Author:
(1) Vibhoothi,Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: vibhoothi@tcd.ie);
(2) Angeliki Katsenou, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland & Department of Electrical and Electronic Engineering, University of Bristol, United Kingdom (Email: angeliki.katsenou@bristol.ac.uk);
(3) John Squires, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: john.squires@tcd.ie);
(4) Franc¸ois Pitie, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: pitief@tcd.ie);
(5) Anil Kokaram, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: anil.kokaram@tcd.ie). Table of Links Abstract and Introduction
HDR Standards
HDR Subjective Testing Workflow
Conclusion and References IV. CONCLUSION In this work, we proposed and verified various aspects of an HDR subjective testing workflow. This includes the evaluation of various factors such as brightness, colour, display, signal, viewing conditions, and HDR intermediate file conversions for encoding. We conducted experiments to investigate the behaviour of different display technologies in terms of sustained brightness and its variability across window sizes. We observed substantial differences in HDR performance among consumer-level TV models that can affect the presentation and perception of HDR content. However, accounting for all these factors in an experimental environment is accompanied by high costs and is a non-trivial process. REFERENCES [1] N. Nandhakumar, “Recent activities of the ultra hd forum,” SMPTE Motion Imaging Journal, vol. 131, no. 8, 2022. [2] T. Kunkel and P. Griffis, “2021 High-Dynamic Range (HDR) Progress Report,” SMPTE Motion Imaging Journal, vol. 130, no. 8, pp. 101–107, 2021. [3] International Telecommunication Union (ITU), “ITU-R BT.2390-10: High dynamic range television for production and international programme exchange,” BT Series Broadcasting service (television), 2021. [4] European Broadcasters Union (EBU), “Tech 3320: User Requirements for Video Monitors in Television Production,” TC, 2019. [5] European Broadcasters Union (EBU) , “TR 047: Testing HDR Picture Monitors,” TC, 2019. [6] European Broadcasters Union (EBU), , “Tech 3325 v2.0: Performance Measurement of Studio Monitors,” TC, 2022. [7] P. Hanhart, M. Reˇ ˇrabek, and T. Ebrahimi, “Subjective and objective eval- ´ uation of HDR video coding technologies,” in 2016 Eighth International Conference on Quality of Multimedia Experience (QoMEX). [8] S. Athar, T. Costa, K. Zeng, and Z. Wang, “Perceptual Quality Assessment of UHD-HDR-WCG Videos,” in 2019 IEEE International Conference on Image Processing (ICIP). [9] Z. Shang, J. P. Ebenezer, A. C. Bovik, Y. Wu, H. Wei, and S. Sethuraman, “Subjective assessment of high dynamic range videos under different ambient conditions,” in 2022 IEEE International Conference on Image Processing (ICIP). [10] Z. Shang, Y. Chen, Y. Wu, H. Wei, and S. Sethuraman, “Subjective and objective video quality assessment of high dynamic range sports content,” in 2023 Proceedings of the IEEE/CVF Winter Conference on Applications of Computer Vision (WACV) Workshops, January. [11] Recommendation ITU-R, “BT2100-2: image parameter values for high dynamic range television for use in production and international programme exchange,” 2018. [12] Recommendation of ITU-R, “BT.500-14: Methodologies for the subjective assessment of the quality of television images,” BT Series Broadcasting service (television), 2019. [13] Recommendation, of ITU-R, “Subjective video quality assessment methods for multimedia applications,” ITU-T P.910, 2022. [14] Blackmagic Design, https://blackmagicdesign.com/products/decklink/ techspecs/W-DLK-34, Online, April 2023. [15] FFmpeg Developers, https://ffmpeg.org/ffmpeg-devices.html#decklink, Online, April 2023. [16] Blackmagic Design, https://blackmagicdesign.com/products/ davinciresolve, Online, April 2023. [17] HDFury website, https://hdfury.com/, Online, April 2023. [18] Vibhoothi, Angeliki Katsenou, John Squires, Franc¸ois Pitie, Anil ´ Kokaram, https://gitlab.com/mindfreeze/qomex2023, Project Page, Online, May 2023. [19] 3GPP Technical Specification Group TSG SA, “5G Video Codec Characteristics,” TR 26.955, Release 17, 2022. [20] Netflix, “Netflix Open Content,” https://opencontent.netflix.com/, Online April 2023. [21] ITU-T and ISO/IEC, “HDRTools pacakge [Online],” 2015, available: https://gitlab.com/standards/HDRTools. [22] C. Clark, D. Reisner, J. Holben, W. Aylsworth, G. Ciaccio, T. Kang, J. Korosi, P. Renner, D. Hall, M. Goi et al., “American society of cinematographers motion imaging technology council progress report 2022,” SMPTE Motion Imaging Journal, vol. 131, no. 8, pp. 34–49, 2022. [23] Sveriges Television AB, “SVT OpenContent Video Test Suite 2022 – Natural Complexity,” https://www.svt.se/open/en/content/. [24] A. G. Rempel, W. Heidrich, H. Li, and R. Mantiuk, “Video viewing preferences for hdr displays under varying ambient illumination,” in Proceedings of the 6th Symposium on Applied Perception in Graphics and Visualization, 2009, pp. 45–52. This paper is available on arxiv under CC BY-NC-ND 4.0 DEED license. Author: (1) Vibhoothi,Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: vibhoothi@tcd.ie); (2) Angeliki Katsenou, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland & Department of Electrical and Electronic Engineering, University of Bristol, United Kingdom (Email: angeliki.katsenou@bristol.ac.uk); (3) John Squires, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: john.squires@tcd.ie); (4) Franc¸ois Pitie, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: pitief@tcd.ie); (5) Anil Kokaram, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: anil.kokaram@tcd.ie). Author: Author: (1) Vibhoothi,Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: vibhoothi@tcd.ie); (2) Angeliki Katsenou, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland & Department of Electrical and Electronic Engineering, University of Bristol, United Kingdom (Email: angeliki.katsenou@bristol.ac.uk); (3) John Squires, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: john.squires@tcd.ie); (4) Franc¸ois Pitie, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: pitief@tcd.ie); (5) Anil Kokaram, Sigmedia Group, Department of Electronic and Electrical Engineering, Trinity College Dublin, Ireland (Email: anil.kokaram@tcd.ie). Table of Links Abstract and Introduction HDR Standards HDR Subjective Testing Workflow Conclusion and References Abstract and Introduction Abstract and Introduction HDR Standards HDR Standards HDR Subjective Testing Workflow HDR Subjective Testing Workflow Conclusion and References Conclusion and References IV. CONCLUSION In this work, we proposed and verified various aspects of an HDR subjective testing workflow. This includes the evaluation of various factors such as brightness, colour, display, signal, viewing conditions, and HDR intermediate file conversions for encoding. We conducted experiments to investigate the behaviour of different display technologies in terms of sustained brightness and its variability across window sizes. We observed substantial differences in HDR performance among consumer-level TV models that can affect the presentation and perception of HDR content. However, accounting for all these factors in an experimental environment is accompanied by high costs and is a non-trivial process. REFERENCES [1] N. Nandhakumar, “Recent activities of the ultra hd forum,” SMPTE Motion Imaging Journal, vol. 131, no. 8, 2022. [2] T. Kunkel and P. Griffis, “2021 High-Dynamic Range (HDR) Progress Report,” SMPTE Motion Imaging Journal, vol. 130, no. 8, pp. 101–107, 2021. [3] International Telecommunication Union (ITU), “ITU-R BT.2390-10: High dynamic range television for production and international programme exchange,” BT Series Broadcasting service (television), 2021. [4] European Broadcasters Union (EBU), “Tech 3320: User Requirements for Video Monitors in Television Production,” TC, 2019. [5] European Broadcasters Union (EBU) , “TR 047: Testing HDR Picture Monitors,” TC, 2019. [6] European Broadcasters Union (EBU), , “Tech 3325 v2.0: Performance Measurement of Studio Monitors,” TC, 2022. [7] P. Hanhart, M. Reˇ ˇrabek, and T. Ebrahimi, “Subjective and objective eval- ´ uation of HDR video coding technologies,” in 2016 Eighth International Conference on Quality of Multimedia Experience (QoMEX). [8] S. Athar, T. Costa, K. Zeng, and Z. Wang, “Perceptual Quality Assessment of UHD-HDR-WCG Videos,” in 2019 IEEE International Conference on Image Processing (ICIP). [9] Z. Shang, J. P. Ebenezer, A. C. Bovik, Y. Wu, H. Wei, and S. Sethuraman, “Subjective assessment of high dynamic range videos under different ambient conditions,” in 2022 IEEE International Conference on Image Processing (ICIP). [10] Z. Shang, Y. Chen, Y. Wu, H. Wei, and S. Sethuraman, “Subjective and objective video quality assessment of high dynamic range sports content,” in 2023 Proceedings of the IEEE/CVF Winter Conference on Applications of Computer Vision (WACV) Workshops, January. [11] Recommendation ITU-R, “BT2100-2: image parameter values for high dynamic range television for use in production and international programme exchange,” 2018. [12] Recommendation of ITU-R, “BT.500-14: Methodologies for the subjective assessment of the quality of television images,” BT Series Broadcasting service (television), 2019. [13] Recommendation, of ITU-R, “Subjective video quality assessment methods for multimedia applications,” ITU-T P.910, 2022. [14] Blackmagic Design, https://blackmagicdesign.com/products/decklink/ techspecs/W-DLK-34, Online, April 2023. [15] FFmpeg Developers, https://ffmpeg.org/ffmpeg-devices.html#decklink, Online, April 2023. [16] Blackmagic Design, https://blackmagicdesign.com/products/ davinciresolve, Online, April 2023. [17] HDFury website, https://hdfury.com/, Online, April 2023. [18] Vibhoothi, Angeliki Katsenou, John Squires, Franc¸ois Pitie, Anil ´ Kokaram, https://gitlab.com/mindfreeze/qomex2023, Project Page, Online, May 2023. [19] 3GPP Technical Specification Group TSG SA, “5G Video Codec Characteristics,” TR 26.955, Release 17, 2022. [20] Netflix, “Netflix Open Content,” https://opencontent.netflix.com/, Online April 2023. [21] ITU-T and ISO/IEC, “HDRTools pacakge [Online],” 2015, available: https://gitlab.com/standards/HDRTools. [22] C. Clark, D. Reisner, J. Holben, W. Aylsworth, G. Ciaccio, T. Kang, J. Korosi, P. Renner, D. Hall, M. Goi et al., “American society of cinematographers motion imaging technology council progress report 2022,” SMPTE Motion Imaging Journal, vol. 131, no. 8, pp. 34–49, 2022. [23] Sveriges Television AB, “SVT OpenContent Video Test Suite 2022 – Natural Complexity,” https://www.svt.se/open/en/content/. [24] A. G. Rempel, W. Heidrich, H. Li, and R. Mantiuk, “Video viewing preferences for hdr displays under varying ambient illumination,” in Proceedings of the 6th Symposium on Applied Perception in Graphics and Visualization, 2009, pp. 45–52. This paper is available on arxiv under CC BY-NC-ND 4.0 DEED license. This paper is available on arxiv under CC BY-NC-ND 4.0 DEED license. available on arxiv

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Recommendations for Verifying HDR Subjective Testing Workflows: Conclusion

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