Image processing for cinema

314 Pages·2014·6.556 MB·English

by  Bertalmio M.

IMAGE PROCESSING FOR CINEMA

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Chapman & Hall/CRC
Mathematical and Computational
Imaging Sciences
Series Editors
Chandrajit Bajaj Guillermo Sapiro
Center for Computational Visualization Department of Electrical
The University of Texas at Austin and Computer Engineering
Duke University
Aims and Scope
This series aims to capture new developments and summarize what is
known over the whole spectrum of mathematical and computational imaging
sciences. It seeks to encourage the integration of mathematical, statistical and
computational methods in image acquisition and processing by publishing a
broad range of textbooks, reference works and handbooks. The titles included
in the series are meant to appeal to students, researchers and professionals
in the mathematical, statistical and computational sciences, application areas,
as well as interdisciplinary researchers involved in the field. The inclusion of
concrete examples and applications, and programming code and examples, is
highly encouraged.
Published Titles
Image Processing for Cinema
by Marcelo Bertalmío
Statistical and Computational Methods in Brain Image Analysis
by Moo K. Chung
Rough Fuzzy Image Analysis: Foundations and Methodologies
by Sankar K. Pal and James F. Peters
Theoretical Foundations of Digital Imaging Using MATLAB®
by Leonid P. Yaroslavsky
Proposals for the series should be submitted to the series editors above or directly to:
CRC Press, Taylor & Francis Group
3 Park Square, Milton Park, Abingdon, OX14 4RN, UK

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Chapman & Hall/CRC
Mathematical and Computational Imaging Sciences
IMAGE PROCESSING FOR CINEMA
MARCELO BERTALMÍO
Universitat Pompeu Fabra
Barcelona, Spain

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CRC Press
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Para Lucas y Vera,
y Guillermo y Gregory,
y pap´a y Serrana.
Siempre presente, Vicent.
v
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Acknowledgments
Theoriginalillustrationsinthisbookarebykillerfriendsandknock-outartists
Javier Baliosian, Federico Lecumberry and Jorge Visca. They also helped me
with the book cover, along with Rafael Grompone. The rest of the figures are
reproduced with the permission of their authors, to whom I’m very grateful.
Aheartfelt“Thankyou”toalltheresearchersI’vehadthepleasureofcol-
laborating with over the years: Gregory Randall, Guillermo Sapiro, Coloma
Ballester, Stan Osher, Li Tien Cheng, Andrea Bertozzi, Alicia Fern´andez,
Shantanu Rane, Luminita Vese, Joan Verdera, Oliver Sander, Pere Fort,
Daniel S´anchez-Crespo, Kedar Patwardhan, Juan Cardelino, Gloria Haro,
EdoardoProvenzi,AlessandroRizzi,A´lvaroPardo,LuisGarrido,Adri´anMar-
ques, Aur´elie Bugeau, Sira Ferradans, Rodrigo Palma-Amestoy, Jack Cowan,
Stacey Levine, Thomas Batard, Javier Vazquez-Corral, David Kane, Syed
Waqas Zamir and Praveen Cyriac.
Specialthanksto:SunilNair,SarahGelson,MicheleDimontandeveryone
at Taylor & Francis, and Aurelio Ruiz.
Very special thanks to Jay Cassidy, Pierre Jasmin and Stan Osher.
Finally, I want to acknowledge the support of the European Research
Council through the Starting Grant ref. 306337, of ICREA through their
ICREA Acad`emia Award, and of the Spanish government through the grants
TIN2012-38112 and TIN2011-1594-E.
Always present: Andr´es Sol´e and Vicent Caselles.
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Preface
This book is intended primarily for advanced undergraduate and graduate
students in applied mathematics, image processing, computer science and re-
lated 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
advancedundergraduatecourse,orforsummerschool.Myintentionhasbeen
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
coversawiderangeoftopicsshowinghowimageprocessinghasbecomeubiq-
uitous 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
whichimageprocessingalgorithmsareusedtoenhance,restore,adaptorcon-
vert moving images, their purpose being to make the images look as good as
possible while exploiting all the capabilities of cameras, projectors and dis-
plays.
Imageprocessingisbydefinitionanapplieddiscipline,butveryfewofthe
image processing algorithms intended for application in the cinema industry
are ever actually used. There probably are many reasons for this, but in my
viewthemostimportantonesarethatwe,theresearchers,areoftennotaware
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.
Movieprofessionals,ontheotherhand,areverymuchawareofwhattheir
needs are, they are very eager to learn and try new techniques that may help
themandtheywanttounderstandwhatisittheyareapplying.Butveryoften
thetechnical orscientificinformationtheywantisspreadovermanytexts,or
buried under many layers of math or unrelated exposition.
Surprisingly,then,thisisthefirstcomprehensivebookonimageprocessing
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.
Currentdigitalcinemacamerasmatchorevensurpassfilmcamerasincolor
capabilities, dynamic range and resolution, and several of the largest camera
makershaveceasedproductionoffilmcameras.Ontheexhibitionside,filmis
forecastedtobegonefromAmericanmovietheatersby2015.Andwhilemany
mainstream and blockbuster movies are still being shot on film, they are all
digitizedforpostproduction.Forallthesereasonsthisbookequates“cinema”
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