David Robinson Bath, UK Play (25min) Download: FLV | MOV | mp3

David Robinson is a film critic and historian, and a collector and student of the archaeology of cinema. Formerly film critic of The Times (London) his many publications include CHAPLIN HIS LIFE AND ART (1985, 2001) and, as co-author, LIGHT AND MOVEMENT (1995), with chapters on panorama and diorama. He is currently director of Le Giornate del Cinema Muto (Pordenone Silent Film Festival).

Mimi Colligan East Brighton, Australia Play (22min) Download: FLV | MOV | mp3

Mimi Colligan writes on 19th century popular culture and biography. Part of her Ph.D thesis was published by MUP as CANVAS DOCUMENTARIES in 2002. Mimi is a Fellow of the Royal Historical Society of Victoria, an Honorary Research Associate with the National Centre for Australian Studies at Monash University and a member of the Victorian Working Party of the AUSTRALIAN DICTIONARY OF BIOGRAPHY. She recently curated an exhibition on Melbourne’s Cremorne Gardens and its entertainments.

Suzanne Wray New York, USA Play (35min) Download: FLV | MOV | mp3

Suzanne Wray, after earning a BFA School of the Art Institute of Chicago, moved to New York where she has worked in the knitwear industry at design and technical design. Interest in the history of industry and technology, and American roadside and commercial environment led to memberships in the Society for Industrial Archeology, and the Society for Commercial archaeology, and, in a roundabout way, to her fascination with panoramas.

Ralph Hyde London, UK Play (27min) Download: FLV | MOV | mp3

Ralph Hyde, formerly Keeper of Prints & Maps at Guildhall Library, London. Now freelance researcher and writer. His exhibitions include ‘Panoramania!’ at Barbican Art Gallery, and ‘Gilded Scenes and Shining Prospects’, Yale Center for British Art. His books include Panoramania! A Prospect of Britain; The Regent’s Park Colosseum; and (with Felix Barker) London As It Might Have Been.

Sara Velas California, USA Play (28min) Download: FLV | MOV | mp3

Sara Velas is a visual artist and the founder and director of THE VELASLAVASAY PANORAMA in Los Angeles, California, USA. She has traveled extensively throughout the world to visit the Great Panorama Rotundas which have endured from the 19th Century along with contemporary examples to experience the unique immersive state the art form ellicits. Born in Panorama City, California, Ms. Velas received her BFA from Washington University School of Art in St. Louis, Missouri in 1999 as a painting major. In 2006, the California Community Foundation awarded an Emerging Artist Fellowship to Ms. Velas in recognition of her work with The Velaslavasay Panorama which has recently unveiled a new major panoramic exhibition titled “EFFULGENCE OF THE NORTH”. More information on The Velaslavasay Panorama can be found at www.panoramaonview.org.

Jeffrey Morgan Hawker, Australia Play (36min) Download: FLV | MOV | mp3

This project is currently on going and was first planned in September 2004. It consists of three major flat canvas works, installed in a purpose built building which is going to join onto the existing gallery and Wilpena Panorama complex.

Ian Wood Devon, Britain Play (4min) Download: FLV | MOV | mp3

Ian James Wood is a renowned panoramic photographer. Among other work he has completed commissions for Barclays Bank, Gardiner & Theobald and Derriford Hospital. He is an active member of the world wide panoramic photography community and is on the board of directors of the International VR Photography Association. Ian has had several exhibitions, the most recent at Royal William Yard in Plymouth and he has been published in magazines, calendars and catalogues. In addition he does panorama–related computer programming and has also built several panoramic cameras plus manual and motorised panoramic tripod heads.

Currently he is working on a programming project for Innovate and a photographic bursary for Phoenix Digital Media in Exeter — ‘Panoramic Journeys Through Time’.
His work can be seen online at:

• http://landmarksofbritain.co.uk/
• http://azurevision.co.uk/
• http://ivrpa.org/blog/1833

Aldo Hoeben * Rotterdam, The Netherlands, ** Devon, Britain Play (37min) Download: FLV | MOV | mp3

Aldo Hoeben has been involved in panoramic photography since 1996. Over the years, he deployed several different viewing technologies, discovering the merits and limitations of each technology. With a steady development of mainstream computer graphics hardware and the arrival of broadband internet, the time to initiate new innovations in the field of panoramic imaging has come. This is why Aldo started to develop the SPi-V engine; a hardware accelerated panorama viewing engine, based on Macromedia’s acclaimed Shockwave technology.

In 2006, Aldo joined the Board of Directors of the IVRPA, and international association for interactive panorama photographers. In the same year, Aldo decided it was time to focus all his energy to the field of panoramic imaging. fieldOfView now provides Aldo’s software, panoramic photography for print and interactive use, as well as price winning art installations.

Aldo Hoeben* and Ian Wood** * Rotterdam, The Netherlands, ** Devon, Britain Play (96min) Download: FLV | MOV | mp3

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Ronald Huynen Rotterdam, The Netherlands Play (9min) Download: FLV | MOV | mp3

The Dutch artist Ronald Huynen is working on an extremely long drawn panorama. It is a highly detailed pen–drawing of both banks of the New Waterway between Rotterdam and the North sea. Each riverbank will not be drawn higher than two inches, but will have a estimated length of more than sixy–five feet.

An introduction to techniques you can use to create well-organized, low-poly and otherwise-efficient SketchUp files. You’ll end up with models that are easier to work with and perform better on your computer, no matter how powerful your hardware is (or isn’t).

The best SketchUp modelers use Ruby Script plugins to increase their productivity, work more accurately, and create geometry that otherwise couldn’t be created. In this session, you’ll be let in on a list of some of the best Ruby Scripts in existence.

An in-depth introduction to using Google SketchUp LayOut to create multi-page presentations from one or more SketchUp models.

A two-part session that will explore green design work that’s being done with SketchUp, as well as new tools that can be used with SketchUp to perform energy analyses on your models.

Best practices for using SketchUp and AutoCAD together.

Best practices for using SketchUp and Piranesi together.

Best practices for using SketchUp and ArchiCAD together.

Answers these questions: What is a component? How do I use components? Why should I use components? How do I create my own components and share them with the rest of my team?

From Google Earth to the 3D Warehouse, YouTube to Google Apps, there’s a universe of Google resources you can use to increase your online presence and get the word out about your work. This session will provide the inside scoop on getting the most out of what Google has to offer.

It’s a big world of rendering options out there, and this session attempts to provide some guidance about where to start. If you want to make your SketchUp models look more photographic, this is the place to start.

You can use Style Builder to create custom non-photorealistic (NPR) Styles for SketchUp. NPR Styles can make your models appear hand-rendered, super-technical, and everything in between. This session proceeds step-by-step through the process of using Style Builder to make your own signature SketchUp Styles.

Expands on the concepts introduced in “Hooray for Groups and Components”. This session will explore component substitution techniques, editing existing complex components, creating and working with components that automatically cut openings, building symmetrical and otherwise complex forms with component instances, and more.

Covers the many ways you can incorporate digital imagery (including photographs) into your SketchUp workflow. Topics will include: taking useful digital pictures, using SketchUp’s photo-matching feature, applying photo-textures to faces, wrapping images around curved surfaces, and more.

Many, many people use image-editing software like Adobe Photoshop to “post-process” their exported SketchUp images. This session will cover techniques for adding depth of field, night rendering, reflections and more.

Expands on the techniques demonstrated in the “Modeling Smart” session, with an emphasis on using SketchUp’s extensive organizational tools to manage very large models. Learn how to use Layers, Groups, Components and the Outliner together to maintain your sanity.

SketchUp’s Sandbox provides a useful set of tools for creating and editing surfaces which aren’t flat. In this session, you’ll learn how to turn contour lines into smooth terrain, use the Smoove, Stamp and Drape tools, and more. Prepare to be amazed.

This panel of four experienced SketchUp users will share tips and tricks to improve your effectiveness with SketchUp.

Three fun and innovative uses for SketchUp.

In this presentation, Andrew presents his SketchUp models that have opened doors and attracted the attention of local press and government. Having been introduced to SketchUp in 7th grade, Andrew has created expansive models of his school campus and the Central Business District of Rye, NY. He used SketchUp for two summers as an intern in the Rye City Planning Department and presented to the City Council, as well as school administration, parents, and students. Andrew has channeled his interest in architecture and urban design through SketchUp and made a positive impact on his school and community. During the presentation, attendees will see how one computer program has brought new opportunities, challenges, and life skills to this 17-year-old high school student.

Follow along as we explore the ins, outs, and all-abouts of the Follow Me tool. We’ll cover the basics of what you can do with the tool, then show you how to work quickly and share some tips to produce the best results.

Guides users through the process of creating geolocated models that can be displayed in Google Earth. We’ll cover working between the applications, building efficient models, adding useful metadata and working with the Google 3D Warehouse.

This past decade, advances in 3D digital imaging have all but eliminated traditional hand drawing in design presentations. Learn how to create new hybrid illustrations merging time-honored hand drawing techniques with high performance digital tools such as Google SketchUp, Adobe PhotoShop, Google Earth and high end reprographics. This highly visual and interactive seminar will teach innovative ways to renew your drawing self-confidence and amaze clients with easy to create conceptual sketches and renderings.

Karl R. Gegenfurtner Justus-Liebig-Universität, Germany Download paper Play (54min) Download: FLV | MOV | OGG | MP3

The perception of color is a central component of primate vision. Color facilitates object perception and recognition, and plays an important role in scene segmentation and visual memory. Color vision starts with the absorption of light in three different types of light sensitive receptors in the eye, which convert electromagnetic energy into electrical signals, which in turn are transformed into action potentials by a complicated network of cells in the retina. The information is sent to the visual cortex via three independent channels with different chromatic preferences. In the cortex, information from these channels is mixed to enable perception of a large variety of different hues. Furthermore, recent evidence suggests that color analysis and coding cannot be separated from the analysis and coding of other visual attributes such as form and motion. While there are some brain areas that are more sensitive to color than others, color vision emerges through the combined activity of neurons in many different areas.

Marcel P. Lucassen, Theo Gevers, Arjan Gijsenij University of Amsterdam, The Netherlands Download paper Play (20min) Download: FLV | MOV | OGG | MP3

What happens to color emotion responses when texture is added to color samples? To quantify this we performed an experiment in which subjects ordered samples (displayed on a computer monitor) along four scales: Warm-Cool, Masculine-Feminine, Hard-Soft and Heavy-Light. Three sample types were used: uniform color, grayscale textures and color textures. Ten subjects arranged 315 samples (105 per sample type) along each of the four scales. After one week, they repeated the full experiment. The effect of adding texture to color samples is that color remains dominant for the Warm-Cool, Heavy-Light and Masculine-Feminine scale (in order of descending dominance), the importance of texture increases in that same order. The Hard-Soft scale is fully dominated by texture. The average intra-observer variability (between the first and second measurement) was 0.73, 0.66 and 0.65 for the uniform color, grayscale texture and color texture samples, respectively. The average inter-observer variability (between an observer and the other observers) was 0.68, 0.77 and 0.65, respectively. Using some 25,000 observer responses, we derived analytical functions for each sample type and emotion scale (except for the Warm-Cool scale on grayscale textures). These functions predict the group-averaged scale responses from the samples’ color and texture parameters. For uniform color samples, the accuracy of our functions is significantly higher (average adjusted R² = 0.88) than that of functions previously reported. For color texture, the average adjusted R²=0.80.

Sabrina Lachheb, Philippe Colantoni, Éric Dinet (Presented by Alain Trémeau). Laboratoire Hubert Curien, France. Download paper Play (21min) Download: FLV | MOV | OGG | MP3

A set of colours aesthetically pleasant are described as in the language of human visual perception. As this encloses a subjective part, a psychophysical experiment carried out to estimate the perception of colour harmony combinations of paintings with the uniform colour of walls which they are hung.

The experiment, that involved 38 observers, was based on colours built upon a specific colour flow. Participants asked to judge the colour harmony of combinations of of 7 selected paintings with backgrounds uniformly in 3 different ranges of colours—achromatic colours, derived from the global average colour of the considered and tones derived from the complementary of the average colour of the considered painting.

Results demonstrate that the best colour harmony is when the average colour of paintings is used to colour background. The experiment presented in this paper shows that the white colour usually used for walls does not optimize the colour harmony.

Dimitris Mylonas, Lindsay MacDonald London College of Communication, UK Play (18min) Download: FLV | MOV | OGG | MP3

An online colour-naming experiment was designed and developed to determine a broad set of colour words in wide cultural use with their corresponding colour ranges in sRGB and Munsell specifications. The quality of the English dataset was analysed in terms of colour centroids, frequency of names, consistency and response time. The importance of basic colour terms was confirmed while it was also revealed that in free colour naming tasks, the majority of the observers preferred to use non-basic colour terms. The validation of the web-based experimental methodology with previous studies conducted in controlled viewing conditions produced satisfactory results, while a comparison of the 27 most frequent chromatic colour words with a previous web-based experiment showed a remarkable agreement.

Javier Vazquez-Corral1, Graham D. Finlayson2, Maria Vanrell1 1Universitat Autònoma de Barcelona, Spain, 2University of East Anglia, UK Download paper Play (16min) Download: FLV | MOV | OGG | MP3

Understanding how colour is used by the human vision system is a widely studied research field. The field, though quite advanced, still faces important unanswered questions. One of them is the explanation of the unique hues and the assignment of color names. This problem addresses the fact of different perceptual status for different colors.

Recently, Philipona and O’Regan have proposed a biological model that allows to extract the reflection properties of any surface independently of the lighting conditions. These invariant properties are the basis to compute a singularity index that predicts the asymmetries presented in unique hues and basic color categories psychophysical data, therefore is giving a further step in their explanation.

In this paper we build on their formulation and propose a new singularity index. This new formulation equally accounts for the location of the 4 peaks of the World colour survey and has two main advantages. First, it is a simple elegant numerical measure (the Philipona measurement is a rather cumbersome formula). Second, we develop a colour-based explanation for the measure.

Peter Zolliker, Zofia Baranczuk Swiss Federal Laboratory for Materials Testing and Research (EMPA), Switzerland Download paper Play (18min) Download: FLV | MOV | OGG | MP3

Pair comparison methods based on Case V of Thurstone’s Law of Comparative Judgment are widely used to derive interval scales for perceptual image quality. A thorough treatment of the involved statistical errors is often neglected, even though this is the base for computing confidence intervals and other statistical tests. In this paper we show, that consequent error estimation through all steps of the data analysis provides a simple and reliable method to compute confidence intervals. Monte Carlo simulations are used to verify the results and to compare the proposed error estimation with other known methods.

Sérgio M.C. Nascimento, Paulo E.R. Felgueiras, João M.M. Linhares University of Minho, Portugal Download paper Play (24min) Download: FLV | MOV | OGG | MP3

The relationship between the spectral composition of light sources and the visual appearance of rendered scenes is a matter of practical relevance and assumes today particular significance with the advent of light sources of almost arbitrary spectral distribution, like modern LED based lighting. This relationship has only been studied for specific illuminants, like daylights, and systematic studies with other light sources are necessary.
The aim of this work was to address this issue by studying, computationally,
some chromatic effects of metamers of daylight illuminants. For each daylight with correlated color temperature (CCT) in the range 25000 K – 4000 K a large set of metamers was generate using the Schmitt’s elements approach. The metamers set was parameterized by the absolute spectral difference to the equienergy illuminant E and by the number of non-zero spectral bands. The chromatic effects of the metamers were quantified by the CIE color rendering index CRI and by the CIELAB color gamut generated when rendering the Munsell set. It was found that although CRI decreases with ∂, that is, as the illuminant spectrum becomes spectrally more structured, the largest values for the color gamut could be obtained only for large values of ∂. Furthermore, the relationship between color gamut and number of non-zero bands showed that the largest gamuts were obtained with a small number of spectral bands. Thus, spectrally structured metamers produced low CRI but larger color gamuts, a result suggesting that appropriate spectral tuning may be explored in practical illumination when obtaining
large chromatic diversity may be important.

C. Alejandro Párraga, Ramon Baldrich, Maria Vanrell Universitat Autònoma de Barcelona, Spain Download paper Play (17min) Download: FLV | MOV | OGG | MP3

The characterization of trichromatic cameras is usually done in terms of a deviceindependent color space, such as the CIE 1931 XYZ space. This is indeed convenient since it allows the testing of results against colorimetric measures. We have characterized our camera to represent human cone activation by mapping the camera sensor’s (RGB) responses to human (LMS) through a polynomial transformation, which can be “customized” according to the types of scenes we want to represent. Here we present a method to test the accuracy of the camera measures and a study on how the choice of training reflectances for the polynomial may alter the results.

Jutta Willamowski, Frederic Roulland, David B. Martin Xerox Research Centre Europe, France Download paper Play (16min) Download: FLV | MOV | OGG | MP3

In this paper we propose a novel and coherent approach to control and adjust colour reproduction where strict end-to-end colour management cannot be achieved. We first recall the studies and findings that identified the need to reconsider colour management in certain workflows. We then present in detail the Print Mediator system, constituting a first attempt to implement this new approach.

Bernhard Hill RWTH Aachen University, Germany Download paper Play (27min) Download: FLV | MOV | OGG | MP3

A new design of a softproofing system for accurate colour matching is presented in the first part of this paper. In a cabinet, an LCD display is mounted in the viewing plane and illuminated by fluorescent tubes. This arrangement allows for the direct visual comparison of original surface colours with their displayed reproductions face to face. Test colours are placed in cutouts of a mask on top of the screen for colour matching
experiments (colour checker mask) or for calibration purposes. The device provides a ©2010 Society for Imaging xii Science and Technology means for very sensitive proofing of the reproduction algorithm and offers the study of the variability between different observers. The reproduction algorithm applied is based on the spectral specification of all the essential components of the system and allows for fast switching between colour matching functions of different observers considered. Experimental results and studies on the reproduction for different observers and observer metamerism problems are presented in the second part of the paper. Colour matching experiments for a white colour under different illuminants have been performed for a number of different persons. The results show very well reproducible shifts of the experimentally matched colours in the chromaticity diagram, if compared with the original colours for the CIE 1931 standard observer. The results differ for the left and right eye matches for most of the observers. Any person exhibits a typical direction of the shifts like a personal characteristic or a “finger print”, yet, the directions of shifts in the chromaticity diagram are different for different observers and any direction might appear. All the shifts of all persons form a cloud around the original colour in the chromaticity diagram.

Matthias Scheller Lichtenauer1, Hanno Hoffstadt2, Andreas Kraushaar3, Berthold Oberhollenzer3, Peter Zolliker1 1EMPA, Switzerland, 2GMG GmbH & Co. KG, 3Fogra, Germany Download paper Play (18min) Download: FLV | MOV | OGG | MP3

In the graphic arts industry, there is a need to convert colorimetric readings taken on one backing (usually white) to values that would have been measured with a different backing (usually black). We describe and compare different models for such a conversion. Starting from published models using linear scaling, we developed a new nonlinear model for a strongly scattering substrate. Another new model was derived from the Clapper-Yule model, which includes effects of internal reflectances. All these models are applicable in both the spectral and the tristimulus domain.

For calibration, we used measurements of the bare substrate on both backings. We intentionally make only use of the measured spectral or XYZ values, and do not require knowledge of the nominal CMYK values. This is particularly useful for arbitrary patches measured with a stand-alone measurement device. The test data sets consisted of a large set of test prints, originating from digital or conventional printing processes, and covering typical ranges of mass per area. Both new models outperformed linear regression models and the spectral versions always yielded better results than their corresponding versions in tristimulus space.

Céline Villa, Raphaël Labayrade Université de Lyon, France Download paper Play (20min) Download: FLV | MOV | OGG | MP3

To identify people’s preference, psychovisual tests are carried out in virtual environment. Images of scenes used for psychovisual tests are natively High Dynamic Range (HDR) images. However, in order to allow a Low Dynamic Range (LDR) display device to project HDR pictures, their dynamic range must be compressed with a tone-mapping operator (TMO). Thus, before tests are carried out, selection of the most suitable TMO, perceptually speaking, is required to present images faithfully, depending on the aim of the application.

In this paper, three different experimental protocols are proposed for assessing the applications of a display device used for psychovisual tests and selecting the most suitable TMO from six candidates. An additional goal is to give a first idea of the applications that can be addressed by this device. Two subjective experiments were conducted and are presented in the paper. The first one is divided in two steps. The results of three different protocols (two protocols in the first test and the third in the second test) for the identification of the preferred TMO for five different scenes are compared and LDR image defects noticed by observers are highlighted in the paper.

Romain Rossier and Roger D. Hersch Ecole Polytechnique Fédérale de Lausanne, Switzerland Download paper Play (21min) Download: FLV | MOV | OGG | MP3

Different inks may have different mechanical and/or optical properties. Existing Yule-Nielsen modified Neugebauer spectral prediction models assume however that the inks forming a color halftone behave similarly, i.e. that a single n-factor can model the lateral propagation of light within the paper as well as non-uniformities of the ink dot thickness profiles. However, if the inks have very different optical or mechanical properties, each ink may be separately modeled with its specific n-factor. In order to predict the reflection spectrum of such color halftones, we extend the ink spreading enhanced Yule-Nielsen modified spectral Neugebauer (EYNSN) model by calculating for each halftone an optimal n-factor as an average of the ink specific n-factors weighted by a parabolic function of the ink surface coverages. We compare the prediction accuracies of the standard EYNSN model where each halftone is predicted by making use of one global n-factor with the predictions accuracies of the extended EYNSN model where each halftone is predicted with its corresponding optimal n-factor derived from the individual ink-specific n-factors. For inks having very different optical and/or mechanical properties, we observe an improvement of the prediction accuracies.

Alexander D. Logvinenko Glasgow Caledonian University, UK Download paper Play (58min) Download: FLV | MOV | OGG | MP3

Colorimetry can predict which lights will look alike. Such lights are called metameric. Two lights are known to be metameric if they have the same tri-stimulus values. Using the tri-stimulus values as the Cartesian coordinates one can represent light colours as points in a 3D space (referred to as the colorimetric space). All the light colours make a tri-dimensional manifold which can be represented as a circular cone in the colorimetric space. Furthermore, colorimetry can also predict which reflecting objects illuminated by the same light will look alike: those which reflect metameric lights. All the object colours can be represented as a closed solid inscribed in the light colour cone provided the illumination is fixed. However, when there are multiple illuminants the reflected light metamerism does not guarantee that the reflecting objects will look identical (referred to as the colour equivalence). In this paper three axioms are presented that allow the derivation of colour equivalence from metamerism. The colour of a reflecting object under various illuminations is shown to be specified by six numbers (referred to as its six-stimulus values). Using the six-stimulus values one can represent the colours of all the reflecting objects illuminated by various illuminants as a cone in the 6D space over the 5D ball.

David Gossow, Peter Decker, and Dietrich Paulus University of Koblenz-Landau, Germany Download paper Play (23min) Download: FLV | MOV | OGG | MP3

Automatic extraction of local features from images plays an important role in many computer vision tasks. During the last years, much focus has been put on making the features invariant to geometric transformations such as a rotation and scaling of the image. Recently, some work has been published concerning the integration of color information into the detection and description step of SIFT. In various evaluations, it has been shown that including color information can increase distinctiveness and invariance to photometric transformations caused by illumination changes. In this paper we build on the results from these approaches and apply them to the SURF descriptor, which is advantageous compared to SIFT in terms of speed, making it a perfect candidate for online applications, for example in the field of robotics. Our results show significant improvements concerning the repeatability and destinctiveness of SURF for 3D objects under varying illumination directions.

In contrast to many other evaluations we also determine the accuracy of the orientation assignment and include this into our comparisons.

Aurora Sáez, Carmen Serrano, Begoña Acha University of Seville, Spain Download paper Play (21min) Download: FLV | MOV | OGG | MP3

Although several colour edge detectors have been proposed, all of them utilized colour Euclidean distances in the colour space to measure colour differences. In this paper a set of colour edge detection algorithms based on colour visual perception is proposed. These algorithms are a combination of vector edge detector, in uniform colour spaces and using perceptual colour difference equations. A comparative study has been performed. To evaluate the detectors performance a set of synthetics images is generated and various measures are used. It can be concluded that detectors based on CIEDE2000 colour difference equation are better regarding the correlation with colour visual perception.

David Rojas Vigo, Joost van de Weijer, Theo Gevers Universitat Autonoma de Barcelona, Spain Download paper Play (21min) Download: FLV | MOV | OGG | MP3

State of the art methods for image matching, content-based retrieval and recognition use local features. Most of these still exploit only the luminance information for detection. The color saliency boosting algorithm has provided an efficient method to exploit the saliency of color edges based on information theory. However, during the design of this algorithm, some issues were not addressed in depth: (1) The method has ignored the underlying distribution of derivatives in natural images. (2) The dependence of information content in color-boosted edges on its spatial derivatives has not been quantitatively established. (3) To evaluate luminance and color contributions to saliency of edges, a parameter gradually balancing both contributions is required.

We introduce a novel algorithm, based on the principles of independent component analysis, which models the first order derivatives of color natural images by a generalized Gaussian distribution. Furthermore, using this probability model we show that for images with a Laplacian distribution, which is a particular case of generalized Gaussian distribution, the magnitudes of color-boosted edges reflect their corresponding information content. In order to evaluate the impact of color edge saliency in real world applications, we introduce an extension of the Laplacian-of-Gaussian detector to color, and the performance for image matching is evaluated. Our experiments show that our approach provides more discriminative regions in comparison with the original detector.

Cindy Torres and Alain Clément Université d’Angers, France Download paper Play (17min) Download: FLV | MOV | OGG | MP3

A new unsupervised vectorial segmentation method developed for color images is presented. Both spatial and color information have been used during the classification process of the pixels. To overcome the problem of memory space associated with multidimensional histograms analysis and avoid a color requantization, this method is CGIV 2010 and MCS’10 Final Program and Proceedings xv based on a multidimensional compact histogram and an original compact spatial neighborhood probability matrix. The multidimensional compact histogram allows a drastic reduction of memory space necessary for coding color histograms without any data loss. Leaning upon the compact histogram, a spatial neighborhood probability matrix has been computed. It contains all non-negative probabilities of spatial connectivity between pixel colors and allows a spatial distance inside a variable size neighborhood to be defined. In an unsupervised histogram analysis classification process, two phases are classically distinguished: (i) a learning process during which histogram modes are identified and (ii) a second step called the decision step in which a full partition of the colorimetric space is carried out according the previously defined classes. In a standard colorimetric approach, in the second step, a colorimetric distance like Euclidean or Mahalanobis is used. We introduced here a spatio-colorimetric distance taking into account the information of pixel neighborhood colors. This distance is defined as a weighed mixture between a colorimetric distance and the spatial distance calculated from the spatial neighborhood probability matrix. The vectorial classification method is based on previously presented principles, achieving a hierarchical analysis of the color histogram using a 3D-connected components labelling.

Aldo Maalouf, Mohamed-Chaker Larabi University of Poitiers, France Download paper Play (20min) Download: FLV | MOV | OGG | MP3

In this work, a two-step technique for constructing a super-resolution (SR) image from a single multi-valued low-resolution (LR) input image is proposed. The problem of SR is treated from the perspective of image geometry-oriented interpolation. The first step consists of computing the image geometry of the LR image by using the grouplet transform. Having well represented the geometry of each color channel in the LR image, we propose a grouplet-based structure tensor whose role is to couple the geometrical information of the different image color components. In a second step, a functional is defined on the multispectral geometry defined by this structure tensor. The minimization of this functional insures the synthesize of the SR image. The proposed super-resolution algorithm outperforms the state-of-the-art methods in terms of visual quality of the interpolated image.

Mihai Ivanovici1, Nöel Richard2, Christine Fernandez-Maloigne2 1Transylvania University, Romania, 2University of Poitiers, France Download paper Play (19min) Download: FLV | MOV | OGG | MP3

Fractal dimension and lacunarity are two fractal measures widely used for image analysis, segmentation and indexation. In this paper, we show how these two fractal features are able to capture several aspects that characterize the degradation of the video signal, based on the fact that the quality perceived is directly proportional to the fractal complexity of an image. Thus, we demonstrate that the fractal dimension and lacunarity can be used to objectively assess the quality of the video signal and how they can be used as metrics for the user-perceived video quality degradation for an MPEG-4 streaming application.

Unfortunately, all the existing approaches are defined only for binary and greyscale images. Based on the probabilistic algorithm for the estimation of the fractal dimension and computation of lacunarity, we propose a colour approach that makes possible the analysis of the complexity in the RGB colour space of any colour image. We discuss our experimental results and then draw the conclusions.

Aram Danielyan, Alessandro Foi, Vladimir Katkovnik, Karen Egiazarian Tampere University of Technology, Finland Download paper Play (15min) Download: FLV | MOV | OGG | MP3

We propose a new algorithm for multispectral image denoising. The algorithm is based on the state-of-the-art Block Matching 3-D filter. For each “reference” 3-D block of multispectral data (sub-array of pixels from spatial and spectral locations) we find similar 3-D blocks using block matching and group them together to form a set of 4-D groups of pixels in spatial (2-D), spectral (1-D) and “temporal matched” (1-D) directions. Each of these groups is transformed using 4-D separable transforms formed by a fixed 2-D transform in spatial coordinates, a fixed 1-D transform in “temporal” coordinate, and 1-D PCA transform in spectral coordinates. Denoising is performed by shrinking these 4-D spectral components, applying an inverse 4-D transform to obtain estimates for all 4-D blocks and aggregating all estimates together. The effectiveness of the proposed approach is demonstrated on the denoising of real images captured with multispectral camera.

Jaime Moreno, Xavier Otazu, Maria Vanrell Universitat Autònoma de Barcelona, Spain Download paper Play (15min) Download: FLV | MOV | OGG | MP3

The aim of this work is to explain how to apply perceptual concepts to define a perceptual pre-quantizer and to improve JPEG2000 compressor. The approach consists in quantizing wavelet transform coefficients using some of the human visual system behavior properties. Noise is fatal to image compression performance, because it can be both annoying for the observer and consumes excessive bandwidth when the imagery is transmitted. Perceptual pre-quantization reduces unperceivable details and thus improve both visual impression and transmission properties. The comparison between JPEG2000 without and with perceptual pre-quantization shows that the latter is not favorable in PSNR, but the recovered image is more compressed at the same or even better visual quality measured with a weighted PSNR. Perceptual criteria were taken from the CIWaM (Chromatic Induction Wavelet Model).

Toko Kohei1, Jinhui Chao1, Reiner Lenz2 1Chuo University, Japan, 2Linköping University, Sweden Download paper Play (23min) Download: FLV | MOV | OGG | MP3

In this paper we discuss the role of curvature in the context of color spaces. Curvature is a differential geometric property of color spaces that has attracted less attention than other properties like the metric or geodesics. In this paper we argue that the curvature of a color space is important since curvature properties are essential in the construction of color coordinate systems. Only color spaces with negative or zero curvature everywhere allow the construction of Munsell-like coordinates with geodesics, shortest paths between two colors, that never intersect. In differential geometry such coordinate systems are known as Riemann coordinates and they are generalizations of the wellknown polar coordinates.

We investigate the properties of two measurement sets of just-noticeable-difference (jnd) ellipses and color coordinate systems constructed from them. We illustrate the role of curvature by investigating Riemann normal coordinates in CIELUV and CIELAB spaces. An algorithsm is also shown to build multi-patch Riemann coordinates for spaces with the positive curvature.

Gerard van Dalen, Faisal Osman, Aat Don Unilever Research and Development, The Netherlands Download paper Play (17min) Download: FLV | MOV | OGG | MP3

Within Food R&D scientists, chefs and engineers aim to develop natural fruit and vegetable based soups with optimal flavour, texture, appearance and health benefits whilst maintaining product safety. The colour and appearance has a major influenceon the perceived quality (e.g. nutrition and freshness). This paper describes a methodfor the determination of the colour of soups containing vegetable particles. Digitalimages were made under controlled lighting using a DigiEye imaging system. It allowsdocumenting the appearance by making colorimetrically accurate images which aresuitable for the measurement of colour uniformity, size and shape. The uniformity of thelight under diffuse and directional illumination was investigated using different targetsand soup samples. For accurate colour analysis the images have to be corrected fornon-uniform illumination and the colour has to be measured at a fixed location outsidethe centre of the lighting cabinet. Directional illumination (angled light with additionalmirrors) was used to introduce gloss resulting in images matching the actual appearanceof soups and vegetable particles very closely. Imaging glossy soups under diffuseillumination resulted in dull images with dark spots. No significant difference was foundbetween the colours of soups analysed under diffuse or directional illumination. Underdirectional illumination a better repeatability was observed. Additionally, for 36 differentsoups, the measured results from the DigiEye system were compared to two differentcolorimeters (0°/45° and diffuse/0° geometry). Linear relations were found betweenthe CIE Lab values measured by the DigiEye system and those measured by two differentcolorimeters. Best correlations were obtained between DigiEye and 0°/45° colorimeter(r2=0.980-0.996). The short term precision of the DigiEye system is somewhat betterthan those of the colorimeter.

Magnus Neuman1, Per Edström1, Mattias Andersson1, Ludovic Coppel1,2, Ole Norberg1 1Mid Sweden University, 2Inneventia AB, Sweden Download paper Play (14min) Download: FLV | MOV | OGG | MP3

The angular variations of color of a set of paper samples are experimentally assessed using goniophotometric measurements. The corresponding simulations are done using a radiative transfer based simulation tool, thus considering only the contribution of bulk scattering to the reflectance. It is seen that measurements and simulations agree and display the same characteristics, with the lightness increasing and the chroma decreasing as the observation polar angle increases. The decrease in chroma is larger the more dye the paper contains. Based on previous results about anisotropic reflectance from turbid media these findings are explained. The relative reflectance in large polar angles of wavelengths with strong absorption is higher than that of wavelengths with low absorption. This leads to a loss of chroma and color information in these angles. The increase in lightness is a result of the anisotropy affecting all wavelengths equally, which is the case for transmitting media and obliquely incident illumination. The only CGIV 2010 and MCS’10 Final Program and Proceedings xxiii case with no color variations of this kind is when a non-absorbing, non-transmitting medium is illuminated diffusely. The measured and simulated color differences are clearly large, and it is an open issue how angle resolved color should be handled in standard color calculations.

Abhijit Sarkar1,2, Laurent Blondé1, Patrick Le Callet2, Florent Autrusseau2, Patrick Morvan1, Jürgen Stauder1 1Technicolor Research, 2IRCCyN-IVC, France Download paper Play (22min) Download: FLV | MOV | OGG | MP3

Various recent studies have shown that observer variability can be a significant issue in modern display colorimetry, since narrow-band primaries are often used to achieve wider color gamuts. As far as industrial applications are concerned, past works on various aspects of observer variability and metamerism have mostly focused on crossmedia color matching, an application context that is different from color matching on two displays, both in terms of human visual performance and the application requirements. In this paper, we report a set of three preliminary color matching experiments using a studio Cathode Ray Tube (CRT) display with broadband primaries, and a modern wide-color gamut Liquid Crystal Display (LCD) with narrow-band primaries, with and without surround. Two principal goals of these pilot tests are to validate the experimental protocol, and to obtain a first set of metameric data of display color matches under different viewing conditions. In this paper, various experimental design considerations leading to the current test setup are discussed, and the results from the pilot tests are presented. We confirm the validity of our test setup, and show that the average color matches predicted by the 1964 CIE 10° standard observer, although acceptable as average matches, can often be significantly and unacceptably different from individual observer color matches. The mean, maximum and the 90th percentile values of the standard observer-predicted color difference of individual observer color matches were 1.4, 3.3 and 2.6 ΔE*00 respectively.

Renzo Shamey1, David Hinks1, Manuel Melgosa2, M. Ronnier Luo3, Guihua Cui3, Rafael Huertas2, Lina Cárdenas1, and Seung Geol Lee1 1North Carolina State University, USA, 2University of Granada, Spain, 3University of Leeds, UK Download paper Play (23min) Download: FLV | MOV | OGG | MP3

We previously reported the performance of four color difference equations around the CIE 1978 blue color center (NCSU-B1) using various statistical measures. In this study we employed the standardized residual sum of squares (STRESS) index to test the performance of twelve color-difference formulae using two experimental NCSU datasets. The first dataset (NCSU-B1) included 66 sample pairs around the CIE 1978 blue color center and the second dataset (NCSU- 2) contained 69 sample pairs around 13 color centers. In the first dataset 26 observers made a total of 5148 assessments of sample pairs with small color differences (ΔE*ab<5) while the second dataset involved 20,700 assessments by 100 observers from four different geographical regions of the world (25 in each region). Each pair in both sets was assessed by each color normal observer in three separate sittings on separate days and the average of assessments was calculated. For the samples in the first dataset a custom AATCC standard gray scale was employed to assess the magnitude of difference between colored samples. A third-degree polynomial equation was used to convert gray scale ratings to visual differences (ΔV). In the second study a novel perceptually linear gray scale was developed and a linear function was used to obtain visual differences. Based on the analysis of STRESS index results the DIN99d equation gave the best results for both datasets, and the CIELAB equation the worst.

Jon Y. Hardeberg Gjøvik University College, Norway Download paper Play (61min) Download: FLV | MOV | OGG | MP3

Quantifying the perceptual difference between original and reproduced (and inevitably modified) color images is currently a key research challenge in the field of color imaging. Such information can be extremely valuable for instance in the development of new equipment and algorithms for color reproduction.

While in many research areas it is common practice to obtain quantitative quality information by the use of perceptual tests, in which the judgments of several human observers are being collected and carefully analyzed statistically, this approach has serious limitations for practical use, in particular because of the time consumption.

Motivated by this, and aided by the ever increasing available knowledge about the mechanisms of the human visual system, the quest for perceptual color image quality metrics that can adequately predict human quality judgments of complex images, has been on for several decades. However, unfortunately, the Holy Grail is yet to be found.

The current paper outlines the state of the art of this field, including benchmarking of existing metrics, presents recent research, and proposes promising areas for further work. Aspects that are covered in particular include new models and metrics for color image quality, and new frameworks for using the metrics to improve color image representation and reproduction algorithms.

Jakkarin Singnoo, Graham D. Finlayson University of East Anglia, UK Download paper Play (23min) Download: FLV | MOV | OGG | MP3

High Dynamic Range (HDR) imaging has become more widespread in consumer imaging in the past few years, due to the emergence of methods for the recovering HDR radiance maps from multiple photographs. In the domain of HDR encoding, the RGBE radiance format (.hdr) is one of the most widely used. However, conventional image editing applications do not always support this encoding and those that do take considerable time to read or write HDR images (compared with more conventional formats) and this hinders workflow productivity. In this paper we propose a simple, fast, and practical framework to extend the conventional 12 and 16-bit/channel integer TIFF gamma-encoded image format for storing such a wide dynamic range. We consider the potential of our framework for the tone-mapping application both by measuring the ΔE S-CIELAB color difference between original and encoded image, and by conducting a psychophysical experiment to evaluate the perceptual image quality of the proposed framework and compare it with an RGBE radiance encoding. The preliminary results show that our encoding frameworks work well for all images of a 65 image dataset, and give equivalent results compared to RGBE radiance formats, while both consuming much less computational cost and removing the need for a separate image coding format. The results suggest that our method, used in the normal tone mapping workflow, is a good candidate for HDR encoding and could easily be integrated with the existing TIFF image library.

Guanqun Cao1, Marius Pedersen1,2, Zofia Baranczuk3 1Gjøvik University College, Norway, 2Óce Print Logic Technologies S.A., France, 3Swiss Federal Laboratory for Materials Testing and Research EMPA, Switzerland Download paper Play (14min) Download: FLV | MOV | OGG | MP3

When an image is reproduced with a device different artificats can occur. These artifacts, if dectectable by observers, will reduce the quality of the image. If these artifacts occur in salient regions (regions of interest) or or if the artifacts introduce salient regions regions they contribute to reduce the quality of the reproduction. In this paper we CGIV 2010 and MCS’10 Final Program and Proceedings xxv propose a novel method for the detection of artifacts based on saliency models. The method is evaluated against a set of gamut mapped images containing the artifacts, which have have been marked by a group of group experts. The results have shown that the proposed metrics are promising to detect the artifacts through the reproduction.

Masayuki Ukishima1,2, Yoshinori Suzuki1, Norimichi Tsumura1, Toshiya Nakaguchi1, Martti Mäkinen2, Shinichi Inoue3, Jussi Parkkinen2 1Chiba University, Japan, 2University of Eastern Finland, Finland, 3Mitsubishi Paper Mills Ltd., Japan Download paper Play (14min) Download: FLV | MOV | OGG | MP3

As the spectral prediction model for color halftone prints using the microscopic measurement, the conventional spectral reflection image (SRIM) is extended by introducing the concept of the conventional spectral Neugebaur Model, and a new production model, the Neugebauer modifies spectral reflection image model (NMSRIM), is proposed. Compared to the SRIM, the NMSRIM abstracts the spatio-spectral transmittance distribution of ink layer using the the limited number of base color functions and the spatial position function for each base color in order to efficiently predict the reflectance of color halftone prints from a small number of measurements. The NMSRIM separately analyzes the mechanical dot gain and the optical dot gain. The NSRIM can predict can predict not only the spectral reflectance but also the microscopic spatial distribution of reflectance. The spatial distribution of reflection of reflectance is related to the appearance of halftone prints. The methods to obtain the parameters of NMSRIM are also proposed. Several parameters are obtained by measurements and the others are obtained by computational estimations. To evaluate the validity of the NMSRIM, the spatio-spectral distrbution of reflectance printed with two inks, cyan and magenta (testing data) is predicted from the measurements of the halftones printed with one ink, the unprinted paper, and the solid prints of ink which are the cyan, magenta and blue (training data), where the blue corresponds to the combination of cyan and magenta inks. The spectral prediction accuracy was significant since the average and maximum values ΔE94 in all samples were 0.66 and 1.30, respectively. We also obtained the interesting results according to the spatial data.

Massimo Fierro, Tae-Hyoung Lee, Yeong-Ho Ha Kyungpook National University, Korea Download paper Play (19min) Download: FLV | MOV | OGG | MP3

HDR image formation and display has been an argument of extreme interest even when digital cameras were not yet consumer products. While recent research in both fields has seen very interesting works, none is really revolutionary, since what goes on behind the scene has been left basically unchanged. In the image formation field in particular, a lot of energy has been spent so to solve the problems that arise when taking multiple exposures: illumination change, camera shake and in-scene movement. In this paper we approach HDR image formation from a different perspective, which tries to solve in one move all the mentioned problems. More specifically, we propose a method that is able to estimate missing exposures for HDR image formation starting from only one under-exposed shot. Estimation is done through artificial neural networks: the development of a mathematical model is a highly desirable, but time consuming task. The results are are very interesting, although not perfect, and suggest that further research might lead to a suitable solution.

Arne Magnus Bakke, Ivar Farup Gjøvik University College, Norway Download paper Play (20min) Download: FLV | MOV | OGG | MP3

Gamut boundary determination is an important step in device characterisation and colour gamut mapping. Many different algorithms for the determination of colour gamuts are proposed in the literature. They vary in accuracy, computational efficiency, and complexity of the resulting triangulated gamut surface. Recently, an algorithm called uniform segment visualization (USV) was developed. The gamut surfaces produced by the USV algorithm is more accurate than the ones produced by the the segment maxima algorithm, while at the same time, they are significantly simpler than the ones produced by the somewhat more accurate modified convex hull. In this paper, we propose a new method. First, an accurate gamut boundary is computed using the modified convex hull. The resulting surface is then simplified using an established mesh decimation technique. This results in surfaces that are significantly more accurate than the ones produced by the USV algorithm at a comparable complexity.

Charles Poynton Simon Fraser University, Canada Download paper Play (20min) Download: FLV | MOV | OGG | MP3

Colour gamut refers to the range of colours that can be reproduced by an imaging system. The definition of gamut is quite clear for displays and for hard-copy printing. Colour image science experts disagree, however, on the definition—or even applicability of the concept—of gamut for cameras. I disagree that there is any meaningful concept of “capture gamut.” In this note, I review trichromacy and metamerism and discuss various gamuts. I conclude that although metamerism is a phenomenon of what I call “31-space,” gamut lives in 3-space. With suitable colour signal processing, a 3-channel camera is capable of acquiring wide gamut images.

Dibakar Raj Pant1,2, Ivar Farup1 1Gjøvik University College, Norway, 2University Jean Monnet, France Download paper Play (19min) Download: FLV | MOV | OGG | MP3

For precision color matching, visual sensitivity to small color difference is an essential factor. Small color differences can be measured by the just noticeable difference (JND) ellipses. The points on the ellipse represent colours that are just noticably different from the colour of the centre point. Mathematically, such an ellipse can be described by a positive definite quadratic differential form, which is also known as the Riemannian metric. In this paper, we propose a method which makes use of the Riemannian metric and Jacobean transformations to transform JND ellipses between different colour spaces. As an example, we compute the JND ellipses of the CIELAB and CIELUV color difference formulae in the xy chromaticity diagram. We also propose a measure for comparing the similarity of a pair of ellipses and use that measure to compare the CIELAB and CIELUV ellipses to two previously established experimental sets of ellipses. The proposed measure takes into account the size, shape and orientation. The technique works by calculating the ratio of the area of the intersection and the area of the union of a pair of ellipses. The method developed can in principle be applied for comparing the performance of any color difference formula and experimentally obtained sets of colour discrimination ellipses.

Rafael Huertas1, Alain Tremeau2, Manuel Melgosa1, Luis Gomez-Robledo1, Guihua Cui3, M. Ronnier Luo3 1Universidad de Granada, Spain, 2Université Jean Monnet, France, 3University of Leeds, UK Download paper Play (23min) Download: FLV | MOV | OGG | MP3

Several colour-difference formulas have been proposed since the last recommendation of CIEDE2000 by the “Commission Internationale de L’Eclairage” (CIE) in 2001. Some of them have been tested using the same dataset used to fit them. Thus, it is of great interest to check the performance of these formulas with new experimental datasets. On the other hand, some previous studies show that many colour-difference formulas perform quite badly in the very small colour difference range of 0 to 1 CIELAB units. This paper pursues these two goals. The colour-difference formulas DIN99d, OSA-GP, OSA-GP Euclidean (OSA-GPE), CAM02-SCD and CAM02-UCS are tested with a new experimental dataset, which has been carried out in the Laboratoire Hubert Curien of Saint Etienne (France) in two different modes, physical metallic samples and virtual samples displayed in a LCD monitor. This new dataset is composed by 390 colour pairs arranged around 16 colour centres with colour differences in the range 0.14 to 2.14 CIELAB units, with an average value of 0.80. In this work only just noticeable differences have been considered from this dataset. The results show a bad performance of all studied colour-difference formulas for just noticeable colour differences, in agreement with previous studies. Further research must be conducted to fit colourdifference formulae to this important range of colour differences.

Henri Kivinen, Mikko Nuutinen, Pirkko Oittinen Aalto University School of Science and Technology, Finland Download paper Play (14min) Download: FLV | MOV | OGG | MP3

Perceptual colour difference in simple colour patches has been extensively studied in the history of colour science. However, these methods are not assumed to be applicable for predicting the perceived colour difference in complex colour patches such as digital images of complex scene. In this work existing metrics that predict the perceived colour difference in digital images of complex scene are studied and compared. Performance evaluation was based on the correlations between values of the metrics and results of subjective tests that were done as a pair comparison, in which fifteen test participants evaluated the subjective colour differences in digital images.

The test image set consisted of eight images each having four versions of distortion generated by applying different ICC profiles. According to results, none of the ©2010 Society for Imaging xxviii Science and Technology metrics were able to predict the perceived colour difference in every test image. The results of iCAM metric had the highest average correlation for all images. However, the scatter of the judgements was very high for two of the images, and if these were excluded from the comparison the Hue-angle was the best performing metric. It was also noteworthy that the performance of the CIELAB colour difference metric was relatively high.

Julie Klein, Johannes Brauers, Til Aach RWTH Aachen University, Germany Download paper Play (21min) Download: FLV | MOV | OGG | MP3

The wavelength-dependency of the refraction indices in optical systems involves chromatic aberrations: one object point is not projected on exactly one image point on the sensor plane, but dispersed depending on its wavelengths in a rainbow-like manner due to the wavelength-dependency. These distortions have already been analyzed for the three broadband color planes red, green and blue of an RGB camera for example. As far as the authors know, no analysis was performed yet for more than three narrow wavelength bands and each color plane was considered separately so far.

In this paper, we describe the measurement of chromatic aberrations for multiple narrowband color channels and extend the models from the literature to characterize these distortions. We then link the parameters obtained for all color channels in order to include the wavelength-dependency into the models of the distortions. This leads to a more general model for the chromatic aberrations, calculating the distortions as a function of the wavelength and the image position. We then compensate the chromatic aberrations using these models and finally estimate their accuracy.

Noriyuki Shimano Kinki University, Japan Download paper Play (20min) Download: FLV | MOV | OGG | MP3

Prior knowledge of the noise present in a color acquisition device is very important for the recovery of spectral reflectance of an object being imaged, since recovery performance is greatly influenced by the noise.

In the previous paper (IEEE Trans. Image Process. 1848 (2006), the author proposed a new model to estimate noise variance of an image acquisition system by assuming the noise variance in each channel is equal and showed this model is very useful to accurately recover a reflectance of an imaged object. This paper describes extended model for the estimation of the covariance matrix the noise present in an image acquisition system without assumption. It is demonstrated that the proposal overfits noise covariance matrix to learning samples and that recovery performance for the test samples is poor with the previous model. However this overfitting means the estimates are correctly performed using the model. The new model is effective in analyzing the present in an image acquisition system.

Oili Kohonen University of Eastern Finland, Finland Download paper Play (21min) Download: FLV | MOV | OGG | MP3

This work examines the spectrum preserving properties of a multi-resolution analysisbased intensity modulation (MRAIM) when used for increasing the spatial resolution of spectral color images. The MRAIM algorithm is originally designed to fuse high-resolution panchromatic images with low-resolution spectral images in order to get high-resolution spectral images for remote sensing applications. Instead of panchromatic images, for which the MRAIM algorithm has originally been designed for, the MRAIM algorithm is implemented to use information from both grayscale and RGB color images. In order to utilize the information of the three channels included in RGB images, two different models are derived and examined. In addition, two kind of scaling factors are used for compensating possible differences between the images acquired at different resolution levels. The resulting high resolution spectral images are compared to the real acquired high resolution spectral images with respect to both maximum and average RMS errors and ΔE*ab color differences under CIE illuminants D65, A, F8 and F11. The used images are acquired by NuanceFX spectral imaging system, which allows the measuring of both spectral and RGB images at different resolution levels at identical geometry.

Óscar Martínez1, Meritxell Vilaseca2, Carles Pizarro2, Èdgar Ferrer2, Monserrat Arjona2, Jaume Pujol2 1Hewlett-Packard España, 2Technical University of Catalonia, Spain Download paper Play (29min) Download: FLV | MOV | OGG | MP3

Multispectral systems allow the spectral characterization of the scene through several acquisition channels with different spectral features. The spectral sampling can be done by using transmittance filters and a white light source or illuminating the scene using light sources with different spectral emission characteristics. Light-emitting diodes based light sources have started to be used in multispectral systems, mainly to develop low-cost devices for the industry. In this study we analyze the spectral power distribution and color variability of white and single color light-emitting diodes relative to the viewing angle, and highlight some aspects that must be taken into account if these light sources want to be used in a multispectral system.

Jukka Antikainen, Markku Hauta-Kasari, Timo Jääskeläinen, Jussi Parkkinen University of Eastern Finland, Finland Download paper Play (15min) Download: FLV | MOV | OGG | MP3

In this study, we implement a fast non-iterative Principal Component Analysis computation for spectral image analysis by utilizing Graphical Processing Unit GPU. PCA inner product computation efficiency between Central Processing Unit CPU and GPU was examined. Performance was tested by using spectral images with different dimensions and different PCA inner product image counts. It will be shown that the GPU implementation provides about seven times faster PCA computation than the optimized CPU ©2010 Society for Imaging xxx Science and Technology version. Difference to the commonly used scientific analysis software Matlab is even higher. When spectral image analysis is needed to make in real-time, CPU does not offer the necessary performance for larger spectral images. Therefore, powerful GPU implementation is needed.

Oh-Seol Kwon, Holly E. Gerhard, Laurence T. Maloney New York University, USA Download paper Play (15min) Download: FLV | MOV | OGG | MP3

Surface reflectance functions (SRFs) and spectral power distributions (SPDs) of illuminants are typically modeled as elements in an N-dimensional linear function subspaces. Each SRF and SPD is represented by an N-vector and the mapping between SRF and SPD functions and an N-dimensional vector assigns N-dimensional “color” codes representing surface and light information. The N basis functions are chosen so that SRFs and SPDs can be accurately reconstructed from their N-dimensional vector codes. Typical rendering applications assume that the resulting mapping is an isomorphism where vector operations of addition, scalar multiplication and component-wise multiplication on the N-vectors can be used to model physical operations such as superposition of lights, light-surface interactions and inter-reflection. When N is small, this implicit isomorphism can fail even though individual SPDs and SRFs can still be accurately reconstructed by the codes. The vector operations do not mirror the physical. However, if the choice of basis functions is restricted to characteristic functions (that take on only the values 0 and 1) then the resulting map between SPDs/SRFs and N-vectors is an isomorphism that preserves the physical operations needed in rendering. The restriction to bases composed of characteristic functions can only reduce the goodness of fit of the linear function subspace to actual surfaces and lights. We will investigate how to select characteristic function bases of any dimension N (number of basis functions) and evaluate how accurately a large set of Munsell color chips can approximated as a function of dimension.

Ted Johnson Microsoft Corporation Play (63min) Download: FLV | MOV | OGG | MP3

When Johnson attended SVG Open 2009 less than one year ago, no production code had yet been written to support SVG in Internet Explorer 9. In March 2010, Microsoft stunned the SVG community by announcing and demonstrating its GPU-accelerated SVG implementation. Though not complete at the time, the commitment Microsoft exhibited provided further evidence that SVG would indeed become ubiquitous as the next generation of browsers support HTML5.

At SVG Open 2010, Johnson will describe Internet Explorer 9’s implementation of SVG and share insights from the team’s experience implementing it as part of its GPU-powered HTML5 effort. He will provide an overview of the SVG modules implemented in IE9 with a focus on cross-browser interoperability and demonstrate SVG in various contexts: XHTML documents, HTML5 documents, and standalone SVG files.

Johnson will share ‘war stories’ from the IE9 implementation experience including a discussion of those features most difficult to implement. He will share what Microsoft would like to see in future SVG versions as SVG becomes an essential part of HTML5 and Web application development.

Johnny Martin1, Ignatius Yuwono2 1San Jose State University, 2PayPal Play (23min) Download: FLV | MOV | OGG | MP3

Inspired by a similar program introduced by Richard Dawkins, our program provides a dynamic updating display of primitive animated SVG biomorphs. Our SVG biomorphs evolves on the screen under the influence of mouse interactions that guide mutations along an evolutionary path. Genes control organism traits which are realized in SVG with JavaScript animation. JavaScript events trigger selective mutation forming the interface for user interaction. This paper describes a system of dynamic shape-based organisms with quantitative traits, evolving from simple to complex organisms through user selection.

Background

In The Blind Watchmaker[1], Richard Dawkins describes a computer program to simulate the evolution of biomorphs. The program presented is an example of a genetic algorithm (GA). Dawkins’s program simulates biological evolution in the computer by attempting to modeling a complex structure’s evolutionary development via cumulative selection.

Dawkins models an unfolding evolution with a specific goal provide by user input. In contrast to Darwinist selection the program uses user controlled selection. The biomorphs that evolve in the program develop, and their embodiment is controlled by a number of trait factors encoded in “genes” which mutate in each generation. Mutations result from user input. This alters biomorph development and leads to new biomorph forms.

The program functions as follows. A parent is selected. The subroutine REPRODUCTION runs, and generates random mutations in each of the 9 genes of the parent; the new genes are passed to the subroutine DEVELOPMENT, which draws new biomorphs based on the new genes. The result is a set of 9 offspring, each with a variation of one of the parent’s genes. One offspring is selected to be the parent of the next generation. This process, repeated multiple times, gives birth to the program EVOLUTION.

Several implementations of biomorph generating programs can be found in the literature [2,3,4]. Ours offers an interesting feature that encodes traits for biomorphs to animate. The animation trait is controlled by one of several genes.

Living Biomorphs in SVG

Our version of biomorph includes genes that control for animation or movement of joints between shape structures. Effectively this allows for the development of biomorphs that are jointed with movable joints. Each successive iteration provides the biomorph with grouped sub-structures. Both shape structures, their groupings, and their movement will morph and mutate also with each successive iteration.

SVG is the ideal medium for expressing biomorph mutation since SVG allows for transforming of shape structures and their groupings–via scaling, rotation, and translation–with much less programming effort compared to other graphics systems. Since each joint allows for relative movement, SVG is also ideally suited to express biomorph animation, which can be achieved using JavaScript.

In conclusion, by using SVG as a medium, we have been able to effectively visualize systems of animated biomorphs with quantitative traits, evolving from simple to complex–having multi-jointed limbs and other complex natural and unnatural appearances–through simple user selection.

References

[1] Dawkins, R. The Blind Watchmaker, W. W. Norton & Company, 1996, ISBN-13: 978-0393315707

[2] Sims, K. Artificial evolution for computer graphics, ACM SIGGRAPH Computer Graphics, v.25 n.4, p.319-328, July 1991

[3] Bai L., Eyiyurekli M., and Breen, D.E. Self-organizing primitives for automated shape composition. In Proc. IEEE International Conference on Shape Modeling & Applications, 2008.

[4] Bai L., Eyiyurekli M., and Breen, D.E. Automated shape composition based on cell biology and distributed genetic programming. In Proc. of the 10th annual conference on Genetic and evolutionary computation, July 12-16, 2008.

[5] Moles A.A. Théorie de l’information et perception esthétique. Denoel, 1958.

[6] Gagné, C., Parizeau, M. Genericity in evolutionary computation software tools: Principles and case-study. International Journal on Artificial Intelligence Tools, 15(2):173–194, 2006.

[7] Fleischer, K.W., Barr, A.H. A multiple-mechanism developmental model for defining self-organizing geometric structures, 1995

[8] Klein, J., Spector, L. Unwitting distributed genetic programming via asynchronous JavaScript and XML. In Proc of the 9th annual conference on Genetic and evolutionary computation, July 07-11, 2007.

Jean-Claude Moissinac Telecom ParisTech Play (26min) Download: FLV | MOV | OGG | MP3

Most 2D graphic languages deployed on the Internet today lack the ability to represent the topology of contiguous regions efficiently. This is becoming problematic with the growing number of map-based applications. In this paper, we introduce a new graphical primitive, called SuperPath, to extend existing languages for 2D vector graphics, such as SVG. This primitive provides a way to represent the contours in a 2D graphic with a set of reusable chunks of contour. Superpath is similar to the one proposed by David Dailey. We present the motivations for this work with examples of 2D maps and some associated problems related to their editing, rendering, or adaptation. We give some results, which were obtained using the new primitive.

With the increasing diversity of terminals and networks, modern multimedia technologies need to address multi-publication and adaptation of multimedia services and documents to environmental contexts such as terminals and user preferences. Some previous works have shown that the more structured a document is, with rich meta-information, the greater the capability to process it, to modify or adapt it is.

In our work on multimedia documents, we usually work with common 2D graphic formats such as SVG. SVG is becoming a common representation for 2D graphic documents (web browsers, Linux distributions) and, it is expected to become a central format on mobile devices among which phones and, portable media players.
SVG uses a representation of 2D vector graphics based on the use of contours with filling and stroking properties. However, SVG has limitations when editing, adapting or interacting with complex graphic content. More precisely, SVG lacks the ability to define an area as a list of references to pieces of contour. This feature is present, for example, in the MapInfo Interchange Format (MIF/MID) [8] dedicated to map representation. In this paper, we present an extension to the SVG language called SuperPath, which makes it possible to define a region as a set of contours.

We will first present the interest of such a primitive through an example. We then highlight a series of benefits of its adoption.

Then, we present the solution offered by SuperPath to the aforementioned problems and then details the proposed syntax for the SVG language.

David Dailey1, Deborah Whitfield1, George Shirk 1Slippery Rock University Play (29min) Download: FLV | MOV | OGG | MP3

The ability to generate dynamic graphical content is a major asset of SVG. Accordingly, a natural question that has caught the attention of computer scientists for some time is how to efficiently generate “interesting” random shapes. The generation of random shapes could be used to mimic scenery found in nature which appears to the human eye to be truly random. Trees grow at apparently random angles, water bodies such as lakes, and oceans have random contours edges. Furthermore, streams have unusual edges and meander randomly. Random polygons with a large number of edges can be smoothed, filtered and given gradients to resemble natural entities such as clouds, lakes and land formations. An efficient algorithm for generating poly-gons has been created and implemented in SVG. The paper will demonstrate its use to create random shapes.

The SVG code is implemented so that the user simply needs to select the number of points and the bounding size of the n-gon to be created. The algorithm is provably random – it can generate any possible n-gon within the specified bounding box. Furthermore, it is fair and representative – it does not tend toward a typical shape as other techniques do (e.g., convex hull, star-shaped polygons). Unlike other techniques (Auer, Held), it does not require a given set of vertices, but rather generates the vertices randomly as the polygon is constructed. Additionally, taking advantage of newly discovered methods (Dailey & Whitfield), it draws these polygons in time polynomially related to the number of vertices, unlike the previous exponential-time techniques that have been explored for this problem from a given set of vertices.

This paper will introduce the algorithm and its implementation, and provide numerous examples of the utility of the technique. The technique may be used for creating interesting random shapes and elements of nature. SVG gradients, filters, noise, and patterns are used to make the dynamic images more realistic. In addition, the polygons can be smoothed using cubic splines and Bezier curves. The authors intend to extend this work to improve the efficiency of the algorithm for generating random polygons.

David Dailey and Eric Elder Slippery Rock University Play (31min) Download: FLV | MOV | OGG | MP3

This paper will focus upon recent investigations into the possibility of extending the SVG spec to include a <replicate> tag for the purposes of extending functionality into three primary areas: 1. richer classes of gradients, 2. extensions to new classes of patterns and 3. new types of 2.5 dimensional objects. The <replicate> tag (and allied tags like <replicateTransform> and <replicateMotion>) are seen as having a similar relationship to 2D space that <animate> and its cousins from the SMIL family have to time. That is, <replicate> can be used to perform declarative construction of clusters of related shapes.

The paper will present experiments and suggestions concerning plausible syntax, a proof-of-concept involving the implementation in JavaScript of some of these ideas, lots of visual examples to illustrate the power of such a construct, and speculation about how <replicate> might be implemented and how it might combine with other aspects of SVG like gradients, groups, animation, the DOM, and with other instances of <replicate> as in nesting.

Various discussions concerning extension of the class of gradients available to SVG have taken place over the years both within the SVG WG, at conferences, in discussion lists and in private conversations. A variety of approaches have been outlined varying from experiments with gradients that are neither linear nor radial, to proposed gradients that would behave like contour maps, to diffusion curves. All share a frustration with the current limited set and with the difficulty of extending those (even via script) to richer classes. Much of the current proposal is based on analogy to how SMIL allows declarative animation of objects over time. Let us allow declarative replication of objects over space.

SMIL enables objects to change attributes like opacity, color, size, shape and location over time. Suppose instead of changing the attributes of a single object, we were to superimpose freeze frames of those changes atop one another in the drawing space, This is what <replicate> is intended for. While we may vary several attributes at once of the same object using SMIL, and each of these attributes may have its own timing frequency, spatial replication requires drawing an object at certain intervals, hence requiring a synchronization and flattening of the temporal diversity. That is, while we might replicate and interpolate several attributes of any object as multiple snapshots of it are taken, all attributes will be present during each of those snapshots. Hence, rather than borrowing syntax from animate that would suggest:

<object>

<replicate attributeName="P" spatialfrequency="7" values="x,y,z"/>

<replicate attributeName="Q" spatialfrequency="12" values="a,b,c"/>

</object>

as it is done with the <animate> tag, the spatialfrequecy or repeatCount of snapshots will remain constant for all attributes being varied by the author. That is, the syntax of the examples, I have explored follows the following paradigm (resembling that of filters somewhat) instead:

<object>

<replicate repeatCount="12">

<replicateAttribute attributeName="P" values="x,y,z"/>

<replicateAttribute attributeName="Q" values="a,b,c"/>

</replicate>

</object>

That is, all attributes will be present during each snapshot made of the object.

I will present examples of replications of objects by varying their x and y positions, changing their colors, their sizes and shapes and show results of investigations of how these types of variations can interact with gradients, patterns, animations and filters.

Already, I have accumulated a good amount of evidence that this class of declarative drawing would indeed add considerable diverseness and richness to SVG. It will also be argued that because of the direct parallels to SMIL, a) many browsers will already have some of the relevant code base developed b) authors conversant with SMIL will find its acquisition easy c) that code written using such tags will be remarkable concise and succinct, and d) that development time for rich, complex and useful graphics may be shortened as a result.

Links:

• examples of syntax and results

Federico Strazzullo Dotuscomus Play (15min) Download: FLV | MOV | OGG | MP3

The objective of this presentation is to show how it is possible to combine SVG and WebGL –3D file in the .dae format– into one single SVG document and demonstrating some level of interactivity.

This presentation would require a slot of 5 to 15 minutes. It is articulated around three major points:

– What is WebGL

– How it functions

– How a Collada document can be embedded into a SVG document and made to work.

The demonstration will be made using the GEMï Web OS version 2 and the WebGL document will run into one of its windows.

WebGL is a specification based on Open GL ES 2.0, with JavaScript binding. It is designed to display 3D content on the web without the need of a plug–in. Nightly builds of web browsers like Minefield (Firefox), Chromium (Chrome), Webkit (Safari) and soon Opera, are able to render 3D.

WebGL enabled browsers use the computer’s hardware resources for rendering 3D contents. This is currently not available for SVG contents. Whole scenes like those in video games can be rendered, and the interactivity with Human Interface Devices is fully implemented (keyboard for navigating in the scene or for changing parameters, the mouse to look around, etc.). At time of writing there are already several libraries, most of which are free, to help authors integrate their works with WebGL.

It is very easy to anticipate on the terrific possibilities that can result by combining the two technologies: powerful applications in the scientific, educational, architecture or any other domain. For example, the creation of real life places for virtual visit, combining the SVG and WebGL animation and transformation tools. Instead of targeting desktop environments only, web browsers of the next generation will do the job, without the need of installing anything.

Follows then the demonstration, which will show the chosen WebGL document embedded within GEMï and wrapped into one of its windows. I will then use the keyboard and the mouse to control the 3D scene, the window’s zoom and pan tools which will act concurrently, while not having negative effects, with the 3D scene, as well as the window’s commands (minimize, restore, full, close) and the menu commands reopen closed document.

The WebGL document format that will be used is Collada (.dae), an XML dialect, which seems to be the most recurrent format used to import models and which is able to incorporate all the scene’s elements.

The demo will be shown in the latest available build of Minefield (Firefox) and possibly Chromium.

Michael Neutze Play (24min) Download: FLV | MOV | OGG | MP3

In recent years Internet Explorer has been like handcuffs to SVG development. There have been several attempts to find keys to loosen the chains. After Adobe’s abandonment of the plugin, those were mainly JavaScript libraries. Leveraging VML or Flash to draw vectors in Internet Explorer these attempts have been quite successful but had to remain their shim status. Then with Microsoft’s announcement of Internet Explorer 9 (ie9) on March 16, 2010 at their MIX conference, the commitment to native SVG support in Internet Explorer came as a long awaited relief. The testdrive site for the ie9 platform preview [1] showcases one of the election maps that were presented at SVGopen 2009 and had been adapted in time for the MIX announcement to work with the early state of the implementation. From this experience it became clear that SVG in Internet Explorer needs to be a topic at SVGopen 2010 and independent views should counter possible marketing ploys.

The presentation will try to evaluate what this might mean for practical SVG deployment currently and in the near future. Emphasis will be throughout on mixing SVG with HTML. I will discuss the state and and advantages of some of those shim technologies (SVG Web, Raphaël, dojox.gfx, JSXGraph) together with already published showcases of the technology in question. Furthermore I will analyze the current state of the SVG implementation, that can be witnessed in the evolving Internet Explorer 9 platform preview. The focus will be on availability of features with regard to practical use cases as well as standard conformity. The initial release of the IE9 platform preview suffered among other things the lack of the viewbox attribute thus making GIS applications very hard to implement.

Since browser adoption in large organizations takes significant time periods – think of the longevity of Internet Explorer 6 – and the non-availability of Internet Explorer 9 on Windows XP, SVG developers will face a long transition period. On the other hand the European Union mandated browser ballot on Windows operating systems might further erode market share for non standard compliant browsers. I will argue therefore that the SVG Web strategy of supporting standard SVG markup instead of JavaScript constructs – despite possible performance benefits of the latter – is the way to go. The transition from an SVG Web enhanced application to pure standard conformity is as simple as removing two script tags.

Finally sufficient time will be devoted to showing examples that already work in the Internet Explorer 9 platform preview with special emphasis if they worked right out of the box [2] or what kind of adaptations were needed to make them work [3]. Additionally the discussion will focus on mixing SVG with HTML. Microsoft claims that IE9 will be the first browser to support SVG right inside plain HTML, an approach that the SVG Web toolkit is mimicking already (in contrast to namespacing in XHTML that is used in Firefox, Webkit and Opera).

Links:

• [1] Micrsoft Internet Explorer 9 Site – Featuring special edition of election atlas
• [2] GPS elevation profile for Google Maps
• [3] A "viewbox-less" version of the election atlas for the ie9 preview

Andrey Matseevskiy Play (34min) Download: FLV | MOV | OGG | MP3

In this paper author proposes one efficient method of raster to vector conversion, based on the Fast Fourier Transform (FFT). Let’s consider a problem of conversion of photorealistic raster images to vectors and back transform- rasterization of vectors. A raster image to be converted to vector file can be represented as a combination of three components: (sharp) contours, which separate more or less smoothly colored regions with low color gradients, and hi-frequency noise or texture. This paper focuses on highly efficient method of raster-to-vector conversion of contours and gradient fills. Hi-frequency noise or texture probably should be converted to vector objects with the aid of fractals. On the one hand, the goal is to create a vector file looking similar to its raster prototype, and on the other, this file must be as small and compact as possible. Let’s speak for simplicity about grayscale images. The first step is to replace the original raster with the matrix of the same size, containing color gradients. For the grayscale image, this gradient is a vector, one component of which is a derivative of brightness along X-axis, and the other is a derivative of a brightness along Y-axis. This matrix can be converted to raster image by convolution with Cauchy kernel. The best way to perform this operation is by using FFT. The essence is that this matrix of gradients can be efficiently compressed with only minor losses. Such a matrix, obtained from a general raster, will be filled mostly with low gradients, and only small part of it would contain high gradients, corresponding to contours of the source raster image. These high gradients will be located along narrow lines, like fences between plots of land. Therefore, they can be converted into well-known Bezier curves that have one additional feature. This feature is a non-constant parameter distributed along each curve that designates the color discontinuity across this curve. Corresponding type of record in SVG is well-known. The residual matrix contains low gradients; corresponding distribution of colors is smooth. Thus, this object can be converted to a small vector file. Common methods for this operation are based on meshes: triangular, rectangular or distorted rectangular ones. However, there is no need to use them because interpolation from a set of vertices is able to perform this op much better. There are two problems: where to place these vertices and how to interpolate these colors to the whole image. FFT can be used here as well. Let’s smooth a grayscale image a little and compare the source and smoothed output. The source matrix is somewhere brighter, somewhere darker then the smoothed one. It means, that the difference between these two matrices looks like a mosaic: it contents regions with negative difference and regions with positive one. One needs to put a vertex at the center of each of such regions and to assign a color value to it. Interpolation from the set of vertices to the whole image is based on a biharmonic equation. Solution of this equation is a sum of fundamental solutions of the biharmonic equation, multiplied by some coefficients. To obtain these coefficients, one needs to solve a system of linear equations. If number of vertices is not very large (up to 500, approximately), this method is rather efficient. After these coefficients are obtained, result of interpolation is in fact convolution too. Therefore, FFT can be used here as well. Otherwise (if number of vertices is too large) some methods, based on sparse matrices can be used. To convert such a vector image to raster, some operations are to be performed. Two matrices with the size of output image are to be created: the first one is a gradient matrix, the second matrix is a color matrix. Both of them are initially filled with zeros. Color gradient from the set of curves is to be placed onto the first matrix. Then direct FFT is to be performed. Result is to be multiplied by Cauchy kernel and transformed back. Then vertices are to be placed onto the second matrix. Colors are to be interpolated from the set of vertices to the whole matrix and both matrices are to be superimposed. Using FFT is really fast, may be fast enough to perform a real-time video (25 frames per second). This method being incorporated into SVG offers a possibility to obtain small vector files with almost photographic quality.

Let’s look at the process of conversion. The first image- http://www.smartfills.com/Html/Images/contour.png represents set of contours, obtained from the source raster. The second image- http://www.smartfills.com/Html/Images/harm.jpg

is the result of convolution of density, distributed along these contours, with Cauchy kernel. The rest is suppressed. The third image- http://www.smartfills.com/Html/Images/harm_plus_biharm.jpg

is the second one plus a smooth color distribution (low gradients), based on set of vertices, placed onto image’s canvas. Of course, each intermediate variant is possible too- when one decreases number of vertices, the third image is getting more and more like image two.

Naidele Katrumane Manjunath and Elena KochetkovaPresented by Rohan Vibhandik San Jose State University, San Jose, CA, USA Play (10min) Download: FLV | MOV | OGG | MP3

Genome study requires information pertaining to every gene in a chromosome. Visualising information of how a gene is related to other genes in the same chromosome or to genes in other chromosomes will make the understanding of the relations more clear. Available genome visualization tools provide mainly the view of the overall genome [Websites 2,3,4] and some tools have features like zooming into a particular chromosome and viewing the gene in detail [2].

In this paper we present a new capability of "Genome Vectorizer" (formerly known as "Genome Pixelizer SVG-fied") where a gene can be dragged out of a chromosome for more detailed analysis. This feature is an extension to ‘Genome Pixelizer SVG-fied’ which is a genome visualization tool that has been developed by Elena Kochetkova [1].

"Genome Vectorizer" is a re-designed version of GenomePixelizer, written in 2002 in TCL/TK, a tool that allows for the detection of duplication events in genomes. It capitalizes on the benefits of using XML, XSLT, and SVG technologies combined with JavaScript scripting “to provide users with simpler interface, maximized interactivity; as well as, improved efficiency of genetic data analysis” [1].

Gene dragging capability, which is presented in this paper, will provide users much more interactivity, since often the users focus on a particular gene rather than the entire chromosome. Once the common genes are matched between chromosomes the user can drag the gene of interest out along with all the details pertaining to it.

Bibliography

Articles

[1] Elena Kochetkova. “GenomePixelizer SVG-fied”.

[2] Kozik, A., Kochetkova, E., Michelmore, R. GenomePixelizer – a visualization program for comparative genomics within and between species. Bioinformatics 2002. 18:335-336.

[3] Benjamin G.S. Horsman. “A New Horizon for SVG: Bioinformatics” . 2003.

[4] Dr. William Rutherford. “SVG Bioinformatics Collaboration Tool”. 2003.

[5] Christopher T Lewis, Steve Karcz, Andrew Sharpe, and A.P. Parkin Isobel. “BioViz: Genome Viewer”. Development of an SVG GUI for the visualization of genome data. 07-Nov-2003.

[6] Andrei L. Turinsky, Andrew C. Ah-Seng, Paul M. K Gordon, Julie N. Stromer, Morgan L. Taschuk, Emily W. Xu, Christoph W. Sensen,. “ Bioinformatics visualization and integration with open standards: The Bluejay genomic browser ”. Copyright © 2004 Bioinformation Systems e.V.

Websites

[1] GD::SVG – Seamlessly enable SVG output from GD scripts. Todd W. Harris. Copyright © 2003 Todd Harris and the Cold Spring Harbor Laboratory. "http://toddot.net/projects/GD-SVG/index.shtml"

[2] Argo Genome Browser. BROAD Institute. 7 July 2008. 22 May 2009. "http://www.broad.mit.edu/annotation/argo/"

[3] Circos. May 22 2009. "http://mkweb.bcgsc.ca/circos/"

[4] Alfresco. Sanger Institute. 27 May 2008. 22 May 2009. "http://www.sanger.ac.uk/Software/Alfresco/"

Rohan Vibhandik San Jose State University, San Jose, CA, USA Play (34min) Download: FLV | MOV | OGG | MP3

The main purpose of this research is to demonstrate an effective way of implementing NetBeans IDE with JAVA for developing a portable and interactive desktop application having rich UI; which can render SVG 3D Animations and combine it with SVG authoring tools. The implementation will ease the importing of Web Statistics, Database to the application designed using JAVA Scripting.

In my efforts, using a simple example of animated Automobile Crash Testing; the proposed transformation module will also be capable of allowing vector paths to portray a desired 3D effect on an object in order to simulate the vehicle crash testing. Although SVG does not support 3D geometry, for this crash test simulation implementation, 3D effects are achieved by effective use of filters and transformations. The SVG Filters Module allows a series of graphic operations to be performed on a given 2D. The compositing module allows layered objects to be combined in various ways to produce different 3 dimensional effects using JQuery, Transformations, and Translations for vectored graphics. Physical Engine Algorithms with filtering effects and transformations will provide a computing realism.

In this paper, a crash testing application denotes safety statistics and measures by progress bar and percentage. It is allowing ‘user customization’ i.e. interactivity for selecting various speed limits for a vehicle to force front collision on a rigid and fixed obstacle. As an output it will provide statistics for repercussions of a frontal impact on driver and the quality or strength of metal to be used to comply with safety measures of a vehicle. These statistics will be from a fixed database maintained with this simulation software. It manipulates data on user input, processes it, and displays animation depending on user defined parameters. Further using SVG pictorial representation; the test result (such as progress bar, charts) can be integrated to GUI.

As the main focus is on implementing the powerful use of SVG Graphics/ Animation with NetBeans IDE development tool, the functionality of Vehicle Crash Testing Simulation is limited to academic purposes only. It will provide students and self-learners with a crisp overview of Crash Testing as per lab conditions. Using this interactive SVG Graphics application, students will find it easier to learn the use of filters, transformations, translations, and physical engines implemented in SVG which is finally imported to Desktop application using IDE.

Future Scope: Learners will get acquainted with the various industrial implementations of SVG techniques in diversified fields. Similarly other day-to-day life applications can be developed with this implementation. Alternatively, even though using Batik JAVA SVG Toolkit, similar implementation is possible; there is an added advantage of using JAVA NetBeans. Using it the current Portable Desktop Application can also be enhanced for Mobile Applications using J2ME. Since most of the devices support SVG API for J2ME (JSR226); Rich SVG GUI widgets can be developed very effectively using NetBeans IDE with JAVA ME Runtime Libraries.

Files:

• SVG Open 2010-supporting files by Rohan Vibhandik.zip

Andrew Girow Play (19min) Download: FLV | MOV | OGG | MP3

Google Application Engine is a cloud-computing infrastructure for creating and running web applications. Google Application Engine does not allow all Java classes to be used, For example, no graphics classes are allowed. At the same time, there is a need for the server side graphics on Google App Engine. TinyLine fills the gap and brings in the vector graphics to Google App Engine.

We discuss some technical basic behind TinyLine and Google App Engine and show how Google App Engine Java developers could use and benefit from TinyLine.

We go from the simple to more complex examples, starting the basic 2D drawing capabilities demos and SVG thumbnail images service.

Then we show that thumbnail images are convenient way to present SVG previews to users. The thumbnail images could be used for the SVG listings, SVG directories or for SVG result lists of search engines.

We give an example how TinyLine could help to port other graphical Java applications to Google App Engine platform.

The more advanced example of using TinyLine and Google App Engine brings together full text search of SVG images and visual representation of search results by thumbnail images.

Links:

• TinyLine GAE: SVG Tiny drawing service

Cyril Concolato Play (30min) Download: FLV | MOV | OGG | MP3

With the development of convergent video codecs such as MPEG-4 AVC|H.264, it is now possible to view television progams on many types of devices, including mobile devices (e.g. iPhone). However, given the high number of available television programs, electronic program guides are required. There are many ways to provide electronic program guides applications on mobile devices. One way is to develop and deploy new native applications on each of the mobile plateforms (e.g. iPhone, Android, Windows Mobile). Another way is to rely on convergent Web standards such as SVG to leverage already deployed browsers. Following this second way, this paper presents the results of some investigations and experiments for the display of EPG data using SVG. In particular, we investigated different ways to generate and deliver EPG data. One traditional approach uses AJAX and SVG. On the client, some Javascript code pulls some XML representing the EPG data from a server and converts it into presentable SVG. Another approach consists in directly streaming SVG data, using 3GPP DIMS RTP format, to the client. We report on those two approaches showing the benefits and drawbacks of each. Finally, we demonstrate the EPG application on different clients such as PC equiped with GPAC or Opera, iPhone using Safari.

Ola Andersson Ericsson AB Play (22min) Download: FLV | MOV | OGG | MP3

Within the IP Television industry the interest for using solutions based on web technology is strongly increasing. SVG is currently the top requirement from most IPTV operators that want to deliver a rich user experience with a technology that allows customization and is future proof.

This paper gives a brief introduction to IPTV. It explains the rationale behind using web technologies for IPTV and in particular why SVG is an important part of many IPTV solutions. It describes the ongoing IPTV related standardization efforts, in particular OIPF (Open IPTV Forum), and how they include SVG as part of their work.

Finally it addresses some of the missing parts within SVG that are needed to make SVG really useful for IPTV and mentions how Ericsson are working with defining these missing parts.

Robert Russell Google, Inc Play (48min) Download: FLV | MOV | OGG | MP3

As more developers have adopted SVG, questions have shifted from suitability as a format to more subtle questions about the best way to build with SVG in applications where it shines. Best practices are evolving for building applications, compatibility across implementations in different user agents, and for integrating SVG components as moving parts in larger HTML5 applications. The time has come to dive more deeply into efficient SVG applications.

Google has been a part of building the current generation of broadly-adopted SVG applications. Google Maps and Google Docs rely on SVG for interactivity and a robust document format. Google contributions to WebKit are helping to build one of the best open source implementations for rendering SVG. However, it is the community of developers, like the SVG Open community who are building the next generation of domain-specific tools using SVG and the rest of the open web stack.

Rob will compare real and perceived performant SVG coding practices, helping along the conversation around best practices for coding with dynamic SVG.

Christophe Connan SMA Netagis Play (26min) Download: FLV | MOV | OGG | MP3

Introduction : SVG and GIS, external tools.

This presentation will start with a quick explanation about the choice to use SVG as a displaying tool in a online GIS (easy generation, vector/raster displaying, scripting, free technology…). This introduction will also underline the central place of SVG in such type of software architecture and the potentials links between SVG and others open or free tools.

SVG / LAMP : A server side story.

LAMP (for Linux-Apache-Mysql-Php) is a solid, free and easily installable stack to build the SVG generator that will be use for webmapping. SVG fragments are created by PHP scripts from datas extracted from a MySQL database. Various PHP libraries can be used to manipulate SVG as text or as DOM element. The LAMP architecture also allows transmitting the generated SVG toward the client using HTML protocol.

SVG / Mapserver : If you want something done right, let the others doing it themselves.

Mapserver is a free software – its first use is to generate geo-localized images from bigger images or GIS files and databases. Depending on the layers displayed in the SVG and on the position of the map, the images urls are generated and sent to mapserver. The resulting image is then inserted in the svg document.

SVG / Batik : An useful but strict rasterizer.

It is sometimes difficult to re-use generated svg once it has been parsed and displayed by the client svg-viewer, especially when you need a bitmap picture. In this case it’s possible to use a rasterizering tool. The one we illustrate here is the Batik Rasterizer. Batik is a Java based program that procures tools to manipulate SVG documents.

SVG / Viewers and plugins : Doing everything but not with everything.

There are many tools to display svg in a web browser but they are not all equals. One objective during the implementation of a SVG based GIS is to find the good SVG viewer with enough capabilities (display or script) compatible with the most of users’ materials. Then multiples scripts can be written to add interactivity to the map like zooms, pan or client sided svg creation

Case studie : Generating a A0 PDF document.

A good way to summarize this presentation is to show a complete example. We will generate a PDF document using a SVG based GIS and the four tools listed above.

Conclusion : Others tools, advantages and drawbacks.

Quick presentation of few others free and opens tools that can be used with SVG. Highlighting of multiples possibilities but warning about the difficulties and incompatibilities that can be encountered.

Bianca Valentin and Peter Wilfahrt University of Bayreuth Play (24min) Download: FLV | MOV | OGG | MP3

The JavaScript based library JSXGraph enables a wide range of interactive data visualizations from complex mathematical content like geometry constructions or curve plotting to online charts and maps. Thereto it does not rely on any other library but uses SVG for drawing on most browsers and VML on the Internet Explorer. JSXGraph is easy to embed and has a small footprint: less than 100 KByte if embedded in a web page. Special care has been taken to optimize the performance. JSXGraph is developed at the Lehrstuhl für Mathematik und ihre Didaktik, University of Bayreuth, Germany.

JSXGraph was originally developed for educational purposes. Dynamic geometry systems are used more and more widely in schools to visualize geometry and calculus interactively. It is possible to create a geometric construction or a function graph, drag them around with the mouse, and observe the dependencies between the objects. With the accelerating speed of JavaScript in web browsers and the diminishing importance of Java in web there was need to have a tool for viewing mathematical content without a slow Java plug-in. So it is able to run also on small multimedia devices where Java based systems are not supported that most other dynamic geometry systems are using. Starting with version 0.80 JSXGraph also supports multitouch devices like the Apple iPhone and devices running Opera mini or Mozilla Fennec.

JSXGraph can read several file formats that are used by the most popular dynamic geometry systems as well as the European standard Intergeo format. As it is completely written in JavaScript it is also possible to script an own construction using JavaScript with few commands. A new development is the opportunity of parsing geometric constructions and do function plots from a well known and very easy and short mathematical syntax so that even very complex constructions can be done within one line.

With having all the mathematical objects and the possibility of dragging them around and influencing them interactively, it is easy to use JSXGraph as a charting tool. One application is to have interactive charts or charts in connection with a server that provides data at certain points of time that has to be visualized simultaneously. An example is a stock chart that shall be displayed together with its regression line to visualize the trend of data. JSXGraph provides a server module that eases such applications.

A further new application of JSXGraph is displaying maps that are given in the ArcView shape format.

It is possible to reduce the size of the transmitted data considerably by suitable rounding and thinning out data points with the Ramen-Douglas-Peukert algorithm, i.e., data points defining a border that nearly lie on the same straight line as its neighbours can be removed.

The wiki pages of the project (JSXGraph wiki) contain many examples and showcases, e.g.

• Constructing with math syntax
• Stock chart
• Map data of German elections

Links:

• JSXGraph Homepage
• JSXGraph Wiki

Domenico Strazzullo and Jayne De Sesa Dotuscomus Play (30min) Download: FLV | MOV | OGG | MP3

GEMï is a Web Operating System composed of an Application Environment Manager and a Graphical User Interface, using the library of SVG implementations as Virtual Device Interface.

The purpose of this presentation is to survey and demonstrate its features and capabilities, as well as its possible domains of application; to review the techniques employed for its construction; to present the Open Project proposals for evolution available at the time of the conference.

The system

GEMï is a cross-browser Web Operating System. It consists of an Application Environment Manager and a Graphical User Interface using SVG as Virtual Device Interface. The version 2 of the software has been entirely rewritten using a class inheritance architecture with the objective to make its source code easy to extend and maintain by the collaborative crew of programmers in an Open Project context.

GEMï has the systemic features commonly found in window based operating systems, including a system menu. The windows are fully featured and have the particularity of carrying in their tool bars sophisticated tools, proper to SVG transformation capabilities, for zooming and panning their contents.

Two notable features are Preferences and Session which can both be saved in remote mode. The Preferences relate to display options. The Session relates to the windows with their status and their current layout.

Domains of application

The range of domains of application is wide and includes engineering, cartography, scientific, educational, illustration, presentations, etc.

A practical example would be a project consisting of several documents, each containing, for instance, SVG drawings of molecules (latest experiments carried out by my son prove that a GEMï window can carry 3D objects with their animations and transformation tools, which can be used in conjunction with the window’s SVG transformation tools. This finding is the subject of a separate presentation), and a set of informational, interactive documents.

Technical aspects

The architecture of GEMï is based on the principle of class inheritance. Its structure is composed of a placeholder object, named “gemi”, where properties and methods proper to the interface are defined, and which provides a “namespace” for the superclass and subclasses.

The superclass defines properties and methods in its prototype which are then inherited by the subclasses. The superclass also defines some class methods.

The subclasses, which constitute an internal library, may have private methods or override the superclass methods. Basically, the subclasses are specialized constructor for compound physical objects which in most cases use several SVG elements.

Here we come to a fundamental particularity of GEMï: it does not have any classes for SVG elements. Instead, for those it uses the library that is constituted by the browser’s implementation of SVG. To achieve this the “gemi” object defines a method (node builder) which acts as an interface between the internal library and the implementation’s library. This methods expects exactly 1 argument, an object where the property/value pairs use SVG grammar, the property names containing JavaScript illegal characters for variable/property name being specified in string notation. Examples:

Building the interface

The section in the DOM tree restituting the interface is organized in the following manner:

Initially it contains a “gemi_windowstree” group which is hard-codedthe gemi.svg document in order to allow the embedding of those inner <svg> fragments that are intended to be rendered at runtime.

A desktop group is created and the “gemi_windowstree” group appended to it, followed by the other system components groups stacked in a judicious manner –the drag-area being on the topmost layer for example.

Finally, the other system components are created and appended to their respective groups.

GEMï has a reusable skin engine. The concept is similar to that of CSS with some notable advantages; these are:

– The possibility of having several definitions of “selectors” in one single file.

– The “selectors” are properties which are assigned objects, and their names are correlated with the names of the constructors.

– The possibility of using expressions and references for values.

– The use of a theme color, which can be processed on request to produce shades for the painting attributes and/or gradients, patterns and filters.

– The skin is a method that creates an object representing the current skin.

– The skin object defines the gradients, patterns and filters for the current skin.

– The names of the properties of the objects (the “selectors”) defined by the skin object are SVG attribute names, using string syntax where it applies, and other pseudo-attribute names may be used, as needed.

– The properties of objects (class instances, or orphan or volatile objects) reference the properties of the skin.

Patrick Dengler Microsoft Play (36min) Download: FLV | MOV | OGG | MP3

Patrick Dengler will take you through a quick tour of SVG’s potential impact on the web with its incorporation into the HTML5 specification and support from Internet Explorer 9. The talk will include examination of emerging web site design, the pros and cons of SVG and <canvas>, as well as how to code for the interoperable set of SVG across the browser spectrum. This is expected to be an interactive discussion.

Youenn Fablet, Romain Bellessort, Jun Fujisawa, Anthony Grasso, Hervé Ruellan Canon Play (31min) Download: FLV | MOV | OGG | MP3

EXI is a binary format for encoding XML Infosets. It is currently in Candidate Recommendation, one of the last steps of the W3C standardization process. The main goal of this format is to provide very good compaction for a wide range of XML documents, applications and devices. To meet this goal, several encoding options are defined within the EXI format. Those encoding options must be selected with care to meet the requirements of an application in terms of compression, processing efficiency and memory usage.

This study describes the possibilities and achievements obtained by the EXI format for SVG applications. The impacts of the encoding options, in particular schema-less and schema-informed encoding (i.e. whether schema information is available) and compression (i.e. a further generic compression step is applied on the encoded data) are evaluated in this context.

Comparison with existing technologies and practices (SVGZ and BiMSVG) is also conducted in the study to show the strengths and weaknesses of the EXI technology applied to SVG. While clearly being an improvement over SVGZ, EXI, in its most interoperable form and without the use of compression option, is less compact than BiMSVG. Indeed, BiMSVG has built-in support for very efficient encoding of SVG textual content, whereas the most interoperable form of EXI only relies on schema information. However, as EXI enables the definition of built-in data types, the addition of specific SVG support to an EXI processor is evaluated in the study, demonstrating largely improved results.

This study also highlights specific benefits and issues: interoperability (lack of a convenient well-known XML Schema for SVG document encoding, SVG versions and modules), impact of the compression option on SVG progressive rendering, usefulness of features like schema deviation support (i.e. enabling the efficient encoding of items not described in the schema), self-contained elements (i.e. encoding parts of the SVG document independently of each other) or datatype representation map (i.e. mapping dedicated codecs to specific SVG textual content).

To conclude the study, recommendations on the best use of EXI for SVG (notably for both open and closed environments) and a look at the future are made. SVG 2.0 being on the way, some features like the definition of a more structured syntax for some SVG constructs (path or animation elements notably) have a very positive impact on the compaction results. This is assessed within the study. The study also raised questions for which the SVG community feedback is sought. Is there a need for a common compact format for all SVG applications? Is there a need to define an interoperable EXI SVG support? Should SVG 2.0 syntax be assessed in terms of EXI compaction results? Is there a need to define a common SVG schema for EXI processors? How should be handled the different SVG versions (1.0, 1.1, 1.2 and future 2.0)?

Kwee Hui Lee and Foot Yow Wong Ecava Sdn Bhd Play (20min) Download: FLV | MOV | OGG | MP3

SCADA/HMI, a real time monitoring system is recently developed to be working on web. It is very common for people nowaday, to be able to monitor and control their home/office and plant remotely using a web client.

SCADA/HMI, which is characterized by rich mimic, has traditionally functioned as a desktop application. When SCADA/HMI is required to run on intranet or Internet, Java technologies and ActiveX technologies, which are not W3C standard, were mainly used to handle the extensive graphical animations over this media.

SVG has made rich animations possible over the net without using proprietary technologies. Ecava has developed and delivered its first SVG based SCADA system called “IntegraXor” as early as 2003. Ecava further developed XSAC (IntegraXor SCADA Animation Code) which allows animations to be done easily by linking a JavaScript animation library instead of doing JavaScript programming. XSAC is a series of animation attributes written in JSON format which can be easily generated. Ecava has developed SAGE (Scada Animation GUI Editor) based on Inkscape for such purpose.

The JSON syntax contains the animation to work, a tag name to be listen, and the parameters to take action. For example a circle created in Inkscape is given a COLOR animation, and the color of the object shall change according to a predefined parameter associated with the tag value, which update from server. The update procedure requires a Javascript library to loop and make HTTP request to server.

Major Animations for SCADA application are Color, Level, Movement, Opacity, Rotate and Text. They are all tied to at least one variable which is normally associated with data from an external field equipment. The animations shall correspond to the actual status of the field equipments.

Below are some samples of XSAC as compared to native SVG animation elements which are extracted from SVG specification 1.1.

<table>

<tr>

<th>

XSAC

</th>

<th>

SVG Animations Elements

</th>

</tr>

<tr>

<td>

{attr:’color’, list:[{tag:VARm, data:NUMm, param:COLORm}, {tag:VARn, data:NUMn, param:COLORn}/*, ...*/]}

</td>

<td>

<animateColor attributeName="fill" attributeType="CSS" from="rgb(0,0,255)" to="rgb(128,0,0)" begin="3s" dur="6s" fill="freeze" />

</td>

</tr>

<tr>

<td>

{attr:’level’, tag:VAR1, from:NUM1, to:NUM2}

</td>

<td>

<animate attributeName="height" attributeType="XML" begin="0s" dur="9s" fill="freeze" from="100" to="300" />

</td>

</tr>

<tr>

<td>

{attr:’move’, tag:VAR1, from:NUM1, to:NUM2, readonly:0, path:ID}

</td>

<td>

<animateMotion path="M 0 0 L 100 100" begin="3s" dur="6s" fill="freeze" />

</td>

</tr>

<tr>

<td>

{attr:’opacity’, tag:VAR1, from:NUM1, to:NUM2}

</td>

<td>

<set attributeName="visibility" attributeType="CSS" to="visible" begin="3s" dur="6s" fill="freeze" />

</td>

</tr>

<tr>

<td>

{attr:’rotate’, tag:VAR1, from:NUM1, to:NUM2}

</td>

<td>

<animateTransform attributeName="transform" attributeType="XML" type="rotate" from="-30" to="0" begin="3s" dur="6s" fill="freeze" />

</td>

</tr>

</table>

SVG has animation elements and it is sufficient to support simple animations needed in SCADA mimic. However, a limitation in the design is the adaptation for external interaction. Moreover, the animation is designed to be time-oriented but not condition based or state orientated that reflects the value of a variable. As such, SCADA applications will not be able to utilize the built in design directly but they have to use JavaScript and DOM access to achieve some simple animation which involved colors, transformation, opacity and movements. In some scenario, SCADA applications need to remove an object, and append a new one in order to achieve simple animations.

We could do a workaround by using beginElementAt() and endElementAt() to freeze the animation at the desired position, but it could be confusing and it does not simplify the work required.

We propose to add state-oriented animation to the existing time-oriented animation, so that SVG native animations can be access directly. The state-oriented animation will preset a number of animations into an attribute, and the execution is determined by another attribute. A sample of this proposal is shown below:

<animateColor attributeName="fill" attributeType="CSS" fill="freeze" colors="rgb(0,0,255), rgb(128,0,0)" state="0" />

Numerous colors can be preset into an animateColor tag, where the color to be shown depends on the attribute "state". In this scenario, external interaction will only need to change the property of "state", the animation will change accordingly. Similarly, animateMotion, animateTransform and animate itself can be inserted with 2 new attributes for state-oriented animation as well.

A state-oriented SVG animation has a lot of advantages, for instance it can be used by office/home applications that generates bar chart, pie chart, or any other type of data-oriented (hence state-oriented) presentations. Below are the examples of implementation after adding ’state’ attributes.

<table>

<tr>

<th>

SVG Animations Elements with additional ’state’ attribute

</th>

<th>

Effect

</th>

</tr>

<tr>

<td>

<animateColor attributeName="fill" attributeType="CSS" values="rgb(0,0,255),rgb(128,0,0),rgb(0,255,0)" state="0" fill="freeze" />

</td>

<td>

’state’ default value is 0, so color shall start by first color ‘rgb(0,0,255)’. When value of ’state’ change to 1, then color shall change to ‘rgb(128,0,0), and so on and so forth.

</td>

</tr>

<tr>

<td>

<animate attributeName="height" attributeType="XML" dur="9s" fill="freeze" from="100" to="400" state="200"/>

</td>

<td>

’state’ initial value is 200, so initial height is 33%. And when state value increase to 300, ‘dur’ still functioning for animation effect whereby it shall consume 3 seconds which is interpolated to 9 seconds.

</td>

</tr>

<tr>

<td>

<animateMotion path="M 0 0 L 100 100" dur="6s" fill="freeze" state="10%"/>

</td>

<td>

’state’ initial value is 10%, so it will be started at 10% of the total path. And it shall take 6 seconds to travel from 0 to 100%.

</td>

</tr>

<tr>

<td>

<set attributeName="visibility" attributeType="CSS" to="visible" dur="6s" fill="freeze" from="0" to="100" state="10"/>

</td>

<td>

’state’ initialized with value of 10, it shall be proportional to ‘from’ and ‘to’ values. Total time needed to animate from ‘from’ to ‘to’ shall be 6 seconds.

</td>

</tr>

<tr>

<td>

<animateTransform attributeName="transform" attributeType="XML" type="rotate" from="-30" to="10" dur="6s" fill="freeze" state="-10"/>

</td>

<td>

’state’ initialized with value of -10 which is at 180 degree. When value is at ‘from’, the position is 0 degree, when the value is at ‘to’ the position is at 360 degree.

</td>

</tr>

</table>

Erik Dahlström Opera Software ASA Play (29min) Download: FLV | MOV | OGG | MP3

The focus of this session is on showcasing the many different ways SVG can be used for creating interactive and visually attractive web content, web apps and more!

A range of open web standards that integrate and complement SVG will be examined, in previous years this has touched upon HTML5, CSS3, Widgets, advanced features in SVG such as filters, video and audio as well as other surprises.

Vincent Hardy Oracle Play (49min) Download: FLV | MOV | OGG | MP3

The focus of this session is on showcasing the many different ways SVG can be used for creating interactive and visually attractive web content, web apps and more!

A range of open web standards that integrate and complement SVG will be examined, in previous years this has touched upon HTML5, CSS3, Widgets, advanced features in SVG such as filters, video and audio as well as other surprises.

Session Chair: Julien Quint consulting.romulusetrem.us, Consultant Play (62min) Download: FLV | MOV | OGG | MP3

This panel will feature implementors of the SVG specification on a variety of user agents, from desktop to mobile, from toolkits to libraries to authoring tools. The format is a moderated question-and-answer session, with both prepared topics and audience participation. The panel will begin with an introduction by each panelist, who will talk about their company or organization, give a brief overview of their implementation, and talk about their role in the project. This panel will focus on the technical issues of the implementations, issues of market and distribution, plans for future development, and a variety of other topics that will provide the audience with a good sense of the current state of SVG implementations, and will provide an opportunity for dialog between different implementors with different use cases.

The list of participating panelists is not yet settled, but we are aiming for a comprehensive array of people. There will be a general call for participation from implementors, with inclusion based on market relevance and breadth of scope for the panel as a whole.