Estimation of Illuminants from Projections on the Planckian Locus Baptiste Mazin, Julie Delon, Yann Gousseau
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COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING
COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING Color space A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components (e.g. RGB and CMYK are color models). However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application. Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space. This "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. In the most generic sense of the definition above, color spaces can be defined without the use of a color model. These spaces, such as Pantone, are in effect a given set of names or numbers which are defined by the existence of a corresponding set of physical color swatches. This article focuses on the mathematical model concept. Understanding the concept Most people have heard that a wide range of colors can be created by the primary colors red, blue, and yellow, if working with paints. Those colors then define a color space. We can specify the amount of red color as the X axis, the amount of blue as the Y axis, and the amount of yellow as the Z axis, giving us a three-dimensional space, wherein every possible color has a unique position. -
Calculation of CCT and Duv and Practical Conversion Formulae
CORM 2011 Conference, Gaithersburg, MD, May 3-5, 2011 Calculation of CCT and Duv and Practical Conversion Formulae Yoshi Ohno Group Leader, NIST Fellow Optical Technology Division National Institute of Standards and Technology Gaithersburg, Maryland USA CORM 2011 1 White Light Chromaticity Duv CCT CORM 2011 2 Duv often missing Lighting Facts Label CCT and CRI do not tell the whole story of color quality CORM 2011 3 CCT and CRI do not tell the whole story Triphosphor FL simulation Not acceptable Not preferred Neodymium (Duv=-0.005) Duv is another important dimension of chromaticity. CORM 2011 4 Duv defined in ANSI standard Closest distance from the Planckian locus on the (u', 2/3 v') diagram, with + sign for above and - sign for below the Planckian locus. (ANSI C78.377-2008) Symbol: Duv CCT and Duv can specify + Duv the chromaticity of light sources just like (x, y). - Duv The two numbers (CCT, Duv) provides color information intuitively. (x, y) does not. Duv needs to be defined by CIE. CORM 2011 5 ANSI C78.377-2008 Specifications for the chromaticity of SSL products CORM 2011 6 CCT- Duv chart 5000 K 3000 K 4000 K 6500 K 2700 K 3500 K 4500 K 5700 K ANSI 7-step MacAdam C78.377 ellipses quadrangles (CCT in log scale) CORM 2011 7 Correlated Color Temperature (CCT) Temperature [K] of a Planckian radiator whose chromaticity is closest to that of a given stimulus on the CIE (u’,2/3 v’) coordinate. (CIE 15:2004) CCT is based on the CIE 1960 (u, v) diagram, which is now obsolete. -
Contrast Sensitivity
FUNDAMENTALS OF MULTIMEDIA TECHNOLOGIES Lecture slides BME Dept. of Networked Systems and Services 2018. Synopsis – Psychophysical fundamentals of the human visual system – Color spaces, video components and quantization of video signal – ITU-601 (SD), and ITU-709 (HD) raster formats, sampling frequencies, UHDTV recommendations – Basics of signal compression: differential quantization, linear prediction, transform coding – JPEG (DCT based transform coding) – Video compression: motion estimation and motion compensated prediction, block matching algorithms, MPEG-1 and MPEG-2, – H-264/MPEG-4 AVC: differences from MPEG-2 Multimedia Tech. 2 What is our aim, and why? – Components of a video format • size (resolution, raster) • frame rate • representation of a color pixel (color space, luma/chroma components) – Two main goals: • finding a video format, that ensures indistinguishable video quality from the real, original scene • derive a source encoder methodology resulting in unnoticeable errors for Human Visual System – Suitable representation/encoding method, adapted to human vision ! important to know basics of human vision Multimedia Tech. 3 Visible spectrum Visible light and colors – The Human Visual System (HVS) is sensitive to a narrow frequency band of the electromagnetic spectrum: • frequencies/wavelengths between ultraviolet (UV) and infrared (IR): between ca. 400 and 700 nm of wavelength – Different wavelengths: different color experiences for HVS – Basic perceived colors: • blue, cyan, green, yellow, orange, red, purple. • White (and -
ARC Laboratory Handbook. Vol. 5 Colour: Specification and Measurement
Andrea Urland CONSERVATION OF ARCHITECTURAL HERITAGE, OFARCHITECTURALHERITAGE, CONSERVATION Colour Specification andmeasurement HISTORIC STRUCTURESANDMATERIALS UNESCO ICCROM WHC VOLUME ARC 5 /99 LABORATCOROY HLANODBOUOKR The ICCROM ARC Laboratory Handbook is intended to assist professionals working in the field of conserva- tion of architectural heritage and historic structures. It has been prepared mainly for architects and engineers, but may also be relevant for conservator-restorers or archaeologists. It aims to: - offer an overview of each problem area combined with laboratory practicals and case studies; - describe some of the most widely used practices and illustrate the various approaches to the analysis of materials and their deterioration; - facilitate interdisciplinary teamwork among scientists and other professionals involved in the conservation process. The Handbook has evolved from lecture and laboratory handouts that have been developed for the ICCROM training programmes. It has been devised within the framework of the current courses, principally the International Refresher Course on Conservation of Architectural Heritage and Historic Structures (ARC). The general layout of each volume is as follows: introductory information, explanations of scientific termi- nology, the most common problems met, types of analysis, laboratory tests, case studies and bibliography. The concept behind the Handbook is modular and it has been purposely structured as a series of independent volumes to allow: - authors to periodically update the -
Calculating Correlated Color Temperatures Across the Entire Gamut of Daylight and Skylight Chromaticities
Calculating correlated color temperatures across the entire gamut of daylight and skylight chromaticities Javier Herna´ ndez-Andre´ s, Raymond L. Lee, Jr., and Javier Romero Natural outdoor illumination daily undergoes large changes in its correlated color temperature ͑CCT͒, yet existing equations for calculating CCT from chromaticity coordinates span only part of this range. To improve both the gamut and accuracy of these CCT calculations, we use chromaticities calculated from our measurements of nearly 7000 daylight and skylight spectra to test an equation that accurately maps CIE 1931 chromaticities x and y into CCT. We extend the work of McCamy ͓Color Res. Appl. 12, 285–287 ͑1992͔͒ by using a chromaticity epicenter for CCT and the inverse slope of the line that connects it to x and y. With two epicenters for different CCT ranges, our simple equation is accurate across wide chromaticity and CCT ranges ͑3000–106 K͒ spanned by daylight and skylight. © 1999 Optical Society of America OCIS codes: 010.1290, 330.1710, 330.1730. 1. Introduction term correlated color temperature ͑CCT͒ instead of A colorimetric landmark often included in the Com- color temperature to describe its appearance. Sup- mission Internationale de l’Eclairage ͑CIE͒ 1931 pose that x1, y1 is the chromaticity of such an off-locus chromaticity diagram is the locus of chromaticity co- light source. By definition, the CCT of x1, y1 is the ordinates defined by blackbody radiators ͑see Fig. 1, temperature of the Planckian radiator whose chro- inset͒. One can calculate this Planckian ͑or black- maticity is nearest to x1, y1. The colorimetric body͒ locus by colorimetrically integrating the Planck minimum-distance calculations that determine CCT function at many different temperatures, with each must be done within the color space of the CIE 1960 temperature specifying a unique pair of 1931 x, y uniformity chromaticity scale ͑UCS͒ diagram. -
Cooledge Light Quality Metrics Fabricated
COOLEDGE LIGHT QUALITY METRICS: FABRICATED LUMINAIRES - 3500K NOTES ABOUT LIGHT QUALITY METRICS DATA: ― Values shown are TYPICAL – actual performance of individual units may vary ― The data presented has been generated in accordance with LM-79-08 ― A complete summary of LM-79-08 data is provided for nominal 4x8 (1200x2400) FABRICated Luminaire models only; however, spectral and color rendering data is applicable to all luminaire sizes, models, and flux levels including: ― Spectral Power Distribution (SPD) ― Nominal CCT ― Chromaticity ― Rf and Rg (TM-30-15) ― CRI (Ra) and R-values ― Duv SELECTED DEFINITIONS ― Candlepower: As presented in this document it is the same as “candela” the SI unit of measurement for light intensity. ― CRI (Ra): The general Color Rendering Index based on 8 CIE reference pastel color samples. ― Duv: The American National Standards Institute (ANSI) references Duv, a metric based on the CIE 1976 color space that quantifies the distance between the chromaticity of a given light source and a blackbody radiator of equal CCT. A negative Duv indicates that the source is “below” the Planckian locus (blackbody curve), potentially having a red/ blue tint, whereas a positive Duv indicates that the source is “above” the curve, potentially exhibiting a green tint. ― Nominal CCT Quadrangles: ANSI has defined acceptable chromaticity quadrangles for LED binning in relation to the blackbody curve within CIE color space. The data presented shows the typical chromaticity coordinate within the relevant quadrangle. ― R-value (Ri): The R-value is a mathematical calculation measuring how similar a light source renders a particular color compared to a reference blackbody source of the same CCT. -
A Correlated Color Temperature for Illuminants
. (R P 365) A CORRELATED COLOR TEMPERATURE FOR ILLUMINANTS By Raymond Davis ABSTRACT As has long been known, most of the artificial and natural illuminants do not match exactly any one of the Planckian colors. Therefore, strictly speaking, they can not be assigned a color temperature. A color of this type may, however, be correlated with a representative Planckian color. The method of determining correlated color temperature described in this paper consists in comparing the relative luminosities of each of the three primary red, green, and blue components of the source with similar values for the Planckian series. With such a comparison three component temperatures are obtained; that is, the red component of the source corresponds with that of the Planckian radiator at one temperature, its green component with that of the Planckian radiator at a second temperature, and its blue component with that of the Planckian radiator at a third temperature. The average of these three component temperatures is designated as the correlated color temperature of the source. The mean devia- tion of the component temperatures from the average temperature is used as a basis for specifying the color (chromaticity) departure of the source from that of the Planckian radiator at the correlated color temperature. The conjunctive wave length indicates the kind of color departure. CONTENTS Page I. Introduction 659 II. The proposed method 662 III. Procedure 665 1. The Planckian radiator evaluated in terms of relative lumi- nosity of the primary components 665 2. Computation of the correlated color temperature 670 3. Calculation of color departure in terms of sensation steps 672 4. -
Calculating Color Temperature and Illuminance Using the TAOS TCS3414CS Digital Color Sensor Contributed by Joe Smith February 27, 2009 Rev C
TAOS Inc. is now ams AG The technical content of this TAOS document is still valid. Contact information: Headquarters: ams AG Tobelbader Strasse 30 8141 Premstaetten, Austria Tel: +43 (0) 3136 500 0 e-Mail: [email protected] Please visit our website at www.ams.com NUMBER 25 INTELLIGENT OPTO SENSOR DESIGNER’S NOTEBOOK Calculating Color Temperature and Illuminance using the TAOS TCS3414CS Digital Color Sensor contributed by Joe Smith February 27, 2009 Rev C ABSTRACT The Color Temperature and Illuminance of a broad band light source can be determined with the TAOS TCS3414CS red, green and blue digital color sensor with IR blocking filter built in to the package. This paper will examine Color Temperature and discuss how to calculate the Color Temperature and Illuminance of a given light source. Color Temperature information could be useful in feedback control and quality control systems. COLOR TEMPERATURE Color temperature has long been used as a metric to characterize broad band light sources. It is a means to characterize the spectral properties of a near-white light source. Color temperature, measured in degrees Kelvin (K), refers to the temperature to which one would have to heat a blackbody (or planckian) radiator to produce light of a particular color. A blackbody radiator is defined as a theoretical object that is a perfect radiator of visible light. As the blackbody radiator is heated it radiates energy first in the infrared spectrum and then in the visible spectrum as red, orange, white and finally bluish white light. Incandescent lights are good models of blackbody radiators, because most of the light emitted from them is due to the heating of their filaments. -
Color Appearance Models Second Edition
Color Appearance Models Second Edition Mark D. Fairchild Munsell Color Science Laboratory Rochester Institute of Technology, USA Color Appearance Models Wiley–IS&T Series in Imaging Science and Technology Series Editor: Michael A. Kriss Formerly of the Eastman Kodak Research Laboratories and the University of Rochester The Reproduction of Colour (6th Edition) R. W. G. Hunt Color Appearance Models (2nd Edition) Mark D. Fairchild Published in Association with the Society for Imaging Science and Technology Color Appearance Models Second Edition Mark D. Fairchild Munsell Color Science Laboratory Rochester Institute of Technology, USA Copyright © 2005 John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England Telephone (+44) 1243 779777 This book was previously publisher by Pearson Education, Inc Email (for orders and customer service enquiries): [email protected] Visit our Home Page on www.wileyeurope.com or www.wiley.com All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher should be addressed to the Permissions Department, John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England, or emailed to [email protected], or faxed to (+44) 1243 770571. This publication is designed to offer Authors the opportunity to publish accurate and authoritative information in regard to the subject matter covered. -
Colour and Colorimetry Multidisciplinary Contributions
Colour and Colorimetry Multidisciplinary Contributions Vol. XI B Edited by Maurizio Rossi and Daria Casciani www.gruppodelcolore.it Regular Member AIC Association Internationale de la Couleur Colour and Colorimetry. Multidisciplinary Contributions. Vol. XI B Edited by Maurizio Rossi and Daria Casciani – Dip. Design – Politecnico di Milano Layout by Daria Casciani ISBN 978-88-99513-01-6 © Copyright 2015 by Gruppo del Colore – Associazione Italiana Colore Via Boscovich, 31 20124 Milano C.F. 97619430156 P.IVA: 09003610962 www.gruppodelcolore.it e-mail: [email protected] Translation rights, electronic storage, reproduction and total or partial adaptation with any means reserved for all countries. Printed in the month of October 2015 Colour and Colorimetry. Multidisciplinary Contributions Vol. XI B Proceedings of the 11th Conferenza del Colore. GdC-Associazione Italiana Colore Centre Français de la Couleur Groupe Français de l'Imagerie Numérique Couleur Colour Group (GB) Politecnico di Milano Milan, Italy, 10-11 September 2015 Organizing Committee Program Committee Arturo Dell'Acqua Bellavitis Giulio Bertagna Silvia Piardi Osvaldo Da Pos Maurizio Rossi Veronica Marchiafava Michela Rossi Giampiero Mele Michele Russo Christine de Fernandez-Maloigne Laurence Pauliac Katia Ripamonti Organizing Secretariat Veronica Marchiafava – GdC-Associazione Italiana Colore Michele Russo – Politecnico di Milano Scientific committee – Peer review Fabrizio Apollonio | Università di Bologna, Italy Gabriel Marcu | Apple, USA John Barbur | City University London, UK Anna Marotta | Politecnico di Torino Italy Cristiana Bedoni | Università degli Studi Roma Tre, Italy Berta Martini | Università di Urbino, Italy Giordano Beretta | HP, USA Stefano Mastandrea | Università degli Studi Roma Tre, Berit Bergstrom | NCS Colour AB, SE Italy Giulio Bertagna | B&B Colordesign, Italy Louisa C. -
PRECISE COLOR COMMUNICATION COLOR CONTROL from PERCEPTION to INSTRUMENTATION Knowing Color
PRECISE COLOR COMMUNICATION COLOR CONTROL FROM PERCEPTION TO INSTRUMENTATION Knowing color. Knowing by color. In any environment, color attracts attention. An infinite number of colors surround us in our everyday lives. We all take color pretty much for granted, but it has a wide range of roles in our daily lives: not only does it influence our tastes in food and other purchases, the color of a person’s face can also tell us about that person’s health. Even though colors affect us so much and their importance continues to grow, our knowledge of color and its control is often insufficient, leading to a variety of problems in deciding product color or in business transactions involving color. Since judgement is often performed according to a person’s impression or experience, it is impossible for everyone to visually control color accurately using common, uniform standards. Is there a way in which we can express a given color* accurately, describe that color to another person, and have that person correctly reproduce the color we perceive? How can color communication between all fields of industry and study be performed smoothly? Clearly, we need more information and knowledge about color. *In this booklet, color will be used as referring to the color of an object. Contents PART I Why does an apple look red? ········································································································4 Human beings can perceive specific wavelengths as colors. ························································6 What color is this apple ? ··············································································································8 Two red balls. How would you describe the differences between their colors to someone? ·······0 Hue. Lightness. Saturation. The world of color is a mixture of these three attributes. -
Standard Colour Spaces
Artists House t: +44 (0)20 7292 0400 14-15 Manette St f: +44 (0)20 7292 0401 London, W1D 4AP www.filmlight.ltd.uk UNITED KINGDOM Technical Note Standard Colour Spaces Richard Kirk Document ref. FL-TL-TN-0417-StdColourSpaces Creation date January 9, 2004 Last modified 30 November 2010 Version no. 4.0 Summary In 1931, the Commission Internationale d'Éclairiage (CIE) recommended a system for colour measurement. This system allowed the specification of colour matches using the CIX XYZ tristimulus values. In 1976, the CIE recommended the CIE LAB and CIE LUV colour spaces for the measurement of colour differences, and colour tolerances. These colour spaces, and their more modern variants are the basic tools for modern colorimetry. You can use Truelight without knowing all about CIE colour spaces. However, if you wonder why the XYZ and the L*a*b* calibration for the same monitor look different, you may find your explanation here. Whites are dealt with in a separate section. Most of us know what white paper and white paint is. We might think we know what white light is too. A full discussion of what is and what is not 'white' is much too big a task for this small note, but we introduce a few basic issues. Scanners and printers usually communicate in their own device-dependent RGB. Video has its own colour standard. Densitometers use Status A and Status M colour spaces. We describe all the spaces that Truelight uses to build up a colour transform. Finally we describe a number of effects that are not covered by the standard colour models.