Understanding Color and Gamut Poster
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Advanced Color Machine Vision and Applications Dr
Advanced Color Machine Vision and Applications Dr. Romik Chatterjee V.P. Business Development Graftek Imaging 2016 V04 - for tutorial 5/4/2016 Outline • What is color vision? Why is it useful? • Comparing human and machine color vision • Physics of color imaging • A model of color image formation • Human color vision and measurement • Color machine vision systems • Basic color machine vision algorithms • Advanced algorithms & applications • Human vision Machine Vision • Case study Important terms What is Color? • Our perception of wavelengths of light . Photometric (neural computed) measures . About 360 nm to 780 nm (indigo to deep red) . “…the rays are not coloured…” - Isaac Newton • Machine vision (MV) measures energy at different wavelengths (Radiometric) nm : nanometer = 1 billionth of a meter Color Image • Color image values, Pi, are a function of: . Illumination spectrum, E(λ) (lighting) λ = Wavelength . Object’s spectral reflectance, R(λ) (object “color”) . Sensor responses, Si(λ) (observer, viewer, camera) . Processing • Human <~> MV . Eye <~> Camera . Brain <~> Processor Color Vision Estimates Object Color • The formation color image values, Pi, has too many unknowns (E(λ) = lighting spectrum, etc.) to directly estimate object color. • Hard to “factor out” these unknowns to get an estimate of object color . In machine vision, we often don’t bother to! • Use knowledge, constraints, and computation to solve for object color estimates . Not perfect, but usually works… • If color vision is so hard, why use it? Material Property • -
HP Monochrome Laserjet Printers
HP Monochrome LaserJet Printers Get the printer that best meets your needs - high volume, office and personal black-and-white laser printers with renowned HP reliability and performance. NEW Auto On/Off Wireless Auto On/Off Auto On/Off Auto On/Off Auto On/Off Auto On/Off Auto On/Off + + + AirPrint AirPrint HP LaserJet Pro P11001 HP LaserJet Pro P15661 Printer HP LaserJet Pro P1606dn1 Printer HP LaserJet P20351 Printer HP LaserJet Pro 400 M4011 HP LaserJet P30101 Printer series HP LaserJet Enterprise 600 M6011 HP LaserJet Enterprise 600 M6021 HP LaserJet Enterprise 600 M6031 HP LaserJet 52001 Printer series HP LaserJet 90401/90501 Printer series Business professionals who need a For small offices where a shared, faster An affordable printer for office Printer series High performance printer packed with Printer series Printer series Printer series Powerful and versatile wide-format Printer series Designed for home or small office users fast, desktop laser printer that’s easy laser printer helps reduce environmental productivity in a sleek, space-saving Printing professional-quality documents advanced security features and flexible HP’s business pacesetter tackles Share this printer with workgroups to Tackle large-volume print jobs with ease, printer for business workgroups. Ideal for demanding departments who want an affordable HP LaserJet to use and helps them save energy and impact with automatic two-sided printing design. at a great value, with outstanding expandability options to meet changing high-volume printing with legendary cut costs and boost productivity. Tackle and enable printing policies with top- needing high performance and low printer that’s easy to use and helps save resources. -
Creating 4K/UHD Content Poster
Creating 4K/UHD Content Colorimetry Image Format / SMPTE Standards Figure A2. Using a Table B1: SMPTE Standards The television color specification is based on standards defined by the CIE (Commission 100% color bar signal Square Division separates the image into quad links for distribution. to show conversion Internationale de L’Éclairage) in 1931. The CIE specified an idealized set of primary XYZ SMPTE Standards of RGB levels from UHDTV 1: 3840x2160 (4x1920x1080) tristimulus values. This set is a group of all-positive values converted from R’G’B’ where 700 mv (100%) to ST 125 SDTV Component Video Signal Coding for 4:4:4 and 4:2:2 for 13.5 MHz and 18 MHz Systems 0mv (0%) for each ST 240 Television – 1125-Line High-Definition Production Systems – Signal Parameters Y is proportional to the luminance of the additive mix. This specification is used as the color component with a color bar split ST 259 Television – SDTV Digital Signal/Data – Serial Digital Interface basis for color within 4K/UHDTV1 that supports both ITU-R BT.709 and BT2020. 2020 field BT.2020 and ST 272 Television – Formatting AES/EBU Audio and Auxiliary Data into Digital Video Ancillary Data Space BT.709 test signal. ST 274 Television – 1920 x 1080 Image Sample Structure, Digital Representation and Digital Timing Reference Sequences for The WFM8300 was Table A1: Illuminant (Ill.) Value Multiple Picture Rates 709 configured for Source X / Y BT.709 colorimetry ST 296 1280 x 720 Progressive Image 4:2:2 and 4:4:4 Sample Structure – Analog & Digital Representation & Analog Interface as shown in the video ST 299-0/1/2 24-Bit Digital Audio Format for SMPTE Bit-Serial Interfaces at 1.5 Gb/s and 3 Gb/s – Document Suite Illuminant A: Tungsten Filament Lamp, 2854°K x = 0.4476 y = 0.4075 session display. -
Openimageio 1.7 Programmer Documentation (In Progress)
OpenImageIO 1.7 Programmer Documentation (in progress) Editor: Larry Gritz [email protected] Date: 31 Mar 2016 ii The OpenImageIO source code and documentation are: Copyright (c) 2008-2016 Larry Gritz, et al. All Rights Reserved. The code that implements OpenImageIO is licensed under the BSD 3-clause (also some- times known as “new BSD” or “modified BSD”) license: Redistribution and use in source and binary forms, with or without modification, are per- mitted provided that the following conditions are met: • Redistributions of source code must retain the above copyright notice, this list of condi- tions and the following disclaimer. • Redistributions in binary form must reproduce the above copyright notice, this list of con- ditions and the following disclaimer in the documentation and/or other materials provided with the distribution. • Neither the name of the software’s owners nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIB- UTORS ”AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FIT- NESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUD- ING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABIL- ITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. -
Tektronix 1740A/1750A/1760 Series Manual
Full-service, independent repair center -~ ARTISAN® with experienced engineers and technicians on staff. TECHNOLOGY GROUP ~I We buy your excess, underutilized, and idle equipment along with credit for buybacks and trade-ins. Custom engineering Your definitive source so your equipment works exactly as you specify. for quality pre-owned • Critical and expedited services • Leasing / Rentals/ Demos equipment. • In stock/ Ready-to-ship • !TAR-certified secure asset solutions Expert team I Trust guarantee I 100% satisfaction Artisan Technology Group (217) 352-9330 | [email protected] | artisantg.com All trademarks, brand names, and brands appearing herein are the property o f their respective owners. Find the Tektronix 1760 at our website: Click HERE Service Manual 1740A/1750A/1760–Series Waveform/Vector Monitor 070-8469-00 Warning The servicing instructions are for use by qualified personnel only. To avoid personal injury, do not perform any servicing unless you are qualified to do so. Refer to the Safety Summary prior to performing service. Please check for change information at the rear of this manual. First Printing January 1994 Revised October 1994 Artisan Technology Group - Quality Instrumentation ... Guaranteed | (888) 88-SOURCE | www.artisantg.com Copyright E Tektronix, Inc., 1993. All rights reserved. Printed in U.S.A. Tektronix products are covered by U.S. and foreign patents, issued and pending. Information in this publication supersedes that in all previously published material. Specifications and price change privileges reserved. The following are registered trademarks: TEKTRONIX and TEK. For product related information, phone: 800-TEKWIDE (800-835-9433), ext. TV. For further information, contact: Tektronix, Inc., Corporate Offices, P.O. -
Spectral Primary Decomposition for Rendering with RGB Reflectance
Eurographics Symposium on Rendering (DL-only Track) (2019) T. Boubekeur and P. Sen (Editors) Spectral Primary Decomposition for Rendering with sRGB Reflectance Ian Mallett1 and Cem Yuksel1 1University of Utah Ground Truth Our Method Meng et al. 2015 D65 Environment 35 Error (Noise & Imprecision) Error (Color Distortion) E D CIE76 0:0 Lambertian Plane Figure 1: Spectral rendering of a texture containing the entire sRGB gamut as the Lambertian albedo for a plane under a D65 environment. In this configuration, ideally, rendered sRGB pixels should match the texture’s values. Prior work by Meng et al. [MSHD15] produces noticeable color distortion, whereas our method produces no error beyond numerical precision and Monte Carlo sampling noise (the magnitude of the DE induced by this noise varies with the image because sRGB is perceptually nonlinear). Contemporary work [JH19] is also nearly able to achieve this, but at a significant implementation and memory cost. Abstract Spectral renderers, as-compared to RGB renderers, are able to simulate light transport that is closer to reality, capturing light behavior that is impossible to simulate with any three-primary decomposition. However, spectral rendering requires spectral scene data (e.g. textures and material properties), which is not widely available, severely limiting the practicality of spectral rendering. Unfortunately, producing a physically valid reflectance spectrum from a given sRGB triple has been a challenging problem, and indeed until very recently constructing a spectrum without colorimetric round-trip error was thought to be impos- sible. In this paper, we introduce a new procedure for efficiently generating a reflectance spectrum from any given sRGB input data. -
Grayscale Vs. Monochrome Scanning
13615 NE 126th Place #450 Kirkland, WA 98034 USA Website:www.pimage.com Grayscale vs. Monochrome Scanning This document is intended to discuss why it is so important to scan microfilm and microfiche in grayscale and to show the limitations of monochrome scanning. The best analogy for the limitations of monochrome scanning is if you have every tried to photocopy your driver licenses. The picture can go completely black. This is because the copier can only reproduce full black or full white and not gray levels. If you place the copier in photo mode it is able to reproduce shades of gray. Grayscale scanning is analogous to the photo modes setting on your copier. The types of items on microfilm that are difficult to reproduce in monochrome are pencil on a blue form, light signatures, date stamps and embossing. In grayscale these items have a much higher probability to reproduce in the scanned version. Certainly there are instances where filming errors exist and the film is almost pure black or pure white. This can happen if the door to the room was opened during filming, if the canister had light intrusion prior to developing or if the chemicals or temperature were off on the developer. If these are identified the vendor can make a lamp adjustment in these sections of film or if they are frequent and the vendor has the proper cameras, they can scan at a higher bit depth. We have the ability to scan at bit depths higher than 8 bit gray up to 12 bits. 8 bit supports 256 levels of gray, 10bit supports 1024 levels and 12 bit 4096 levels. -
Duotones Duotones, As the Name Implies, Are Images with Two Color Tones
Duotones Duotones, as the name implies, are images with two color tones. In its simplest form, duotones can be used to create an image like a black-and-white photograph, but using any color base you want. In its more complex form, a duotone can create an image of contrasting colors to produce a dramatic visual effect. Let’s start with a quick look at how to create simple duotones from a photograph, and we want to produce a two-tone vaguely yellowish image for a particular project. We’ll convert this image to a duotone with complete control over the colors we use… There are several ways to create a duotone in Photoshop, including working with layers (for strongly graphic duotones images) and the channel mixer (for more traditional color- scaled images). In this case, we’ll use the latter approach first to show how to accomplish this effect. After opening your image, open the Channel Mixer (Image > Adjustments > Channel Mixer) and click the Monochrome box. Then, you can use the Red, Green and Blue channel sliders to control the contrast of the image. Keep in mind that the total values for the three color channels need to add up to approximately 100%: The Channel Mixer lets you adjust the RGB components. Keep in mind this is still a color image! Although it looks like a back-and-white image, it isn’t. The image still is in RGB color, so it has to be turned into a true grayscale image using the Image > Mode > Grayscale option, saying “Yes” to discarding the color information in the image: Now we can remove the color components Now, to convert the image into a duotone you need to load a duotone layer. -
Chromatic Adaptation Transform by Spectral Reconstruction Scott A
Chromatic Adaptation Transform by Spectral Reconstruction Scott A. Burns, University of Illinois at Urbana-Champaign, [email protected] February 28, 2019 Note to readers: This version of the paper is a preprint of a paper to appear in Color Research and Application in October 2019 (Citation: Burns SA. Chromatic adaptation transform by spectral reconstruction. Color Res Appl. 2019;44(5):682-693). The full text of the final version is available courtesy of Wiley Content Sharing initiative at: https://rdcu.be/bEZbD. The final published version differs substantially from the preprint shown here, as follows. The claims of negative tristimulus values being “failures” of a CAT are removed, since in some circumstances such as with “supersaturated” colors, it may be reasonable for a CAT to produce such results. The revised version simply states that in certain applications, tristimulus values outside the spectral locus or having negative values are undesirable. In these cases, the proposed method will guarantee that the destination colors will always be within the spectral locus. Abstract: A color appearance model (CAM) is an advanced colorimetric tool used to predict color appearance under a wide variety of viewing conditions. A chromatic adaptation transform (CAT) is an integral part of a CAM. Its role is to predict “corresponding colors,” that is, a pair of colors that have the same color appearance when viewed under different illuminants, after partial or full adaptation to each illuminant. Modern CATs perform well when applied to a limited range of illuminant pairs and a limited range of source (test) colors. However, they can fail if operated outside these ranges. -
Manual Version 2.12
The SG-3 Color Bar & Black Burst Generator and SG-7 (SMPTE Bars & Black Burst) With ID Option Manual Version 2.12 BURST ELECTRONICS INC ALBUQUERQUE, NM 87109 USA (505) 898-1455 VOICE Made in USA (505) 890-8926 Tech Support (505) 898-0159 FAX www.burstelectronics.com Hardware, software and manual copyright by Burst Electronics. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means without the written permission of Burst Electronics. Color Bar & Black Burst Generator (SMPTE Bars & Black Burst) Introduction Congratulations on your purchase of the Burst Electronics Model SG-3 or SG-7 Color Bar/Black Burst Generator. The SG-3 is a low cost Color Bar/ Black Burst Generator that produces the SMPTE Color Bar pattern or Black Burst signal. A front panel switch is installed to allow you to select either pattern. The SG-7 is a low cost Color Bar/Black Burst Generator that produces the SMPTE Color Bar pattern and six (6) outputs of Black Burst. These units may be used as a genlock reference, to “lay down” bars on tape, or to correctly set the color and brightness of video monitors. They may also be used as a video source for testing cables and equipment. The rear panel of the SG-3 has a single BNC connector that is selectable between SMPTE Color Bars and Black Burst. The rear panel of the SG-7 has seven (7) BNC connectors, 1 SMPTE Color Bars, and six (6) Composite Black Bursts. Both units operate on 12 volts DC from an AC adapter (included). -
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 -
Volume 17, No 1, 2016
Volume 17, No 1, 2016 Contents Page Drama without Drama: The Late Rise of Scripted TV Formats 3 Scenes0B from an Imaginary Country: Test Images and the American Color 21 Television Standard Record/Film/Book/Interactive1B TV: EVR as a Threshold Format 44 Restarting2B Static: Television’s Digital Reboot 62 Regulating3B the Desire Machine: Custer’s Revenge and 8-Bit Atari Porn Video 80 Games TVNXXX10.1177/1527476414561089Television & New MediaChalaby 561089research-article2015 Article Television & New Media 1 –18 Drama without Drama: © The Author(s) 2015 Reprints and permissions: The Late Rise of Scripted sagepub.com/journalsPermissions.nav DOI: 10.1177/1527476414561089 TV Formats tvnm.sagepub.com Jean K. Chalaby1 Abstract This article revisits the history of television (TV) formats—concepts of TV shows that are licensed for local adaptations—focusing on scripted entertainment. While the TV format revolution of the 1990s bypassed scripted formats, they have been catching up in recent years. This article analyzes both the reasons for this late rise and the factors behind the recent growth. It argues that the adaptation of scripted formats is more complex, and risks remain higher than for other genres. The underlying economics of their production and distribution also differ from nonscripted formats. The stars aligned when demand for drama increased worldwide, Hollywood studios began to mine their catalogues, new exporters and scripted genres emerged, and knowledge transfer techniques improved. Finally, this paper analyzes the significance of the rise of scripted entertainment in the global TV format trading system. Keywords global television, Hollywood, scripted entertainment, transnational television, TV formats, TV genres Introduction The history of television (TV) formats—concepts of TV shows that are licensed for local adaptations—is now well documented.