Beatrice Sarti

University of Milan | UNIMI · Department of Computer Science

Spatial color algorithms (SCAs) are algorithms grounded in the retinex theory of color sensation that, mimicking the human visual system, perform image enhancement based on the spatial arrangement of the scene. Despite their established role in image enhancement, their potential as dequantizers has never been investigated. Here, we aim to assess th...

The cyan, magenta and yellow dyes in a series of four chromogenic motion picture films, dating from the late 20th and early 21st centuries, were characterized based on the use of Sequentially-Shifted Excitation (SSE™) Raman spectroscopy and/or (according to the amount of sample available) chromatographic techniques such as thin-layer chromatography...

Since the wide diffusion of LEDs, the Colour Rendering Index (CRI) has revealed its limitations. Even though for many years, new methods have been developed to measure and assess colour rendering, today an agreed and commonly shared method to assess light sources rendering is still not available. In this work, we propose the SDCRI (Spectral Diverge...

This paper presents a novel web platform designed to investigate the relationship between sounds, colors, and emotions, with the overarching goal of enhancing the sensory experience of impaired individuals in visual art museums. Taking advantage of the principles of sensory substitution, the project aims to bridge the gap between auditory and visua...

The state of the art of current methods of film restoration (photographic and cinematographic) suggest the use of digital technologies to retrieve and restore faded and damaged original frames. In this context, the use of suitable mathematical and computational models can support the restorer in reconstructing the original state of the film and pro...

To determine the best investigations for restoration and storage procedures, a visual inspection can provide a preliminary screen for the colour processes used to print the photographs. The high costs of the instruments required to follow the protocols present in the literature make these methodologies challenging to reproduce, especially for insti...

Even today, film restoration (both photographic and cinematographic) is a challenge, because it involves multidisciplinary competences: from analogue film inspection and conservation to digitisation and image enhancement. In this context, thanks to the high manageability of digital files, the film restoration workflow often follows a digitisation s...

Among the great variety of our Cultural Heritage, photographic and cinematographic materials are fundamental and direct witnesses of the past. As often happens when dealing with materials of cultural interest, even photographic and cinematographic films can undergo severe deterioration, aging, and color fading throughout the time, leading to the ne...

Throughout history, thousands of different kinds of film formats, emulsions and colour systems have been used, to reproduce natural colours and as mean of expression for specific characters and scenes. In recent years, the advent of digital mediums has improved post-production technology and the film restoration process. Moreover, the support migra...

Today, color reproduction techniques are among the most studied and fascinating topic in cinema studies and film restoration. In this study, we propose the use of a tool called movie barcode in order to represent the chromatic variation of a whole film in a single image. The movie barcode is a graph where all the colors used in each film frame are...

The identification and restoration of photographic and cinematographic films are often needed as they can undergo severe deterioration, aging, and color fading. Moreover, films also have to keep up with quick technological changes. In this context, knowing the material that composes the film is fundamental to restore the chromatic characteristics t...