Digital Refocusing with Incoherent Holography
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Comparison Between Digital Fresnel Holography and Digital Image-Plane Holography: the Role of the Imaging Aperture M
Comparison between Digital Fresnel Holography and Digital Image-Plane Holography: The Role of the Imaging Aperture M. Karray, Pierre Slangen, Pascal Picart To cite this version: M. Karray, Pierre Slangen, Pascal Picart. Comparison between Digital Fresnel Holography and Digital Image-Plane Holography: The Role of the Imaging Aperture. Experimental Mechanics, Society for Experimental Mechanics, 2012, 52 (9), pp.1275-1286. 10.1007/s11340-012-9604-6. hal-02012133 HAL Id: hal-02012133 https://hal.archives-ouvertes.fr/hal-02012133 Submitted on 26 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Comparison between Digital Fresnel Holography and Digital Image-Plane Holography: The Role of the Imaging Aperture M. Karray & P. Slangen & P. Picart Abstract Optical techniques are now broadly used in the experimental analysis. Particularly, a theoretical analysis field of experimental mechanics. The main advantages are of the influence of the aperture and lens in the case of they are non intrusive and no contact. Moreover optical image-plane holography is proposed. Optimal filtering techniques lead to full spatial resolution displacement maps and image recovering conditions are thus established. enabling the computing of mechanical value also in high Experimental results show the appropriateness of the spatial resolution. -
Color Theory for Painting Video: Color Perception
Color Theory For Painting Video: Color Perception • http://www.ted.com/talks/lang/eng/beau_lotto_optical_illusions_show_how_we_see.html • Experiment • http://www.youtube.com/watch?v=y8U0YPHxiFQ Intro to color theory • http://www.youtube.com/watch?v=059-0wrJpAU&feature=relmfu Color Theory Principles • The Color Wheel • Color context • Color Schemes • Color Applications and Effects The Color Wheel The Color Wheel • A circular diagram displaying the spectrum of visible colors. The Color Wheel: Primary Colors • Primary Colors: Red, yellow and blue • In traditional color theory, primary colors can not be mixed or formed by any combination of other colors. • All other colors are derived from these 3 hues. The Color Wheel: Secondary Colors • Secondary Colors: Green, orange and purple • These are the colors formed by mixing the primary colors. The Color Wheel: Tertiary Colors • Tertiary Colors: Yellow- orange, red-orange, red-purple, blue-purple, blue-green & yellow-green • • These are the colors formed by mixing a primary and a secondary color. • Often have a two-word name, such as blue-green, red-violet, and yellow-orange. Color Context • How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square. Color Context • Does your impression od the center square change based on the surround? Color Context Additive colors • Additive: Mixing colored Light Subtractive Colors • Subtractive Colors: Mixing colored pigments Color Schemes Color Schemes • Formulas for creating visual unity [often called color harmony] using colors on the color wheel Basic Schemes • Analogous • Complementary • Triadic • Split complement Analogous Color formula used to create color harmony through the selection of three related colors which are next to one another on the color wheel. -
Digital Holography Using a Laser Pointer and Consumer Digital Camera Report Date: June 22Nd, 2004
Digital Holography using a Laser Pointer and Consumer Digital Camera Report date: June 22nd, 2004 by David Garber, M.E. undergraduate, Johns Hopkins University, [email protected] Available online at http://pegasus.me.jhu.edu/~lefd/shc/LPholo/lphindex.htm Acknowledgements Faculty sponsor: Prof. Joseph Katz, [email protected] Project idea and direction: Dr. Edwin Malkiel, [email protected] Digital holography reconstruction: Jian Sheng, [email protected] Abstract The point of this project was to examine the feasibility of low-cost holography. Can viable holograms be recorded using an ordinary diode laser pointer and a consumer digital camera? How much does it cost? What are the major difficulties? I set up an in-line holographic system and recorded both still images and movies using a $600 Fujifilm Finepix S602Z digital camera and a $10 laser pointer by Lazerpro. Reconstruction of the stills shows clearly that successful holograms can be created with a low-cost optical setup. The movies did not reconstruct, due to compression and very low image resolution. Garber 2 Theoretical Background What is a hologram? The Merriam-Webster dictionary defines a hologram as, “a three-dimensional image reproduced from a pattern of interference produced by a split coherent beam of radiation (as a laser).” Holograms can produce a three-dimensional image, but it is more helpful for our purposes to think of a hologram as a photograph that can be refocused at any depth. So while a photograph taken of two people standing far apart would have one in focus and one blurry, a hologram taken of the same scene could be reconstructed to bring either person into focus. -
Scanning Camera for Continuous-Wave Acoustic Holography
Scanning Camera for Continuous-Wave Acoustic Holography Hillary W. Gao, Kimberly I. Mishra, Annemarie Winters, Sidney Wolin, and David G. Griera) Department of Physics and Center for Soft Matter Research, New York University, New York, NY 10003, USA (Dated: 7 August 2018) 1 We present a system for measuring the amplitude and phase profiles of the pressure 2 field of a harmonic acoustic wave with the goal of reconstructing the volumetric sound 3 field. Unlike optical holograms that cannot be reconstructed exactly because of the 4 inverse problem, acoustic holograms are completely specified in the recording plane. 5 We demonstrate volumetric reconstructions of simple arrangements of objects using 6 the Rayleigh-Sommerfeld diffraction integral, and introduce a technique to analyze 7 the dynamic properties of insonated objects. a)[email protected] 1 Scanning Holographic Camera 8 Most technologies for acoustic imaging use the temporal and spectral characteristics of 1 9 acoustic pulses to map interfaces between distinct phases. This is the basis for sonar , and 2 10 medical and industrial ultrasonography . Imaging continuous-wave sound fields is useful for 3 11 industrial and environmental noise analysis, particularly for source localization . Substan- 12 tially less attention has been paid to visualizing the amplitude and phase profiles of sound 13 fields for their own sakes, with most effort being focused on visualizing the near-field acous- 14 tic radiation emitted by localized sources, a technique known as near-field acoustic holog- 4{6 15 raphy (NAH) . The advent of acoustic manipulation in holographically structured sound 7{11 16 fields creates a need for effective sound-field visualization. -
Thanks for Downloading the Sample Chapters
Thanks for Downloading the Sample Chapters Here are the chapters included. The Quick Start chapter, the first in the book, which identifies five quick ways to up the video and audio quality of your webinars and videoconferences. Chapter 5: Simple Lighting Techniques. The easiest way to significantly improve the quality of video produced by webcams and smartphones is to add lighting. You don’t have to spend a fortune; in fact, my go-to setup cost $30. You can read about this and more in this chapter. Chapter 9: Working With Audio on Android Devices. How to add and control a microphone on Android devices. Chapter 14: Working with Onstream Webinars. Audio and video adjustment controls available in Onstream Webinars. After the chapters, I’ve inserted the introduction to the book, and then the table of contents, so you can see what else is covered in the book. Thanks for having a look. Quick Start: Do This, Don’t Do That Figure a. Check your upload speed well in advance; don’t just pray for the best. This chapter contains highlights from various chapters in the book, both as a quick-start reference and as an introduction to the materials covered in the book. As you can see in Figure a, it’s better to check your outbound bandwidth with a tool called Speedtest than to simply pray that your bandwidth is sufficient. Chapter 1 has tables detailing the recommended bitrate for various conferencing and webinar applications, and other, related tips. Note that Speedtest is available as an app for both iOS and Android platforms, so you can check there as well. -
White Paper the Twilight Zone
White paper The twilight zone …a journey through the magic realm of color spaces, gray shades, color temperatures, just noticeable differences and more Goran Stojmenovik Product Manager Barco Control Rooms division The whole story behind display specifications and human vision (2) Abstract Our world and the displays representing it are not black and white, as someone might think when seeing a display spec consisting only of luminance and contrast. There is much more, there is a whole world of gray shades, color spaces, color temperatures, contrast sensitivities, just noticeable differences. Knowing what “brightness” and “luminance” are and being able to distinguish them, knowing what influences on-screen contrast of a display, and knowing how the eye adapts to changes in luminance levels – these are factors you should have learned from the first part of this white paper. Here, we will go into deeper waters of human vision, to explain when we perceive a display as a good display, and what are the requirements posed by the human visual system to create a good display. Page 1 of 9 www.barco.com White paper The twilight zone Display requirements and human vision Gamma When we talk about brightness and contrast, we cannot THE GAMMA DETERMINES THE skip the famous “gamma.” For one specified contrast, BRIGHTNESS OF THE MID-GRAY we know it’s the brightest white and darkest black that SHADES matter. But, what about all the in-between? This is the region of the gray shades. They are produced by tilting the liquid crystal molecules with a voltage (in LCD displays), or by modulating the amount of time a certain DMD mirror is on during one frame (in DLP projection displays). -
Kelvin Color Temperature
KELVIN COLOR TEMPERATURE William Thompson Kelvin was a 19th century physicist and mathematician who invented a temperature scale that had absolute zero as its low endpoint. In physics, absolute zero is a very cold temperature, the coldest possible, at which no heat exists and kinetic energy (movement) ceases. On the Celsius scale absolute zero is -273 degrees, and on the Fahrenheit scale it is -459 degrees. The Kelvin temperature scale is often used for scientific measurements. Kelvins, as the degrees are now called, are derived from the actual temperature of a black body radiator, which means a black material heated to that temperature. An incandescent filament is very dark, and approaches being a black body radiator, so the actual temperature of an incandescent filament is somewhat close to its color temperature in Kelvins. The color temperature of a lamp is very important in the television industry where the camera must be calibrated for white balance. This is often done by focusing the camera on a white card in the available lighting and tweaking it so that the card reads as true white. All other colors will automatically adjust so that they read properly. This is especially important to reproduce “normal” looking skin tones. In theatre applications, where it is only important for colors to read properly to the human eye, the exact color temperature of lamps is not so important. Incandescent lamps tend to have a color temperature around 3200 K, but this is true only if they are operating with full voltage. Remember that dimmers work by varying the voltage pressure supplied to the lamp. -
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. -
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 Temperature and at 5,600 Degrees Kelvin It Will Begin to Appear Blue
4,800 degrees it will glow a greenish color Color Temperature and at 5,600 degrees Kelvin it will begin to appear blue. But light itself has no heat; Color temperature is usually used so for photography it is just a measure- to mean white balance, white point or a ment of the hue of a specific type of light means of describing the color of white source. light. This is a very difficult concept to ex- plain, because–”Isn’t white always white?” The human brain is incred- ibly adept at quickly correcting for changes in the color temperature of light; many different kinds of light all seem “white” to us. When moving from a bright daylight environment to a room lit by a candle all that will appear to change, to the naked eye, is the light level. Yet record these two situations shooting color film, digital photographs or with tape in an unbalanced camcorder and the outside images will have a blueish hue and the inside images will have a heavy orange cast. The brain quickly adjust to the changes, mak- ing what is perceived as white ap- pear white, whereas film, digital im- ages and camcorders are balanced for one particular color and anything that deviates from this will produce a color cast. A GUIDE TO COLOR TEMPERATURE The color of light is measured by the Kelvin scale . This is a sci- entific temperature scale used to measure the exact temperature of objects. If you heat a carbon rod to 3,200 degrees, it glows orange. -
State-Of-The-Art in Holography and Auto-Stereoscopic Displays
State-of-the-art in holography and auto-stereoscopic displays Daniel Jönsson <Ersätt med egen bild> 2019-05-13 Contents Introduction .................................................................................................................................................. 3 Auto-stereoscopic displays ........................................................................................................................... 5 Two-View Autostereoscopic Displays ....................................................................................................... 5 Multi-view Autostereoscopic Displays ...................................................................................................... 7 Light Field Displays .................................................................................................................................. 10 Market ......................................................................................................................................................... 14 Display panels ......................................................................................................................................... 14 AR ............................................................................................................................................................ 14 Application Fields ........................................................................................................................................ 15 Companies ................................................................................................................................................. -
Full-Color See-Through Three-Dimensional Display Method Based on Volume Holography
sensors Article Full-Color See-Through Three-Dimensional Display Method Based on Volume Holography Taihui Wu 1,2 , Jianshe Ma 2, Chengchen Wang 1,2, Haibei Wang 2 and Ping Su 2,* 1 Department of Precision Instrument, Tsinghua University, Beijing 100084, China; [email protected] (T.W.); [email protected] (C.W.) 2 Tsinghua Shenzhen International Graduate School, Tsinghua University, Shenzhen 518055, China; [email protected] (J.M.); [email protected] (H.W.) * Correspondence: [email protected] Abstract: We propose a full-color see-through three-dimensional (3D) display method based on volume holography. This method is based on real object interference, avoiding the device limitation of spatial light modulator (SLM). The volume holography has a slim and compact structure, which realizes 3D display through one single layer of photopolymer. We analyzed the recording mechanism of volume holographic gratings, diffraction characteristics, and influencing factors of refractive index modulation through Kogelnik’s coupled-wave theory and the monomer diffusion model of photopolymer. We built a multiplexing full-color reflective volume holographic recording optical system and conducted simultaneous exposure experiment. Under the illumination of white light, full-color 3D image can be reconstructed. Experimental results show that the average diffraction efficiency is about 53%, and the grating fringe pitch is less than 0.3 µm. The reconstructed image of volume holography has high diffraction efficiency, high resolution, strong stereo perception, and large observing angle, which provides a technical reference for augmented reality. Citation: Wu, T.; Ma, J.; Wang, C.; Keywords: holographic display; volume holography; photopolymer; augmented reality Wang, H.; Su, P.