Fo. Huck et al., AN INFORMATION-THEORY OF VISUAL COMMUNICATION, Philosophical transactions-Royal Society of London. Physical sciences and engineering, 354(1716), 1996, pp. 2193-2248
The fundamental problem of visual communication is that of producing t
he best possible picture at the lowest data rate. We address this prob
lem by extending information theory to the assessment of the visual co
mmunication channel as a whole, from image gathering to display. The e
xtension unites two disciplines, the electrooptical design of image ga
thering and display devices and the digital processing for image codin
g and restoration. The mathematical development leads to several intui
tively attractive figures of merit for assessing the visual communicat
ion channel as a function of the critical limiting factors that constr
ain its performance. Multiresolution decomposition is included in the
mathematical development to optimally combine the economical encoding
of the transmitted signal with image gathering and restoration. Quanti
tative and qualitative assessments demonstrate that a visual communica
tion channel ordinarily can be expected to produce the best possible p
icture at the lowest data rate only if the image-gathering device prod
uces the maximum-realizable information rate and the image-restoration
algorithm properly accounts for the critical limiting factors that co
nstrain the visual communication. These assessments encompass (a) the
electro-optical design of the image-gathering device in terms of the t
rade-off between blurring and aliasing in the presence of photodetecto
r and quantization noises, (b) the compression of data transmission by
redundancy reduction, (c) the robustness of the image restoration to
uncertainties in the statistical properties of the captured radiance f
ield, and (d) the enhancement of particular features or, more generall
y, of the visual quality of the observed image. The 'best visual quali
ty' in this context normally implies a compromise among maximum-realiz
able fidelity, sharpness, and clarity which depends on the characteris
tics of the scene and the purpose of the visual communication (e.g. di
agnosis versus entertainment).