Abstract
This paper proposes a method for detecting and analyzing the color techniques used in the animated movies. Each animated movie uses a specific color palette which makes its color distribution one major feature in analyzing the movie content. The color palette is specially tuned by the author in order to convey certain feelings or to express artistic concepts. Deriving semantic or symbolic information from the color concepts or the visual impression induced by the movie should be an ideal way of accessing its content in a content-based retrieval system. The proposed approach is carried out in two steps. The first processing step is the low-level analysis. The movie color content gets represented with several global statistical parameters computed from the movie global weighted color histogram. The second step is the symbolic representation of the movie content. The numerical parameters obtained from the first step are converted into meaningful linguistic concepts through a fuzzy system. They concern mainly the predominant hues of the movie, some of Itten's color contrasts and harmony schemes, color relationships and color richness. We use the proposed linguistic concepts to link to given animated movies according to their color techniques. In order to make the retrieval task easier, we also propose to represent color properties in a graphical manner which is similar to the color gamut repre sentation. Several tests have been conducted on an animated movie database.
Highlights
One of the most important human senses, maybe the most important one, is human vision
We found that the Webmaster nondithering 216 color palette [27] is the only palette meeting to all the previously listed requirements, providing the following: (i) the right compromise between color richness and number of colors (216): it contains 12 elementary colors, namely: orange, red, pink, magenta, violet, blue, azure, cyan, teal, green, spring, and yellow, and 6 gray levels including white and black, well suited for representing the reduced color palettes of animated movies; (ii) high color diversity: variations of 12 elementary colors and 6 gray levels, resulting in reduced color distortion; (iii) the availability of an efficient color naming system: each color is named according to the degree of hue, saturation, and brightness, facilitating the analysis of the human color perception
After analyzing several representative animated movies, we found that a movie may have a color distribution “poor-in-light colors” if 100 · Plight < 33%, a color distribution with “a medium amount of light colors” if 100 · Plight > 50% and 100 · Plight < 60%, and a color distribution “containing high amounts of bright colors” if 100 · Plight > 66%
Summary
One of the most important human senses, maybe the most important one, is human vision. Few approaches tackle the description of the color perception of video material by adding a temporal dimension to the local imagebased analysis Such a system which takes the temporal color information into account is proposed in [16]. Another connected approach is the one proposed in [17], where fuzzy decision trees are used for data mining of news video footage In this case, color histograms are used to successfully retrieve two types of semantic information: the textual annotations and the presence of the journalist. The color content perception is analyzed at a symbolic level using color names and the sensations induced by the colors This global color description is possible thanks to the peculiarity of the animated movies of containing specific color palettes [19], unlike conventional movies which usually have the same color distribution.
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