The Making of Continuous Colormaps
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Investigating the Effect of Color Gamut Mapping Quantitatively and Visually
Rochester Institute of Technology RIT Scholar Works Theses 5-2015 Investigating the Effect of Color Gamut Mapping Quantitatively and Visually Anupam Dhopade Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Dhopade, Anupam, "Investigating the Effect of Color Gamut Mapping Quantitatively and Visually" (2015). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Investigating the Effect of Color Gamut Mapping Quantitatively and Visually by Anupam Dhopade A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Print Media in the School of Media Sciences in the College of Imaging Arts and Sciences of the Rochester Institute of Technology May 2015 Primary Thesis Advisor: Professor Robert Chung Secondary Thesis Advisor: Professor Christine Heusner School of Media Sciences Rochester Institute of Technology Rochester, New York Certificate of Approval Investigating the Effect of Color Gamut Mapping Quantitatively and Visually This is to certify that the Master’s Thesis of Anupam Dhopade has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of May 2015 Thesis Committee: __________________________________________ Primary Thesis Advisor, Professor Robert Chung __________________________________________ Secondary Thesis Advisor, Professor Christine Heusner __________________________________________ Graduate Director, Professor Christine Heusner __________________________________________ Administrative Chair, School of Media Sciences, Professor Twyla Cummings ACKNOWLEDGEMENT I take this opportunity to express my sincere gratitude and thank all those who have supported me throughout the MS course here at RIT. -
Fast and Stable Color Balancing for Images and Augmented Reality
Fast and Stable Color Balancing for Images and Augmented Reality Thomas Oskam 1,2 Alexander Hornung 1 Robert W. Sumner 1 Markus Gross 1,2 1 Disney Research Zurich 2 ETH Zurich Abstract This paper addresses the problem of globally balanc- ing colors between images. The input to our algorithm is a sparse set of desired color correspondences between a source and a target image. The global color space trans- formation problem is then solved by computing a smooth Source Image Target Image Color Balanced vector field in CIE Lab color space that maps the gamut of the source to that of the target. We employ normalized ra- dial basis functions for which we compute optimized shape parameters based on the input images, allowing for more faithful and flexible color matching compared to existing RBF-, regression- or histogram-based techniques. Further- more, we show how the basic per-image matching can be Rendered Objects efficiently and robustly extended to the temporal domain us- Tracked Colors balancing Augmented Image ing RANSAC-based correspondence classification. Besides Figure 1. Two applications of our color balancing algorithm. Top: interactive color balancing for images, these properties ren- an underexposed image is balanced using only three user selected der our method extremely useful for automatic, consistent correspondences to a target image. Bottom: our extension for embedding of synthetic graphics in video, as required by temporally stable color balancing enables seamless compositing applications such as augmented reality. in augmented reality applications by using known colors in the scene as constraints. 1. Introduction even for different scenes. With today’s tools this process re- quires considerable, cost-intensive manual efforts. -
OMEGA Learning Guide
Learning Guide OMEGA Software THE POSSIBILITIES ARE INFINITE Copyright Notice COPYRIGHT 2003 Gerber Scientific Products, Inc. All Rights Reserved. This document may not be reproduced by any means, in whole or in part, without written permission of the copyright owner. This document is furnished to support OMEGA. In consideration of the furnishing of the information contained in this document, the party to whom it is given assumes its custody and control and agrees to the following: 1. The information herein contained is given in confidence, and any part thereof shall not be copied or reproduced without written consent of Gerber Scientific Products, Inc. 2. This document or the contents herein under no circumstances shall be used in the manufacture or reproduction of the article shown and the delivery of this document shall not constitute any right or license to do so. Information in this document is subject to change without notice. Printed in USA GSP and EDGE are registered trademarks of Gerber Scientific Products. OMEGA, EDGE, MAXX, SUPER CMYK, Support First, FastFacts, enVision and GerberColor Spectratone are trademarks of Gerber Scientific Products, Inc. Adobe Illustrator is a registered trademark of Adobe System, Inc. CorelDRAW is a registered trademark of Corel Corporation. MonacoEZcolor is a trademark of Monaco Systems Inc. 3M is a registered trademark of 3M. Microsoft and Windows are registered trademarks of Microsoft Corporation in the United States and other countries. PANTONE® Colors generated may not match PANTONE-identified standards. Consult current PANTONE Publications for accurate color. PANTONE and other Pantone, Inc. trademarks are the property of Pantone, Inc. -
Download Amosaic Gradient
Gradient: Alchemy GRADIENT COLLECTION Glass Mosaic Tile Blends AMosaic.com 231.375.8037 Recycled Glass GRADIENTCOLLECTION Gradients available in our Huron and Superior Collections using any combinations of 1” x 1” (25x25 mm) or 1” x 2”(25 x 50/ 25 x 52mm) in eased or rustic edge. ALCHEMY AMBER ROSE GOLD E11.ALCH.XXS E11.AMBE.XXS E11.ROSE.XXS 7-Color Gradient 5-Color Gradient 5-Color Gradient EMERALD JADE TURQUOISE E11.EMER.XXS E11.JADE.XXS E11.TURQ.XXS 5 Color Gradient 5-Color Gradient 5-Color Gradient Occasional variations in color, shade, tone and texture are to be expected in all glass products. Samples do not necessarily represent an exact match to existing inventory. 11-2017 7103 Enterprise Drive Spring Lake, MI 49456 AMosaic.com 231.375.8037 Recycled Glass GRADIENT INFORMATION OUR STORY OVER 50 YEARS GLASS TRADITION 100% RECYCLED FINISH Of Italian Glass Of beauty, consistency, Made in the USA. Mosaic Experience. & distinction. Standard Color (PCL) Iridescent (IRD) Aventurina (AVC) TEST PERFORMED SHADE VARIATION ASTM C650-04 No Effect V2 - Slight Variation Chemical Resistance Clearly distinguishable texture and/or pattern within similar colors. ANSI A 137.2 No Defects Thermal Shock Resistance ASTM C648 Passes SUITABLE APPLICATIONS Breaking Strength Interior and exterior walls. ASTM C373 Impervious Pools/spa/submerged. Water Absorption Freezing environments. ASTM C424 Passes Light traffic floor use. Crazing Resistance ASTM C499 Passes Facial Dimension/Thickness MAINTENANCE ASTM C485-09 Passes Standard household glass cleaner, or a Warpage neutral mild detergent with water. ASTM C1026-13 Passes Freeze Thaw LEAD TIME DCOF Acutest .33 AVG. -
Hiding Color Watermarks in Halftone Images Using Maximum-Similarity
Signal Processing: Image Communication 48 (2016) 1–11 Contents lists available at ScienceDirect Signal Processing: Image Communication journal homepage: www.elsevier.com/locate/image Hiding color watermarks in halftone images using maximum- similarity binary patterns Pedro Garcia Freitas a,n, Mylène C.Q. Farias b, Aletéia P.F. Araújo a a Department of Computer Science, University of Brasília (UnB), Brasília, Brazil b Department of Electrical Engineering, University of Brasília (UnB), Brasília, Brazil article info abstract Article history: This paper presents a halftoning-based watermarking method that enables the embedding of a color Received 3 June 2016 image into binary black-and-white images. To maintain the quality of halftone images, the method maps Received in revised form watermarks to halftone channels using homogeneous dot patterns. These patterns use a different binary 25 August 2016 texture arrangement to embed the watermark. To prevent a degradation of the host image, a max- Accepted 25 August 2016 imization problem is solved to reduce the associated noise. The objective function of this maximization Available online 26 August 2016 problem is the binary similarity measure between the original binary halftone and a set of randomly Keywords: generated patterns. This optimization problem needs to be solved for each dot pattern, resulting in Color embedding processing overhead and a long running time. To overcome this restriction, parallel computing techni- Halftone ques are used to decrease the processing time. More specifically, the method is tested using a CUDA- Color restoration based parallel implementation, running on GPUs. The proposed technique produces results with high Watermarking Enhancement visual quality and acceptable processing time. -
Multiscale Gradients Based Directional Demosaicing
International Journal of Engineering Research and Applications (IJERA) ISSN: 2248-9622 International Conference on Humming Bird ( 01st March 2014) RESEARCH ARTICLE OPEN ACCESS Multiscale Gradients based directional demosaicing A. Jasmine ,John Peter.K2 Jasmine A. Author is currently pursuing M.Tech (IT) in Vins Christian College of Engineering..Email:[email protected]. 2John Peter K. Author is currently the Head of the Department of IT in VINS Christian College of Engineering. Abstract: Single sensor digital cameras capture one color value for every pixel location. The remaining two color channel values need to be estimated to obtain a complete color image. This process is called demosaicing or Color Filter Array (CFA) interpolation. We propose a directional approach to the CFA interpolation problem that makes use of multiscale color gradients .The relationship between color gradients on different scales is used to generate signals in vertical and horizontal directions. We determine how much each direction should contribute to the green channel interpolation based on these signals. The proposed method is easy to implement since it isnon iterative and threshold free. Experiments on test images show that it offers superior objective and subjective interpolation quality. Index Terms -Demosaicing, Color filter array interpolation, Multiscale color gradient, directional interpolation. I. INTRODUCTION Most digital cameras employ single sensor designs because using multiple sensors coupled with beam splitters for each pixel location is costly in hardware. This design choice necessitates the use of color filter arrays. The color channel layout on a color filter array determines which channel will be captured at each pixel location. Many different CFA Figure1. -
Effective Appearance Model and Similarity Measure for Particle Filtering and Visual Tracking
Effective Appearance Model and Similarity Measure for Particle Filtering and Visual Tracking Hanzi Wang, David Suter, and Konrad Schindler Institute for Vision Systems Engineering, Department of Electrical and Computer Systems Engineering, Monash University, Clayton Vic. 3800, Australia {hanzi.wang, d.suter, konrad.schindler}@eng.monash.edu.au Abstract. In this paper, we adaptively model the appearance of objects based on Mixture of Gaussians in a joint spatial-color space (the approach is called SMOG). We propose a new SMOG-based similarity measure. SMOG captures richer information than the general color histogram because it incorporates spa- tial layout in addition to color. This appearance model and the similarity meas- ure are used in a framework of Bayesian probability for tracking natural objects. In the second part of the paper, we propose an Integral Gaussian Mixture (IGM) technique, as a fast way to extract the parameters of SMOG for target candidate. With IGM, the parameters of SMOG can be computed efficiently by using only simple arithmetic operations (addition, subtraction, division) and thus the com- putation is reduced to linear complexity. Experiments show that our method can successfully track objects despite changes in foreground appearance, clutter, occlusion, etc.; and that it outperforms several color-histogram based methods. 1 Introduction Visual tracking in unconstrained environments is one of the most challenging tasks in computer vision because it has to overcome many difficulties arising from sensor noise, clutter, occlusions and changes in lighting, background and foreground appear- ance etc. Yet tracking objects is an important task with many practical applications such as smart rooms, human-computer interaction, video surveillance, and gesture recog- nition. -
Improved Three-Dimensional Color-Gradient Lattice Boltzmann Model
Improved three-dimensional color-gradient lattice Boltzmann model for immiscible multiphase flows Z. X. Wen, Q. Li*, and Y. Yu School of Energy Science and Engineering, Central South University, Changsha 410083, China Kai. H. Luo Department of Mechanical Engineering, University College London, Torrington Place, London WC1E 7JE, UK *Corresponding author: [email protected] Abstract In this paper, an improved three-dimensional color-gradient lattice Boltzmann (LB) model is proposed for simulating immiscible multiphase flows. Compared with the previous three-dimensional color-gradient LB models, which suffer from the lack of Galilean invariance and considerable numerical errors in many cases owing to the error terms in the recovered macroscopic equations, the present model eliminates the error terms and therefore improves the numerical accuracy and enhances the Galilean invariance. To validate the proposed model, numerical simulation are performed. First, the test of a moving droplet in a uniform flow field is employed to verify the Galilean invariance of the improved model. Subsequently, numerical simulations are carried out for the layered two-phase flow and three-dimensional Rayleigh-Taylor instability. It is shown that, using the improved model, the numerical accuracy can be significantly improved in comparison with the color-gradient LB model without the improvements. Finally, the capability of the improved color-gradient LB model for simulating dynamic multiphase flows at a relatively large density ratio is demonstrated via the simulation of droplet impact on a solid surface. PACS number(s): 47.11.-j. 1 I. Introduction In the past three decades, the lattice Boltzmann (LB) method [1-9], which originates from the lattice gas automaton (LGA) method [10], has been developed into an efficient numerical approach for simulating fluid flow and heat transfer. -
Color Builder: a Direct Manipulation Interface for Versatile Color Theme Authoring
CHI 2019 Paper CHI 2019, May 4–9, 2019, Glasgow, Scotland, UK Color Builder: A Direct Manipulation Interface for Versatile Color Theme Authoring Maria Shugrina Wenjia Zhang Fanny Chevalier University of Toronto University of Toronto University of Toronto Sanja Fidler Karan Singh University of Toronto University of Toronto Figure 1: Designers can experiment with swatches, gradients and three-color blends in a unifed Color Builder playground. ABSTRACT CCS CONCEPTS Color themes or palettes are popular for sharing color com- • Human-centered computing → Graphical user inter- binations across many visual domains. We present a novel faces; User interface design; Web-based interaction; Touch interface for creating color themes through direct manip- screens; ulation of color swatches. Users can create and rearrange swatches, and combine them into smooth and step-based KEYWORDS gradients and three-color blends – all using a seamless touch Color themes, color palettes, color pickers, gradients, direct or mouse input. Analysis of existing solutions reveals a frag- manipulation interfaces, creativity support. mented color design workfow, where separate software is used for swatches, smooth and discrete gradients and for ACM Reference Format: Maria Shugrina, Wenjia Zhang, Fanny Chevalier, Sanja Fidler, and Karan in-context color visualization. Our design unifes these tasks, Singh. 2019. Color Builder: A Direct Manipulation Interface for while encouraging playful creative exploration. Adjusting Versatile Color Theme Authoring. In CHI Conference on Human a color using standard color pickers can break this inter- Factors in Computing Systems Proceedings (CHI 2019), May 4–9, 2019, action fow with mechanical slider manipulation. To keep Glasgow, Scotland UK. ACM, New York, NY, USA, 12 pages.https: interaction seamless, we additionally design an in situ color //doi.org/10.1145/3290605.3300686 tweaking interface for freeform exploration of an entire color neighborhood. -
Color Palettes
Chapter 8 All About Color Palettes In this chapter, you’ll learn about: w Color spaces w Color palettes w Color palette organization w Cross-platform color palette issues w System palettes w Platform specific palette peculiarities w Planning color palettes w Creating color palettes w Color palette effects w Tips for creating effective color palettes w Color reduction 243 244 Chapter 8 / All About Color Palettes There are many elements that influence how an arcade game looks. Of these, color selection is one of the most important. Good color selections can make a game stand out aesthetically, make it more interesting, and enhance the overall perception of the game’s quality. Conversely, bad color selection has the potential to make an otherwise good game seem unattractive, boring, and of poor quality. The purpose of this chapter is to show you how to choose and implement color in your games. In addition, it provides tips and issues to consider during this process. Color Space As mentioned previously, color is a very subjective entity and is greatly influenced by the elements of light, culture, and psychology. In order to streamline the identi- fication of color, there has to be an accurate and standardized way to specify and describe the perception of color. This is where the concept of color space comes in. A color space is a scientific model that allows us to organize colors along a set of axes so they can be easily communicated between various people, cultures, and more importantly for us, machines. Computers use what is called the RGB (red-green-blue) color space to specify col- ors on their displays. -
14. Color Mapping
14. Color Mapping Jacobs University Visualization and Computer Graphics Lab Recall: RGB color model Jacobs University Visualization and Computer Graphics Lab Data Analytics 691 CMY color model • The CMY color model is related to the RGB color model. •Itsbasecolorsare –cyan(C) –magenta(M) –yellow(Y) • They are arranged in a 3D Cartesian coordinate system. • The scheme is subtractive. Jacobs University Visualization and Computer Graphics Lab Data Analytics 692 Subtractive color scheme • CMY color model is subtractive, i.e., adding colors makes the resulting color darker. • Application: color printers. • As it only works perfectly in theory, typically a black cartridge is added in practice (CMYK color model). Jacobs University Visualization and Computer Graphics Lab Data Analytics 693 CMY color cube • All colors c that can be generated are represented by the unit cube in the 3D Cartesian coordinate system. magenta blue red black grey white cyan yellow green Jacobs University Visualization and Computer Graphics Lab Data Analytics 694 CMY color cube Jacobs University Visualization and Computer Graphics Lab Data Analytics 695 CMY color model Jacobs University Visualization and Computer Graphics Lab Data Analytics 696 CMYK color model Jacobs University Visualization and Computer Graphics Lab Data Analytics 697 Conversion • RGB -> CMY: • CMY -> RGB: Jacobs University Visualization and Computer Graphics Lab Data Analytics 698 Conversion • CMY -> CMYK: • CMYK -> CMY: Jacobs University Visualization and Computer Graphics Lab Data Analytics 699 HSV color model • While RGB and CMY color models have their application in hardware implementations, the HSV color model is based on properties of human perception. • Its application is for human interfaces. Jacobs University Visualization and Computer Graphics Lab Data Analytics 700 HSV color model The HSV color model also consists of 3 channels: • H: When perceiving a color, we perceive the dominant wavelength. -
GS9 Color Management
Ghostscript 9.21 Color Management Michael J. Vrhel, Ph.D. Artifex Software 7 Mt. Lassen Drive, A-134 San Rafael, CA 94903, USA www.artifex.com Abstract This document provides information about the color architecture in Ghostscript 9.21. The document is suitable for users who wish to obtain accurate color with their output device as well as for developers who wish to customize Ghostscript to achieve a higher level of control and/or interface with a different color management module. Revision 1.6 Artifex Software Inc. www.artifex.com 1 1 Introduction With release 9.0, the color architecture of Ghostscript was updated to primarily use the ICC[1] format for its color management needs. Prior to this release, Ghostscript's color architecture was based heavily upon PostScript[2] Color Management (PCM). This is due to the fact that Ghostscript was designed prior to the ICC format and likely even before there was much thought about digital color management. At that point in time, color management was very much an art with someone adjusting controls to achieve the proper output color. Today, almost all print color management is performed using ICC profiles as opposed to PCM. This fact along with the desire to create a faster, more flexible design was the motivation for the color architectural changes in release 9.0. Since 9.0, several new features and capabilities have been added. As of the 9.21 release, features of the color architecture include: • Easy to interface different CMMs (Color Management Modules) with Ghostscript. • ALL color spaces are defined in terms of ICC profiles.