Jurgen Stauder

• PhD
• CEO at Minimum SARL

Efficient hardware implementations routinely approximate mathematical functions with look-up tables, while keeping the error of the approximation under control. For a certain class of commonly occurring 1D functions, namely monotonically increasing or decreasing functions, we found that it is possible to approximate such functions by repeated appli...

The movie and broadcast industries are gaining experience with high-dynamic-range (HDR) video technologies and are starting to produce HDR content at scale. This is accompanied by a learning process, particularly involving questions regarding the use of the extra dynamic range afforded by these technologies. To create further insight into the aspec...

Consumer electronics industry is today at the beginning of a long transition period from video content produced in extended but still limited color gamut such as DCI P3 to next-generation content produced in full BT.2020 color gamut. For content with extended color gamut, usually color gamut compression methods are needed that convert the content i...

The objective of colour mapping or colour transfer methods is to recolour a given image or video by deriving a mapping between that image and another image serving as a reference. These methods have received considerable attention in recent years, both in academic literature and industrial applications. Methods for recolouring images have often app...

According to this method, successive iterations are launched according to the following steps:—1) the reproduction color device is set according to settings,—2) reference input colors are calibrated putting calibrated input colors,—4) reproduction quality rating value are calculated,—5) a reproduction quality criterion is applied to decide or not t...

In order to preserve the discontinuities of an actual gamut surface and/or the discontinuities of its curvature, notably through a smoothing operation, in this method, when at least a vertex of any elementary polygon, the network of which represents an actual gamut boundary, belongs either to a line or a point of discontinuity of this actual gamut...

To describe the actual color gamut, a hierarchical structure is proposed which comprises, from bottom to top: Gamut Components: each GC is a surface, generally described as a set of connected elementary triangles or polygons. Gamut Hulls: each GH is a closed surface formed by the concatenation of connex Gamut Components. Gamut Instances: each GI i...

In accordance with an exemplary embodiment, a method is provided to generate a color look up table for multiple images. The method includes selecting color points from a first image. The first color points comprise weak image texture. The method also includes identifying feature points in a spatial neighborhood of each first color point. Additional...

Color mapping or color transfer methods aim to recolor a given image or video by deriving a mapping between that image and another image serving as a reference. This class of methods has received considerable attention in recent years, both in academic literature and in industrial applications. Methods for recoloring images have often appeared unde...

A method, apparatus and system for assessing color characterization quality includes a characterization unit configured for determining at least one of a forward and inverse transform from a first set of device dependent input color values and measured output display values of the first set of device dependent input color values on the display and...

Method of mapping source colors from a source color device having an actual source gamut that is represented by a source convex (gamut boundary descriptor) and a source non-convex into target colors for a target color device having an actual target gamut that is represented by a target convex and a target non-convex, comprising, 1—if the source co...

We propose a color mapping method that compensates color differences between images having a common semantic content such as multiple views of a scene taken from different viewpoints. A so-called color mapping model is usually estimated from color correspondences selected from those images. In this work, we introduce a color mapping that model colo...

Before the transmission of the source color values of the images of each group Gk of images of this sequence, a partial color transform LUT related to this group Gk is generated, then transmitted, —and, a resultant color transform LUT related to said group Gk is reconstructed by combining the transmitted partial color transform look up table of thi...

This article addresses the problem of finding corresponding colors between multiple views of a same scene in order to compensate color differences by color mapping. Both, the dense and the sparse feature matching are studied in the literature to achieve those corresponding colors. However both methods suffer from spatial precision and occlusion. Mo...

— A simple additivity model is often used as a basic model for digital-display characterization. However, such a simple model cannot satisfy the needs of demanding color-management applications all the time. On the other hand, systematic sampling of the color space and 3-D interpolation is an expensive method in terms of measurement and computation...

Recent display technologies (LCD backlight, OLED) allow watching images with more contrast and more saturated colors than even digital cinema. Unfortunately, today's video content and broadcast cannot convey such colors due to the currently used colorimetry standard (ITU-R.BT 709). Solutions exist for more contrast and wider color gamut, but they a...

Color difference between views of a stereo pair is a challenging problem. Applications such as compression of stereo image demands the compensation of color differences which is typically done by methods called color mapping. Color mapping is based on feature correspondences. From these feature correspondences, color correspondences are generated w...

The variability among human observers is a challenge to the calibration of modern displays based on Light Emitting Diodes (LED) and lasers. The spectra of the displayed colors are so peaky that slight differences in the cone sensitivities in human color vision are sufficient to make two observers perceiving different colors on the same screen. Rece...

The variability among color-normal observers poses a challenge to modern display colorimetry because of their peaky primaries. But such devices also hold the key to a future solution to this issue. In this paper, we present a method for deriving seven distinct colorimetric observer categories, and also a method for classifying individual observers...

One of the basic tenets of conventional applied colorimetry is that the whole population of color normal observers can be represented by a single “standard” observer with reasonable accuracy. The 1964 CIE standard colorimetric observer has indeed served us well in all industrial color imaging applications, until recently. With the proliferation of...

Various recent studies have shown that observer variability can be a significant issue in modern display colorimetry, since narrow-band primaries are often used to achieve wider color gamuts. As far as industrial applications are concerned, past works on various aspects of observer variability and metamerism have mostly focused on cross-media color...

Various recent studies have shown that variations in observers' color vision characteristics can be a significant issue in modern display colorimetry, since peaky color primaries (commonly red, green and blue) are often used to achieve more vivid and saturated colors. This paper presents an overview of this problem in the context of media and enter...

Historical frontiers between different content types (motion picture, games, television) and distribution channels (cinema, broadcast, pull services, physical media) are vanishing today. In motion picture production, several products are generated for a single motion picture project, among those the argentic and the digital cinema masters, a DVD ma...

CIE 2006 model presents a convenient framework for calculating the cone fundamentals, and thus the color matching functions, for various ages of an average observer. CIE 2006 model incorporates three major physiological factors affecting observer variability, namely optical densities for the ocular media absorption, macular pigment absorption, and...

This paper compares CIE 2006 model predictions and the 1964 10° standard colorimetric observer with the average observer data from three distinct subgroups of 47 Stiles-Burch observers formed on the basis of observer ages. For two of these subgroups, the long-wave sensitive (x-) color matching functions obtained from the CIE06 model did not accurat...

A simple additivity model is often used as a basic model for digital‐display characterization. However, such a simple model cannot satisfy the needs of demanding color‐management applications all the time. On the other hand, systematic sampling of the color space and 3‐D interpolation is an expensive method in terms of measurement and computation t...

New technologies in capturing and displaying wide gamut images and new standards for wide gamut colour encoding enable a new market of wide-gamut content creation (video, images, games, electronic documents). One obstacle for adopting wide gamut content in motion picture creation is the compatibility of wide gamut content to the employed displays....

This paper provides an overview of an effort toward standardizing color correction metadata for interchange between different color correction systems. This effort is underway within the American Society of Cinematographers (ASC) and is known as the Color Decision List (CDL), or ASC CDL. The ASC CDL aims at becoming the carrier of color decisions t...

In cinematographic post-production, the traditional analogue film workflow co-exists today with the Digital Intermediates (DI) workflow. In DI, the film timing operations are replaced by digital colour correction. During colour correction high quality CRT displays and digital projection replaces the film, however, final results in colour and dynami...

In cinematographic post production, digital processing of images - called Digital Intermediates (DI) - replaces more and more the traditional film workflow. Digital post production requires the preview of Dis with a reproduction of colors, dynamics and resolution comparable to the final film projection. This paper addresses the colorimetric reprodu...

First Page of the Article

(level 2b) instantiated objective e.g. the Rockies, (level 3): abstract, emotional, e.g. important. In first generation image retrieval tools, e.g. QBIC, Photobook, Blobworld, and professional multimedia asset management tools, e.g. iBase, iPhoto, PictureIt, the problem is bridging the semantic gap between visual features (level 1) and objective im...

The recent proliferation of digital images captured by digital cameras and, as a result, the users' needs for automatic annotation tools to index huge multimedia databases arouse a renewed interest in face detection and recognition technologies. After a brief state-of-the-art, the paper details a model-based face detection algorithm for color image...

This paper presents an object detection framework applied to cinematographic post-processing of video sequences. Post-processing is done after production and before editing. At the beginning of each shot of a video, a slate (also called clapperboard) is shown. The slate contains notably an electronic audio timecode that is necessary for audio-visua...

In this paper we propose a photo browsing system that uses image classification results in an error tolerant manner. Images are hierarchically classified into indoor/outdoor and further into city/landscape. We employ simple classifiers based on global color histogram, wavelet subband energies and contour directions having medium recall rates around...

The paper discusses the integration of augmented reality techniques into interactive television (ITV) and presents a new method for ensuring photometric realism. ITV services known today are email and World Wide Web (WWW) access. This article focuses on a future option for interactive television: the integration of games and virtual 3D scenes. For...

In the context of indexing of video data bases, the future standard MPEG-7 will provide descriptors for motion, shape, texture, and color to identify video scenes. In this paper, an illumination effect descriptor is presented that has been proposed to MPEG-7. Effects caused by scene illumination can be a useful feature for video indexing. The propo...

In this paper, the performance of parameter estimation of a single static distant point light source from two video images is analyzed in terms of estimation theory. The illumination parameters are the intensity and direction of the light source. In the first part of this paper, estimators from the literature are reviewed. Most recent estimators ev...

In this report, an simple and new estimator is developed for the tilt angle of the rotationaxis of a rigid object that is illuminated by a point light source. The tilt angle defines the orientation of the 2D projection of the 3D object unit rotation axis in the image plane. The angle is one of the 6 degrees of freedom of 3D rigid motion. It is anal...

This paper presents a method for detection and tracking of moving cast shadows on a dominating scene background in a monocular video sequence. The method assumes moving shadows on a dominant smooth shaped background. The shadow causing light sources are assumed to be strong enough to cause visible temporal frame differences by moving cast shadows....

In this paper, a non-complex estimator is developed for the tilt angle of the rotation axis of an object that is illuminated by a point light source. The tilt angle defines the orientation of the 2D projection of the 3D object rotation axis in the image plane and is a strong clue for image understanding. The estimator evaluates two images of a vide...

In this paper, the performance of point light source parameter estimation from two video images is analyzed in terms of estimation theory. The illumination parameters are the intensity and direction of a single distant point light source in presence of ambient light. Known illumination estimation methods evaluate temporal changing shading on the su...

In applications of augmented reality like virtual studio TV production, multisite video conference applications using a virtual meeting room and synthetic/natural hybrid coding according to the new ISO/MPEG-4 standard, a synthetic scene is mixed into a natural scene to generate a synthetic/natural hybrid image sequence. For realism, the illuminatio...

The estimation of the 2D shape of moving objects in a video image sequence is required for many applications, e.g. for so-called content-based functionalities of ISO/MPEG-4, for object-based coding, and for automatic surveillance. Many real sequences are taken by a moving camera and show moving objects as well as their cast shadows. In this paper,...

To prevent moving shadows being misclassified as moving objects or parts of moving objects, this paper presents an explicit method for detection of moving cast shadows on a dominating scene background. Those shadows are generated by objects moving between a light source and the background. Moving cast shadows cause a frame difference between two su...

This paper proposes a motion-based video sequence indexing method for scenes with non-uniform illumination, i.e. object shading and cast shadows may be present. The motion feature used for indexing is the 3D object rotation axis projected into the image plane that is defined by a tilt angle. As previous work shows, the tilt angle can be easily esti...

The estimation of the 2D shape of moving objects in a video image sequence is required for many applications, e.g. for so- called content-based functionalities of ISO/MPEG-4, for object-based coding, and for automatic surveillance. Many real sequences are taken by a moving camera and show moving objects as well as their cast shadows. In this paper,...

For virtual studio TV production, multi-site videoconference applications using a virtual meeting room and for synthetic/natural hybrid coding according to the forthcoming ISO/MPEG-4 standard, a synthetic and a natural scene are mixed to generate a synthetic/natural hybrid image sequence. For realism, the illumination in both scenes should be ident...

In this paper, a new algorithm for detec- tion of synthesis errors due do object shading under directed illumination for object-based analysis-syn - thesis coding (OBASC) is presented. The idea of OB- ASC is to transmit luminances and chr ominances only in image regions of model failure. In these regions, synthesis errors are visible between a real...

In this paper, the source model of moving rigid 3D objects of an object-based analysis-synthesis coder (OBASC) is extended from diffuse to non-diffuse illumination introducing the explicit illumination model of a distant point light source and ambient diffuse light. For each image of a real image sequence containing moving objects, first, shape and...

A new detection method for model failures in an Object--based Analysis--synthesis Coding (OBASC) scheme is proposed. It allows synthesis errors due to highlights assuming that presence, absence or shape of a highlight is subjectively irrelevant to an observer. Highlights are detected by identification of object and illumination colour using the dic...

Nonuniform irradiance is estimated from a monocular image sequence. Image analysis uses the source model "3D rigid object with 3D motion and local illumination" allowing for 3D motion and nonuniform colour. The irradiance is modelled by a reflection map. First experimental results of estimating and compensating nonuniform irradiance using a synthes...

In video telephone scenes to be transmitted at low data rates, non--diffuse illumination has to be expected. Therefore, in this work the scene illumination is automatically estimated from a monocular image sequence in addition to shape and motion of moving objects. Image analysis uses the source model "moving rigid 3D objects with nonuniform local...

In video telephone scenes to be transmitted at low data rates non–diffuse scene illumination has to be expected. In this contribution, non–diffuse scene illumination and 3D object motion is estimated concurrently from a monocular image sequence. Image analysis uses the source model "3D rigid moving objects with non–diffuse illumination". The illumi...

For virtual studio TV production, multi-site video conference applications using a virtual meeting room and for synthetic/natural hybrid coding according to the forthcoming ISO/MPEG-4 standard, a synthetic and a natural scene are mixed to generate a synthetic/natural hybrid image sequence. For realism, the illumination in both scenes should be iden...

This paper proposes a motion-based video sequence indexing method for scenes with non-uniform illumination, i.e. object shading and cast shadows may be present. The motion feature used for indexing is the 3D object rotation axis projected into the image plane that is defined by a tilt angle. As previous work shows, the tilt angle can be easily esti...

In OBASC based on the source model "moving textured rigid 3D objects with non–diffuse illumina-tion" the shape of model objects describing real objects is estimated from the silhouettes of the real objects assuming an ellipsoid–like shape. In this paper, the image analysis is extended by a global shape estimation method evaluating directly the imag...

This paper addresses the automatic analysis of visual content and extraction of metadata beyond pure visual descriptors. Two approaches are described: Automatic Image Annotation (AIA) and Confidence Clustering (CC). AIA attempts to automatically classify images based on two binary classifiers and is designed for the consumer electronics domain. Con...