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High Dynamic Range Imaging: Acquisition, Display, and Image-Based Lighting [Hardcover]

Erik Reinhard , Wolfgang Heidrich , Paul Debevec , Sumanta Pattanaik , Greg Ward , Karol Myszkowski

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Book Description

28 May 2010

This landmark book is the first to describe HDRI technology in its entirety and covers a wide-range of topics, from capture devices to tone reproduction and image-based lighting. The techniques described enable you to produce images that have a dynamic range much closer to that found in the real world, leading to an unparalleled visual experience. As both an introduction to the field and an authoritative technical reference, it is essential to anyone working with images, whether in computer graphics, film, video, photography, or lighting design.



  • New material includes chapters on High Dynamic Range Video Encoding, High Dynamic Range Image Encoding, and High Dynammic Range Display Devices
  • Written by the inventors and initial implementors of High Dynamic Range Imaging
  • Covers the basic concepts (including just enough about human vision to explain why HDR images are necessary), image capture, image encoding, file formats, display techniques, tone mapping for lower dynamic range display, and the use of HDR images and calculations in 3D rendering
  • Range and depth of coverage is good for the knowledgeable researcher as well as those who are just starting to learn about High Dynamic Range imaging

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High Dynamic Range Imaging: Acquisition, Display, and Image-Based Lighting + The HDRI Handbook 2.0: High Dynamic Range Imaging for Photographers and CG Artists
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"With the mainstream introduction of affordable LED HDTVs and computer monitors, the principles of high dynamic range imaging have gone from an academic research topic to essential knowledge. For anyone involved in software or hardware development for computer games and entertainment video, this second edition of High Dynamic Range Imaging offers everything you need and more. Highly recommended."

-Ian Ashdown, President, byHeart Consultants Limited

About the Author

Erik Reinhard is assistant professor at the University of Bristol and founder and editor-in-chief (with Heinrich Bülthoff) of ACM Transactions on Applied Perception. He is interested in the interface between visual perception and computer graphics and also in high dynamic range image editing. His work in HDRI includes the SIGGRAPH 2005 Computer Animation Festival contribution Image-based Material Editing, as well as tone reproduction and color appearance algorithms. He holds a BSc and a TWAIO diploma in computer science from Delft University of Technology and a PhD in computer science from the University of Bristol, and was a post-doctoral researcher at the University of Utah.

Wolfgang Heidrich is Associate Professor and Dolby Research Chair at the Department of Computer Science, University of British Columbia.

Paul Debevec is a research assistant professor at the University of Southern California and the executive producer of graphics research at USC's Institute for Creative Technologies. Paul's PhD thesis (UC Berkeley, 1996) presented Façade, an image-based modeling and rendering system for creating photoreal architectural models from photographs. Using Façade, he led the creation of virtual cinematography of the Berkeley campus for his 1997 film The Campanile Movie whose techniques were used to create virtual backgrounds in the 1999 film The Matrix. Subsequently he pioneered techniques for illuminating computer-generated scenes with real-world lighting captured through high dynamic range photography, demonstrating new image-based lighting techniques in his films Rendering with Natural Light (1998), Fiat Lux (1999), and The Parthenon (2004). He has also led the design of HDR Shop, the first widely used high dynamic range image editing program. Most recently Paul has led the development of a series of Light Stage devices that allow objects, actors, and performances to be synthetically illuminated with novel lighting. This technique was used to create photoreal digital actors for the film Spider Man 2. Paul received the first ACM SIGGRAPH Significant New Researcher Award in 2001, was named one of the world's top "100 Young Innovators" by MIT's Technology Review in 2002, and was awarded a Lillian Gilbreth Lectureship from the National Academy of Engineering in 2005.

Sumanta Pattanaik is an associate processor of computer science at the University of Central Florida, Orlando (UCF). His main area of research is realistic rendering where he has been active for over 15 years and has contributed significantly through a number of research publications. His current focus is developing real-time rendering algorithms and modeling natural environments. He is currently serving as the computer graphics category editor of ACM Computing Review. Sumanta received his MS degree in chemistry from Utkal University, India in 1978 and PhD degree in computer science from Birla Institute of Technology and Science in Pilani (BITS-Pilani), India in 1993. Prior to joining UCF he was a research associate at the Program of Computer Graphics at Cornell University, a post-doctoral researcher at the SIAMES program of IRISA/INRIA France, and a senior staff scientist at the National Center of Software Technology, India.

Greg Ward is a pioneer in HDRI, having developed the first widely used HDR image file format in 1986 as part of the Radiance lighting simulation system. In 1998 he introduced the more advanced LogLuv TIFF encoding and more recently the backwards-compatible HDR extension to JPEG. He is also the author of the Mac OS X application Photosphere, which provides advanced HDR assembly and cataloging and is freely available from www.anyhere.com. Currently he is collaborating with Sunnybrook Technologies on their HDR display systems. Greg has worked as a part of the computer graphics research community for over 20 years, developing rendering algorithms, reflectance models and measurement systems, tone reproduction operators, image processing techniques, and photo printer calibration methods. His past employers include the Lawrence Berkeley National Laboratory, EPFL Switzerland, SGI, Shutterfly, and Exponent. He holds a bachelor's degree in physics from UC Berkeley and a master's degree in computer science from San Francisco State University. He is currently working as an independent consultant in Albany, California.

Karol Myszkowski is a Senior Researcher in the Computer Graphics Group of
the Max-Planck-Institut für Informatik (Germany).

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Front Cover | Copyright | Table of Contents | Excerpt | Index
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Amazon.com: 4.4 out of 5 stars  19 reviews
15 of 15 people found the following review helpful
4.0 out of 5 stars 5 orders of magnitude input to 2 orders of magnitude output 8 Nov 2010
By W Boudville - Published on Amazon.com
Format:Hardcover|Vine Customer Review of Free Product (What's this?)
From the other reviews about this book that came about via Amazon's Vine program, you might infer a possible problem when the book is a deeply technical exposition. Frankly, it was over the heads of several reviewers, several of whom admitted as much. So let's see what I can contribute.

The subject of High Dynamic Range imaging exists mostly because of a simple observation. When you look with your eyes at a natural scene, typically outdoors in daytime, the dynamic range of the image can vary up to 5 orders of magnitude in intensity. But when the scene is captured and then displayed, the output page or screen can often only show 2 orders of magnitude. The latter is called Low Dynamic Range imaging. The conventional 24 bit RGB representation, which allocates 8 bits each to red, green and blue, is for LDR. The 8 bits in each colour channel is that 2 orders of magnitude variation.

The book also explains clearly why 24 bit RGB is really effectively 8 bits or 2 orders of magnitude range. You might think naively that we have 24 bits of variation. But the text takes an example image, of an outdoors scene, and does scatterplots of red, green and blue pixel intensities against each other. They are strongly correlated. Which makes sense, when you realise that a pixel that is bright in red is often also bright in green and blue. The practical effect is that the information content in 24 bit pixels is actually much less than 24 bits. Which also explains why a mapping from RGB to other colour spaces that use 1 luminance channel and 2 chromatic channels is often performed. The latter 2 channels have much less information and so can be better compressed.

Anyhow, the top level understanding of this book is to appreciate the discrepancy between the 5 orders of magnitude in an actual scene and the 2 orders in an output image. This impedance mismatch accounts for most of the book's complexity and length. Many of the algorithms strive to somehow capture more of the natural dynamic range and make it visible in the far more restrictive output.

The book seems ideal for a colour scientist or engineer who wants a deep understanding of the optical interactions as well as the physiology of human image perception. It is not meant for someone who needs a quickie tweak of an existing software imaging package. Rather, the book helps explain the science behind those packages, which might be often way more intricate than can be appreciated by the typical users of such packages.

You can see this for yourself by reading many of the other reviews. Most are cursory and utter drivel. Written by people who were clearly out of their depths in terms of understanding maths or science or engineering in the text. Several reviews were just a short paragraph of generalities. Written by people who got their books thru the Amazon Vine program and just needed to post a review to satisfy the Vine requirements. Basically so that they could continue to get more free books from Vine.
4 of 4 people found the following review helpful
4.0 out of 5 stars Interesting and comprehensive overview - not for beginners! 2 Dec 2010
By eric talerico - Published on Amazon.com
Format:Hardcover|Vine Customer Review of Free Product (What's this?)
I've been working with HDR Photography for a few years now and read many books on the topic. This is the first one I've found that really goes into the deeper technical details behind this new process. If you are looking for an easy instructional overview, this book isn't for you! There aren't any magic recipes presented to help you make a good photograph. If you are interested in the science and mathematics that make the whole process possible, and a good solid grounding in the histories of the process, this book may be just what you are looking for. A must for inclusion as a textbook for photography professionals and classes on the process. High Dynamic Range Imaging, Second Edition: Acquisition, Display, and Image-Based Lighting
4 of 5 people found the following review helpful
5.0 out of 5 stars Great reference, this is not a photography guide 14 Sep 2010
By Matt Hausig - Published on Amazon.com
Format:Hardcover|Vine Customer Review of Free Product (What's this?)
The description of this reference states that it covers HDR imaging technology and it should be clear that this is quite different from HDR photography. Rather, this book details the concepts and applicaition of HDR technology, dealing with math and engineering behind HDR imaging.

As a reference, it was quite informative and comprehensive, starting from basics and going on to cover a range of technologies. A minor quibble is the use of pictures within the book. The pictures were often fairly small, particularly for comparisons and larger pictures would have been far more effective at showing distinctions.
5.0 out of 5 stars Fantastic Book 8 Jan 2013
By K. Marshall - Published on Amazon.com
Format:Hardcover|Verified Purchase
By far the most comprehensive book covering HDR topics. In my opinion the authors of this book represent a dream team in HDR expertise! I believe this book is a must if you are interested developing HDR applications.
5.0 out of 5 stars Excellent Reference Book 18 April 2012
By Timothy Lovett - Published on Amazon.com
Format:Hardcover|Vine Customer Review of Free Product (What's this?)
My personal opinion is that every single review who downgraded this book because it was 'too high techy' or 'too mathematical' for them should have their review removed.

This is not a book for photography. It's a Morgan Kaufmann book -- expect there it to be geared toward developers and, in this case, graphical engineers.

I'm not a graphical engineer myself but I've spent some time looking into Ogre 3d and other engines which support HDR effects and this book helped me grasp some of the mathematical foundations geared toward how it works. Am I an expert after reading it? No. But I think given enough practical use of the book one could learn the foundations and have a good grasp of how it works. You should expect to have some knowledge of rendering and the mathematical aspects to it if you want to get the most out of this book.

Regardless the book serves its purpose and is well worth the small cost associated with it (relative to other books in the graphical rendering field).
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