cic25 preliminary program

Twenty-fifth Color and ImagingConference

September 11-15, 2017Lillehammer, Norway

#CIC25

Color Science and Engineering Systems, Technologies, andApplications

Sponsored by Society for Imaging Science and Technology

PRELIMINARY

PROGRA

M

CIC25

imaging.org

Early Registration Deadline: August 13, 2017www.imaging.org/color

Collocated with 19th International Symposium onMultispectral Colour Science

Table of Contents

Cooperating Societies

September 11 – 15, 2017 • Lillehammer, Norway

General ChairMichael J. MurdochRochester Institute ofTechnology (USA)

Technical Program ChairsNicolas BonnierApple Inc. (USA)Marius PedersenNorwegian University ofScience and Technology(Norway)

Short Course ChairsJeremie GerhardtIRYStec Software Inc.(Canada)Peter MorovicHP Inc. (Spain)

Workshop ChairsRafael HuertasUniversidad de Granada(Spain)Maria Vanrell-MartorellUniversitat Autònoma deBarcelona (Spain)

Interactive Paper ChairsKristyn FalkensternDigimarc Corporation (USA)Tamara SeyboldARRI (Germany)

JIST-first/CIC Guest EditorSusan FarnandRochester Institute ofTechnology (USA)Jang-Jin YooLG Display Co., Ltd. (Republicof Korea)

CIC Steering CommitteeNicolas BonnierApple Inc. (USA)Graham FinlaysonUniversity of East Anglia (UK)Suzanne GrinnanIS&T (USA)Michael J. MurdochRochester Institute ofTechnology (USA)Marius PedersenNorwegian University ofScience and Technology(Norway)Philipp UrbanFraunhofer Institute forComputer Graphics ResearchIGD (Germany)

Program Committee

©2017 Society for Imaging Science and Technology (IS&T). Cover image credit: Ian Brodie via Visit Lillehammer AS. Other photos: Suzanne Grinnan.

Conference At-a-Glance . . . . . . . . . . 1

Venue Information . . . . . . . . . . . . . . 2

CIC25 Conference Program . . . . . . . 3

Short Course Program . . . . . . . . . . 10

Short Courses At-a-Glance . . . . . . . 13

CIC25 Workshops . . . . . . . . . . . . . 22

Hotel and Travel Info . . . . . . . . . . . 27

Conference Registration . . . . . . . . . 28

SponsorsThe Colour Group (Great Britain)HP Inc.Image Engineering GmbHResearch Council of Norway

IS&T Sustaining Corporate MembersAdobe Systems Inc.HP Inc.Qualcomm Technologies, Inc.Samsung Electronics Company Ltd.Xerox Corporation

• Comité del Color• European Optical Society (EOS)• The Finnish Color Association• Forum Farge• The French Color Imaging Group• German Society for Color Science and Application

(DfwG)• GI Fachbereich Graphische Datenverarbeitung• Gruppo del Colore-Associazione Italiana Colore

• IOP Printing and Graphics Science Group• Imaging Society of Japan (ISJ)• Inter-Society Color Council (ISCC)• NOBIM (Norwegian Association for Image Processing

and Pattern Recognition)• Swedish Colour Centre Foundation• The Colour Group (Great Britain)• The Royal Photographic Society of Great

Britain/Imaging Science Group

CIC25: Twenty-fifth Color and Imaging Conference — #CIC25

1

Conference At-a-Glance

The view of Lake Mjøsa and the city of Lillehammeras seen from the Olympic ski jump lift.

Monday, September 11Scandic Lillehammer HotelRegistration open8:00 – 9:00 and 16:45 – 17:45

• Color, Vision, and Basic Colorimetry ShortCourse (separate registration feerequired), see page 10; Lunch provided

Tuesday, September 12Scandic Lillehammer HotelRegistration open 7:00 – 16:00• Short Course Program (separate registra-tion fee required), see page 11; Lunchprovided

• Welcome Reception at Lillehammer ArtMuseum

Wednesday, September 13Maihaugan MuseumRegistration open 8:00 – 16:00• Opening Keynote: “ComputationalPhotography and the Rise of MobileImaging,” Paul Hubel (Apple Inc.), seepage 3

• Exhibition• Group Lunch (provided)• Technical Sessions• Color Dimensions• You Be the Judge• Color Matters• Out of the Shadows• Beyond The Rainbow

• CIC25 Special Evening Program

Thursday, September 14Maihaugan MuseumRegistration open 8:30 – 16:30• Keynote: “Twenty-five Years of ColourConstancy,” Anya Hurlbert (NewcastleUniversity), see page 5

• IS&T Honors and Awards Presentations• Exhibition• Group Lunch (provided)• Technical Sessions• Colorful in Balance• Do You See What I See?• Interactive Paper Previews I• Subtractive Additions• Interactive Paper Previews II

• Interactive Paper Session• Conference Banquet at 1847Brenneriet Restaurant

Friday, September 15Maihaugan MuseumRegistration open 7:30 – 13:00• Color & Imaging Workshops, see page 22• Medical Applications: ImageProcessing Challenges andPerspectives

• Visual Perception and EmergingTechnologies in Cinema: Perspectivesfrom Academia and the Industry

• Cultural Heritage Digitization:Challenges and Opportunities

• Group Lunch (provided)• Keynote: “True Colours: Explorations inArt, Design, and Research,” MalcolmInnes (Edinburgh Napier University), seepage 9

• Technical Sessions• Green with Envy• 19th International Symposium onMultispectral Colour Science (MCS)

• Best Paper Award Presentations

Settled since the Norwegian Iron Age (500-800 BC), Lillehammer sits at the northernhead of Lake Mjøsa and overlooks the riverLågen. The train ride from Oslo InternationalAirport takes you along the shores of thelovely lake, affording picturesque views ofthe countryside. Surrounded by mountains,Lillehammer is probably best known as thehost of the 1994 Winter Olympics.Lillehammer’s main street is a pedestrian-

only thoroughfare, filled with restaurants,bars, and stores. An emphasis on locavoreeating ensures delightful Norwegian treats.Known for its arts scene, Lillehammer boastsan art museum—site of the CIC25 WelcomeReception—and Fabrikken, a factory convert-ed to artists ateliers, among other sites. In ad-dition to its Olympic venues, Lillehammer is inclose proximity to many ski slopes andnational parks.The headquarters hotel for CIC25 and lo-

cation of the short courses is the well-appointed Scandic Lillehammer Hotel. Locat-ed up a steep incline from the city center, thehotel offers many amenities and cozy placesto meet colleagues.CIC25 technical sessions take place in

Maihaugen, Northern Europe’s largest open-

air museum, a 10-15 minute walk from thehotel.The average temperature in September is

6°C/43°F to 15°C/59°F. More information:https://en.lillehammer.com/.

Please note: We encourage all attendees tostay at the headquarter hotel (details, page 27).Those who choose to stay elsewhere will incur a$100 supplemental flat fee, no matter what theyare registering for (full program, short courseonly, one-day, etc.) or how long they are stay-ing. To avoid this fee, please select lodgings atthe Scandic Lillehammer Hotel.

Also please note that lunches are providedthis year as part of your registration fee.


2

The Garmo stave church at Maihaugen was built circa1150 on the site of a previous church believed to havebeen built in 1021 by a Viking chieftain. It was moved tothe museum in the 1920s.

Conference Venue: Lillehammer, Norway

The color-filled spa at the Scandic Lillehammer Hotel (above)is a new addition to the historic property. The architecturally-pleasing Lillehammer Art Museum (right) showcases localand national artists from the 1880s to the present, includ-ing works by Edvard Munch, Thorvald Erichsen, and JakobWeidemann: http://lillehammerartmuseum.com.


3

Monday September 11, 2017

8:30 – 17:45ONE-DAY SHORT COURSEScandic Lillehammer HotelColor, Vision, and Basic Colorimetry,Gaurav Sharma, University of Rochester, seepage 10 for details

Tuesday September 12, 2017

8:00 – 17:45SHORT COURSE PROGRAMScandic Lillehammer HotelFeaturing 14 classes, see page 11 for details

18:00 – 20:00WELCOME RECEPTIONLillehammer Art Museum

Wednesday September 13, 2017

NOTE: All Technical Sessions will take placeat Maihaugan Museum

9:00 – 10:00WELCOME AND OPENINGKEYNOTESponsored by HP Inc.Session Chair: Michael Murdoch, Rochester Instituteof Technology (USA)Computational Photography and the Rise ofMobile Imaging, Paul Hubel, Apple Inc. (USA)

10:00 – 10:40COLOR DIMENSIONSSession Chair: Andrew Stockman, UCL Institute ofOphthamology (UK)Multidimensional Estimation of SpectralSensitivities, Eric Walowit1, Holger Buhr2,and Dietmar Wueller2; 1consultant (USA) and2Image Engineering GmbH & Co. KG(Germany)

Color Formation in Virtual Reality 3D 360°Cameras, Veli-Tapani Peltoketo, Bartek Pawlik,Ossi Pirinen, and Petri Nenonen, NokiaTechnologies (Finland)

11:20 – 12:00YOU BE THE JUDGEwith support from IQ-MED: Image Qualityenhancement in MEDical diagnosis, monitor-ing and treatment project*Session Chair: Jae Young Park, Apple Inc. (USA)Smart Phone Image Quality Assessment ofDisplayed and Printed Images, GauravSheth, Katherine Carpenter, and SusanFarnand, Rochester Institute of Technology(USA)JIST-First Image Quality Metrics for the Eval-uation and Optimization of Capsule VideoEndoscopy Enhancement Techniques,Marius Pedersen, Olga Cherepkova, andAhmed Mohammed, Norwegian University ofScience and Technology (Norway)

12:00 – 13:30GROUP LUNCH (PROVIDED)

OPENING KEYNOTEComputational Photography and theRise of Mobile ImagingPaul Hubel, Apple Inc. (USA)

The past decade has seen a steep rise inthe popularity of mobile imaging drivenby convenience, connectivity, and everincreasing image quality. The extreme in-creases in mobile processing power andinnovative algorithms have allowed com-putational photography to push the imagequality of small cameras well beyondmuch larger systems. Some of the suc-cessful methods are discussed as well asa look into the future of mobile imaging.

Conference Program

*Funded by the Research Council of Norway – project number 247689


4

13:30 – 15:00COLOR MATTERSSession Chair: Jean-Baptiste Thomas, TheNorwegian Colour and Visual Computing Laboratory(Norway)with support from MUVApp — Measuring andUnderstanding Visual Appearance Project*nmmm = Colour and Appearance—A Multi-scale Approach: Nano-Micro-Meso-Macro(Focal), Patrick Callet, Centre Français de laCouleur (France)Appearance Reconstruction of FluorescentObjects for Different Materials and LightSource, Shoji Tominaga, Keiji Kato, KeitaHirai, and Takahiko Horiuchi, Chiba University(Japan)JIST-First PuRet: Material AppearanceEnhancement Considering Pupil and RetinaBehaviors, Midori Tanaka, Ryusuke Arai, andTakahiko Horiuchi, Chiba University (Japan)JIST-First Analysis of Material Representationof Manga Line Drawings Using Convolution-al Neural Networks, Takahiko Horiuchi, YumaSaito, and Keita Hirai, Chiba University(Japan)

15:30 – 16:50OUT OF THE SHADOWSSession Chair: Ming Ronnier Luo, University of Leeds(UK) and Zhejiang University (China)Evaluating LED Luminaires SupportingColour Critical Assessment, AndreasKraushaar, Fogra (Germany)A Curious Problem with Using the ColourChecker Dataset for Illuminant Estimation,Ghalia Hemrit and Graham Finlayson,University of East Anglia (UK); Peter Gehler,University of Tübingen (Germany); and ArjanGijsenij, University of Amsterdam (theNetherlands)A Psychophysical Analysis of IlluminantEstimation Algorithms, Roshanak Zakizadehand Graham Finlayson, University of EastAnglia (UK)JIST-First Video Magnification for BiomedicalDynamic Image Using the Separation ofChromophore Component, Munenori

Fukunishi, Kouki Kurita, and NorimichiTsumura, Chiba University (Japan)

16:50 – 17:30BEYOND THE RAINBOWSession Chair: Eric Walowit, consultant (USA)Two-Band Infrared Video-based Measure-ment for Non-Contact Pulse Wave Detectionon Face without Visible Lighting, MitsuhashiRyota1, Genki Okada1, Kouki Kurita1, KeiichiroKagawa2, Shoji Kawahito2, and NorimichiTsumura1; 1Chiba University and 2ShizuokaUniversity (Japan)Metamer Mismatch Volumes Using SphericalSampling, Michal Mackiewicz1, HansRivertz2, and Graham Finlayson1; 1University ofEast Anglia (UK) and 2Norwegian University ofScience and Technology (Norway)

20:00 – 21:30 PMCIC25 SPECIAL EVENINGPROGRAMGrab a drink at the bar and join colleagues tocelebrate 25 years of CIC through trivia andother fun.

WEDNESDAY FOCAL TALKnmmm = Colour and Appearance—AMultiscale Approach: Nano-Micro-Meso-Macro, Patrick Callet, CentreFrançais de la Couleur (France)

Among optical properties required forcharacterizing visual appearance in anylighting and viewing conditions, the mostfundamental ones play an important rolein predictive rendering. Spectroscopic el-lipsometry is useful to acquire the com-plex indices of refraction of any homoge-neous material. A multiscale approachusing fundamental optical properties thatare the components of the complex di-electric tensor of the material compoundsacquired separately is illustrated usingautomotive paints as an example.

*Funded by the Research Council of Norway – project number 250293

Thursday September 14, 2017

9:00 – 10:00THURSDAY KEYNOTE AND IS&TAWARDSSession Chair: Nicolas Bonnier, Apple Inc. (USA)with support from The Colour Group GreatBritainTwenty-five Years of Colour Constancy, AnyaHurlbert, Newcastle University (UK)

10:00 – 10:40COLOR IN THE BALANCESession Chair: Ján Morovic, HP Inc. (UK)CIC25 Best Paper Award A Study of NeutralWhite and Degree of Chromatic Adaptation,Qiyan Zhai1 and Ming Ronnier Luo1,2;1Zhejiang University (China) and 2LeedsUniversity (UK)Whiteness Boundary for Surface Colors,Yuzhao Wang1,2, Minchen Wei1, and MingRonnier Luo2,3; 1The Hong Kong PolytechnicUniversity (Hong Kong), 2Zhejiang University(China), and 3University of Leeds (UK)

11:20 – 12:20DO YOU SEE WHAT I SEE?Session Chair: Maria Ortiz-Segovia, Océ Print LogicTechnologies (France)A New Computational Model Predicts boththe Positive and the Negative ShortAfterimage Effects, Hadar Cohen-Duwek andHedva Spitzer, Tel Aviv University (Israel)JIST-First Testing SiChaRDa, a Novel ImageEnhancer for Color-Blind People: A Survey-App based Assessment, Cristian Bonanomi,Stefano Sarioli, Sergio Mascetti, GabrieleGianini, Valeria Alampi, Matteo Lanaro, andAlessandro Rizzi, Università degli Studi diMilano (Italy)Super Vision Model: What's Peking RobinSeeing?, Hiroaki Kotera, Kotera ImagingLaboratory (Japan)


13:50 – 14:20TWO-MINUTE INTERACTIVEPAPER PREVIEWS ISession Chairs: Kristyn Falkenstern, Digimarc Corpo-ration (USA), and Tamara Seybold, ARRI (Germany)Calculation of Scalars in Neugebauer-LikeModels. I: Refactoring the Calculations,J.A. Stephen Viggiano, Rochester Institute ofTechnology (USA)Replicating Dark Colours from an Old Mas-ter Painting Using Alternative Methods inInkjet Printing, Melissa Olen1, JosephPadfield2, and Carinna Parraman1; 1Universityof the West of England and 2The NationalGallery (UK)JIST-First N-LMMSE Demosaicing for SpectralFilter Arrays, Prakhar Amba1, Jean-BaptisteThomas2,3, and David Alleysson1; 1UniversiteGrenoble Alpes (France); 2The NorwegianColour and Visual Computing Laboratory(Norway); and 3Université de Bourgigne (France)Investigation for Novel Methodologies forMeasuring and Applying PersonalizedColour Profiles for Rendering Colour in


5

THURSDAY KEYNOTETwenty-five Years of Colour ConstancyAnya Hurlbert, Newcastle University (UK)

Twenty-five years ago, colour constancywas treated as a well-understood per-ceptual phenomenon that could beframed as the straightforward computa-tional problem of reflectance recovery.Empirical studies have since shown thatcolour constancy is neither straightfor-ward nor simple, and varies with the ob-ject, illumination, and task at hand. Thistalk reviews parallel developments in thecomputational and psychophysicalapproaches to colour constancy, andrelates these to new developments inlighting technology, which present newchallenges for colour stability.

Digital Media Displays, Peter Fornaro andSofia Georgakopoulou, University of Basel(Switzerland)Spectral Divergence for Cultural HeritageApplications, Alice Plutino1, Noel Richard1,Hilda Deborah2, and Christine Fernandez–Maloigne1; 1University of Poitiers (France) and2The Norwegian Colour and Visual Comput-ing Laboratory (Norway)Estimation of Surface Topography UsingCollimator and Telecentric Optical Systems,Masanori Maki1, Shinichi Inoue2, andNorimichi Tsumura1; 1Chiba University and2Mitsubishi Paper Mills Limited (Japan)Color Boundary Naming Comparisonbetween Young and Elderly, BoonchaiWaleetorncheepsawat, SukhothaiThammathirat Open University (Thailand)Colour Analysis of Fat Spreads, GerardDalen and Robert Jan Velden, Unilever R&D(the Netherlands)Noncontact Heart Rate Measurement UsingHigh Sensitivity Camera in Low Light Envi-ronment, Genki Okada1, Keiichiro Kagawa2,Shoji Kawahito2, and Norimichi Tsumura1;1Chiba University and 2Shizuoka University(Japan)Skin Color Simulation—Review and Analysisof Available MonteCarlo-based PhotonTransport Simulation Models, Jacob Bauer,Marius Pedersen, and Jon Hardeberg,Norwegian University of Science andTechnology (Norway) , and RudolfVerdaasdonk, VU University Medical CenterAmsterdam (the Netherlands)Blind Image Quality Assessment Designed

by Learning-based Attributes Selection,Christophe Charrier, Universite de CaenNormandie; Abdelhakim Saadane, Universitede Nantes; and Christine Fernandez-Maloigne, Universite de Poitiers (France)Spectral and Color Characterization of aQuantum Dots Display for Gonio-ApparentColors, Esther Perales1, Ivo van der Lans2, EricKirchner2, Joaquín Campos3, Francisco MiguelMartinez Verdu1, Khalil Hurabait1, andAlejandro Ferrero3; 1Universidad de Alicante(Spain), 2AkzoNobel Performance Coatings(the Netherlands), and 3Instituto de Óptica(Spain)Evaluation of Gradient Operators for Hyper-spectral Image Processing, Hilda Deborah1,Noel Richard2, Jon Hardeberg1, and ChristineFernandez–Maloigne2; 1Norwegian Universityof Science and Technology (Norway) and2University of Poitiers (France)Conflicting Colors: Film Scanning versus FilmProjection, Giorgio Trumpy, University ofZurich, and Rudolf Gschwind, University ofBasel (Switzerland)Multispectral Reconstruction from Single RGBImage based on Camera ResponseExpansion and Local Inverse DistanceWeighted Optimization, Xiaoxia Wan andJinxing Liang, Wuhan University (China)

14:20 – 15:40SUBTRACTIVE ADDITIONSSession Chair: Javier Vazquez-Corral, UniversitatPompeu Fabra (Spain)HANS Print Smoothness Optimization andContinuous Control, Ján Morovic, HP Inc.(UK) and Peter Morovic, HP Inc. (Spain)JIST-First Data Hiding by White Modulationin Color Direct Binary Search Halftones,Vlado Kitanovski1, Reiner Eschbach2, MariusPedersen1, and Jon Hardeberg1; 1NorwegianUniversity of Science and Technology, (Norway)and 2National University of Science andTechnology (Norway)/Monroe CommunityCollege (USA)Gamut Reduction Through Local SaturationReduction, Syed Waqas Zamir, Marcelo


6

Interested in exhibiting or sponsoring anevent at CIC? Exhibit space is limited; con-tact Donna Smith to learn more about ex-hibits and sponsorship opportunities [email protected].

EXHIBIT AT CIC25!

Bertalmío, and Javier Vazquez-Corral,Universitat Pompeu Fabra (Spain)HANS3D: A Multi-Material, Volumetric,Voxel-by-Voxel Content Processing Pipelinefor Color and Beyond, Peter Morovic, HP Inc.(Spain); Ján Morovic, HP Inc. (UK); andIngeborg Tastl, Melanie Gottwals, and GaryDispoto, HP Inc. (USA)

15:40 – 16:10TWO-MINUTE INTERACTIVEPAPER PREVIEWS IISession Chairs: Kristyn Falkenstern, Digimarc Corpo-ration, (USA) and Tamara Seybold, ARRI (Germany)JIST-First An Adaptive Combination of Darkand Bright Channels Priors for Sky andSnow Image Dehazing, Vincent Whannou deDravo1, Jessica El Khoury2, Jean-BaptisteThomas1, Alamin Mansouri, and JonHardeberg1; 1Norwegian University ofScience and Technology (Norway) andUniversité de Bourgogne, (France)Visibility and the Preferred Gamma in aTransparent OLED Display, Hyosun Kim,Young-Jun Seo, Byungchoon Yang, and HyeYong Chu, Samsung Display, and YoungshinKwak, UNIST (South Korea)Temporal Transition Enhances the Consonanceof Color Arrangements, Akira Asano andShinji Tatsumi, Kansai University; Chie MurakiAsano, Nagoya Women's University;Katsunori Okajima, Yokohama NationalUniversity; and Mikiko Kawasumi, MeijoUniversity (Japan)Combinational Color Constancy Method Us-ing Dynamic Weights, Shibudas KattakkalilSubhashdas, Ji-Hoon Yoo, Bong-Seok Choi,and Yeong-Ho Ha, Kyungpook NationalUniversity (South Korea)Spectral Predictions of Rough Ink LayersUsing a Four-Flux Model, Théo Phan VanSong1,2, Christine Andraud2, and Maria Ortiz-Segovia1; 1Océ Print Logic Technologies and2Centre de Recherche sur la Conservation desCollections (France)Effect of Area on Color Harmony in Simulat-ed Interiors, Seden Odabasioglu, Marmara

University, and Nilgün Olguntürk, BilkentUniversity (Turkey)A Uniform and Hue Linear Color Space forPerceptual Image Processing Including HDRand Wide Gamut Image Signals,Muhammad Safdar, COMSATS Intitute ofInformation Technology (Pakistan); Guihua Cui,Wenzhou University (China); Youn Kim,Huawei Technologies Co., Ltd. Shanghai(China), and Ming Ronnier Luo, ZhejiangUniversity (China)Device Independent Graininess Reproduction:Preliminary Study, Junki Yoshii, Yuto Hirasawa,and Norimichi Tsumura, Chiba University;Hiroshi Kintou, Nikon Inc.; and ShojiYamamoto, Tokyo Metropolitan College ofIndustrial Technology (Japan)System for Evaluating PathophysiologyUsing Facial Image, Futa Matsushita1, KaoruKiyomitsu1, Keiko Ogawa-Ochiai2, andNorimichi Tsumura1; 1Chiba University and2Kanazawa University Hospital (Japan)


7

CONFIRMED EXHIBITORS

Visit CIC25 Exhibitors on Wednesdayand Thursday.

Luminance, Reflectance, and Chromaticityfrom RAW Scene Capture, John McCann,McCann Imaging (USA)The Preferred Head Mounted Display (HMD)Luminance Levels under Two DifferentSurround Conditions, Hyeyoung Ha andYoungshin Kwak, Ulsan National Institute ofScience and Technology, and Hyosun Kim,Young-Jun Seo, and Won-Sang Park, SamsungDisplay (South Korea)Correlation Analysis between Wood EigenTextures and Perceptual Qualities, YoshimitsuYamada, Keita Hirai, and Takahiko Horiuchi,Chiba University (Japan)Statistical Design of Experiments Applied onSparkle Visual Detection, Omar GómezLozano, Esther Perales, Barbara Mico,Valentin Viqueira, Khalil Hurabait, andFrancisco Miguel Martinez Verdu, University ofAlicante (Spain)Underwater Color Correction, Thor Olson,Electronics for Imaging (USA)

16:10 – 17:40INTERACTIVE SESSION

19:30 – 22:00 PMCONFERENCE BANQUETJoin colleagues at restaurant 1847 Brennerietfor lively conversation, libations, and dinner.

Friday September 15, 2017

COLOR AND IMAGINGWORSHOPSsee page 22 for details; select workshopwhen registering for the conference. Work-shops time includes mid-morning coffeebreak.with support from Research Council ofNorway - project number 272939

8:00 – 12:00W1: Medical Applications: ImageProcessing, Challenges, and PerspectivesChair: Faouzi Alaya Cheikh, NTNU (Norway)8:30 – 12:00W2: Visual Perception and EmergingTechnologies in Cinema: Perspectives fromAcademia and the IndustryChair: Marcelo Bertalmio, Universitat Pompeu Fabra(Spain)9:00 – 12:00W3: Cultural Heritage Digitization:Challenges and OpportunitiesChair: Sony George, Norwegian University ofScience and Technology (Norway)


13:00 – 14:00CLOSING KEYNOTE AND CICAWARDSSession Chair: Marius Pedersen, Norwegian Univer-sity of Science and Technology (Norway)True Colours: Exploration in Art, Design, andResearch, Malcolm Innes, Edinburgh NapierUniversity (UK)

14:00 – 14:40GREEN WITH ENVYSession Chair: Youngshin Kwak, Ulsan NationalInstitute of Science and Technology (South Korea)Gamut Mapping for Visual Attention Retar-geting, Javier Vazquez-Corral and MarceloBertalmío, Universitat Pompeu Fabra (Spain)


8

1847 Brenneriet has an industrial artsy feel andserves excellent food.

EmoTune - Changing Emotional Response toImages, Katharina Schwarz, Christian Fuchs,Manuel Finckh, and Hendrik Lensch, Universityof Tuebingen (Germany)

15:10 – 16:3019TH INTERNATIONALSYMPOSIUM ON MULTISPECTRALCOLOUR SCIENCE (MCS)Session Chair: Jon Hardeberg, Norwegian Universityof Science and Technology (Norway)Spectrophotometric Color Prediction ofMineral Pigments with Relatively LargeParticle Size by Single- and Two-ConstantKubelka-Munk Theory, Junfeng Li and XiaoxiaWan, Wuhan University (China)JIST-First Edge Preserving Filters based RGB-NIR Image Enhancement, Vivek Sharma,Katholieke University Leuven (Germany), andJon Hardeberg and Sony George,Norwegian University of Science andTechnology (Norway)Old Man in Warnemünde (1907) ColouringPalette: A Case Study on the Use of Hyper-spectral Imaging for Pigment Identification,

Hilda Deborah1, Jin Strand Ferrer2, IrinaSandu2, Sony George1, and Jon Hardeberg1;1Norwegian University of Science andTechnology and 2The Munch Museum(Norway)Infrared Imaging Spectroscopic System forthe Detection of Skin Cancer: PreliminaryResults, Laura Rey Barroso1, Francisco J.Burgos-Fernández1, Xana Delpueyo1, FerranSanabria1, Miguel Ares1, Santiago Royo1,Josep Malvehy2, Susana Puig2, and MeritxellVilaseca1; 1Universitat Politècnica deCatalunya and 2Dermatology Department ofthe Hospital Clinic of Barcelona (IDIBAPS)(Spain)

16:30 – 16:40CLOSING REMARKS AND BESTSTUDENT PAPER AWARDMichael Murdoch, Rochester Institute of Technology(USA)


9

CLOSING KEYNOTETrue Colours: Explorations in Art,Design, and ResearchMalcolm Innes, Edinburgh NapierUniversity (UK)

Malcolm Innes is interested in exploringsome of the questions that designers tendnot to ask: Do colour metrics really helpdesigners? Do metrics reflect our real lifeexperience of light and colour? Are weactually measuring the right things? Illus-trated with examples of projects in theareas of light art, architectural lightingdesign, and conservation lighting for mu-seums and galleries, this talk discussesthe personal attempts by an inquisitiveartist/designer to understand our com-plex relationships with light and colour.

Maihaugen Museum offers enchanting places toenjoy lunch with colleagues.

Become part of the CIConline community!

LinkedIn group: “IS&T color andimaging conference”

and

Tweet #CIC25


10

MONDAY SEPTEMBER 11, 2017

M1: Color, Vision, and Basic ColorimetryNew Instructor8:30 – 17:45 (8 hours)Instructor: Gaurav Sharma, University of Rochester

This course provides a comprehensive intro-duction to the fundamentals of color percep-tion, measurement, and representation. Thecourse begins with the psychophysics of col-or, relating physical descriptions of color,through stages of the human visual system, toperceptual attributes of hue, saturation, andlightness. The anatomy and physiology of thevisual system stages are briefly described.From there, basic colorimetric and perceptu-al color representations are developed, witha particular focus on CIE standards such asthe CIEXYZ tristimulus space and the CIELABand CIELUV perceptually uniform colorspaces. Chromaticity representations are dis-cussed as convenient 2D visualization tools.

Benefits:Attendees will be able to:• Describe the basic findings from colormatching experiments and the concept oftrichromacy.

• Transform between commonly used colorspace representations.

• Describe how these color representationsrelate to the stages of the human visualsystem.

• Discuss chromatic adaptation and itscritical role in color perception.

• Understand and differentiate amongilluminant, observer, and devicemetamerism.

• Understand the utility of uniform colorspaces and color appearance attributes.

Intended Audience: scientists, engineers, stu-dents, and managers involved in the designof color processing algorithms or color imag-ing systems.

Gaurav Sharma has more than two decades ofexperience in the design and optimization of col-or imaging systems and algorithms that spans em-ployment at the Xerox Innovation Group and hiscurrent position as a professor at the University ofRochester in the departments of electrical andcomputer engineering and computer science.Additionally, he has consulted for several compa-nies on the development of new imaging systemsand algorithms. He holds 51 issued patents andhas authored more than 200 peer-reviewed pub-lications. He is the editor of the Digital ColorImaging Handbook (CRC Press) and served asthe editor-in-chief for the SPIE/IS&T Journal ofElectronic Imaging (2011–2015). Sharma is afellow of IS&T, IEEE, and SPIE.

CIC25 Short Course Program

Short Course FeesSeparate registration is required.

If you register: by Aug 13 after Aug 132-hour Member $165 $2152-hour Non-member $200 $2502-hour Student $65 $115

4-hour Member $270 $3204-hour Non-member $315 $3654-hour Student $95 $145

8-hour Member $480 $5308-hour Non-member $570 $6208-hour Student $195 $245

IS&T reserves the right to cancel classes in the event ofinsufficient advance registration. Please register early.

Take 3 or more courses andget 10% off your total short course

registration fee!

See registration form for details. Use Pick3coupon code if registering online.

10% SAVINGS


11

TUESDAY SEPTEMBER 12, 2017

FOUR-HOUR CLASSES8:00 – 12:15

T1A: Advanced Colorimetry and Color AppearanceNew Instructor8:00 – 12:15 (4 hours)Instructor: Gaurav Sharma, University of Rochester

Building on a foundation in basic color sci-ence and colorimetry, this course provides at-tendees a broad understanding of color ap-pearance phenomena and introduces them tocolor appearance modeling. The relationshipof these important color appearance phe-nomena to the state of adaptation of the hu-man visual system is explained. Studentslearn the perceptual color attributes of light-ness, brightness, colorfulness, saturation,chroma, and hue. The course presents widely-used computational models for evaluatingcorrelates of these attributes. Spatial aspectsof color vision are discussed, as well as simplemodels for spatial color perception.

Benefits: Attendees will be able to:• Understand how changes in the state ofvisual adaptation affect the perceivedappearance of colors.

• Identify the main elements of a colorappearance model and explain thecritical role of chromatic adaptation incolor appearance.

• Describe the Von Kries model for chromaticadaptation transformations, and performcomputations using the model.

• Apply the CIECAM02 color appearancemodel to obtain colorimetric representa-tions for different viewing conditions.

• Understand how relevant color appear-ance parameters are determined forreal-world viewing environments.

• Describe the components of commonly-used spatial color appearance models.

Intended Audience: color engineers, researchscientists, and software developers involvedin design and optimization of color imagingsystems, algorithms, and devices. Prior knowl-edge of fundamental colorimetry is assumed.

See bio under course M1, page 10

13:30 – 17:45

T3C: Camera Color Characterization: Theory andPractice New Course13:30 – 17:45 (4 hours)Instructors: Dietmar Wueller, Image EngineeringGmbH & Co. KG, and Eric Walowit, consultant

This short course covers the process of colori-metric camera characterization in theory andpractice. The need for camera characteriza-tion and calibration, and the impact on gen-eral image quality, is first reviewed. Knownissues in traditional approaches are dis-cussed. Methodologies for building cameracolorimetric transforms and profiles are de-tailed step-by-step. State-of-the-art solutionsusing current technology are presented in-cluding monochromators, multispectral LEDlight sources, in situ measurements of spectralradiances of natural objects, and modern col-or transform methods including multidimen-sional color look-up tables. A live demonstra-tion is performed of the end-to-end process ofspectral camera characterization, cameratransform generation, and matching fromcapture to display. This course provides thebasis needed to implement advanced colorcorrection in cameras and software.

Benefits: Attendees will be able to:• Understand the need for camera colori-metric characterization and the impact ofcolor calibration on image quality andmanufacturing yield.

• Perform target-based and spectral-basedcamera characterization.


12

• Solve for colorimetric camera transformsand build profiles using linear and nonlin-ear techniques.

• Evaluate current colorimetric cameracharacterization hardware and softwaretechnology and products.

• Participate in hands-on spectral cameracharacterization, camera transformgeneration, and matching from capture todisplay.

Intended Audience: engineers, project leaders,and managers involved in camera imageprocessing pipeline development, imagequality engineering, and production-linequality assurance.

Dietmar Wueller studied photographic sciencesfrom 1987 -1992 in Cologne. He is the founderof Image Engineering GmbH & Co. KG, one ofthe leading suppliers of test equipment for digitalimage capture devices. Wueller is a member ofIS&T, DGPH, and ECI and the IS&T Secretary.He is the German representative to ISO TC42WG18 and participates in several other stan-dardization activities.

Eric Walowit’s interests are in color manage-ment, appearance estimation, and image pro-cessing pipelines for digital photographic appli-cations. He is founder (retired) of Color SavvySystems, a color management hardware andsoftware company. He graduated from RIT’sImage Science program in 1985, concentratingin color science. Walowit is a member of ICC,ISOTC42, and IST.

TWO-HOUR CLASSES8:00 – 10:00 AM

T1B: Cone Fundamentals, Color MatchingFunctions, Luminous Efficiency, and IndividualDifferences8:00 – 10:00 (2 hours)Instructor: Andrew Stockman, UCL Institute ofOphthalmology

The trichromacy of human color visiondepends on the spectral sensitivities of thelong-, middle-, and short-wavelength-sensitive(L, M, and S) cones. These functions are alsoknown as the “fundamental” color matchingfunctions (CMFs) or cone fundamentals. Theyare the physiological determinants of humancolor matching, and thus all other CMFsshould be linear transformations of them. Thecone fundamentals of Stockman & Sharpe(2000) have been adopted by CIE TC 1-36as the “physiologically-relevant” internationalstandard for colorimetry. This course coversthe physiological underpinnings of thosecone fundamentals, their derivation and theirrelationship to other color matching func-tions, and luminous efficiency functions. Aswell as being important as mean or standardfunctions, the functions can also be modifiedto account for individual differences.

Benefits: Attendees will be able to:• Understand the basics of phototransductionand how it relates to univariance and tocone spectral sensitivities.

• Learn about the determination of conespectral sensitivities in normal and colordeficient observers.

• Appreciate the relationship of cone spec-tral sensitivities to RGB color matchingfunctions.

• Observe the relationship of cone spectralsensitivities to luminous efficiency functionsand the determination of luminousefficiency.

• Appreciate the relationship of conespectral sensitivities to XYZ color match-

Interested in taking a class, but lackfunding? Volunteer to be a coursemonitor. Monitors collect tickets, insureparticipants have class notes, and aidinstructors. Interested? Contact DonnaSmith at [email protected]. Prefer-ence given to students.

SHORT COURSE MONITORS


13

T1A: Advanced Colorimetryand Color Appearance

T1A continuesT3A: Color 3D Scanning andDocumentation Process of

Cultural Heritage Objects NEW

T4A: Color and Appearance in3D Printing

T1B: Cone Fundamentals,Color Matching . . .

T2B: Fundamentals ofPsychophysics

T3B: CharacterizingSurface Appearance

T4B: Color ImageQuality Assessment

T1C: Fundamentals ofSpectral Measurement for

Color Science

T2C: Spectral FilterArrays Technology NEW

T3C: Camera ColorCharacterization:

Theory and Practice NEWT3C continues

T1D: Color Optimization forDisplays

T2D: Perceptual DisplayNEW

T3D: HDR Theory andTechnology

T4D: The Role of Color inCounterfeit Detection and

Deterrence NEW

TUESDAY SHORT COURSES

MONDAY SHORT COURSE

8:00 – 10:00 10:15 – 12:15 13:30 – 15:30 15:45 – 17:45

M1-Color, Vision, and Basic Colorimetry: 8:30 – 17:45

ing functions and the derivation of theCIE TC 1-36 XYZ CMFs.

• Learn how molecular genetics affect conespectral sensitivity.

• Origins of individual differences in conespectral sensitivity.

• Adjust standard cone spectral sensitivitiesto take into account individual differences.

• Measure individual differences.

Intended Audience: scientists and engineers withan interest in the basics of color vision andcolorimetry and the application of the newCIE TC 1-36 “physiologically-relevant” inter-national standard.

Andrew Stockman has been the Steers Chair ofInvestigative Eye Research at University CollegeLondon (UCL) Institute of Ophthalmology since2001. His broad research area is visual psy-chophysics; his specializations include colorvision, rod vision, visual adaptation, temporalsensitivity, and clinical psychophysics. He is bestknown for his work on human spectral sensitivi-

ties. The Stockman & Sharpe cone spectral sensi-tivities and the related luminous efficiency func-tion have been adopted by the Commission Inter-nationale de l'Éclairage (CIE) as an internationalstandard for color definition and color measure-ment. He is the principal author of the Colour &Vision Research Laboratories database website(www.cvrl.org), a widely-used color resource forboth science and industry.

T1C: Fundamentals of Spectral Measurements forColor Science8:00 – 10:00 (2 hours)Instructor: David R. Wyble, Avian Rochester, LLC

This short course begins by defining the basicterms surrounding the instruments and quanti-ties used in spectral measurements in the colorfield. It covers the operation and constructionof spectrophotometers and spectroradiometersby discussing the function of each of the var-ious subsystems present in the devices. Instru-ment standardization (calibration) and the

Displays&

Docum

ents

Cameras

&Spectral

Measurement

Vision&

AssessmentAppearance

&3D


14

application of CIE geometries for reflectanceand transmittance are also covered. To eval-uate instruments, the concepts of precisionand accuracy of measurement devices are in-troduced along with practical suggestions forthe analysis of instrument performance. Theoverall goal is to fully understand the proce-dures and concepts that lead to proper spec-tral measurements, the basis for colorimetriccalculations.

Benefits: Attendees will be able to:• Identify the components of spectropho-tometers and spectroradiometers and thefunctions of each.

• Define the standardization (calibration)process of spectrophotometers and under-stand the implications of standardizationupon the measurement process.

• Interpret measurement requirements andselect appropriate measurement parametersand geometries for various applications.

• Understand the point of “hand-off” fromspectral measurements to colorimetriccalculations.

Intended Audience: color engineers and technol-ogists responsible for making and interpret-ing color measurements of any type. A tech-nical background is not required, althoughan understanding of basic scientific princi-ples will be very helpful.

David R. Wyble is president and founder ofAvian Rochester, LLC. Since 2011, AvianRochester has been delivering color standards;traditional and custom measurements; and con-sulting services to the color industry. Prior tofounding Avian Rochester, Wyble was a colorscientist within the Munsell Color Science Labora-tory, at the Rochester Institute of Technology, andbefore that a Member of Research & TechnologyStaff at Xerox Corp. He holds a BS in computerscience and MS and PhD degrees in color sci-ence from RIT and Chiba University, respectively.

T1D: Color Optimization for Displays8:00 – 10:00 (2 hours)Instructor: Gabriel Marcu, Apple Inc.

This course introduces color optimizationtechniques for various display types (LCDs,plasma, OLED, and projection: DLP, LCD,LcoS), and ranging from mobile devices tolarge LCD TV screens. Factors such as tech-nology, luminance level (including HDR), dy-namic/static contrast ratio (including localdimming), linearization and gamma correc-tion, gray tracking, color gamut (includingwide gamut), white point, response time,viewing angle, uniformity, color model, cali-bration, and characterization are discussedand some color optimization methods for dis-plays are presented.

Benefits: Attendees will be able to:• Identify the critical color parameters fordisplays and their impact on display qual-ity for smart phones, tablets, notebooks,desktops, LCD TV, and projectors.

• Understand color performance and limita-tions for various LCD modes like IPS,MVA, FFS, and performance of the LEDbacklighting and quantum dot gamutenhancement.

• Select the optimal color model for adisplay and highlight its dependency ondisplay technology.

• Understand the translation of the colormodel into the display ICC profile andhow it is used by the color managementmodule.

• Follow a live calibration and characteri-zation of an LCD screen and projectorused in the class, using tools varying fromvisual calibrator to instrument basedones.

• Apply the knowledge from the course topractical problems of color optimizationfor displays.

Intended Audience: engineers, scientists, man-agers, pre-press professionals, and thoseconfronting display related color issues.

Gabriel Marcu is senior scientist at Apple Inc.His achievements are in color reproduction ondisplays and desktop printing (characteriza-tion/calibration, halftoning, gamut mapping,ICC profiling, HDR imaging, RAW color conver-sion). He holds more than 80 issued patents inthese areas. Marcu is responsible for color cali-bration and characterization of Apple displayportable and desktop products. He has taughtseminars and courses on color topics at variousIS&T, SPIE, and SID conferences and IMI Europe.He was co-chair of the 2006 SPIE/IS&T Electron-ic Imaging Symposium and of CIC11; he is co-chair of the Electronic Imaging Symposium’s Col-or Imaging Conference: Displaying, Hardcopy,Processing, and Applications. Marcu is an IS&Tand SPIE Fellow.

10:15 – 12:15

T2B: Fundamentals of Psychophysics10:15 – 12:15 (2 hours)Instructor: James A. Ferwerda, Rochester Instituteof Technology

Psychophysical methods from experimentalpsychology can be used to quantify the rela-tionships between the physical properties ofthe world and the qualities people perceive.The results of psychophysical experiments canbe used to create models of human perceptionthat can guide the development of effective col-or imaging algorithms and enabling interfaces.This course provides an introduction to the the-ory and practice of psychophysics and teach-es attendees how to develop experiments thatcan be used to advance color imaging re-search and applications. Hands-on examplesare used throughout so that attendees under-stand how to design and run their own experi-ments, analyze the results, and develop per-ceptually-based algorithms and applications.

Benefits: Attendees will be able to:• Identify the major techniques for measur-ing perceptual thresholds and scales.

• Design perception experiments usingthese techniques.

• Analyze the data from these experimentsto derive perceptual metrics.

• Apply these metrics to practical problemsin color imaging.

Intended Audience: students and professionalswho want to be able to interpret the results ofperception psychology experiments and devel-op their own perception studies. The courseassumes a basic level understanding of issuesin color and imaging science, engineering,and statistics. No specific knowledge of per-ception psychology is required. All relevantconcepts are introduced in the class.

James A. Ferwerda is an associate professor andthe Xerox Chair in the Chester F. Carlson Centerfor Imaging Science at the Rochester Institute ofTechnology. He received a BA in psychology,MS in computer graphics, and a PhD in experi-mental psychology, all from Cornell University.The focus of his research is on building computa-tional models of human vision from psychophysi-cal experiments and developing advanced imag-ing systems based on these models.

T2C: Spectral Filter Arrays Technology New Course10:15 – 12:15 (2 hours)Instructors: Jean-Baptiste Thomas, Université deBourgogne; Yusuke Monno, Tokyo Institute ofTechnology; and Pierre-Jean Lapray, Université deHaute Alsace

This course covers the topic of spectral filterarray technology (SFA) from realization toapplications through data processing. Itlooks at three different prototype realizationsand discusses specific constraints andachievements. It also covers the design ofSFA, such as the SFA pattern and the spectralsensitivity design. The course highlights theSFA imaging pipeline, which includes pro-cessing such as demosaicing, high dynamicrange, etc. It also provides examples of re-sulting images and videos, and discussweaknesses and suggestions for further re-search and applications.


15


16

Benefits: Attendees will be able to:• Knowledge: understand general conceptsof multispectral imaging; summarize andclassify spectral acquisition systems;definition of SFA.

• Design: spatial resolution versus spectralresolution; identify sources of noise inSFA: filters, energy balance, chromaticaberration, etc.; design of spatial andspectral distribution.

• Pipeline and Processing: denoising,understand and perform demosaicing;visible and NIR interaction; high dynamicrange.

• Applications: estimate spectral reflectancefrom SFA images; general computer vi-sion applications; joint use of VIS andNIR images.

Intended Audience: research staff, engineers, ac-ademics, technology users, camera develop-ers, and industrial users.

Jean-Baptiste Thomas holds a BS in appliedphysics and MS in optics, image, and visionfrom the Université Jean Monnet (France). He re-ceived his PhD from the Université deBourgogne. Since 2010, he has been associateprofessor at the Université de Bourgogne. In2011 he began working on the development ofSFA technology. See: http://jbthomas.org/.

Yusuke Monno received his BE, ME, and PhDfrom Tokyo Institute of Technology. He is currentlya postdoctoral researcher at the university. His in-terests are in the theoretical and practical aspectsof computer vision and image processing. See:www.ok.ctrl.titech.ac.jp/~ymonno/.

Pierre-Jean Lapray received his MS in embed-ded electronics engineering and PhD in comput-er science, image, and instrumentation (2013)from the Université de Bourgogne. He is current-ly associate professor at Université de HauteAlsace, in the Modélisation, Intelligence, Proces-sus et Systèmes laboratory in Mulhouse. Re-search interests include vision systems, embed-ded processing, and real-time applications usingFPGA.

T2D: Perceptual Display New Course10:15 – 12:15 (2 hours)Instructors: Tara Akhavan, Greg Ward, andAfsoon Soudi, IRYStec

This course introduces perceptual displayplatform technology aimed at closing the gapbetween what is shown on a display/screenversus what is perceived by the human visualsystem. 3D displays, HDR displays, OLED,and QD displays all bring the display experi-ence one step closer to what is seen in thereal world. However none of those displayscan provide their users with a real-world ex-perience without considering the other per-ceptual aspects. The course discusses theoriesas well as best practices on color perception,contrast perception, and perceived bright-ness of LCD and OLED displays. An impor-tant focus is on how color and contrast aretwo sides of the same coin. They massively in-fluence display perception and modifyingeach of the two requires modification in theother. The perceptual display platform ap-proach is discussed in detail for a few appli-cations such as mobile, tablets, automotive,and VR.

Benefits: Attendees will be able to:• Understanding the display pipeline.• Describe an overview of why perceptionis the next big thing in the display industry.

• Learn how to measure perceptual process-ing algorithm performance.

• Understand why color and contrast aretwo sides of the same coin.

• Describe challenges vs value propositionsof deploying perceptual display platformin different markets such as mobile,automotive, and VR.

Intended Audience: graduate students, engineers,scientists, display industry professionals, andcapturing industry professionals

Tara Akhavan is a technology entrepreneur andco-founder and CTO of IRYStec a Series-AMontreal based startup in the display industry.


17

She holds a BS in computer engineering, an MSin artificial intelligence, and is finishing her PhD inimage processing and computer vision at ViennaUniversity of Technology. Akhavan is marketing vice-chair of the Society of Information Displays (SID).

Greg Ward is a researcher specializing inlighting simulation and rendering, HDR imaging,and photography. He has authored and contin-ues to maintain the Radiance ray-tracing systemand the Photosphere HDR image builder andbrowser. Ward co-invented BrightSide Technolo-gies’s HDR display system (now owned byDolby). He has co-authored two textbooks, oneon radiance and another on HDR imaging.

Afsoon Soudi is a dedicated technologist andentrepreneur with a PhD in physics. She is co-founder and VP R&D of IRYStec. Prior to foundingIRYStec, she led multiple research groups with anexcellent track record of publications in presti-gious journals leading to 250+ citations. Her spe-cialty is characterization of semiconductor nano-materials including nanowires and quantum dotswith applications in electronics and solar cells.

13:30 – 15:30

T3A: Color 3D Scanning and DocumentationProcess of Cultural Heritage Objects New Course13:30 – 15:30 (2 hours)Instructor: Robert Sitnik, Warsaw University ofTechnology

This course provides a comprehensiveoverview of the process of full color 3D doc-umentation (capture, processing, evaluation,storage and archiving) of a selected group ofcultural heritage (CH) objects, including plan-ning, technical requirements specification, re-alization, monitoring, final model prepara-tion, and archiving. The course introduces themain factors of the process that influence fi-nal data accuracy and quality, including re-quired time and budget. The technical re-quirements of the final data are definedbased on the assumed goals. In addition tostate of the art techniques for 3D documenta-tion, new multimodal approaches supporting

3D data with color, BRDF, and ReflectanceTransformation Imaging (RTI) are discussed.The course covers topics on automation of ac-quisition and processing of the 3D documen-tation campaign. Several examples of 3Dscanning campaigns are included throughoutthe course. Practical challenges and factorsinfluencing the data quality are discussed.

Benefits Attendees will be able to:• Understand the basics of different 3Dscanning technologies and workflow usedin the CH sector.

• Explore new trends in 3D documentationof CH objects.

• Understand the benefits and limitations ofexisting 3D processing pipelines.

• Become familiar with modern approachesto automation of the 3D documentationprocess, from acquisition and processingperspectives.

• Understand the process of 3D documenta-tion, from the planning phase to longterm archiving.

• Effectively select techniques and planworkflow of 3D documentation processfor a collection of CH objects.

• Apply concepts introduced in this courseto the solution of real-world problems inplanning and co-ordination of 3Ddocumentation campaigns.

Intended Audience: scientists, engineers, curators,and managers involved in the development,design, engineering, manufacturing, market-ing, planning, realization, or evaluation of3D documentation hardware, or softwaresupporting 3D documentation processes.

Robert Sitnik is an associate professor at the Insti-tute of Micromechanics and Photonics at theWarsaw University of Technology (WUT),Mechatronics Faculty, Poland. His work is centeredon 2D/3D/4D imaging and virtual/augmentedreality applications. He has more than 100 publi-cations in this field. He received his MSc in opticalengineering and his PhD in 3D imaging fromWUT. His dissertation focused on development of


18

a 3D scanning technique using structured light. Hereceived his habilitation in 3D/4D imaging in2012. Sitnik is the head of the Virtual RealityTechniques Division and OGX research group.

T3B: Characterizing Surface Appearance13:30 – 15:30 (2 hours)Instructor: James A. Ferwerda, Rochester Instituteof Technology

Surface appearance is of critical importancein a wide variety of fields including design,manufacturing, forensics, medicine, and cul-tural heritage preservation. This short coursefirst introduces a framework for characteriz-ing surface appearance that includes the vi-sual attributes of color, gloss, translucency,and texture. It then reviews efforts that havebeen made to measure these attributes anddescribes the psychophysical methods thatare used to relate the physical properties ofsurfaces to their visual appearances. Finally,we discuss the potential for using computer-graphics techniques to simulate the appear-ances of complex surfaces and describe hownew digital imaging technologies are beingused to advance the measurement, modeling,visualization, and communication of surfaceappearance.

Benefits: Attendees will be able to:• Identify the factors that contribute to theappearances of complex surfaces.

• Understand the physical bases of surfaceappearance and how these bases aremeasured.

• Learn about the psychophysical methodsused to relate the physical and perceptualaspects of surface appearance.

• Distinguish the different systems used todescribe and communicate surfaceappearance.

• Comprehend how computer graphics anddigital imaging techniques are rapidlyadvancing the state-of-the-art in surfaceappearance characterization.

Intended Audience: students and professionalswho want to understand the physics and psy-chophysics of surface appearance. Thecourse assumes a basic level understandingof issues in color/imaging science and engi-neering. All specialized concepts will be in-troduced in the class.

See bio under T2B, page 15.

T3D: High Dynamic Range Theory and Technology13:30 – 15:30 (2 hours)Instructors: Alessandro Rizzi, University of Milano,and John McCann, McCann Imaging

High Dynamic Range (HDR) imaging is a con-tinuously evolving part of color. HDR paintingwas invented in the Renaissance; 50 yearsago it was a research topic in understandingscenes in non-uniform illumination (EdwinLand’s “Mondrians”); 20 years ago, HDRused multiple exposures to attempt to capturea wider range of scene information (Debevec-Malik’s program and Fairchild’s Survey); 10+years ago interest evolved to recreating HDRscenes by integrating widely-used LCD withLED illumination (Helge Seetzen’s BrightsidesDisplays); and today the evolution continues inthe current sales of HDR televisions usingOLED and Quantum Dot technologies. Stan-dards for HDR video media formats remain anactive area of research as well.This course reviews the science and technol-

ogy underlying the evolution of HDR imagingfrom silver-halide photography to HDR TVs.One emphasis is on measuring the actual phys-ical limitations of scene capture, scene display,and most important the interaction of these

Take 3 or more courses andget 10% off your total short course

registration fee!

See registration form for details. UsePick3 coupon code if registering online.

10% SAVINGS

systems with human vision. (Vision is itself aHDR sensor with very sophisticated spatial-im-age-processing algorithms.) A second empha-sis is on the differences between single-pixeland spatial comparison HDR algorithms. Thecourse describes the partnership between HDRhardware and human vision that receives,processes, and enjoys HDR reproductions.After a detailed description of the dynamic

range problem in image acquisition, thiscourse focuses on standard methods of creat-ing and manipulating HDR images, replacingmyths with scene measurements, camera im-ages, and visual appearances. The coursepresents measurements about the limits of accu-rate camera acquisition (range and color) andthe usable range of light for displays presentedto human vision. It discusses the principles oftone rendering and the role of HDR spatialcomparisons.

Benefits Attendees will be able to:• Explore the history of HDR imaging.• Understand dynamic range and quantiza-tion: the ‘salame’ metaphor.

• Compare single and multiple-exposuresfor scene capture.

• Measure optical limits in acquisition anddisplay: scene dependent effects of glare.

• Measure limits of RAW scene capture inLDR and HDR scenes.

• Measure limits of human vision and calcu-late retinal luminance for models of vision.

• Discuss current HDR TV systems and stan-dards: tone-rendering vs. spatial HDRmethods.

Intended Audience: anyone interested in usingHDR imaging: science and applications. Thisincludes students, color scientists, imaging re-searchers, medical imagers, software andhardware engineers, photographers, cine-matographers, and production specialists.

Alessandro Rizzi is a full professor, department ofcomputer science, University of Milano. He hasstudied the field of digital imaging and visionsince 1990 with a particular interest in color,

visualization, photography, and HDR. He is oneof the founders of the Italian Color Group, secre-tary of CIE Division 8, an IS&T Fellow, and apast vice president. He is topical editor for Ap-plied Color Science of the Journal of OpticalSociety of America and associate editor ofJournal of Electronic Imaging.

John McCann received a degree in biologyfrom Harvard College (1964). He worked inand managed the Vision Research Laboratory atPolaroid from 1961 to 1996. He has studied hu-man color vision, digital image processing, largeformat instant photography, and the reproductionof fine art. His publications and patents havestudied Retinex theory, color constancy, colorfrom rod/cone interactions at low light levels, ap-pearance with scattered light, and HDR imaging.He is a Fellow of IS&T and OSA; a past presi-dent of IS&T and the Artists Foundation, Boston;recipient of the IS&T/OSA 2002 Edwin H. LandMedal; and IS&T Honorary Member (2005).

15:45 – 17:45

T4A: Color and Appearance in 3D Printing15:45 – 17:45 (2 hours)Instructor: Philipp Urban, Fraunhofer Institute forComputer Graphics Research IGD

Novel 3D printers can combine multiple col-orful materials in a single object enabling thereproduction of an object’s color, texture,gloss, and translucency in addition to itsshape. This short course provides an overviewof the relevant 3D printing technologies andfocuses on the color and appearance repro-duction pipeline.

Benefits: Attendees will be able to:• Understand the basic concepts of 3D print-ing as they relate to color and appearance.

• Understand the differences between theexisting color-capable 3D printingtechnologies.

• Describe ways to represent color and oth-er appearance properties attached to 3Dshapes.


19

• Learn the main principles of the 3D colorreproduction pipeline.

• Have a basic understanding of 3Dsurface halftoning.

Intended audience: attendees wishing to becomemore familiar with the opportunities andchallenges of the emerging field of graphical3D printing, which may include color andimaging specialists, 3D printer designers,and software developers.

Philipp Urban is head of the Competence Center3D Printing Technology at the Fraunhofer IGD inDarmstadt, Germany, where he works on the ap-pearance reproduction of objects using multima-terial 3D printers. During his career he has beena visiting scientist at the Munsell Color ScienceLaboratory at RIT and head of the color researchgroup at TU Darmstadt. He holds an MS in math-ematics from University of Hamburg and a PhDfrom Hamburg University of Technology.

T4B: Color Image Quality Assessment15:45 – 17:45 (2 hours)Instructors: Marius Pedersen and Seyed AliAmirshahi, Norwegian Colour and VisualComputing Laboratory (NTNU)

Image quality assessment is a topic of grow-ing interest that has also been the subject ofmuch recent research. This short course ex-amines the current thinking about color im-age quality from several different vantagepoints. The course introduces and presentsthe core functions used in objective color im-age quality assessment, including models ofthe human visual system and how pixel errormaps can be converted to a single qualitynumber by spatial summation. Furthermore, itpresents some of the most common methods,as well as promising new methods for quali-ty assessment. Also discussed are methodsfor conducting psychophysical experimentsto evaluate specific aspects of image qualityand how these results are used to evaluatethe performance of objective image quality

metrics. The most common performancemeasures are introduced and examples ofthe performance of state-of-the-art imagequality metrics are shown. The course also fo-cuses on how to identify a set of key imagequality attributes, such as tone reproduction,sharpness, contrast, graininess, color fidelity,and artifacts, and to compute these as a setof distinct metrics for evaluating image quali-ty. The use of spider plots to illustrate howthey separately and cumulatively affect over-all image quality is highlighted. Also illustrat-ed is the use of these image quality conceptsfor the evaluation of printer workflows. Final-ly, the use of image quality metrics in biomet-rics, to evaluate displays, and medical appli-cations is shown.

Benefits: Attendees will be able to:• Understand the basic characteristics ofthe human visual system.

• Understand methods for conducting psy-chophysical experiments to subjectivelyassess image quality.

• Be familiar with the major image qualitymetrics in use today and how to evaluatetheir performance.

• Understand methods for pooling the re-sults of spatial image quality maps toyield a single-number assessment of over-all image quality.

• Understand what the major image qualityattributes are, what they measure, andhow they are computed.

• Generate and interpret spider-plots thatprovide an integrated view of how a giv-en image performs across a set of imagequality attributes.

• Gain insight into the application of theconcepts introduced in this course to thesolution of real-world problems in imag-ing systems development.

Intended Audience: scientists, engineers, ana-lysts, and managers involved in the design,engineering, manufacturing, marketing, orevaluation of imaging and printing products,algorithms, or systems. Participants should be


20

familiar with the function and basic proper-ties of imaging systems. A rudimentaryknowledge of color science, linear systems,and image processing is helpful, but notessential.

Marius Pedersen is associate professor at theNorwegian University of Science and Technolo-gy (NTNU), Norway. His work is centered onimage quality assessment; he has more than 60publications in this field. He received his PhD incolor imaging (2011) from the University ofOslo, Norway. He is currently the head of thecomputer science group in Gjøvik in the depart-ment of computer science, as well as the head ofthe Norwegian Colour and Visual ComputingLaboratory, both at NTNU.

Seyed Ali Amirshahi is a Marie Curie post-doctoral Fellow in the Norwegian Colour andVisual Computing Laboratory at the NorwegianUniversity of Science and Technology (NTNU).His research is mainly focused on different as-pects of image and video quality assessment andcomputational aesthetics. He received his PhDfrom the Friedrich Schiller University of Jena inGermany (2015). Prior to joining NTNU, he wasa post-doctoral Fellow at the International Com-puter Science Institute in Berkeley, California.

T4D: The Role of Color in Counterfeit Detectionand Deterrence New Course15:45 – 17:45 (2 hours)Instructor: Joel Zlotnick, US Department of State

Recent years have seen dramatic increases inthe availability and quality of color officeprinting devices that have transformed coun-terfeiting from a specialist endeavor andmade it accessible to individuals without tech-nical printing skills. As a result, industry hasgenerated an ever-increasing roster of high-tech security features designed to make coun-terfeits easy to detect. Despite these ad-vances, the public availability of securityfeature materials via internet commerce con-tests the effectiveness of security features asstandalone counterfeit deterrence solutions.

Traditionally, the backbone of security designhas been careful use of color, artwork, andprinting press capabilities to produce a docu-ment that is resistant to attack. This course af-firms and describes the traditional roles of col-or and artwork in security document design.

Benefits: Attendees will be able to:• Describe traditional and digital counter-feiting workflows and why they matter.

• Understand principles of security artworkdesign used to deter counterfeiting.

• Illustrate the role of color in the design ofcounterfeit-resistant artwork.

• Differentiate between artwork andhalftones used in commercial printing andsecurity printing.

• Compare classes of physical security fea-tures that complement security artwork.

Intended Audience: designers, printers, prepressstaff, and others interested in counterfeit de-terrence strategies for hardcopy documents.

Joel Zlotnick is employed by the US Departmentof State, Bureau of Consular Affairs, CounterfeitDeterrence Laboratory as a supervisory physicalscientist. His current work involves research in se-curity design techniques. He is an instructor oncounterfeit detection at the US Department ofState Foreign Service Institute. Zlotnick held pre-vious positions at Homeland Security Investiga-tions and US Secret Service forensic laboratories.He holds a BS in chemistry and MSFS in forensicscience.


21

Interested in exhibiting or sponsoring anevent at CIC? Exhibit space is limited; con-tact Donna Smith to learn more about ex-hibits and sponsorship opportunities [email protected].

EXHIBIT AT CIC25!


22

A workshop is included with your conferenceregistration, including the Friday, one-day,rate. Support from Research Council of Norway- project number 272939.

W1: Medical Applications: Image Processing,Challenges, and Perspectives8:00 – 12:00Chair: Chair: Faouzi Alaya Cheikh, NTNU(Norway)

This workshop discusses the challenges of col-or image processing in the context ofdifferent medical applications. The workshopis a collection of presentations covering awide range of interests and expertise includ-ing: ICC standards, physics and medical tech-nology, image processing, high-performancecomputing, and business. Speakers for thisworkshop are:

• How iccMAX can help address colourmanagement challenges in medicalapplications ( Phil Green, NTNU,Norway)

• What possibilities for colon visualizing dowe have? Future perspectives (ØisteinHovde, Innlandet Hospital Trust, Norway)

• Optical imaging techniques for non-contact measurements of vital functionsand diagnosis of tissues in medicine(Ruud Verdaasdonk, VU University Med-ical Center Amsterdam, the Netherlands)

• Multispectral optical properties of humanhands skin (Martin Drahanski, BrnoUniversity of Technology (BUT), CzechRepublic)

• Skin Culture Image Analysis (WIMASISonline services) (Daniel Pérez-Rodríguez,Onimagin Technologies, Spain)

• Heterogeneous systems for medical imageprocessing (Juan Gomez-Luna, University ofCordoba, Spain)

W2: Visual perception and emerging technologiesin cinema: Perspectives from academia and theindustry8:30 – 12:00Chairs: Marcelo Bertalmio, Universitat PompeuFabra (Spain)

The media industry is constantly pushing thelimits of what can be achieved in terms of vi-sual quality in cinema and TV, promoting ad-vances in the capabilities of cameras and dis-plays with regard to contrast, color,resolution, frame rate, etc. Currently the em-phasis is on high dynamic range (HDR) andwide color gamut (WCG) technologies,which have been identified as key growthareas for media companies, and there is alsosubstantial work on High Frame Rate (HFR)and Ultra High Definition (4K/8K) imaging.However, industry and standardization bod-ies also recognise that there are a number ofchallenges that need to be addressed for asuccessful adoption of these emerging tech-nologies, including important issues arisingdue to the complex and not yet fully under-stood interactions of this new type of imagecontent with the human visual system. In par-ticular, the majority of research in the visionscience community has been conducted onstandard monitors and therefore there is alack of accurate vision models that can prop-erly predict the perception of lightness, con-trast and color for natural images with thehigh dynamic range, high brightness, andwide color gamut that emerging displays canprovide. Also, the use of these new technolo-gies must imply changes in the way moviesare shot, edited and color-graded, not onlyfor the faithful reproduction of color and con-trast, but also to avoid the appearance ofartifacts or visual discomfort that thisenhanced image content might induce.In order to address these issues, this work-

shop brings together researchers from acade-mia and key companies in the cinema and TVsector, to present their latest research outcomes

CIC Workshops


23

and discuss their outlook on the topic.The goal is to provides an opportunity toencourage a closer collaboration amongthe image processing and vision re-search communities. The following is alist of speakers with titles and abstractsof their talks:

Visibility of spatiotemporal noise indigital video, Tamara Seybold, ARRI(Germany)Tests have shown that video quality isstill difficult to reflect with automaticquality metrics. To improve the automat-ic evaluation of quality, including humanperception, seems prospective. A vastamount of perception research has been con-ducted in vision science. However, the quali-ty metrics used in image and video process-ing research do not—or notsufficiently—integrate our knowledge about human per-ception. In this talk, we will specifically dis-cuss the visibility of one image degradationtype, spatiotemporal noise, which occurs indigital video especially in low-light situations.Noise in digital video can clearly reduce theperceived quality of sequences captured withmodern digital cameras. As no experimentalstudy could be found about the visibility ofnoise, two experiments were conducted aim-ing to investigate the visibility of spatiotempo-ral noise. The experiments subsequently eval-uate the visibility of noise in different spatialand different temporal frequencies on a mon-itor. Eight spatial frequencies are investigatedand two different video frame rates, 24 fpsand 48 fps. The experiment setup and the re-sults are discussed in detail. The talk con-cludes with an outlook on future researchprojects and an open discussion about theopen questions in vision research.

A colour space for all devices,Richard Kirk, FilmLight (UK)For many years the motion picture industryused RGB spaces based on physical displaydevices. Video RGB was based on the CRT;Kodak’s Cineon was based on film negative

densities. The hardware limitations restrictedthe image data to 8-bit or 10-bit RGB, whereeach combination of RGB values correspond-ed to a real display color. Everything haschanged. Film is not the dominant medium.There are many alternatives to the CRT withbetter brightness, contrast, and color gamut.Images can use 16- or 32-bit floating-point for-mats, which support negative values, and val-ues over 1.0. In this talk, I try to start afreshand determine what a good color space mightbe and how we might handle an image work-flow from a camera to an arbitrary display.

Future imaging technologies like highdynamic range (HDR) and wide color gamut(WCG) require a re-assessment of thehuman visual system, Jan Froehlich, ARRI(Germany)Traditional image encodings rely on compu-tationally simple functions like a power func-tion for luminance nonlinearity and a colordifference matrix for decorrelation. Higherdynamic range and wider gamut imageryneeds advanced methods for efficient storageand manipulation. While our knowledgeabout human vision has increased significant-ly over the last decades, even the newest col-or encoding proposals for high dynamicrange and wide color gamut image encodingare surprisingly based on mid- to late-20thcentury human vision research. We identifythose areas, where research in entertainment

The Mesna and Avieta rivers converge and flow throughdowntown Lillehammer.


24

media is held back by missing psychometricdata for the human visual system, and wepropose possible steps to close these gaps.

Color and contrast appearance across theluminance range, Rafal Mantiuk, University ofCambridge (UK)The appearance of contrast and colors variessubstantially between dark and bright lumi-nance levels. This change is caused by thetransition from cone-mediated photopic vi-sion to the mesopic vision that relies on inputsfrom both cones and rods. We show that themajor effects of that change in appearancecan be explained by models of contrast per-ception, models of rod-contribution tovision, and simple empirical models basedon our measurements. The combination ofthose models can be used to retarget appear-ance of arbitrary complex images from oneluminance level to another. For example, wecan simulate the appearance of night sceneson much brighter displays. We can also com-pensate for the night vision and present im-ages on dimmed displays so that they appearas if they were seen at much higher lumi-nance levels. The latter application is intend-ed to reduce power consumption of electron-ic displays and improve viewing comfort indark environments. The appearance retarget-ing method can be implemented very effi-ciently on mobile graphics processors so thatthe compensation if performed in real-time.

Vision models for tone and gamut mapping,Marcelo Bertalmío, Universitat Pompeu Fabra(Spain)This talk presenta recently proposed imageprocessing techniques based on vision mod-els that address two important problems in themotion picture and TV industries: tone map-ping (making high dynamic range imagessuitable for standard dynamic range displays)and gamut mapping (modifying the colorgamut of images so that they properly fit thecolor capabilities of a given display). Byleveraging knowledge from vision science,we are able to develop methods that produce

natural-looking results, and are also very fastto execute. See http://ip4ec.upf. edu/.

High Dynamic Range for TV – How the HLGsystem adapts images to maintain consistentappearance in varying consumer viewingenvironments, Richard Salmon, BBC R&D (UK)There are two radically different approachesto HDR for TV. Some working in the field pos-tulate that the artistic intent is maintained, nomatter what the viewing environment mightbe, by presenting the major part of images atthe same absolute brightness as that seen onthe master monitor when the material wasgraded. The hybrid log-gamma (HLG) sys-tem, developed by broadcasters BBC andNHK, however follows the path trodden byconventional TV systems, in that it is based onrelative brightness. Thus it is easy to providea consistent visual appearance by adaptingthe display characteristic to match the view-ing environment and capabilities of the indi-vidual display in the viewer’s home.The presentation includes details of work

to match the viewing experience to the peakscreen brightness and to the backgroundillumination.

W3: Cultural Heritage Digitization: Challenges andOpportunities9:00 – 12:00Chair: Sony George, Norwegian University ofScience and Technology (Norway)

This workshop aims to discuss and identifythe strategies for acquisition, analysis of CHartifacts according to the constraints/needsof the end-users. End-users express theirneeds/specifications (objective of digitisa-tion, quality of data, location of critical areasor interest, challenges specific to artefacts,etc.). Researchers and technology providersaddress this strategy and propose solutions—digitization methods, multimodal imagingsystems, possible analysis and limitations,supporting restoration, visualization, tools foranalysis, time and accuracy, data reuse etc.

The joint contribution of experts from differentsectors highlights the challenges and oppor-tunities linked to digitization and best prac-tices concerning: safeguarding, manage-ment, enhancement, and research andinnovation activities. By this, the workshopaims to cover future opportunities and chal-lenges in cultural heritage digitization.Speakers from museums, academia, and in-dustries will contribute to this workshop.As color and cultural heritage are closely

linked in many ways, this workshop is aknowledge-sharing event that facilitates theinteraction between color experts, imagingscientists, and people working in the culturalheritage domain. The discussions in the work-shop may also help researchers to better un-derstand the challenges and opportunities inthis sector and better prepare to meet initia-tives like the European Year of CulturalHeritage 2018.The following is a list of speakers with titles

and abstracts of their talks:

Colour research on modern works of art –past, present and future developments atMunch Museum, Irina Crina Anca Sandu,Munch Museum (Norway)Munch Museum collection in Oslo is encom-passing more than 50 years of artistic produc-tion of Edvard Munch (1863-1944) and in-cludes several typologies of art objects amongwhich there are approximately 1,150 paint-

ings, 18,000 prints depicting more than 700different motifs, and 7,700 drawings and wa-tercolors, as well as 13 sculptures. The Con-servation Department of Munch Museum is ac-tively engaged in the study of the collectionand in identifying strategic research actionsoriented by the three research tasks estab-lished in the research plan: Characterizationof materials and techniques used by Munch;study and monitoring of degradation and de-terioration processes; and development andtesting of new solutions for conservation.

Spectral, 3D, and RX Imaging for art conser-vation in French museums, Clotilde Boust,C2RMF, Louvre Paris (France)The center of research and restoration offrench museums is doing several non invasiveanalyses for art conservation. The center usesspectral imaging (UV to IR, 360-1700nm) todetect varnish removal or pigment identifica-tion, 3D from macro to micro scale for toolstraces, and form comparisons and RX imag-ing to study inner structure of objects. Infor-mation found helps in conservation decisionsor leads to further chemical or ion beananalysis.

3D reconstruction of Royaumon abbey in theXIIIth century, Patrick Callet, CAOR – RoboticsCentre, Mines- Paristech, PSL ResearchUniversity (France)

Compensation of directional reflectioncomponent in simultaneous 3D and colorimaging, Grzegorz Maczkowski, Institute ofMicromechanics and Photonics, WarsawUniversity of Technology (Poland)Digitization of cultural heritage in 3D, besidehigh resolution shape model, requires accu-rate color reproduction. This requirement isusually difficult to fulfill in combination withstructured light projection because of direc-tional illumination, complicated objectshapes, and glossy surfaces. To solve thisproblem, we propose a multidirectionalillumination setup combined with a highlightsremoval algorithm. This way we are able to


25

The Jakob Weidemann Gallery in the Lillehammer ArtMuseum features the work of one of Norway’s mostimportant post-war modern artists.

separate specular and diffuse components ofreflected light. The diffuse component is ex-tracted along with surface normal vectorsand illumination and observation directions.It is further used for multispectral color meas-urement and compensation of uneven illumi-nation. We provide a model for directionalreflection compensation based on 3D imag-ing geometry. The model is backed up bysimulations and experimental data from arepresentative cultural heritage object.

Image processing and analysis of culturalheritage paintings: From pigments tocraquelure, Hilda Deborah, The NorwegianColour and Visual Computing Laboratory,Norwegian University of Science andTechnology (NTNU) (Norway)Since VASARI and CRISATEL, spectral imag-ing has been increasingly exploited as ameans to accurately document cultural her-itage objects. Further processing and analy-sis steps during acquisition not only allowdocumentation of objects, but provide moreknowledge about and tools for their study, aswell as their conservation. For example, pig-ment identification allows for the accurate-choice of the pigment for inpainting, withouthaving to take physical samples from thepainting under evaluation. In this talk, the ap-plications of hyperspectral image processingand analysis to cultural heritage paintings isexplored, including challenges and direc-tions for future research.

Displaying of a medieval funeral effigy: Acase study, Malcolm Innes, School of Arts andCreative Industries, Edinburgh NapierUniversity (UK)A case study of a project I created for the dis-play of a medieval funeral effigy that in-volved the virtual restoration of the originalpolychrome finish to the life-size effigy. Therecoloring of the object is done with a digitalprojection that is mapped onto the three-dimensional object. The talk discusses thenovel, interactive approaches to the interpre-tation of cultural heritage and the applicationof high-technology solutions using off-the-shelfcomponents so that processes remain simpleand easy to manage without the additionaloverhead of proprietary software or special-ist technical staff.

Monitoring Ships in Museums — AEuropean Review, Amandine Colson,German Maritime Museum (Germany)The presentation focuses on the on-going ini-tiatives in Europe dealing with deformationmonitoring of ships in museum. Based on afew examples from Sweden, Great-Britain,France, and Germany, we construct a por-trait of the difficulties encountered by muse-ums. Monitoring is by essence a long-termissue, although nowadays research plans areoften short term (3-5 years) and rely on third-party money. In this field, the clash of twoworlds is everyday life. Interdisciplinarity ispraised highly, but when professions that nev-er worked together before come to one table,one should be prepared to invest time andenergy on building common ground. Totalstation theodolite, laser scanning, Coordi-nate Measuring Machine, and Photogramme-try are all terms that Humanities expertsrarely know, and if they do, they don’t neces-sary know what’s behind them. “MonitoringShips in Museums” is the result of dedicatedresearchers from different fields willing towork together for the next 10 to 20 years topreserve these ships for future generations.


26

Become part of the CIConline community!

Join our LinkedIn group;search for

“color and imaging conference”

and

Tweet #CIC25


27

Hotel and Travel InformationScandic Lillehammer HotelTuristhotellvegen 6, Lillehammer, Norway • + 47 61 286 000

Special Note for CIC25: Our ability to provide lunch and other amenities to all attendees isbased on attendees staying at the Scandic Lillehammer Hotel. While you are free to choosean alternative lodging option, please note, those who do not stay at the Scandic LillehammerHotel will be assessed a $100 supplemental registration fee.

Rate: NOK 1150 single and NOK 1600 double inclusive. Includes breakfast, wifi, and VAT.The hotel has free parking. Check in/out: 14:00/noon

Rate availability: Rate honored three days prior to and three days after the conference datesbased on availability.

Reservation Deadline: August 8, 2017 to guarantee roomReservations:via www.scandichotels.com/ enter Lillehammer as the destination and select ScandicLillehammer Hotel (note there is more than one Scandic hotel in the city!). Choose date forarrival and departure and number of people in the room. Important: Use booking code:BIST070917via phone: +47 61 286 000 / Reference: IS&T CIC Room Block

Cancellation Policy: There are no penalties for cancellations within 72 hours of expectedarrival. After 72 hours or a no-show will be charged at 100% of room nights booked.

Transportation InformationAirport: Lillehammer is served by Oslo Airport Gardermoen (OSL). The official OSL websiteis www.osl.no.

To/from OSL/Lillehammer via Train: Lillehammer is 145 km (90 miles) from the airport andmay be reached via train. There is frequent, direct train service from Oslo Airport (OSL) toLillehammer every hour, depending on the time/day. Travel time is approximately 1 hour 45minutes. Trains generally leave from Spor (platform) 1. Train information is at www.nsb.no/en.

After landing, follow signs in the airport to Trains. Tracks are located “below” the main termi-nal. Ticket kiosks are easily accessible in the main terminal, but may also be bought onboardfor a higher fare. Fares vary from approximately NOK 245 (up to 24-hours in advance; youmust book for a specific time) to NOK 300 (same day travel).

For those wishing to visit Oslo before or after the conference, travel from the city of Oslo toLillehammer via train is approximately 2 hours 15 minutes.

To hotel from Lillehammer train station: The hotel is 1.4 km (0.8 miles) from the Lillehammerstation. The taxi queue is to the right as you exit and will cost ~NOK 110. The walk is asteep incline all the way and will take 20-40 minutes.

Conference registration includes admission to all technical sessions, CIC workshops, lunch,coffee breaks, Welcome Reception, Conference Banquet, and conference abstract book withproceedings on flash drive. Separate registration fees are required for short courses.

1. Technical Program Registrations (CHECK ONE)

Please check ALL that apply. I am a: � speaker � session chair � committee member

� IS&T member � only taking short courses � short course instructor

Please note: To better serve your needs, IS&T is offeringconference registration options that include membershipwith either JIST or JEI at the same rate as a non-member fee.

Go to www.imaging.org/color to register online.

CIC25 Conference Registration

Name___________________________________________________________________________

Title/Position ____________________________________________________________________

Company _______________________________________________________________________

Mailing Address _________________________________________________________________

________________________________________________________________________________

Telephone ______________ Fax ______________ Email _____________________________

* Membership benefits include access to the IS&T Digital Library, an online subscription to the Journal of Imaging Scienceand Technology (JIST) or Journal of Electronic Imaging (JEI), The Reporter newsletter, conference fee discounts, and access tothe member directory, among other things. Membership takes effect by 9/19/17 and expires 12/31/18. This offer may beused for renewals.

** All conference attendees, no matter what they are registering for (full program, short course only, one-day, etc.) or howlong they are staying are subject to this flat fee should they choose not to lodge at the Scandic Lillehammer Hotel.


28

__ Conference registration: current IS&T/ISJ Member $770 $870 $165 $215

__ Conf. registration (+ new or renewing membership + JIST)* $870 $970 $195 $245Membership begins within 2 weeks of registration and expires 12/31/18.

__ Conf. registration (+ new or renewing membership + JEI)* $870 $970 $195 $245Membership begins within 2 weeks of registration and expires 12/31/18.

__ Conference non-member registration $870 $970 $195 $245

__ One-day: � Wed � Thurs � Fri $425 $475 $125 $175

thruAug 13

afterAug 13

REGULARthru

Aug 13after

Aug 13

STUDENT

3. CIC Workshop Selection (free with registration; select ONE)� W1: Medical Applications: Image Processing, Challenges, and Perspectives� W2: Visual Perception & Emerging Tech. in Cinema: Perspectives from Academia & the Industry� W3: Cultural Heritage Digitization: Challenges and Opportunities� I do not plan to attend a workshop

2. Hotel Confirmation**� I am staying at the Scandic Lillehammer Hotel Amount due: $0 NA� I am not staying at the Scandic Lillehammer Hotel Amount due: $100 $ _____


29

4. Short Course Registration (be sure to multiply number of classes by per course fee and place on total line)Please note: Course notes for most classes are provided electronically prior to the conference for printing orviewing on your computer. Instructors without e-notes will provide hardcopies in class.

thru afterAug 13 Aug 13 TOTAL

___ M1: Color, Vision, and Basic Colorimety Member $480 $530 $ ________ M1: Color, Vision, and Basic Colorimety Non-member $570 $620 $ ________ Student M1: Color, Vision, and Basic Colorimety $195 $245 $ _____

___ 4-hour Member (per class; select below) $270 $320 $ ________ 4-hour Non-member (per class; select below) $315 $365 $ ________ 4-hour Student (per class; select below) $95 $145 $ _____

Check all that apply � T1A � T3C

___ 2-hour Member (per class; select below) $165 $215 $ ________ 2-hour Non-member (per class; select below) $200 $250 $ ________ 2-hour Student (per class; select below) $65 $115 $ _____

Check all that apply � T1B � T1C � T1D �T2B � T2C � T2D

� T3A � T3B � T3D � T4A � T4B � T4DOR

Take ANY three or more classes and receive 10% off the total priceEnter three or more courses, fill in member or non-member fee next to each, add, and multiply by.9`0 to get your price, representing 10% savings; add additional lines if needed; students maynot take advantage of this offer. If registering online, use Pick3 as coupon code at checkout.

M/T____ $ _____ + T____ $ _____ + T____ $ _____ = $______ x .90 = $ _____

6. Short Course Lunch on TuesdayLunch will be provided for students taking classes Monday and Tuesday. If you wish to participate inTuesday’s lunch at the hotel, please let us know.

� I want lunch on Tuesday. � I do not want lunch on Tuesday.

7. Extras___ Additional copy of conf. proceedings Note: One copy comes with conference registration. $140 $ ________ Additional/Guest ticket for Welcome Reception $35 $ ________ Additional/Guest ticket for Conference Banquet $65 $ _____Name/Affiliation of Guest for badge: ________________________________________

total from previous page $ _____Wire transfer fee ($25 if applicable) $ _____

GRAND TOTAL $ _____

Payment Method: � AmEx � MasterCard � VISA � Discover � Wire Transfer � Check

Card#: ______________________________________________ Exp. Date: ____________Name as it appears on card: __________________________________________________Authorization Signature: _______________________________________________________

Return this form with signed credit card authorization to IS&T, 7003 Kilworth Lane, Springfield, VA 22151 orfax to 703/642-9094. Contact [email protected] for wire transfer information; $25 must be added to

the total for wire transfer payments to cover bank costs.Please note: To cover bank charges and processing fees, there is a cancellation fee of $75 until

September 1, 2017. After that date, the cancellation fee is 50% of the total plus $75. No refunds will begiven after September 15, 2017. All requests for refund must be made in writing.

Twen

ty-fifth

Color

andIm

aging

Conferen

ce/CIC

25—

#CIC2

5SocietyforImagingScienceandTechnology

7003

KilworthLane

Springfield,VA

22151USA

703/642-9090;703/642-9094(fax)

IS&

T

imagin

g.o

rg

NON-PROFITORG.

USPOSTAGEPAID

Merrifield,VA

PermitNo.2333

Lillehammermainpedestrian-onlystreet.

cic25 preliminary program

Documents