{"title":"On seeing and rendering colour gradients","authors":"A. Ruppertsberg, A. Hurlbert, Marina Bloj","doi":"10.1145/1272582.1272599","DOIUrl":null,"url":null,"abstract":"Ten years ago Greenberg and colleagues presented their framework for realistic image synthesis [Greenberg et al. 1997], aiming \"to develop physically based lighting models and perceptually based rendering procedures for computer graphics that will produce synthetic images that are visually and measurably indistinguishable from real-world images\", paraphrasing Sutherland's 'ultimate display' [Sutherland 1965]. They specifically encouraged vision researchers to use natural, complex and three-dimensional (3D) visual displays to get a better understanding of human vision and to develop more comprehensive visual models for computer graphics that will improve the efficiency of algorithms. In this paper we follow Greenberg et al.'s directive and analyse colour and luminance gradients in a complex 3D scene. The gradients arise from changes in the light source position and orientation of surfaces. Information in image gradients could apprise the visual system about intrinsic surface reflectance properties or extrinsic illumination phenomena, including shading, shadowing and inter-reflections. Colour gradients induced by inter-reflection may play a similar role to that of luminance gradients in shape-from-shading algorithms; it has been shown that 3D shape perception modulates the influence of inter-reflections on surface colour perception [Bloj et al. 1999]. Here we report a psychophysical study in which we tested whether observers were able to discriminate between gradients due to different light source positions and found that observers reliably detected a change in the gradient information when the light source position differed by only 4 deg from the reference scene (Experiment 1). This sensitivity was mainly based on the luminance information in the gradient (Experiment 2 and 3). We conclude that for a realistic impression of a scene a global illumination algorithm should model the luminance component of inter-reflections accurately, whereas it is less critical to accurately represent the spatial variation in chromaticity.","PeriodicalId":121004,"journal":{"name":"Proceedings of the 4th symposium on Applied perception in graphics and visualization","volume":"131 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2007-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"3","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Proceedings of the 4th symposium on Applied perception in graphics and visualization","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1145/1272582.1272599","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 3
Abstract
Ten years ago Greenberg and colleagues presented their framework for realistic image synthesis [Greenberg et al. 1997], aiming "to develop physically based lighting models and perceptually based rendering procedures for computer graphics that will produce synthetic images that are visually and measurably indistinguishable from real-world images", paraphrasing Sutherland's 'ultimate display' [Sutherland 1965]. They specifically encouraged vision researchers to use natural, complex and three-dimensional (3D) visual displays to get a better understanding of human vision and to develop more comprehensive visual models for computer graphics that will improve the efficiency of algorithms. In this paper we follow Greenberg et al.'s directive and analyse colour and luminance gradients in a complex 3D scene. The gradients arise from changes in the light source position and orientation of surfaces. Information in image gradients could apprise the visual system about intrinsic surface reflectance properties or extrinsic illumination phenomena, including shading, shadowing and inter-reflections. Colour gradients induced by inter-reflection may play a similar role to that of luminance gradients in shape-from-shading algorithms; it has been shown that 3D shape perception modulates the influence of inter-reflections on surface colour perception [Bloj et al. 1999]. Here we report a psychophysical study in which we tested whether observers were able to discriminate between gradients due to different light source positions and found that observers reliably detected a change in the gradient information when the light source position differed by only 4 deg from the reference scene (Experiment 1). This sensitivity was mainly based on the luminance information in the gradient (Experiment 2 and 3). We conclude that for a realistic impression of a scene a global illumination algorithm should model the luminance component of inter-reflections accurately, whereas it is less critical to accurately represent the spatial variation in chromaticity.
十年前,Greenberg及其同事提出了他们的现实图像合成框架[Greenberg等人,1997],旨在“开发基于物理的照明模型和基于感知的计算机图形渲染程序,这些程序将产生在视觉上和可测量上与现实世界图像无法区分的合成图像”,转述Sutherland的“终极显示”[Sutherland 1965]。他们特别鼓励视觉研究人员使用自然、复杂和三维(3D)视觉显示来更好地理解人类视觉,并为计算机图形学开发更全面的视觉模型,从而提高算法的效率。在本文中,我们遵循格林伯格等人的指令和分析颜色和亮度梯度在一个复杂的3D场景。这些梯度是由光源位置和表面方向的变化引起的。图像梯度中的信息可以告知视觉系统表面的固有反射特性或外部照明现象,包括明暗、阴影和互反射。在形状-阴影算法中,由相互反射引起的颜色梯度可能起到与亮度梯度相似的作用;三维形状感知调节了相互反射对表面颜色感知的影响[Bloj et al. 1999]。这里我们报告一个心理物理的研究中,我们测试了是否观察员能够区分梯度由于不同光源位置,发现观察家可靠地检测到的变化当光源位置不同的梯度信息只有4度的参考场景(实验1)。这个敏感性主要是基于亮度梯度信息(实验2和3)。我们认为现实的一个场景一个全球的印象光照算法应准确地模拟间反射的亮度分量,而准确地表示色度的空间变化则不那么重要。