Digital restoration of film content that has historical value is crucial for the preservation of cultural heritage. Also, digital restoration is not only a relevant application area of various video processing technologies that have been developed in computer graphics literature but also involves a multitude of unresolved research challenges. Currently, the digital restoration workflow is highly labor intensive and often heavily relies on expert knowledge. We revisit some key steps of this workflow and propose semiautomatic methods for performing them. To do that we build upon state-of-the-art video processing techniques by adding the components necessary for enabling (i) restoration of chemically degraded colors of the film stock, (ii) removal of excessive film grain through spatiotemporal filtering, and (iii) contrast recovery by transferring contrast from the negative film stock to the positive. We show that when applied individually our tools produce compelling results and when applied in concert significantly improve the degraded input content. Building on a conceptual framework of film restoration ensures the best possible combination of tools and use of available materials.
A European consortium of six partners has been developing core technological components of a mobile 3D television
system over DVB-H channel. In this overview paper, we present our current results on developing optimal methods for
stereo-video content creation, coding and transmission and emphasize their significance for the power-constrained
mobile platform, equipped with auto-stereoscopic display. We address the user requirements by applying modern usercentered
approaches taking into account different user groups and usage contexts in contrast to the laboratory assessment
methods which, though standardized, offer limited applicability to real applications. To this end, we have been aiming at
developing a methodological framework for the whole system development process. One of our goals has been to further
develop the user-centered approach towards experienced quality of critical system components. In this paper, we classify
different research methods and technological solutions analyzing their pros and constraints. Based on this analysis we
present the user-centered methodological framework being used throughout the whole development process of the
system and aimed at achieving the best performance and quality appealing to the end user.
There has been increased momentum recently in the production of 3D content for cinema applications; for the most part, this has been limited to stereo content. There are also a variety of display technologies on the market that support 3DTV, each offering a different viewing experience and having different input requirements. More specifically, stereoscopic displays support stereo content and require glasses, while auto-stereoscopic displays avoid the need for glasses by rendering view-dependent stereo pairs for a multitude of viewing angles. To realize high quality auto-stereoscopic displays, multiple views of the video must either be provided as input to the display, or these views must be created locally at the display. The former approach has difficulties in that the production environment is typically limited to stereo, and transmission bandwidth for a large number of views is not likely to be available. This paper discusses an emerging 3D data format that enables the latter approach to be realized. A new framework for efficiently representing a
3D scene and enabling the reconstruction of an arbitrarily large number of views prior to rendering is introduced. Several design challenges are also highlighted through experimental results.
An overview of 3D and free viewpoint video is given in this paper with special focus on related standardization activities in MPEG. Free viewpoint video allows the user to freely navigate within real world visual scenes, as known from virtual worlds in computer graphics. Suitable 3D scene representation formats are classified and the processing chain is explained. Examples are shown for image-based and model-based free viewpoint video systems, highlighting standards conform realization using MPEG-4. Then the principles of 3D video are introduced providing the user with a 3D depth impression of the observed scene. Example systems are described again focusing on their realization based on MPEG-4. Finally multi-view video coding is described as a key component for 3D and free viewpoint video systems. MPEG is currently working on a new standard for multi-view video coding. The conclusion is that the necessary technology including standard media formats for 3D and free viewpoint is available or will be available in the near future, and that there is a clear demand from industry and user side for such applications. 3DTV at home and free viewpoint video on DVD will be available soon, and will create huge new markets.
We present a new approach to video coding that applies video analysis based on global motion features. A super-resolution mosaic is build for each frame to be encoded from a number of previously transmitted frames. This super-resolution mosaic is used to detect macroblocks that are only affected by global motion. For such macroblocks no prediction error is transmitted. They are purely reconstructed by prediction from the super-resolution mosaic which results in significant bitrate savings. Our results indicate total bitrate savings of 20% and more compared to a state of the art H.264/AVC codec at the same visual quality.