We present a method that, given two different views of the same scene taken by two cameras with unknown settings and internal parameters, corrects the colors of one of the images making it look as if it was captured under the other camera settings. Our method is able to deal with any standard non-linear encoded images (gamma-corrected, logarithmic-encoded, or any other) without requiring any previous knowledge of the encoding. To this end, our method makes use of two important observations. First, the camera imaging pipeline from RAW to sRGB can be well approximated by considering just a per-pixel shading and a color transformation matrix, and second, for correcting the images we only need to estimate a single matrix -that will contain information from both of the original images- and an approximation of the shading term (that emulates the non-linearity). Our proposed method is fast and the results have no spurious artifacts. The method outperforms the state-of-the-art when compared with other methods that do not require knowledge of the encoding used. It is also able to compete with -and even surpass in some cases- methods that consider information about image encoding.

By capturing a more complete rendition of scene light than standard 2D cameras, light-field technology represents an important step towards closing the gap between live action cinematography and computer graphics. Light-field cameras accomplish this by simultaneously capturing the same scene under different angular configurations, providing directional information that allows for a multitude of post-production effects. Among the practical challenges related to capturing multiple images simultaneously, a very important problem is the fact that the different images do not perfectly match in terms of color, which severely complicates all further processing. In this work we adapt and extend to the light-field scenario a color stabilization method previously proposed for standard multi-camera shoots, and demonstrate experimentally that it provides an improvement over the state-of-the-art techniques for light-field imaging.

We present a color matching method that deals with different non-linear encodings. In particular, given two different views of the same scene taken by two cameras with unknown settings and internal parameters, and encoded with unknown non-linear curves, our method is able to correct the colors of one of the images making it look as if it was captured under the other camera's settings. Our method is based on treating the in-camera color processing pipeline as a concatenation of a matrix multiplication on the linear image followed by a non-linearity. This allows us to model a color stabilization transformation among the two shots by estimating a single matrix -that will contain information from both of the original images- and an extra parameter that complies with the non-linearity. The method is fast and the results have no spurious colors. It outperforms the state-of-the-art both visually and according to several metrics, and can handle HDR encodings and very challenging real-life examples.

Multiple-exposure approaches for high dynamic range (HDR) image generation share a set of building assumptions: that color channels are independent and that the camera response function (CRF) remains constant while changing the exposure. The first contribution of this paper is to highlight how these assumptions, which were correct for film photography, do not hold in general for digital cameras. As a consequence, results of multiexposure HDR methods are less accurate, and when tone-mapped they often present problems like hue shifts and color artifacts. The second contribution is to propose a method to stabilize the CRF while coupling all color channels, which can be applied to both static and dynamic scenes, and yield artifact-free results that are more accurate than those obtained with state-of-the-art methods according to several image metrics.

In this paper we present a novel approach to the problem of exposure fusion of a stack of pictures for the generation of high dynamic range (HDR) radiance maps. All exposure fusion approaches, when applied on 8-bit non-RAW pictures, perform photometric/ncalibration by estimating and inverting the camera response function, which is assumed to be a channelwise-independent function which does not change with the exposure. Our experiments show that these assumptions do not always hold and that the camera may automatically introduce changes (in gain, white balance, gamma correction value) from one exposure to the next when performing the non-linear operations involved in recording pictures in non-RAW formats such as JPEG. The net result is that HDR radiance maps obtained from exposure fusion of non-linear data may have substantially more error than if computed directly from the linear, RAW data. Our proposed method overcomes this problem and compensates for the changes introduced by the camera by matching the color correction and gamma correction transforms of all pictures to those of a reference picture in the stack, providing a clear improvement in terms of PSNR with respect to the classical method of Debevec and Malik.