Image Quality Assessment (IQA) measures and predicts perceived image quality by human observers. Although recent studies have highlighted the critical influence that variations in the scale of an image have on its perceived quality, this relationship has not been systematically quantified. To bridge this gap, we introduce the Image Intrinsic Scale (IIS), defined as the largest scale where an image exhibits its highest perceived quality. We also present the Image Intrinsic Scale Assessment (IISA) task, which involves subjectively measuring and predicting the IIS based on human judgments. We develop a subjective annotation methodology and create the IISA-DB dataset, comprising 785 image-IIS pairs annotated by experts in a rigorously controlled crowdsourcing study. Furthermore, we propose WIISA (Weak-labeling for Image Intrinsic Scale Assessment), a strategy that leverages how the IIS of an image varies with downscaling to generate weak labels. Experiments show that applying WIISA during the training of several IQA methods adapted for IISA consistently improves the performance compared to using only ground-truth labels. The code, dataset, and pre-trained models are available at https://github.com/SonyResearch/IISA.

An accurate computational model for image quality assessment (IQA) benefits many vision applications, such as image filtering, image processing, and image generation. Although the study of face images is an important subfield in computer vision research, the lack of face IQA data and models limits the precision of current IQA metrics on face image processing tasks such as face superresolution, face enhancement, and face editing. To narrow this gap, in this article, we first introduce the largest annotated IQA database developed to date, which contains 20,000 human faces – an order of magnitude larger than all existing rated datasets of faces – of diverse individuals in highly varied circumstances. Based on the database, we further propose a novel deep learning model to accurately predict face image quality, which, for the first time, explores the use of generative priors for IQA. By taking advantage of rich statistics encoded in well pretrained off-the-shelf generative models, we obtain generative prior information and use it as latent references to facilitate blind IQA. The experimental results demonstrate both the value of the proposed dataset for face IQA and the superior performance of the proposed model.

Visual data play a crucial role in modern society, and the rate at which images and videos are acquired, stored, and exchanged every day is rapidly increasing. Image compression is the key technology that enables storing and sharing of visual content in an efficient and cost-effective manner, by removing redundant and irrelevant information. On the other hand, image compression often introduces undesirable artifacts that reduce the perceived quality of the media. Subjective image quality assessment experiments allow for the collection of information on the visual quality of the media as perceived by human observers, and therefore quantifying the impact of such distortions. Nevertheless, the most commonly used subjective image quality assessment methodologies were designed to evaluate compressed images with visible distortions, and therefore are not accurate and reliable when evaluating images having higher visual qualities. In this paper, we present a dataset of compressed images with quality levels that range from high to nearly visually lossless, with associated quality scores in JND units. The images were subjectively evaluated by expert human observers, and the results were used to define the range from high to nearly visually lossless quality. The dataset is made publicly available to researchers, providing a valuable resource for the development of novel subjective quality assessment methodologies or compression methods that are more effective in this quality range.

The picturewise just noticeable difference (PJND) for a given image, compression scheme, and subject is the smallest distortion level that the subject can perceive when the image is compressed with this compression scheme. The PJND can be used to determine the compression level at which a given proportion of the population does not notice any distortion in the compressed image. To obtain accurate and diverse results, the PJND must be determined for a large number of subjects and images. This is particularly important when experimental PJND data are used to train deep learning models that can predict a probability distribution model of the PJND for a new image. To date, such subjective studies have been carried out in laboratory environments. However, the number of participants and images in all existing PJND studies is very small because of the challenges involved in setting up laboratory experiments. To address this limitation, we develop a framework to conduct PJND assessments via crowdsourcing. We use a new technique based on slider adjustment and a flicker test to determine the PJND. A pilot study demonstrated that our technique could decrease the study duration by 50% and double the perceptual sensitivity compared to the standard binary search approach that successively compares a test image side by side with its reference image. Our framework includes a robust and systematic scheme to ensure the reliability of the crowdsourced results. Using 1,008 source images and distorted versions obtained with JPEG and BPG compression, we apply our crowdsourcing framework to build the largest PJND dataset, KonJND-1k (Konstanz just noticeable difference 1k dataset). A total of 503 workers participated in the study, yielding 61,030 PJND samples that resulted in an average of 42 samples per source image. The KonJND-1k dataset is available athttp://database.mmsp-kn.de/konjnd-1k-database.html

Super-resolution aims at increasing the resolution and level of detail within an image. The current state of the art in general single-image super-resolution is held by NESRGAN+, which injects a Gaussian noise after each residual layer at training time. In this paper, we harness evolutionary methods to improve NESRGAN+ by optimizing the noise injection at inference time. More precisely, we use Diagonal CMA to optimize the injected noise according to a novel criterion combining quality assessment and realism. Our results are validated by the PIRM perceptual score and a human study. Our method outperforms NESRGAN+ on several standard super-resolution datasets. More generally, our approach can be used to optimize any method based on noise injection.

The Joint Workshop on Aesthetic and Technical Quality Assessment of Multimedia and Media Analytics for Societal Trends (ATQAM/ MAST) aims to bring together researchers and professionals working in fields ranging from computer vision, multimedia computing, multimodal signal processing to psychology and social sciences. It is divided into two tracks: ATQAM and MAST. ATQAM track: Visual quality assessment techniques can be divided into image and video technical quality assessment (IQA and VQA, or broadly TQA) and aesthetics quality assessment (AQA). While TQA is a long-standing field, having its roots in media compression, AQA is relatively young. Both have received increased attention with developments in deep learning. The topics have mostly been studied separately, even though they deal with similar aspects of the underlying subjective experience of media. The aim is to bring together individuals in the two fields of TQA and AQA for the sharing of ideas and discussions on current trends, developments, issues, and future directions. MAST track: The research area of media content analytics has been traditionally used to refer to applications involving inference of higher-level semantics from multimedia content. However, multimedia is typically created for human consumption, and we believe it is necessary to adopt a human-centered approach to this analysis, which would not only enable a better understanding of how viewers engage with content but also how they impact each other in the process.

Professional video editing tools can generate slow-motion video by interpolating frames from video recorded at a standard frame rate. Thereby the perceptual quality of such interpolated slow-motion videos strongly depends on the underlying interpolation techniques. We built a novel benchmark database that is specifically tailored for interpolated slow-motion videos (KoSMo-1k). It consists of 1,350 interpolated video sequences, from 30 different content sources, along with their subjective quality ratings from up to ten subjective comparisons per video pair. Moreover, we evaluated the performance of twelve existing full-reference (FR) image/video quality assessment (I/VQA) methods on the benchmark. In this way, we are able to show that specifically tailored quality assessment methods for interpolated slow-motion videos are needed, since the evaluated methods — despite their good performance on real-time video databases — do not give satisfying results when it comes to frame interpolation.

Video streaming under real-time constraints is an increasingly widespread application. Many recent video encoders are unsuitable for this scenario due to theoretical limitations or run time requirements. In this paper, we present a framework for the perceptual evaluation of foveated video coding schemes. Foveation describes the process of adapting a visual stimulus according to the acuity of the human eye. In contrast to traditional region-of-interest coding, where certain areas are statically encoded at a higher quality, we utilize feedback from an eye-tracker to spatially steer the bit allocation scheme in real-time. We evaluate the performance of an H.264 based foveated coding scheme in a lab environment by comparing the bitrates at the point of just noticeable distortion (JND). Furthermore, we identify perceptually optimal codec parameterizations. In our trials, we achieve an average bitrate savings of 63.24% at the JND in comparison to the unfoveated baseline.

Assessing visual similarity in-the-wild, a core ability of the human visual system, is a challenging problem for computer vision methods because of its subjective nature and limited annotated datasets. We make a stride forward, showing that visual similarity can be better studied by isolating its components. We identify color composition similarity as an important aspect and study its interaction with category-level similarity. Color composition similarity considers the distribution of colors and their layout in images. We create predictive models accounting for the global similarity that is beyond pixel-based and patch-based, or histogram level information. Using an active learning approach, we build a large-scale color composition similarity dataset with subjective ratings via crowd-sourcing, the first of its kind. We train a Siamese network using the dataset to create a color similarity metric and descriptors which outperform existing color descriptors. We also provide a benchmark for global color descriptors for perceptual color similarity. Finally, we combine color similarity and category level features for fine-grained visual similarity. Our proposed model surpasses the state-of-the-art performance while using three orders of magnitude less training data. The results suggest that our proposal to study visual similarity by isolating its components, modeling and combining them is a promising paradigm for further development.

Deep learning methods for image quality assessment (IQA) are limited due to the small size of existing datasets. Extensive datasets require substantial resources both for generating publishable content and annotating it accurately. We present a systematic and scalable approach to creating KonIQ-10k, the largest IQA dataset to date, consisting of 10,073 quality scored images. It is the first in-the-wild database aiming for ecological validity, concerning the authenticity of distortions, the diversity of content, and quality-related indicators. Through the use of crowdsourcing, we obtained 1.2 million reliable quality ratings from 1,459 crowd workers, paving the way for more general IQA models. We propose a novel, deep learning model (KonCept512), to show an excellent generalization beyond the test set (0.921 SROCC), to the current state-of-the-art database LIVE-in-the-Wild (0.825 SROCC). The model derives its core performance from the InceptionResNet architecture, being trained at a higher resolution than previous models (512 × 384). Correlation analysis shows that KonCept512 performs similar to having 9 subjective scores for each test image.

We propose an effective deep learning approach to aesthetics quality assessment that relies on a new type of pre-trained features, and apply it to the AVA data set, the currently largest aesthetics database. While previous approaches miss some of the information in the original images, due to taking small crops, down-scaling or warping the originals during training, we propose the first method that efficiently supports full resolution images as an input, and can be trained on variable input sizes. This allows us to significantly improve upon the state of the art, increasing the Spearman rank-order correlation coefficient (SRCC) of ground-truth mean opinion scores (MOS) from the existing best reported of 0.612 to 0.756. To achieve this performance, we extract multi-level spatially pooled (MLSP) features from all convolutional blocks of a pre-trained InceptionResNet-v2 network, and train a custom shallow Convolutional Neural Network (CNN) architecture on these new features.

The Satisfied User Ratio (SUR) curve for a lossy image compression scheme, e.g., JPEG, characterizes the probability distribution of the Just Noticeable Difference (JND) level, the smallest distortion level that can be perceived by a subject. We propose the first deep learning approach to predict such SUR curves. Instead of the direct approach of regressing the SUR curve itself for a given reference image, our model is trained on pairs of images, original and compressed. Relying on a Siamese Convolutional Neural Network (CNN), feature pooling, a fully connected regression-head, and transfer learning, we achieved a good prediction performance. Experiments on the MCL-JCI dataset showed a mean Bhattacharyya distance between the predicted and the original JND distributions of only 0.072.

Current artificially distorted image quality assessment (IQA) databases are small in size and limited in content. Larger IQA databases that are diverse in content could benefit the development of deep learning for IQA. We create two datasets, the Konstanz Artificially Distorted Image quality Database (KADID-10k) and the Konstanz Artificially Distorted Image quality Set (KADIS-700k). The former contains 81 pristine images, each degraded by 25 distortions in 5 levels. The latter has 140,000 pristine images, with 5 degraded versions each, where the distortions are chosen randomly. We conduct a subjective IQA crowdsourcing study on KADID-10k to yield 30 degradation category ratings (DCRs) per image. We believe that the annotated set KADID-10k, together with the unlabelled set KADIS-700k, can enable the full potential of deep learning based IQA methods by means of weakly-supervised learning.

Current benchmarks for optical flow algorithms evaluate the estimation quality by comparing their predicted flow field with the ground truth, and additionally may compare interpolated frames, based on these predictions, with the correct frames from the actual image sequences. For the latter comparisons, objective measures such as mean square errors are applied. However, for applications like image interpolation, the expected user's quality of experience cannot be fully deduced from such simple quality measures. Therefore, we conducted a subjective quality assessment study by crowdsourcing for the interpolated images provided in one of the optical flow benchmarks, the Middlebury benchmark. We used paired comparisons with forced choice and reconstructed absolute quality scale values according to Thurstone's model using the classical least squares method. The results give rise to a re-ranking of 141 participating algorithms w.r.t. visual quality of interpolated frames mostly based on optical flow estimation. Our re-ranking result shows the necessity of visual quality assessment as another evaluation metric for optical flow and frame interpolation benchmarks.

We propose a screening approach to find reliable and effectively expert crowd workers in image quality assessment (IQA). Our method measures the users' ability to identify image degradations by using test questions, together with several relaxed reliability checks. We conduct multiple experiments, obtaining reproducible results with a high agreement between the expertise-screened crowd and the freelance experts of 0.95 Spearman rank order correlation (SROCC), with one restriction on the image type. Our contributions include a reliability screening method for uninformative users, a new type of test questions that rely on our proposed database1of pristine and artificially distorted images, a group agreement extrapolation method and an analysis of the crowdsourcing experiments.

Image quality has been studied almost exclusively as a global image property. It is common practice for IQA databases and metrics to quantify this abstract concept with a single number per image. We propose an approach to blind IQA based on a convolutional neural network (patchnet) that was trained on a novel set of 32,000 individually annotated patches of 64×64 pixel. We use this model to generate spatially small local quality maps of images taken from KonIQ-10k, a large and diverse in-the-wild database of authentically distorted images. We show that our local quality indicator correlates well with global MOS, going beyond the predictive ability of quality related attributes such as sharpness. Averaging of patchnet predictions already outperforms classical approaches to global MOS prediction that were trained to include global image features. We additionally experiment with a generic second-stage aggregation CNN to estimate mean opinion scores. Our latter model performs comparable to the state of the art with a PLCC of 0.81 on KonIQ-10k.

Subjective video quality assessment (VQA) strongly depends on semantics, context, and the types of visual distortions. Currently, all existing VQA databases include only a small number of video sequences with artificial distortions. The development and evaluation of objective quality assessment methods would benefit from having larger datasets of real-world video sequences with corresponding subjective mean opinion scores (MOS), in particular for deep learning purposes. In addition, the training and validation of any VQA method intended to be ‘general purpose’ requires a large dataset of video sequences that are representative of the whole spectrum of available video content and all types of distortions. We report our work on KoNViD-1k, a subjectively annotated VQA database consisting of 1,200 public-domain video sequences, fairly sampled from a large public video dataset, YFCC100m. We present the challenges and choices we have made in creating such a database aimed at ‘in the wild’ authentic distortions, depicting a wide variety of content.

Saliency-driven image coding is well worth pursuing. Previous studies on JPEG and JPEG2000 have suggested that region-of-interest coding brings little overall benefit compared to the standard implementation. We show that our saliency-driven variable quantization JPEG coding method significantly improves perceived image quality. To validate our findings, we performed large crowdsourcing experiments involving several hundred contributors, on 44 representative images. To quantify the level of improvement, we devised an approach to equate Likert-type opinions to bitrate differences. Our saliency-driven coding showed 11% bpp average benefit over the standard JPEG.

Abstract Recent photography techniques such as sculpting with light show great potential in compositing beautiful images from fixed‐viewpoint photos under multiple illuminations. The process relies heavily on the artists’ experience and skills using the available tools. An apparent trend in recent works is to facilitate the interaction making it less time‐consuming and addressable not only to experts, but also novices. We propose a method that automatically creates enhanced light montages that are comparable to those produced by artists. It detects and emphasizes cues that are important for perception by introducing a technique to extract depth and shape edges from an unconstrained light stack. Studies show that these cues are associated with silhouettes and suggestive contours which artists use to sketch and construct the layout of paintings. Textures, due to perspective distortion, offer essential cues that depict shape and surface slant. We balance the emphasis between depth edges and reflectance textures to enhance the sense of both shape and reflectance properties. Our light montage technique works perfectly with a few to hundreds of illuminations for each scene. Experiments show great results for static scenes making it practical for small objects, interiors and small‐scale outdoor scenes. Dynamic scenes may be captured using spatially distributed light setups such as light domes. The approach could also be applied to time‐lapse photos, with the sun as the main light source.