DOCSLIB.ORG

(19) United States (12) Patent Application Publication (10) Pub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(19) United States (12) Patent Application Publication (10) Pub US 20080166111A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2008/0166111 A1 DidoW et al. (43) Pub. Date: Jul. 10, 2008 (54) BACK LIGHT SCREEN FOR CHROMA-KEY (52) us. c1. .......................................................... .. 396/3 PHOTOGRAPHY (76) Inventors: Richard DidoW, Tomball, TX (US); (57) ABSTRACT Robert Bryant, Houston, TX (U S) A chromo-key screen method and device having a ?rst Correspondence Address: chroma-key screen component With a front surface and a back LAW OFFICE OF DAVID MCEWING surface and screen enclosure Wherein the screen enclosure is PO. BOX 231324 capable of re?ecting light from a back enclosure screen to the HOUSTON, TX 77023 back surface of the chroma-key screen and transmitted to the front surface of the chroma-key screen component. Further, (21) Appl. No.: 12/054,873 one or more lights or other electromagnetic energy generators transmit energy onto the back screen that is re?ected to the (22) Filed: Mar. 25, 2008 chroma-key screen component and transfused to the front surface of the chroma-key screen and transmitted from the Related US. Application Data front surface into area subject of an image capturing device, eg photographic or digital camera. The invention applies to (63) Continuation-in-part of application No. 11/002,532, chroma-key photography Wherein the background screen is ?led on Dec. 1, 2004. lighted, at least in part, from a source behind the screen. The device may include an enclosure to restrict color spilling into Publication Classi?cation the foreground. The enclosure can comprise a top and tWo (51) Int. Cl. sides, in addition to the back screen and the chroma-key or G03B 15/00 (2006.01) green screen. Patent Application Publication Jul. 10, 2008 Sheet 1 0f 9 US 2008/0166111 A1 m Patent Application Publication Jul. 10, 2008 Sheet 2 0f 9 US 2008/0166111 A1 Patent Application Publication Jul. 10, 2008 Sheet 3 0f 9 US 2008/0166111 A1 1%? , Q 692-’ my Ff. Patent Application Publication Jul. 10, 2008 Sheet 4 0f 9 US 2008/0166111 A1 f m Patent Application Publication Jul. 10, 2008 Sheet 5 0f 9 US 2008/0166111 A1 55%. 5 Patent Application Publication Jul. 10, 2008 Sheet 6 0f 9 US 2008/0166111 A1 Patent Application Publication Jul. 10, 2008 Sheet 7 0f 9 US 2008/0166111 A1 -/’ 24123 9 Patent Application Publication Jul. 10, 2008 Sheet 8 0f 9 US 2008/0166111 A1 i Mags// Figs YQ %% 51% Patent Application Publication Jul. 10, 2008 Sheet 9 0f 9 US 2008/0166111 A1 US 2008/0166111A1 Jul. 10, 2008 BACK LIGHT SCREEN FOR CHROMA-KEY maintain a uniform and featureless background behind the PHOTOGRAPHY photo subject. This has limited the applicability or utility of the method. RELATED APPLICATION [0008] Frequently, the background is a colored screen is made from a Woven fabric. This is an ideal material due to it [0001] This application is a continuation in part of applica being lightWeight, foldable and having the ability to be cut in tion Ser. No. 11/002,532, ?led Dec. 1, 2004 and entitled “Back Light Screen for Chroma-Key Photography” and a variety of siZes and shapes. It also provides a good support Which is hereby incorporated by reference herein. or substrate for color coating, printing or paintings. The Hita chi invention utiliZes a small and rigid LED type lighted screen behind the photo subject While the subject stands or BACKGROUND OF THE INVENTION sits in a small booth like compartment that is shielded from [0002] 1. Field ofUse outside light sources. The background screen is therefore [0003] This invention relates to a light enclosing back limited in siZe and shape and is not collapsible or lightWeight. ground screen structure in color difference image composite photography or “chroma-key” still or motion photography. SUMMARY OF INVENTION Light transfuses through the ?rst front screen. The enclosure contains lights that are direct to the back, side, or top screens [0009] The method and device subject of the present inven for the diffusion of the light. The invention may be used With tion includes a ?rst chromo-key screen With a front surface traditional silver halide photographic imagery or With elec and a back surface. The speci?cation also discloses a light tronic digital photography. The invention also relates to a enclosing screen structure supported by a frame. The struc method of lighting a background screen to minimiZe shadoWs ture comprises a second back screen, tWo side screens (con and to compress the space betWeen the foreground photo necting the ?rst front screen and second back screen) and a subject and the ?rst front (chroma-key) screen. top screen. The lights may be mounted on the frame and be [0004] 2. RelatedArt directed to the second back screen or side screens to re?ect [0005] Chroma-key and “color difference”, “green screen” and diffuse the light to the ?rst translucent chroma-key front screen. The other screens of the enclosure structure are not or “blue screen” photography are knoWn. One limitation has been the di?iculty of removing or subtracting of the back translucent and may be closely attached to the frame With ground or background color from the foreground image When hook and loop attachment mechanisms or similar devices. the background is non-uniform. The variation of the front Light is emitted from the ?rst front screen in a ?at, featureless manner. The light Will have a distinctive color such as blue or screen may be caused by uneven lighting or shadoWs.Another problem has been “color spilling”. Another limitation has green. The invention applies to chroma-key photography Wherein the chroma-key screen is lighted, at least in part, been the amount of space and cost of lighting required to achieve a suf?ciently uniform background or maintain the from a source behind the screen. background due to movement of the photo subjects or changes in other light sources. Several methods or devices SUMMARY OF DRAWINGS have been used in efforts to overcome these limitations. For [0010] The accompanying draWings, Which are incorpo example US. Pat. Nos. 5,897,413 and 6,211,941 (Erland) rated in and constitute a part of the speci?cation, illustrate teach use of a bi-axially stretchable fabric of synthetic ?bers preferred embodiments of the invention. These draWings, treated With a dye. The technique utiliZes the photochemical together With the general description of the invention given properties of light to actinically energiZe the treated ?bers for above and the detailed description of the preferred embodi improved illumination of the background screen surface. ments given beloW, serve to explain the principles of the Other methods have attempted to alter the placement of lights invention. or light re?ective surfaces. [0011] FIG. 1 illustrates a perspective vieW of the preferred [0006] US. Pat. No. 6,674,485 (Akiyama) assigned to embodiment of the invention Wherein the lighting source is Hitachi SoftWare Engineering Inc., describes the chroma contained Within an enclosed structure and the lighting is keying as an image compositing method Wherein a picture is taken of a subject, composting a foreground (subject) image directed to a re?ective back screen. of the picture With a background image and printing out the [0012] FIG. 2A illustrates a cross sectional vieW Wherein combined or composite image. The method comprises the there is no enclosure and there is color spilling on the fore steps of: extracting the foreground image from the back ground subject. ground; memorizing saturation, brightness and hue distribu [0013] FIG. 2B illustrates the a cross sectional vieW of the tion of the background image; and correcting saturation, illustration of FIG. 1 With the minimization of color spilling brightness and hue distribution of the foreground image With as taught by an embodiment of the present invention. respect to the saturation, brightness and hue distribution of [0014] FIG. 3 illustrates the ?rst screen material (chroma the background image. key screen) in relation to the light source, the transmission of [0007] Further chromo-keying requires a blue or green light on to the back surface of the chroma-key screen, the screen (or other color screen as Will be appreciated by persons transfusion or diffusion of light through the screen material skilled in the art) behind the foreground (photo subject) that is and the transmission of light from the front surface of the substantially uniform, featureless and Without shadoW. This chroma-key screen into the foreground. requires a number of multi-directional light sources behind [0015] FIG. 4 illustrates the prior art relationship of the the subject to prevent the shadoW of the subject from casting photo subject, foreground, lighting and chroma-key screen. on the background screen. Accordingly chroma-keying [0016] FIG. 5 illustrates the relationship of the photo sub requires considerable cost and suf?ciently large space to ject, foreground, lighting, chroma-key screen and back practice due to the exacting lighting requirements needed to ground enclosure as taught by the present invention. US 2008/0166111A1 Jul. 10, 2008 [0017] FIG. 6 illustrates the assembly of support or frame screen alloWs the foreground subject or photo subject to be components for the enclosure structure. positioned closer to the ?rst screen. The foreground subject [0018] FIGS. 7A, 7B, 7C, 7D, 7E illustrate the relationship can therefore be the principal object, e.g., light quantity and and possible sequential installation of the support compo quality, of the lighting in front of the chroma-key screen. nents and the light enclosure structure components. Concern With shadoW can be reduced since the background is noW providing its oWn light source.
Load more

Recommended publications
  • C H R O M a K E Y E
    CHROMA KEYING CHROMA KEYERS STANDARD DEFINITION CHROMA KEYER UPGRADEABLE STANDARD DEFINITION CHROMA KEYER HIGH DEFINITION CHROMA KEYER CHROMA KEYING Crystal Vision offers the choice of three chroma keyers to W HA T I S C HROMA KEY I NG ? suit every definition budget and application Chroma keying is used to combine a virtual object (Background) Safire Safire SD and Safire HD produce exceptional with a real image (Foreground) by replacing a real colour (usually digital linear chroma keying for the creation of realistic blue or green) with a virtual input. virtual images making them ideal for any live chroma keying or virtual set production B whether itCs news weather sports programming chat shows current affairs game shows election broadcasts or drama Well known for being the easiest chroma keyers to set up and operate many sidebyside evaluations have been Foreground Suppressed Foreground won on this ease of use Crystal Vision chroma keyers also have features you wonCt find anywhere else whether itCs the special processing to perfect that picture or the unequalled features for sports graphics Composite picture TheyCll save you rack space too As mm x mm Background In a typical chroma key the Foreground subject is shot against boards they form part of a modular system resulting in a well lit uniformly coloured backdrop. A Suppressed Foreground easy integration with any of Crystal VisionCs interface signal is produced in which the backdrop colour is removed and products B including the video delays so essential in a this signal is used to create a key to remove an area from the virtual system Background video that is identical in size to the Foreground ItCs no surprise then that Crystal Vision chroma keyers subject.
    [Show full text]
  • Safire 3 Chroma Keyer Brochure
    CHROMA KEYING 3 G/HD/SD chroma keyer Why do broadcasters choose the Safire 3 real-time chroma keyer? Broadcast engineers select it for its affordable high picture quality, ease-of-use and long list of features – including built-in colour correction and video delay. Working with 3Gb/s, HD and SD video sources, Safire 3 is ideal for any live virtual production – from studio to sport. You can set up an impressive chroma key automatically using multi-point sampling, or you can manually adjust the picture using any of the fine- tuning tools available – from lighting compensation to noise reduction filters. These adjustments can be made using a choice of control options – from touch screen control panel to web browser. Safire 3 is a module that fits in Crystal Vision’s Indigo frames, saving you rack space by allowing up to 12 chroma keyers (or other modules) in 2U. WHY SHOULD I CHOOSE SAFIRE 3 ? Masks Easy to set up with Don’t have a perfect backdrop? multi-point sampling Use the internal masks to remove unwanted areas Need a quick and easy setup with the best possible settings? Sample the average brightness and hue of one, five or 12 sample points on Lighting the backdrop to set the range of compensation colours to key on Uneven lighting? Get a uniform key signal across the image by using lighting compensation to boost the key Key Shrink Camera feed causing unwanted outlines? You can shrink the edge by up to a pixel and remove these outlines Freeze the input Presenter unable to keep still? No problem – freeze the input and spend as long as
    [Show full text]
  • Chromakey Setup & Lighting Tips
    primatte 2.0 : chromakey setup & lighting tips chromakey photography The technique of using a blue or green screen to create a special eff ect has been around a good long time in the fi lm and video world. The use of chromakey in professional and studio photography is comparatively new. As a consequence, the majority of literature you will fi nd on chromakey setup and execution is geared towards fi lm/video work. Many of the techniques and problems in video chromakey are shared by photography chromakey. However, using chromakey in photography has its own set of issues and in some cases they are diff erent from fi lm/video. about this article This article will attempt to help photographers using and/or exploring chromakey. It is not meant to be the defi nitive, this-is-HOW-you-do chromakey bible. The correct way to do chromakey will vary depending on factors such as your location, style, equipment, and setup. Our goal is to help you identify things that will help to improve your images. Some of our suggestions will work for you; others wonʼt. Sprinkle to taste. Usually I will refer to Primatte Chromakey, which is our Photoshop plugin for doing chromakey work. However these tips will work with virtually any chromakey software. If you follow all of our tips and are still getting poor results, then you should take a look at Primatte. ;-) definition of chromakey First, a defi nition. ʻChromakeyʼ refers to the technique of dropping out a solid color background and replacing it with a diff erent source.
    [Show full text]
  • Chroma Key Frames 6 - Chroma Key
    Create an Animation Using Chroma Key Frames 6 - Chroma Key Recipes4Success ® You will learn how to use the Chroma Key to animate a clay character across a digital background. You will import a folder of images, use chroma key, add a background file, add a title, music, and transitions, and then export the animation as a movie. © 2014. All Rights Reserved. This Material is copyrighted under United States copyright laws. Tech4Learning, Inc. is the exclusive owner of the copyright. Distribution of this material is governed by the Terms and Conditions of your license for the Recipes4Success. Unlicensed distribution is strictly forbidden. Recipes4Success www.recipes4success.com © 2014 Tech4Learning, Inc. Create an Animation Using Chroma Key Frames 6 - Chroma Key Contents Introduction 3 Add a Folder of Images 3 Save the Animation 4 Set a Chroma Key 5 Change the Background 7 Preview the Animation 10 Change the Title Page Background 10 Add a Text Object 11 Format Text 12 Change Frame Duration 13 Add and Move a Frame 13 Add a Transition 16 Add Sound 18 Export a Video 19 Conclusion 21 Recipes4Success www.recipes4success.com © 2014 Tech4Learning, Inc. Create an Animation Using Chroma Key Page 3 of 21 Frames 6 - Chroma Key Introduction Launch Frames. You will see a blank frame on the left and the Tools panel on the right. Add a Folder of Images You can drag images from the to create an animation. Click the Library button on the toolbar. You will see the folders in the Library. Double-click the Tutorials folder to open it. Click the Chroma Key folder to select it.
    [Show full text]
  • Harlequin's Guide to Event & Production Floors
    1 A guide to EVENT & PRODUCTION FLOORS 2 3 GIVING YOU Established in England in 1977, Harlequin is the world leader in advanced technology floors for performing THE arts, theatres, events and productions. Harlequin’s experience and reputation are launches, fashion shows, window displays founded on the design, manufacture and and exhibitions. supply of a range of high quality portable and Forty years after its creation, Harlequin is the WOW permanent sprung and vinyl floors, preferred global leader in its field with operations across by performers at the world’s leading venues. Europe (London, Luxembourg, Berlin, Paris Harlequin’s event and display floors are and Madrid), Asia Pacific (Hong Kong, Japan the industry choice for TV and film and Sydney) and the Americas (Philadelphia, FACTOR production, concerts and tours, product Los Angeles and Forth Worth). Photo Nicola Selby Myer SS16. Photo courtesy of Lucas Dawson 4 5 Harlequin Hi-Shine Harlequin Hi-Shine Metallic A BRILLIANT Gold - 050 Silver - 025 CHOICE Harlequin Hi-Shine is widely used for TV and A Harlequin Hi-Shine floor is a brilliant choice film production, concerts and tours, product for any occasion. Harlequin Hi-Shine has a The Hi-Shine metallic range, in Gold and Silver, is launches, fashion shows, window displays and unique high gloss PET display surface which the latest addition to the Harlequin Hi-Shine range exhibitions. It is the floor of choice for artists provides a breath-taking reflective finish with of floors. A worldwide hit with producers of TV including Little Mix, One Direction, Lady Gaga, excellent scratch-resistance.
    [Show full text]
  • An Exploration of Chroma Key Technology Within Social Interaction S.A.M Van Alebeek C.D
    Designing for festivals and events: An exploration of Chroma Key technology within social interaction S.A.M van Alebeek C.D. Gonzalez Moreno M.M.P. Weerts Industrial Design Industrial Design Industrial Design Eindhoven, the Netherlands Eindhoven, the Netherlands Eindhoven, the Netherlands [email protected] c.d.gonzalez.moreno@student. [email protected] tue.nl ABSTRACT interaction. The research question has been set together This research has been conducted to investigate the with hypotheses. influence of Chroma Key technology on social interaction at events and festivals. This will be done through a photo Main research question: booth and Chroma Key application. Different groups of “How does Chroma Key technology influence social people tested the pink screen function, on a booth or with interaction on events and festivals?” an application, together with artefacts. These subjects have been observed as well as interviewed. Next to this, material Sub questions: explorations have been done for the discovery of colors and ● Does Chroma Key technology appeal to investigation of embroidery. In the end the concept Festive festival/event visitors? has been defined as a product-service system with ● Do festival/event visitors feel engaged to interact personalised garments, optional embroidered patterns and a with the Chroma Key technology? Chroma Key application to invite for social interaction ● How can personalised garments add extra value to between event visitors. Findings show that there is potential event experiences? for Chroma Key technology in events and the improvement of social interaction. To acquire answers to these questions, a product-service system named Festive will be used.
    [Show full text]
  • Rangefinder Article PDF: 736Kb
    ALL PHOTOS COPYRIGHT © NORMAN CAVAZZANA BY KATE STANWORTH STANWORTH KATE BY A N Creative CAVAZZA Renaissance N NORMA fashion magazine that I didn’t care that much for,” explained Norman. “So we de- cided to go crazy and use the shoot to try something totally different.” He sketched out some images for their idea, inspired by Czech photographer Jan Saudek’s fetish imagery. Norman shot an unusual-looking mod- el dressed in black-and-white corsets and ornate headdresses, between red velvet curtains. Later, Cavazzana added an as- sortment of surreal props in postproduc- tion, including gold violins, horses, clocks and classical sculptures. The result was a set of enigmatic, dark and theatrical im- ages in which ornate gold frames, mirrors and symbols encircled the exotic figure. Both Cavazzana and Norman were excited that their collective creativity had given birth to something entirely new. “Together we were more than the sum of our parts,” says Norman. It wasn’t just the artists themselves who loved the results. “We showed the pictures to Swedish fashion publication Man Mag- azine and got two jobs off of it,” recounts Norman. “Also Ma & Ma agency in Paris were interested in representing us, and this was even without a portfolio.” Building on their newly found creative rapport, they began to dream up more lus- cious universes all their own, drawing from a rich variety of influences. In a shoot called “14th Century New York City,” for an edi- torial magazine in New York, they drew from the style of Baroque and Renaissance When creative director Marco Cavazzana “Together we were more than the sum of our parts.” and photographer Morgan Norman met in Stockholm, Sweden in March 2007 they began playfully exchanging photographic them establish a successful second office painting.
    [Show full text]
  • Study on Chroma Key Shooting Formats
    Study on Chroma Key Shooting Formats 2 The Quebec Film and Television Council (QFTC) is pleased to present the results of its study on shooting in different formats against colour backgrounds. The study involved 18 QFTC member organizations. This form and level of participation represents a real first for the industry, not only in Greater Montreal, but in Quebec and internationally as well. Throughout the course of our work, we were truly impressed by the devotion of the organizations involved in helping us meet the formidable challenge posed by this mandate. Over a period of 10 months, they participated actively in the shooting and postproduction phases, dedicating their personnel to testing the integration of computer-generated images into 350 mini-clips. The present document presents a detailed review of the processes employed in each phase of the project — from the original idea, through its execution and conclusion. We sincerely hope that the findings will help the Quebec visual effects industry enhance its competitiveness on the international scene. The knowledge gained will also be transferred via various academic training programs. Thus, current VFX professionals and those preparing to enter the sector will all have ready access to this new body of knowledge. In conclusion, I would like to take this opportunity to underline the quality of the work accomplished by the entire team, as well as to thank the financial backers who provided us with their invaluable support throughout the course of this project. Hans Fraikin National Commissioner and Executive Director of the Cluster 3 Thanks to all our collaborators! Public Contributors Private Contributors With the support of: 4 5 Table of Contents SUMMARY ....................................................................................................................................................
    [Show full text]
  • Demystify the Bluescreen and Greenscreen Process, and Achieve Professional-Looking Composite Effects
    Cinematography have pretty much perfected the process making green angles. The colored screen can also be lit from the top or blue screens completely interchangeable for film or and bottom. video. The other practical reason with going with a Once the screen is lit fairly evenly to the eye, check green or blue screen is that, in general, you can get it using a spot meter which, some video cameras come away with using one of those colors, and for the most with the feature of giving you the internal spot meter Demystify the Bluescreen and part, the colors will not be part of your subject. This readings. With the spot meter, scan across the entire is the main deciding factor when choosing a screen screen making sure that the screen comes up at the color. If your subject will be wearing dark blue jeans, Greenscreen Process, and same exposure level. As you scan the screen, there then go with the green screen. should not be more than a third of a stop difference Achieve Professional-Looking Earlier I mentioned that, in theory, any material from point to point. If you do not have access to a could be used as a screen, such as green bed sheets. spot meter, you can use the zebra settings in your Composite Effects While this may be the most economical choice, camera as a meter of sorts. To do this, open up the it definitely is not the most practical. To achieve iris incrementally until the zebra lines first appear. desirable results with the color screen elements, If your screen is evenly lit, the zebra pattern would invest some money into a chroma key balanced muslin be displayed across the entire screen.
    [Show full text]
  • Automatic Stereoscopic 3D Chroma-Key Matting Using Perceptual Analysis and Prediction
    Automatic Stereoscopic 3D Chroma-Key Matting Using Perceptual Analysis and Prediction by Ling Yin Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements for the M.A.Sc. degree in Electrical and Computer Engineering School of Electrical Engineering and Computer Science Faculty of Engineering University of Ottawa c Ling Yin, Ottawa, Canada, 2014 Abstract This research presents a novel framework for automatic chroma keying and the optimizations for real-time and stereoscopic 3D processing. It first simulates the process of human perception on isolating foreground elements in a given scene by perceptual analysis, and then predicts foreground colours and alpha map based on the analysis results and the restored clean background plate rather than direct sampling. Besides, an object level depth map is generated through stereo matching on a carefully determined feature map. In addition, three prototypes on different platforms have been implemented according to their hardware capability based on the proposed framework. To achieve real-time performance, the entire procedures are optimized for parallel processing and data paths on the GPU, as well as heterogeneous computing between GPU and CPU. The qualitative comparisons between results generated by the proposed algorithm and other existing algorithms show that the proposed one is able to generate more acceptable alpha maps and foreground colours especially in those regions that contain translucencies and details. And the quantitative evaluations also validate our advantages in both quality and speed. ii R´esum´e La th`esepr´esent´eeici concerne un nouveau cadre pour l'incrustation automatique et les optimisations pour la 3D st´er´eoscopiqueet le traitement en temps r´eel.Ce cadre simule d'abord la perception humaine comme processus d'adaptation pour s´eparer les objets au premier-plan `apartir de la sc`ene`al'aide d'analyse perceptive et de restauration du arri`ere-plan.
    [Show full text]
  • Worldwide Leader of Backgrounds and Photographic Products ®
    ® Worldwide leader of backgrounds and photographic products savagepaper.com As we all know, the photographic business has undergone dramatic changes in recent years as the result of growth in technology and the advent of the semiprofessional photographer. In addition, general business economic conditions have resulted in consolidations of businesses on all levels in the photographic industry. As we approach our 75th year in business we proceed with confi dence and the knowledge that we will be able to meet the challenges of our times and continue to provide innovative quality products to our loyal base of customers. We are, and have been for quite sometime, the worldwide leader in photographic backgrounds, and will continue to be with the introduction of innovative products for the photography market. Recently we introduced an expanded line of vinyl backgrounds, lint free cloth backgrounds, canvas and muslin backgrounds, and various digital products to fulfi ll the current needs of both the professional and semiprofessional photographer. I invite you to contact me directly with any suggestions you might have to better serve you. Please accept our deep appreciation of your role as a valued partner in our continued growth, and the continuation of Savage as a worldwide leader in the photographic industry. Richard Pressman President Sylvester Hank Vice President – General Manager Rich Reiser Vice President – Operations Rich Memoli Vice President – Sales © 2011 Savage Universal Corp. All Rights Reserved. toll free 1.800.624.8891 phone 1.480.632.1320
    [Show full text]
  • Real-Time Chromakey Matting Using Image Statistics
    University of Central Florida STARS UCF Patents Technology Transfer 7-2-2013 Real-Time Chromakey Matting Using Image Statistics Charles Hughes University of Central Florida Nicholas Beato University of Central Florida Mark Colbert University of Central Florida Kazumasa Yamazawa NAIST-Nara Institute of Science and Technology Yunjun Zhang University of Central Florida Find similar works at: https://stars.library.ucf.edu/patents University of Central Florida Libraries http://library.ucf.edu This Patent is brought to you for free and open access by the Technology Transfer at STARS. It has been accepted for inclusion in UCF Patents by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Hughes, Charles; Beato, Nicholas; Colbert, Mark; Yamazawa, Kazumasa; and Zhang, Yunjun, "Real-Time Chromakey Matting Using Image Statistics" (2013). UCF Patents. 490. https://stars.library.ucf.edu/patents/490 I lllll llllllll Ill lllll lllll lllll lllll lllll 111111111111111111111111111111111 US0084 77149B2 c12) United States Patent (10) Patent No.: US 8,477,149 B2 Beato et al. (45) Date of Patent: Jul. 2, 2013 (54) REAL-TIME CHROMAKEY MATTING USING 348/586; 348/592; 358/463; 358/525; 358/540; IMAGE STATISTICS 382/159; 382/228; 382/254; 382/272; 382/300 (75) Inventors: Nicholas Beato, Orlando, FL (US); (58) Field of Classification Search Charles E. Hughes, Maitland, FL (US); USPC ................. 386/201, 224, 271, 273-274, 263, Mark Colbert, San Mateo, CA (US); 386/300, 353; 715/756-757; 345/418-419, Yunjun Zhang, Orlando, FL (US); 345/427,581,586, 589-590, 592, 600,606, Kazumasa Yamazawa, Nara (JP) 345/619,620,623-626, 629-630, 632-633, (73) Assignee: University of Central Florida Research 345/634, 638-640, 643-644,672-673;348/115, Foundation, Inc., Orlando, FL (US) 348/169, 180-182, 208.99, 208.14, 533-539, ( * ) Notice: Subject to any disclaimer, the term ofthis 348/553,557,560, 563-565, 571, 578,580, patent is extended or adjusted under 35 348/582,584-586, 587, 590-592, 597-599, U.S.C.
    [Show full text]