Important Dates

 Call for Papers Proposals April 15, 2018
 Call for Workshops April 15, 2018
 Manuscripts Due Sept. 7, 2018
 Early Registration Ends
October 14, 2018
  Hotel Reservations
October 26, 2018
 Conference Starts November 12, 2018

CIC 26

November 12-16, 2018
Vancouver, BC, Canada

Twenty-sixth Color and Imaging Conference
Color Science and Engineering Systems, Technologies, and Applications

Join us for a week of color-related courses, workshops, paper presentations, exhibits, and interesting conversations around technical topics and application areas related to color!

Collocated Meetings: 
CIE Division 8 Annual Meeting, Image Technology

CIE TC 8-16 Meeting
see Collocated Events tab

No content found

No content found

No content found

No content found

CIC26 Workshops

All workshops take place Tuesday Nov. 13 from 15:45 to 18:15 after the short course program ends. The goal of CIC Workshops is to encourage discussion and the exchange of ideas.

Please Note: Workshops are included with a full conference registration; those not attending the full conference may purchase a workshop ticket that also includes admission to the Welcome Reception, which follows at 18:15.

W1: Virtual and Augmented Reality: Challenges and Perspectives

15:45 – 18:15 Chair/Convener: Giuseppe Claudio Guarnera, NTNU (Norway)

Over the past few years Virtual Reality and Augmented Reality have become widely available in consumer devices, promising to transform the way we think, learn, and communicate. The capability of creating photo-realistic, rendered objects within a real-world setting will support sale, promotion, accurate visualization, planning, and marketing purposes more and more in the coming years. A key factor common among all the countless possibilities offered by AR and VR is that all the depicted materials, their reflectance properties, the lighting, etc. must be consistent with human perception and across different platforms.

However, photo-realism is still a challenge even on desktop environments, and AR/VR is raising the bar for efficient, realistic, and cost-effective material modelling, given the low power and thermal budget of wearable AR/VR headsets and the increased computational demand (visual artifacts are distracting and look worse in immersive 3D environments). Therefore, most VR experiences are currently limited to omnidirectional stereo rendering, with no freedom to move around the scene; only in the last few months has the potential of light fields begun to be explored.

This workshop discusses the current challenges (such as limitations in both hardware and software) and attempts to exploit human perception of color, materials, and lighting to overcome them. Overall, the workshop will help academic and industry researchers to address the societal needs created by these new tools (sense of immersion, social presence, etc.), in order to unleash their potential for new applications.

The workshop will include two talks and a discussion/brainstorming session on future research topics and collaborations. 

Confirmed Speakers:

  • Michael Murdoch (Rochester Institute of Technology) Color and Object Appearance in See-through AR Applications
  • Giuseppe Claudio Guarnera (Norwegian University of Science and Technology - NTNU) VR: from Static Cube Maps to Light Fields

Giuseppe Claudio Guarnera received his PhD in computer science from the University of Catania (Italy), with a doctoral dissertation in computer vision and pattern recognition. As a PhD student, he spent a significant amount of time at the USC Institute for Creative Technologies (US), where he began his research in computer graphics. He is currently research associate at NTNU (Norway). His interests include colorimetry, virtual material acquisition, representation, and human perception of materials.


W2: Deep Learning and Color

15:45 – 18:15
Chair: Radhakrishna Achanta, Swiss Data Science Center (Switzerland)

Among the disciplines of machine learning, the resurgence of deep learning in the last few years has had a significant impact in several scientific domains including color imaging. This workshop aims to explore some of the topics in color imaging where the use of deep learning has resulted in state-of-the-art results. These domains include:

  • Image acquisition
  • Demosaicing
  • Super-resolution
  • Denoising
  • Segmentation
  • Color constancy
  • Image quality assessment
  • Image aesthetics

Researchers who wants to participate in the discussion or to give a presentation are welcome to submit their proposal for review via (subject line: DeepLearning Workshop Proposal); accepted presentations will become part of the workshop. The goal is to encourage discussion and the exchange of ideas.

Confirmed speakers:

  • Ruofan Zhou (École Polytechnique Fédérale de Lausanne) Spectral Image Super-Resolution Via Deep Learning
  • Fayez Lahoud (École Polytechnique Fédérale de Lausanne) Keyword-based Image Re-coloring
  • Brian Funt (Simon Fraser University) Illuminating Colour via Learning
  • Michael Brown (York University) Data-driven White Balance: A Cautionary Tale on the Over Reliance on Machine Learning 
  • Maria Vanrell (Universitat Autònoma de Barcelona) Color Encoding in CNNs and Some Parallelisms with Human Vision 

Radhakrishna Achanta has a PhD in Computer Science from EPFL Switzerland, an MSc in Computer Science from NUS Singapore, and a BEng in Electrical Engineering from JEC India. He is currently a senior data scientist at the Swiss Data Science Center. During his 16 years of work experience, he has worked in industry and academia, and has founded three start-ups. One of them, Croppola attracts more than 800,000 visitors per year. He has published more than 20 refereed papers, which have received more than 8,000 citations. He is a co-inventor in four patents; has served as a reviewer for several conferences and journals; and was area chair for ECCV 2016. His main interests are computer vision, image processing, and machine learning.


W3: HDR and Movie Production

15:45 – 18:15
Chair/Convener: Jérémie Gerhardt, IRYStec Software Inc. (Canada)

In constant evolution over the past two decades, the movie production workflow has evolved step-by-step from analog to fully digital. Each part of this process has seen a transition, from film scanning to digital editing, digital camera, digital workflow, vfx, increase of resolution, wider color gamut, wider dynamic to faster fps, etc. Slowly, but surely, the digital workflow is approaching a level of quality and usability which seemed impossible a few years ago.

Often, the words used to describe new features can be misleading, especially when it comes to HDR, which is more than wider dynamic and or wider gamut available to the creators. In the end, the spectator is experiencing the movie on a display that may or may have HDR capabilities.

What are the implications for a movie’s production when it has been decided that it will be an HDR movie? In this workshop, speakers representing key positions and/or professions from the movie production workflow, introduce their activities, from colorist, VFX supervisor, color pipeline, cinematographer, display engineer, etc. in relation to HDR to help us understand how their practice is evolving with this technology.

Each speaker will give a 15 min presentation; after the presentations, there will be a group discussion with Q&A.

Confirmed Speakers:

  • Timo Kunkel (Dolby Laboratories, Inc.) Image Display: Reproducing the appearance of real world luminance levels in a plausible way, including feeling or mood, scene vs display referred, higher max luminance levels, deep black levels, and an overview of fundamental technical concepts of HDR displays such as dual modulation (LED-LCD, LCD-LCD), direct emissive display (OLED), Micro LED, HDR projection
  • Chris Davies (post production consultant) HDR Post-production: Impacts on production, workflow, and infrastructure from onset equipment, cameras, monitoring, exposing, metering to dailies, lighting, displays, lessons learned, and solutions needed.
  • Mario Rokicki (DoubleNegative) VFX/Feature animation: HDR What Has and Hasn't Changed including OpenEXR, OpenColorIO, review of material, range of "safety" checks, on-set grades, quality of review displays, HUNDREDS of people creating, manipulating, and defining the final image
  • Dermot Shane (colorist/finishing artist) The Art of Shaping Color Images shaping the images the director and cinematographer bring to a colorist can get a bit tricky when the ground shifts substantially, and the next generation of HDR seems to be a substantial shift in the thought processes. Typically the camera cannot capture the sun, and we create the “feeling” of having the sun in a frame, Picasso’s  “ transform the sun into a yellow spot” is the thought system embedded in post production, when the day comes that we can display a dynamic range great enough to create the feeling of staring at the sun, we will be challenged to become the painters who “transform a yellow spot into the sun”. In this presentation Dermot will illustrate his work with a few short video sequences highlighting those new challenges.
  • Shane Mario Ruggieri (Dolby Laboratories, Inc) Creating new Movie Grammar for HDR Content is one of the many skills of Shane, since 2010 he works as Senior Production Engineer, Producer, and Colorist Part of Dolby Laboratories' Advanced Technology Group. In his talk he will share his experience regarding the creation and grading of HDR content he produced for demos and research to verify the output of HDR algorithms from an artistic point of view.

Jérémie Gerhardt is senior color scientist at IRYStec Software Inc. in Montreal where he works on perceptual display. Prior to that he spent 10 years in Berlin where he participated to startup projects in visual search, NLP, 360° movie acquisition and was a research fellow at Fraunhofer FOKUS where he engaged in years of applied color science, computer vision, display calibration in fields ranging from immersive and VR display to panoramic movie post-production to human color perception, image quality, and color management. Gerhardt holds a MS in image processing from Université Pierre et Marie Curie (Pairis VI) and a PhD in signal and image processing from Ecole Nationale Supérieure des Télécommunications. He has been involved in CIC for many years.

No content found

No content found

No content found

No content found

No content found

No content found

Cooperating Societies

Society of Motion Picture and Television Engineers

Media Partners