efficiency of global illumination calculations for image synthesis.
    At the same time, in the 1980s and 1990s the technology for the elec-
tronic recording of digital images steadily decreased in price and increased
in ease of use. Researchers in computer vision and computer graphics, such
as Paul Debevec and Jitendra Malik at Berkeley, began to experiment with
taking series of digital images at varying exposures and combining them
into true high dynamic range images with accurate recordings of the inci-
dent light. The capability to compute and capture true light levels opened
up great possibilities for unifying computer graphics and computer vision.
Compositing real images with synthesized images having consistent lighting
effects was just one application. Examples of other processes that became
possible were techniques to capture real lighting and materials with digital
photography that could then be used in synthetic images.
    With new applications made possible by unifying techniques from digi-
tal photography and accurate lighting simulation came many new problems
to solve and possibilities to explore. Tone mapping was found not to be
a simple problem with just one optimum solution but a whole family of
problems. There are different possible goals: images that give the viewer
the same visual impression as viewing the physical scene, images that are
pleasing, or images that maximize the visibility of detail. There are many
different contexts, such as dynamic scenes and low-light conditions. There
is a great deal of low dynamic range imagery that has been captured and
generated in the past; how can this be expanded to be used in the same
context as high dynamic range imagery? What compression techniques can
be employed to deal with the increased data generated by high dynamic
range imaging systems? How can we best evaluate the fidelity of displayed
images?
    This book provides a comprehensive guide to this exciting new area. By
providing detailed equations and code, the book gives the reader the tools
needed to experiment with new techniques for creating compelling images.
                                                        —Holly Rushmeier
                                                          Yale University
This page intentionally left blank
                                                           Preface
The human visual system (HVS) is remarkable. Through the process of eye
adaptation, our eyes are able to cope with the wide range of lighting in the
real world. In this way we are able to see enough to get around on a starlit
night and can clearly distinguish color and detail on a bright sunny day.
Even before the first permanent photograph in 1826 by Joseph Nicéphore
Niépce, camera manufacturers and photographers have been striving to
capture the same detail a human eye can see. Although a color photograph
was achieved as early as 1861 by James Maxwell and Thomas Sutton [130],
and an electronic video camera tube was invented in the 1920s, the ability
to simultaneously capture the full range of lighting that the eye can see
at any level of adaptation continues to be a major challenge. The latest
step towards achieving this “holy grail” of imaging was in 2009 when a
video camera capable of capturing 20 f-stops (1920 × 1080 resolution) at
30 frames a second was shown at the annual ACM SIGGRAPH conference
by the German high-precision camera manufacturer Spheron VR and the
International Digital Laboratory at the University of Warwick, UK.
    High dynamic range (HDR) imaging is the term given to the capture,
storage, manipulation, transmission, and display of images that more ac-
curately represent the wide range of real-world lighting levels. With the
advent of a true HDR video system, and from the experience of more
than 20 years of static HDR imagery, HDR is finally ready to enter the
“mainstream” of imaging technology. The aim of this book is to provide
a comprehensive practical guide to facilitate the widespread adoption of
HDR technology. By examining the key problems associated with HDR
imaging and providing detailed methods to overcome these problems, to-
gether with supporting Matlab code, we hope readers will be inspired to
adopt HDR as their preferred approach for imaging the real world.
                                    xiii
xiv                                                                   Preface
    Advanced High Dynamic Range Imaging covers all aspects of HDR imag-
ing from capture to display, including an evaluation of just how closely the
results of HDR processes are able to recreate the real world. The book
is divided into seven chapters. Chapter 1 introduces the basic concepts.
This includes details on the way a human eye sees the world and how this
may be represented on a computer. Chapter 2 sets the scene for HDR
imaging by describing the HDR pipeline and all that is necessary to cap-
ture real-world lighting and then subsequently display it. Chapters 3 and 4
investigate the relationship between HDR and low dynamic range (LDR)
content and displays. The numerous tone mapping techniques that have
been proposed over more than 20 years are described in detail in Chap-
ter 3. These techniques tackle the problem of displaying HDR content in
a desirable manner on LDR displays. In Chapter 4, expansion operators,
generally referred to as inverse (or reverse) tone mappers (iTMOs), are
considered part of the opposite problem: how to expand LDR content for
display on HDR devices. A major application of HDR technology, image
based lighting (IBL), is considered in Chapter 5. This computer graphics
approach enables real and virtual objects to be relit by HDR lighting that
has been previously captured. So, for example, the CAD model of a car
may be lit by lighting previously captured in China to allow a car designer
to consider how a particular paint scheme may appear in that country.
Correctly applied IBL can thus allow such hypothesis testing without the
need to take a physical car to China. Another example could be actors
being lit accurately as if they were in places they have never been. Many
tone mapping and expansion operators have been proposed over the years.
Several of these attempt to create as accurate a representation of the real
world as possible within the constraints of the LDR display or content.
Chapter 6 discusses methods that have been proposed to evaluate just how
successful tone mappers have been in displaying HDR content on LDR de-
vices and how successful expansion methods have been in generating HDR
images from legacy LDR content. Capturing real-world lighting generates
a large amount of data. The HDR video camera shown at SIGGRAPH
requires 24 MB per frame, which equates to almost 42 GB for a minute
of footage (compared with just 9 GB for a minute of LDR video). The fi-
nal chapter of Advanced High Dynamic Range Imaging examines the issues
of compressing HDR imagery to enable it to be manageable for storage,
transmission, and manipulation and thus practical on existing systems.
Introduction to MATLAB
Matlab is a powerful numerical computing environment. Created in the
late 1970s and subsequently commercialized by The MathWorks, Matlab
is now widely used across both academia and industry. The interactive
Preface                                                                        xv
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