Field-Sequential Color (FSC) displays have been discussed for a long time. Its main concept is to remove a color filter so
that we may increase the light transmittance of an LCD panel. However, FSC displays have a major problem: color
break-up (CBU). Moreover, it is difficult to quantify the CBU in saccadic eye movements, because the phenomenon
occurs as quickly as a flash in saccadic eye movements, and there are individual variations for perceiving the CBU.
Some previous studies have presented assessments of saccadic CBU, but not indicated the detection and allowance
thresholds of the target size in horizontal saccadic eye movements. Then, we conducted psychophysical experiments
based on an FSC display driving with sub-frame frequency of 240Hz-1440Hz (each frame consist of red, green, and blue
sub-frames). We employed a simple stimulus for our experiment, a static white bar with variable width. We tasked ten
subjects a fixed saccade length of 58.4 visual degrees in horizontal eye movements, and a fixed target luminance of
15.25cd/m2. We examined PEST method to find detection and allowance thresholds of white bar width for saccadic
CBU. This paper provides correlations between target sizes and sub-frame frequencies of an FSC display device, and
proposes an easy evaluation method of perceiving saccadic CBU on FSC displays.
Contrast in image processing is typically scaled using a power function (gamma) where its exponent specifies the amount
of the physical contrast change. While the exponent is normally constant for the whole image, we observe that such scaling
leads to perceptual nonuniformity in the context of high dynamic range (HDR) images. This effect is mostly due to lower
contrast sensitivity of the human eyes for the low luminance levels. Such levels can be reproduced by an HDR display
while they can not be reproduced by standard display technology. We conduct two perceptual experiments on a complex
image: contrast scaling and contrast discrimination threshold, and we derive a model which relates changes of physical
and perceived contrasts at different luminance levels. We use the model to adjust the exponent value such that we obtain
better perceptual uniformity of global and local contrast scaling in complex images.
KEYWORDS: High dynamic range imaging, Time multiplexed optical shutter, Linear filtering, Visualization, Mahalanobis distance, Photography, Visual process modeling, Statistical analysis, Image compression, Image processing
A number of successful tone mapping operators for contrast compression have been proposed due to the need to visualize high dynamic range (HDR) images on low dynamic range (LDR) devices. They were inspired by fields as diverse as image processing, photographic practice, and modeling of the human visual systems (HVS). The variety of approaches calls for a systematic perceptual evaluation of their performance. We conduct a psychophysical experiment based on a direct comparison between the appearance of real-world scenes and HDR images of these scenes displayed on an LDR monitor. In our experiment, HDR images are tone mapped by seven existing tone mapping operators. The primary interest of this psychophysical experiment is to assess the differences in how tone mapped images are perceived by human observers and to find out which attributes of image appearance account for these differences when tone mapped images are compared directly with their corresponding real-world scenes rather than with each other. The human subjects rate image naturalness, overall contrast, overall brightness, and detail reproduction in dark and bright image regions with respect to the corresponding real-world scene. The results indicate substantial differences in the perception of images produced by individual tone mapping operators. We observe a clear distinction between global and local operators—in favor of the latter—and we classify the tone mapping operators according to naturalness and appearance attributes.
KEYWORDS: High dynamic range imaging, Visualization, Mahalanobis distance, Visual process modeling, Linear filtering, Photography, Image compression, Statistical analysis, Image processing, Visual system
A number of successful tone mapping operators for contrast compression
have been proposed due to the need to visualize high dynamic range
(HDR) images on low dynamic range devices. They were inspired by
fields as diverse as image processing, photographic practice, and
modeling of the human visual systems (HVS). The variety of approaches
calls for a systematic perceptual evaluation of their performance. We conduct a psychophysical experiment based on a direct comparison between the appearance of real-world scenes and HDR images of these scenes displayed on a low dynamic range monitor. In our experiment, HDR images are tone mapped by seven existing tone mapping operators. The primary interest of this psychophysical experiment is to assess the differences in how tone mapped images are perceived by human observers and to find out which attributes of image appearance account for these differences when tone mapped images are compared directly with their corresponding real-world scenes rather than
with each other. The human subjects rate image naturalness, overall contrast, overall brightness, and detail reproduction in dark
and bright image regions with respect to the corresponding real-world
scene. The results indicate substantial differences in perception of images produced by individual tone mapping operators. We observe a clear distinction between global and local operators in favor of the latter, and we classify the tone mapping operators according to naturalness and appearance attributes.
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