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Proceedings Article

The CIECAM02 color appearance model

TL;DR: This document describes the single set of revisions to the CIECAM97s model that make up theCIECAM02 color appearance model and provides an introduction to the model and a summary of its structure.
Abstract: The CIE Technical Committee 8-01, color appearance models for color management applications, has recently proposed a single set of revisions to the CIECAM97s color appearance model This new model, called CIECAM02, is based on CIECAM97s but includes many revisions1-4 and some simplifications A partial list of revisions includes a linear chromatic adaptation transform, a new non-linear response compression function and modifications to the calculations for the perceptual attribute correlates The format of this paper is an annotated description of the forward equations for the model Introduction The CIECAM02 color appearance model builds upon the basic structure and form of the CIECAM97s5,6 color appearance model This document describes the single set of revisions to the CIECAM97s model that make up the CIECAM02 color appearance model There were many, often conflicting, considerations such as compatibility with CIECAM97s, prediction performance, computational complexity, invertibility and other factors The format for this paper will differ from previous papers introducing a color appearance model Often a general description of the model is provided, then discussion about its performance and finally the forward and inverse equations are listed separately in an appendix Performance of the CIECAM02 model will be described elsewhere7 and for the purposes of brevity this paper will focus on the forward model Specifically, this paper will attempt to document the decisions that went into the design of CIECAM02 For a complete description of the forward and inverse equations, as well as usage guidelines, interested readers are urged to refer to the TC 8-01 web site8 or to the CIE for the latest draft or final copy of the technical report This paper is not intended to provide a definitive reference for implementing CIECAM02 but as an introduction to the model and a summary of its structure Data Sets The CIECAM02 model, like CIECAM97s, is based primarily on a set corresponding colors experiments and a collection of color appearance experiments The corresponding color data sets9,10 were used for the optimization of the chromatic adaptation transform and the D factor The LUTCHI color appearance data11,12 was the basis for optimization of the perceptual attribute correlates Other data sets and spaces were also considered The NCS system was a reference for the e and hue fitting The chroma scaling was also compared to the Munsell Book of Color Finally, the saturation equation was based heavily on recent experimental data13 Summary of Forward Model A color appearance model14,15 provides a viewing condition specific means for transforming tristimulus values to or from perceptual attribute correlates The two major pieces of this model are a chromatic adaptation transform and equations for computing correlates of perceptual attributes, such as brightness, lightness, chroma, saturation, colorfulness and hue The chromatic adaptation transform takes into account changes in the chromaticity of the adopted white point In addition, the luminance of the adopted white point can influence the degree to which an observer adapts to that white point The degree of adaptation or D factor is therefore another aspect of the chromatic adaptation transform Generally, between the chromatic adaptation transform and computing perceptual attributes correlates there is also a non-linear response compression The chromatic adaptation transform and D factor was derived based on experimental data from corresponding colors data sets The non-linear response compression was derived based on physiological data and other considerations The perceptual attribute correlates was derived by comparing predictions to magnitude estimation experiments, such as various phases of the LUTCHI data, and other data sets, such as the Munsell Book of Color Finally the entire structure of the model is generally constrained to be invertible in closed form and to take into account a sub-set of color appearance phenomena Viewing Condition Parameters It is convenient to begin by computing viewing condition dependent constants First the surround is selected and then values for F, c and Nc can be read from Table 1 For intermediate surrounds these values can be linearly interpolated2 Table 1 Viewing condition parameters for different surrounds Surround F c Nc Average 10 069 10 Dim 09 059 095 Dark 08 0525 08 The value of FL can be computed using equations 1 and 2, where LA is the luminance of the adapting field in cd/m2 Note that this two piece formula quickly goes to very small values for mesopic and scotopic levels and while it may resemble a cube-root function there are considerable differences between this two-piece function and a cube-root as the luminance of the adapting field gets very small ! k =1/ 5L A +1 ( ) (1) ! F L = 02k 4 5L A ( ) + 01 1" k4 ( ) 2 5L A ( ) 1/ 3 (2) The value n is a function of the luminance factor of the background and provides a very limited model of spatial color appearance The value of n ranges from 0 for a background luminance factor of zero to 1 for a background luminance factor equal to the luminance factor of the adopted white point The n value can then be used to compute Nbb, Ncb and z, which are then used during the computation of several of the perceptual attribute correlates These calculations can be performed once for a given viewing condition

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Citations
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Journal ArticleDOI
TL;DR: A survey of many recent developments and state-of-the-art methods in computational color constancy, including a taxonomy of existing algorithms, and methods are separated in three groups: static methods, gamut- based methods, and learning-based methods.
Abstract: Computational color constancy is a fundamental prerequisite for many computer vision applications. This paper presents a survey of many recent developments and state-of-the-art methods. Several criteria are proposed that are used to assess the approaches. A taxonomy of existing algorithms is proposed and methods are separated in three groups: static methods, gamut-based methods, and learning-based methods. Further, the experimental setup is discussed including an overview of publicly available datasets. Finally, various freely available methods, of which some are considered to be state of the art, are evaluated on two datasets.

537 citations


Cites methods from "The CIECAM02 color appearance model..."

  • ...Other possible chromatic adaptation methods include linearized Bradford [41] and CIECAT02 [42]....

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Proceedings ArticleDOI
17 Jun 2003
TL;DR: This paper tries to quantify the colourfulness in natural images to perceptually qualify the effect that processing or coding has on colour, and fit a metric to the results, and obtain a correlation of over 90% with the experimental data.
Abstract: We want to integrate colourfulness in an image quality evaluation framework. This quality framework is meant to evaluate the perceptual impact of a compression algorithm or an error prone communication channel on the quality of an image. The image might go through various enhancement or compression algorithms, resulting in a different -- but not necessarily worse -- image. In other words, we will measure quality but not fidelity to the original picture.While modern colour appearance models are able to predict the perception of colourfulness of simple patches on uniform backgrounds, there is no agreement on how to measure the overall colourfulness of a picture of a natural scene. We try to quantify the colourfulness in natural images to perceptually qualify the effect that processing or coding has on colour. We set up a psychophysical category scaling experiment, and ask people to rate images using 7 categories of colourfulness. We then fit a metric to the results, and obtain a correlation of over 90% with the experimental data. The metric is meant to be used real time on video streams. We ignored any issues related to hue in this paper.

511 citations


Cites background from "The CIECAM02 color appearance model..."

  • ...where each symbol is dened in Section 4. Our colourfulness metric is a linear combination of the mean and standard deviation of the pixel cloud in the colour plane of CIELab. The ^ M ( 1 ) metric seems more natural,...

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  • ...where z is a column vector containing all the z-scores zjg, X is a matrix used to make (2) equivalent to ( 1 ) and y is the unknown....

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  • ...The fundamental assumption underlying the scale computation is that tg sj = zjg: ( 1 )...

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Book
21 Nov 2005
TL;DR: This landmark book is the first to describe HDRI technology in its entirety and covers a wide-range of topics, from capture devices to tone reproduction and image-based lighting, leading to an unparalleled visual experience.
Abstract: This landmark book is the first to describe HDRI technology in its entirety and covers a wide-range of topics, from capture devices to tone reproduction and image-based lighting. The techniques described enable you to produce images that have a dynamic range much closer to that found in the real world, leading to an unparalleled visual experience. As both an introduction to the field and an authoritative technical reference, it is essential to anyone working with images, whether in computer graphics, film, video, photography, or lighting design. New material includes chapters on High Dynamic Range Video Encoding, High Dynamic Range Image Encoding, and High Dynammic Range Display Devices Written by the inventors and initial implementors of High Dynamic Range Imaging Covers the basic concepts (including just enough about human vision to explain why HDR images are necessary), image capture, image encoding, file formats, display techniques, tone mapping for lower dynamic range display, and the use of HDR images and calculations in 3D rendering Range and depth of coverage is good for the knowledgeable researcher as well as those who are just starting to learn about High Dynamic Range imaging Table of Contents Introduction; Light and Color; HDR Image Encodings; HDR Video Encodings; HDR Image and Video Capture; Display Devices; The Human Visual System and HDR Tone Mapping; Spatial Tone Reproduction; Frequency Domain and Gradient Domain Tone Reproduction; Inverse Tone Reproduction; Visible Difference Predictors; Image-Based Lighting.

417 citations

Journal ArticleDOI
01 Aug 2008
TL;DR: This work proposes a tone mapping operator that can minimize visible contrast distortions for a range of output devices, ranging from e-paper to HDR displays, and shows that the problem can be solved very efficiently by employing higher order image statistics and quadratic programming.
Abstract: We propose a tone mapping operator that can minimize visible contrast distortions for a range of output devices, ranging from e-paper to HDR displays. The operator weights contrast distortions according to their visibility predicted by the model of the human visual system. The distortions are minimized given a display model that enforces constraints on the solution. We show that the problem can be solved very efficiently by employing higher order image statistics and quadratic programming. Our tone mapping technique can adjust image or video content for optimum contrast visibility taking into account ambient illumination and display characteristics. We discuss the differences between our method and previous approaches to the tone mapping problem.

410 citations


Cites methods from "The CIECAM02 color appearance model..."

  • ...Although color appearance is a complex phenomenon, it can be predicted by computational models, such as CIECAM02 [Moroney et al. 2002] or iCAM [Kuang et al....

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Journal ArticleDOI
TL;DR: The result is a fast and practical algorithm for general use with intuitive user parameters that control intensity, contrast, and level of chromatic adaptation, respectively.
Abstract: A common task in computer graphics is the mapping of digital high dynamic range images to low dynamic range display devices such as monitors and printers. This task is similar to the adaptation processes which occur in the human visual system. Physiological evidence suggests that adaptation already occurs in the photoreceptors, leading to a straightforward model that can be easily adapted for tone reproduction. The result is a fast and practical algorithm for general use with intuitive user parameters that control intensity, contrast, and level of chromatic adaptation, respectively.

401 citations


Cites background from "The CIECAM02 color appearance model..."

  • ...While sigmoidal mapping functions are employed by others to describe aspects of vision [25], [30] and were later used in the field of tone reproduction [12], [34], [37] and color appearance modeling [28], [38], [39], we believe that its successful use in engineering applications strongly depends on the appropriate selection of tuning parameters....

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  • ...These features that are also present in most color appearance models [27], [28] go toward correction for the mismatch between the display environment and the lighting conditions under which the image was captured....

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References
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TL;DR: The components comprising the CIE 1997 Colour Appearance Model, CIECAM97s, are described, and the steps needed to implement it in both forward and reverse modes are listed as mentioned in this paper.
Abstract: The components comprising the CIE 1997 Colour Appearance Model, CIECAM97s, are described, and the steps needed to implement it in both forward and reverse modes are listed. A worked example is also given. © 1998 John Wiley & Sons, Inc. Col Res Appl, 23, 138–146, 1998

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Journal ArticleDOI
TL;DR: The aim of this project is to develop a colour appearance model capable of predicting changes of colour appearance under various different viewing conditions that will provide industry with a quantitative measure for assessing the quality of colour reproduction and enable more rapid and accurate proofing simulations in the graphic art industry.
Abstract: The work described here forms part of a research project entitled Predictive Perceptual Colour Models. The aim of this project is to develop a colour appearance model capable of predicting changes of colour appearance under various different viewing conditions. This will provide industry with a quantitative measure for assessing the quality of colour reproduction and enable more rapid and accurate proofing simulations in the graphic art industry. A large-scale experiment has been carried out in which colour appearance was assessed under a wide range of viewing conditions. The parameters studied were (1) D65, D50, white fluorescent, and tungsten light sources, (2) luminance levels of about 40 and 240 cd/m2, (3) five background conditions: white, grey, black, grey with white border, and grey with black border, and (4) two media: luminous colours (displayed on a high-resolution colour monitor) and nonluminous colours (presented in a viewing cabinet). Each colour was assessed by a panel of six or seven observers using a magnitude estimation method. In total, 43,332 estimations were made, and these form the LUTCHI Colour Appearance Data. Data analysis has been carried out to examine the reliability of the experimental results and to understand the effects of the various viewing parameters studied. (Part II of this article describes how the LUTCHI Colour Appearance Data has been used to test the performance of various colour spaces and models.

169 citations