CRC Press, 2014. — 314 p.This book is intended primarily for advanced undergraduate and graduate students in applied mathematics, image processing, computer science and related fields, as well as for researchers from academia and professionals from the movie industry. It can be used as a textbook for a graduate course, for an advanced undergraduate course, or for summer school. My intention has been that it can serve as a self-contained handbook and a detailed overview of the relevant image processing techniques that are used in practice in cinema. It covers a wide range of topics showing how image processing has become ubiquitous in movie-making, from shooting to exhibition. It does not deal with visual effects or computer-generated images, but rather with all the ways in which image processing algorithms are used to enhance, restore, adapt or convert moving images, their purpose being to make the images look as good as possible while exploiting all the capabilities of cameras, projectors and displays. Image processing is by definition an applied discipline, but very few of the image processing algorithms intended for application in the cinema industry are ever actually used. There probably are many reasons for this, but in my view the most important ones are that we, the researchers, are often not aware of the impossibly high quality standards of cinema, and also we don't have a clear picture of what the needs of the industry are, what problems they'd really like to solve versus what we think they'd like to solve. Movie professionals, on the other hand, are very much aware of what their needs are, they are very eager to learn and try new techniques that may help them and they want to understand what is it they are applying. But very often the technical or scientific information they want is spread over many texts, or buried under many layers of math or unrelated exposition. Surprisingly, then, this is the first comprehensive book on image processing for cinema, and I've written it because I sincerely think that having all this information together can be beneficial both for researchers and for movie industry professionals. Current digital cinema cameras match or even surpass film cameras in color capabilities, dynamic range and resolution, and several of the largest camera makers have ceased production of film cameras. On the exhibition side, film is forecasted to be gone from American movie theaters by 2015. And while many mainstream and blockbuster movies are still being shot on film, they are all digitized for postproduction. For all these reasons this book equates “cinema” with “digital cinema,” considers only digital cameras and digital movies, and does not deal with image processing algorithms for problems that are inherent to film, like the restoration of film scratches or color fading. The book is structured in three parts. The first one covers some fundamentals on optics and color. The second part explains how cameras work and details all the image processing algorithms that are applied in-camera. The last part is devoted to image processing algorithms that are applied off-line in order to solve a wide range of problems, presenting state-of-the-art methods with special emphasis on the techniques that are actually used in practice. The mathematical presentation of all methods will concentrate on their purpose and idea, leaving formal proofs and derivations for the interested reader in the cited references.Part I Lights Light and color Optics Part II Camera Camera Part III Action Compression Denoising Demosaicking and deinterlacing White balance Image stabilization Zoom-in and slow motion Transforming the color gamut High dynamic range video and tone mapping Stereoscopic 3D cinema Color matching for stereoscopic cinema Inpainting
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