High Dynamic Range (HDR) image acquisition from a single image capture, also known as snapshot HDR imaging, is challenging because the bit depths of camera sensors are far from sufficient to cover the full dynamic range of the scene. Existing HDR techniques focus either on algorithmic reconstruction or hardware modification to extend the dynamic range. In this thesis, we propose a joint design for snapshot HDR imaging by devising a spatially varying modulation mask in the hardware combined with a deep learning algorithm to reconstruct the HDR image. In this approach, we achieve a reconfigurable HDR camera design that does not require custom sensors, and instead can be reconfigured between HDR and conventional mode with very simple calibration steps. We demonstrate that the proposed hardware-software solution offers a flexible, yet robust, way to modulate per-pixel exposures, and the network requires little knowledge of the hardware to faithfully reconstruct the HDR image. Comparative analysis demonstrated that our method outperforms the state-of-the-art in terms of visual perception quality. We leverage transfer learning to overcome the lack of sufficiently large HDR datasets available. We show how transferring from a different large scale task (image classification on ImageNet) leads to considerable improvements in HDR reconstruction

The recent advances in sensor and display technologies have brought upon the High Dynamic Range (HDR) imaging capability. The modern multiple exposure HDR sensors can achieve the dynamic range of 100-120 dB and LED and OLED display devices have contrast ratios of 10^5:1 to 10^6:1. Despite the above advances in technology the image/video compression algorithms and associated hardware are yet based on Standard Dynamic Range (SDR) technology, i.e. they operate within an effective dynamic range of up to 70 dB for 8 bit gamma corrected images. Further the existing infrastructure for content distribution is also designed for SDR, which creates interoperability problems with true HDR capture and display equipment. The current solutions for the above problem include tone mapping the HDR content to fit SDR. However this approach leads to image quality associated problems, when strong dynamic range compression is applied. Even though some HDR-only solutions have been proposed in literature, they are not interoperable with current SDR infrastructure and are thus typically used in closed systems. Given the above observations a research gap was identified in the need for efficient algorithms for the compression of still images and video, which are capable of storing full dynamic range and colour gamut of HDR images and at the same time backward compatible with existing SDR infrastructure. To improve the usability of SDR content it is vital that any such algorithms should accommodate different tone mapping operators, including those that are spatially non-uniform. In the course of the research presented in this thesis a novel two layer CODEC architecture is introduced for both HDR image and video coding. Further a universal and computationally efficient approximation of the tone mapping operator is developed and presented. It is shown that the use of perceptually uniform colourspaces for internal representation of pixel data enables improved compression efficiency of the algorithms. Further proposed novel approaches to the compression of metadata for the tone mapping operator is shown to improve compression performance for low bitrate video content. Multiple compression algorithms are designed, implemented and compared and quality-complexity trade-offs are identified. Finally practical aspects of implementing the developed algorithms are explored by automating the design space exploration flow and integrating the high level systems design framework with domain specific tools for synthesis and simulation of multiprocessor systems. The directions for further work are also presented.

We present a novel technique for capturing spatially or temporally resolved light probe sequences, and using them for image based lighting. For this purpose we have designed and built a real-time light probe, a catadioptric imaging system that can capture the full dynamic range of the lighting incident at each point in space at video frame rates, while being moved through a scene. The real-time light probe uses a digital imaging system which we have programmed to capture high quality, photometrically accurate color images of 512×512 pixels with a dynamic range of 10000000:1 at 25 frames per second. By tracking the position and orientation of the light probe, it is possible to transform each light probe into a common frame of reference in world coordinates, and map each point and direction in space along the path of motion to a particular frame and pixel in the light probe sequence. We demonstrate our technique by rendering synthetic objects illuminated by complex real world lighting, first by using traditional image based lighting methods and temporally varying light probe illumination, and second an extension to handle spatially varying lighting conditions across large objects and object motion along an extended path.

This work presents a survey and a user evaluation of tone mapping operators (TMOs) for high dynamic range (HDR) video, i.e. TMOs that explicitly include a temporal model for processing of variations in the input HDR images in the time domain. The main motivations behind this work is that: robust tone mapping is one of the key aspects of HDR imaging [Reinhard et al. 2006]; recent developments in sensor and computing technologies have now made it possible to capture HDR-video, e.g. [Unger and Gustavson 2007; Tocci et al. 2011]; and, as shown by our survey, tone mapping for HDR video poses a set of completely new challenges compared to tone mapping for still HDR images. Furthermore, video tone mapping, though less studied, is highly important for a multitude of applications including gaming, cameras in mobile devices, adaptive display devices and movie post-processing. Our survey is meant to summarize the state-of-the-art in video tonemapping and, as exemplified in Figure 1 (right), analyze differences in their response to temporal variations. In contrast to other studies, we evaluate TMOs performance according to their actual intent, such as producing the image that best resembles the real world scene, that subjectively looks best to the viewer, or fulfills a certain artistic requirement. The unique strength of this work is that we use real high quality HDR video sequences, see Figure 1 (left), as opposed to synthetic images or footage generated from still HDR images. / VPS

In this thesis, I present an approach to a pipeline for time lapse photography using conventional digital images converted to HDR (High Dynamic Range) images (rather than conventional digital or film exposures). Using this method, it is possible to capture a greater level of detail and a different look than one would get from a conventional time lapse image sequence. With HDR images properly tone-mapped for display on standard devices, information in shadows and hot spots is not lost, and certain details are enhanced.

This thesis presents a web-based approach to lighting three-dimensional geometry in a virtual scene. The use of High Dynamic Range (HDR) images for the lighting model makes it possible to convey a greater sense of photorealism than can be provided with a conventional computer generated three-point lighting setup. The use of QuickTime ™ Object Virtual Reality to display the three-dimensional geometry offers a sophisticated user experience and a convenient method for viewing virtual objects over the web. With this work, I generate original High Dynamic Range images for the purpose of image-based lighting and use the QuickTime ™ Object Virtual Reality framework to creatively alter the paradigm of object VR for use in object lighting. The result is two scenarios: one that allows for the virtual manipulation of an object within a lit scene, and another with the virtual manipulation of light around a static object. Future work might include the animation of High Dynamic Range image-based lighting, with emphasis on such features as depth of field and glare generation.

No / In recent years inverse tone mapping techniques have been proposed for enhancing low-dynamic range (LDR) content for a high-dynamic range (HDR) experience on HDR displays, and for image based lighting. In this paper, we present a psychophysical study to evaluate the performance of inverse (reverse) tone mapping algorithms. Some of these techniques are computationally expensive because they need to resolve quantization problems that can occur when expanding an LDR image. Even if they can be implemented efficiently on hardware, the computational cost can still be high. An alternative is to utilize less complex operators; although these may suffer in terms of accuracy. Our study investigates, firstly, if a high level of complexity is needed for inverse tone mapping and, secondly, if a correlation exists between image content and quality. Two main applications have been considered: visualization on an HDR monitor and image-based lighting.

Ces dernières années, les contenus vidéos ont évolué très rapidement. En effet, les télévisions (TV) ont rapidement évolué vers l’Ultra Haute résolution (UHD), la Haute Fréquence d’images (HFR) ou la stéréoscopie (3D). La tendance actuelle est à l’imagerie à Haute Dynamique de luminance (HDR). Ces technologies permettent de reproduire des images beaucoup plus lumineuses que celles des écrans actuels. Chacune de ces améliorations représente une augmentation du coût de stockage et nécessite la création de nouveaux standards de compression vidéo, toujours plus performant. La majorité des consommateurs est actuellement équipé de TV ayant une Dynamique Standard (SDR) qui ne supportent pas les contenus HDR et ils vont lentement renouveler leurs écrans pour un HDR. Il est donc important de délivrer un signal HDR qui puisse être décodé par ces deux types d’écrans. Cette rétro compatibilité est rendue possible par un outil appelé TMO (Tone Mapping Operator) qui transforme un contenu HDR en une version SDR. Au travers de cette thèse, nous explorons de nouvelles méthodes pour améliorer la compression HDR rétro compatible. Premièrement, nous concevons un TMO qui optimise les performances d’un schéma de compression scalable où une couche de base et d’amélioration sont envoyées pour reconstruire les contenus HDR et SDR. Il est démontré que le TMO optimal dépend seulement de la couche SDR de base et que le problème de minimisation peut être séparé en deux étapes consécutives. Pour ces raisons, nous proposons ensuite un autre TMO conçu pour optimiser les performances d’un schéma de compression utilisant uniquement une couche de base mais avec un modèle amélioré et plus précis. Ces deux travaux optimisent des TMO pour images fixes. Par la suite, la thèse se concentre sur l’optimisation de TMO spécifiques à la vidéo. Cependant, on y démontre que l’utilisation d’une prédiction pondérée pour la compression SDR est aussi bon voir meilleur que d’utiliser un TMO optimisé temporellement. Pour ces raisons, un nouvel algorithme et de nouveaux modes de prédictions pondérées sont proposés pour gérer plus efficacement la large diversité des changements lumineux dans les séquences vidéos. / In recent years, video content evolved very quickly. Indeed, televisions (TV) quickly evolved to Ultra High Definition (UHD), High Frame Rate (HFR) or stereoscopy (3D). The recent trend is towards High Dynamic range (HDR). These new technologies allow the reproduction of much brighter images than for actual displays. Each of these improvements represents an increase in storage cost and therefore requires the creation of new video compression standards, always more efficient. The majority of consumers are currently equipped with Standard Dynamic Range (SDR) displays, that cannot handle HDR content. Consumers will slowly renew their display to an HDR one and it is therefore of great importance to deliver an HDR signal that can be decoded by both SDR and HDR displays. Such backward compatibility is provided by a tool called Tone Mapping Operator (TMO) which transforms an HDR content into an SDR version. In this thesis, we explore new methods to improve the backward compatible HDR compression. First, we design a Tone Mapping to optimize scalable compression scheme performances where a base and an enhancement layer are sent to reconstruct the SDR and HDR content. It is demonstrated that the optimum TMO only depends on the SDR base layer and that the minimization problem can be separated in two consecutive minimization steps. Based on these observations, we then propose another TMO designed to optimize the performances of compression schemes using only a base layer but with an enhanced and more precise model. Both of these works optimize TMO for still images. Thereafter, this thesis focuses on the optimization of video-specific TMO. However, we demonstrate that using a weighted prediction for the SDR compression is as good or even better than using a temporally optimized TMO. Therefore, we proposed a new weighted prediction algorithm and new weighted prediction modes to handle more efficiently the large diversity of brightness variations in video sequences.

Ces dernières années, les technologies d’écran se sont considérablement améliorées. Par exemple, le contraste des écrans à plage dynamique élevée (HDR) dépasse de loin la capacité d’un écran conventionnel. De plus, un écran à gamut de couleur étendu (WCG) peut couvrir un espace colorimétrique plus grand que jamais. L'évaluation de la qualité de ces nouveaux contenus est devenue un domaine de recherche actif, les métriques de qualité SDR classiques n'étant pas adaptées. Cependant, les études les plus récentes négligent souvent une caractéristique importante: les chrominances. En effet, les bases de données existantes contiennent des images HDR avec un gamut de couleur standard, négligeant ainsi l’augmentation de l’espace colorimétrique due au WCG et les artefacts chromatiques. La plupart des mesures de qualité HDR objectives non plus ne prennent pas en compte ces artefacts. Pour surmonter cette problématique, dans cette thèse, nous proposons deux nouvelles bases de données HDR/WCG annotés avec des scores subjectifs présentant des artefacts chromatique réaliste. En utilisant ces bases de données, nous explorons trois solutions pour créer des métriques HDR/WCG: l'adaptation des métrics de qualité SDR, l’extension colorimétrique d’une métrique HDR connue appelée HDR-VDP-2 et, enfin, la fusion de diverses métriques de qualité et de features colorimétriques. Cette dernière métrique présente de très bonnes performances pour prédire la qualité tout en étant sensible aux distorsions chromatiques. / To improve their ability to display astonishing images, screen technologies have been greatly evolving. For example, the contrast of high dynamic range rendering systems far exceed the capacity of a conventional display. Moreover, a Wide Color gamut display can cover a bigger color space than ever. Assessing the quality of these new content has become an active field of research as classical SDR quality metrics are not adapted. However, state-of-the-art studies often neglect one important image characteristics: chrominances. Indeed, previous databases contain HDR images with a standard gamut thus neglecting the increase of color space due to WCG. Due to their gamut, these databases are less prone to contain chromatic artifacts than WCG content. Moreover, most existing HDR objective quality metrics only consider luminance and are not considering chromatic artifacts. To overcome this problematic, in this thesis, we have created two HDR / WCG databases with annotated subjective scores. We focus on the creation of a realistic chromatic artifacts that can arise during compression. In addition, using these databases, we explore three solutions to create HDR / WCG metrics. First, we propose a method to adapt SDR metrics to HDR / WCG content. Then, we proposed an extension of a well-known HDR metric called HDR-VDP-2. Finally, we create a new metric based on the merger of various quality metric and color features. This last metric presents very good performance to predict quality while being sensitive to chromatic distortion.

Image based lighting, (IBL), is a computer graphics technique for creating photorealistic renderings of synthetic objects such that they can be placed into real world scenes. IBL has been widely recognized and is today used in commercial production pipelines. However, the current techniques only use illumination captured at a single point in space. This means that traditional IBL cannot capture or recreate effects such as cast shadows, shafts of light or other important spatial variations in the illumination. Such lighting effects are, in many cases, artistically created or are there to emphasize certain features, and are therefore a very important part of the visual appearance of a scene. This thesis and the included papers present methods that extend IBL to allow for capture and rendering with spatially varying illumination. This is accomplished by measuring the light field incident onto a region in space, called an Incident Light Field, (ILF), and using it as illumination in renderings. This requires the illumination to be captured at a large number of points in space instead of just one. The complexity of the capture methods and rendering algorithms are then significantly increased. The technique for measuring spatially varying illumination in real scenes is based on capture of High Dynamic Range, (HDR), image sequences. For efficient measurement, the image capture is performed at video frame rates. The captured illumination information in the image sequences is processed such that it can be used in computer graphics rendering. By extracting high intensity regions from the captured data and representing them separately, this thesis also describes a technique for increasing rendering efficiency and methods for editing the captured illumination, for example artificially moving or turning on and of individual light sources.