Investigative Analysis on Color Models
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Component Video W/Audio Distribution Amplifier AT-COMP18AD
Component Video W/Audio Distribution Amplifier AT-COMP18AD User Manual Toll free: 1-877-536-3976 Local: 1-408-962-0515 www.atlona.com TABLE OF CONTENTS 1. Introduction 2 2. Features 2 3. Package Contents 2 4. Specifications 3 5. Panel Description 3 5.1. Front Panel 3 5.2. Rear Panel 3 6. Connection and Installation 4 7. Safety Information 5 8. Warranty 6 9. Atlona Product Registration 7 Toll free: 1-877-536-3976 Local: 1-408-962-0515 1 www.atlona.com INTRODUCTION The 1x8 Component w/Audio Distribution Amplifier is the perfect solution for anyone who needs to send one source of high definition component video with Audio to multiple displays at the same time. It supports all component sources and displays. Supported resolutions: 480i, 480p, 576i, 576p, 720p, 1080i and 1080p. The AT-COMP18AD is capable to send signal from one source to all 8 displays at the same time without signal degradation. The 1x8 Splitter will support long cable runs up to100ft ( 30M ). FEATURES • Supports both SD (composite, YCbCr) and HDTV (YPbPr) input signal. • Audio can be analog stereo (L/R) or digital coxial (S/PDIF) • Accepts one component input and splits it to 8 identical and buffered outputs without any loss. • When input is composite video, it can connect up to 3 different video sources and output 8 identical and buffered signal for each input source. • High bandwidth performance 650MHz at -3dB. • Ideal for presentation and home theater applications. PACKAGE CONTENT • 1:8 Component w/audio Splitter • 1 x 6 foot Component cable • 1 x 6 foot Audio cable • -
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. -
Tracking and Automation of Images by Colour Based
Vol 11, Issue 8,August/ 2020 ISSN NO: 0377-9254 TRACKING AND AUTOMATION OF IMAGES BY COLOUR BASED PROCESSING N Alekhya 1, K Venkanna Naidu 2 and M.SunilKumar 3 1PG student, D.N.R College of Engineering, ECE, JNTUK, INDIA 2 Associate Professor D.N.R College of Engineering, ECE, JNTUK, INDIA 3Assistant Professor Sir CRR College of Engineering , EEE, JNTUK, INDIA [email protected], [email protected] ,[email protected] Abstract— Now a day all application sectors are mostly image analysis involves maneuver the moving for the automation processing and image data to conclude exactly the information sensing . for example image processing in compulsory to help to answer a computer imaging medical field ,in industrial process lines , object problem. detection and Ranging application, satellite Digital image processing methods stems from two imaging Processing ,Military imaging etc, In principal application areas: improvement of each and every application area the raw images pictorial information for human interpretation, and are to be captured and to be processed for processing of image data for tasks such as storage, human visual inspection or digital image transmission, and extraction of pictorial processing systems. Automation applications In information this proposed system the video is converted into The remaining paper is structured as follows. frames and then it is get divided into sub bands Section 2 deals with the existing method of Image and then background is get subtracted, then the Processing. Section 3 deals with the proposed object is get identified and then it is tracked in method of Image Processing. Section 4 deals the the framed from the video .This work presents a results and discussions. -
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. -
Ypbpr/YUV + Audio to HDMI Converter
YPbPr-HDMI Format Converter Model 1T-YPBPR-HDMI 1T-YPbPr-HDMI converts an analog component YPbP r or YUV signal to an HDMI compliant output allowing the viewing or switching of an analog component video signal on an HDMI display. A Toslink input connector is provided to allow integration of a digital audio signal into the HDMI digital output stream. Component video inputs are via three RCA connectors. This unit is a Format Converter only and no video scaling takes place. The output resolution is the same as the input. All common HDTV resolutions are Key Features of the 1T-YPBPR-HDMI automatically detected. The output is fully compliant with • Excellent HDMI Compliant Video Quality the HDMI 1.2 standard assuring proper decoding by an • Automatic Input Format Detection HDMI display. An AC Power Adapter is provided with • Toslink Audio Support locking DC connectors for security. • Operating Frequency to 165Mhz Specifications Input Mechanical YPbPr/YUV Video 1x via 3x RCA Connectors Size (H-W-D) 30x76x105mm (1.2”x3”x4.1”) Digital Audio 1x via Toslink Optical Connector Weight (Net) 200 g (0.43 lbs) Output Warranty HDMI 1x via HDMI Connector Limited Warranty 2 Years Parts and Labor Input Resolutions Environmental Interlaced (50&60Hz) 480i, 576i, 1080i Operating Temperature 0° to +50° C (+32° to +122° F) Progressive (50&60Hz) 480p, 576p, 720p, 1080p Operating Humidity 10% to 90%, Non-condensing Special (24 to 50Hz) 1080p@24, 1080p@25 Storage Temperature -10° to +60° C (+14° to +140° F) 1080p@30, 1080p@50 Storage Humidity 10% to 90%, Non-condensing Video Specifications Power Requirement Progressive Component YPbPr External Power Supply 5VDC@1A, Center Positive Interlaced Component YUV (Y,R-Y,B-Y) Regulatory Approvals Input Signal Levels Y= 1Vp-p. -
Video Compression for New Formats
ANNÉE 2016 THÈSE / UNIVERSITÉ DE RENNES 1 sous le sceau de l’Université Bretagne Loire pour le grade de DOCTEUR DE L’UNIVERSITÉ DE RENNES 1 Mention : Traitement du Signal et Télécommunications Ecole doctorale Matisse présentée par Philippe Bordes Préparée à l’unité de recherche UMR 6074 - INRIA Institut National Recherche en Informatique et Automatique Adapting Video Thèse soutenue à Rennes le 18 Janvier 2016 devant le jury composé de : Compression to new Thomas SIKORA formats Professeur [Tech. Universität Berlin] / rapporteur François-Xavier COUDOUX Professeur [Université de Valenciennes] / rapporteur Olivier DEFORGES Professeur [Institut d'Electronique et de Télécommunications de Rennes] / examinateur Marco CAGNAZZO Professeur [Telecom Paris Tech] / examinateur Philippe GUILLOTEL Distinguished Scientist [Technicolor] / examinateur Christine GUILLEMOT Directeur de Recherche [INRIA Bretagne et Atlantique] / directeur de thèse Adapting Video Compression to new formats Résumé en français Adaptation de la Compression Vidéo aux nouveaux formats Introduction Le domaine de la compression vidéo se trouve au carrefour de l’avènement des nouvelles technologies d’écrans, l’arrivée de nouveaux appareils connectés et le déploiement de nouveaux services et applications (vidéo à la demande, jeux en réseau, YouTube et vidéo amateurs…). Certaines de ces technologies ne sont pas vraiment nouvelles, mais elles ont progressé récemment pour atteindre un niveau de maturité tel qu’elles représentent maintenant un marché considérable, tout en changeant petit à petit nos habitudes et notre manière de consommer la vidéo en général. Les technologies d’écrans ont rapidement évolués du plasma, LED, LCD, LCD avec rétro- éclairage LED, et maintenant OLED et Quantum Dots. Cette évolution a permis une augmentation de la luminosité des écrans et d’élargir le spectre des couleurs affichables. -
22926-22936 Page 22926 the Color Features Based on Computer Vision
Umapathy Eaganathan* et al. /International Journal of Pharmacy & Technology ISSN: 0975-766X CODEN: IJPTFI Available Online through Research Article www.ijptonline.com ANALYSIS OF VARIOUS COLOR MODELS IN MEDICAL IMAGE PROCESSING Umapathy Eaganathan* Faculty in Computing, Asia Pacific University, Bukit Jalil, Kuala Lumpur, 57000, Malaysia. Received on: 20.10.2016 Accepted on: 25.11.2016 Abstract Color is a visual element for humanbeing to perceive in everyday activities. Inspecting the color manually may be a tedious job to the humanbeing whereas the current digital systems and technologies help to inspect even the pixels color accurately for the given objects. Various researches carried out by the researchers over the world to identify diseased spots, damaged spots, pattern recognition, and graphical identification. Color plays a vital role in image processing and geographical information systems. This article explains about different color models such as RGB, YCbCr, HSV, HSI, CIELab in medical image processing and it additionally explores how these color models can be derived from the basic color model RGB. Further this study will also discuss the suitable color models that can be used in medical image processing. Keywords : Image Processing, Medical Images, RGB Color, Image Segmentation, Pattern Recognition, Color Models 1. Introduction Nowadays in medical health system the images playing a vital role throughout the process of medical disease management, intensive treatment, surgical procedures and clinical researches. In medical image processing such as neuro-imaging, bio-imaging, medical visualisations the imaging modalities based on digital images and may vary depends upon the diagnosis stage. Main improvements of medical imaging systems working faster than the traditional disease identification system. -
HDTV Ypbpr Audio Video Matrix Switch, Component Video Routing
HDTV AUDIO/VIDEO MATRIX SWITCH Switch audio and component video from eight sources to four displays ® X U EEM V VEEMUX® SM-8X4-HDA (Front & Back) Features & Applications The VEEMUX® SM-8X4-HDA HDTV Audio/Video Matrix Switch independently switches eight sets of YPbPr component video and analog/digital audio signals to any or all of the four outputs. Each input and output has YPbPr component video, L/R analog audio (balanced/unbalanced), and digital audio on coax (S/PDIF). Supports High Definition and Standard Definition YPbPr Features break-away audio—allows audio to be switched component video. independent of video. Audio can be unbalanced analog stereo, balanced analog Equipped with volume control: -80dB to 10dB, in 1dB steps. stereo or digital S/PDIF. Control the switch through Ethernet, RS232, or front panel • Supports S/PDIF, DTS Digital Surround™, and Dolby buttons. Digital™ 5.1 digital signals. The SM-8X4-HDA is the ideal solution for many applications, Supports 480i (interlaced), 480p (progressive), 720i, 720p, such as mission critical command centers, sports facilities and 1080i, and 1080p formats. entertainment venues. Configuration and Cable Illustration www.networktechinc.com/avmtx-hdtv.html NETWORK 800.RGB.TECH (800.742.8324) 330.562.7070 TECHNOLOGIES 1 INCORPORATED Toll Free: US & Canada International calls HDTV AUDIO/VIDEO MATRIX SWITCH Switch audio and component video from eight sources to four displays V Specifications EEM Video Digital Audio BNC connectors. BNC connectors. U Signal type: HDTV YPbPr component. Signal type: S/PDIF, DTS Digital Surround™, Dolby X Maximum input/output levels: 2Vp-p. Digital™ 5.1. ® Input/output impedance: 75 Ohms. -
Analog-To-SDI Converter Analog Audio Inputs AUDIO in (L/R) RCA Connectors Onto SDI Embedded Channel Pair 1/2
Audio Embedding BlueBox™ Analog>SDI provides selectable enable/disable embedding of a stereo pair on Analog-To-SDI Converter analog audio inputs AUDIO IN (L/R) RCA connectors onto SDI embedded channel pair 1/2. Refer to diagram on rear page or unit label for switch positions. HD/SD-Analog Video-to-SDI Video with Audio Unbalanced Audio Levels and This Device Embedder The unbalanced “RCA” audio inputs on this device will correspond to 0 dBFS when driven with a 2.2 Vrms input. Consumer audio is specified in dBV with a nominal (or recording) level of -10 dBV. The 2 Vrms maximum input level corresponds to +6 dBV. The unbalanced analog inputs on this device allow for 16 dB of headroom above the nominal -10 dBV consumer level (“headroom” is the range between the maximum and nominal audio levels). If these inputs are driven by half of a balanced audio source (connections using the + and GND connections The BlueBox™ Analog-To-SDI Converter (hereinafter “BlueBox™ Analog>SDI”) provides a to the RCA jack), a 6 dB loss should be expected. To compensate for this, the upstream gain should be small “throwdown” package that offers HD/SD analog video-to-SDI conversion. Component incresed by 6 dB where headroom is available. and composite inputs are supported, with support for NTSC/PAL CVBS, and PAL-M CVBS Status Indicator inputs. The processing provides 12-bit video ADC, and additionally 3D comb filtering for SD BlueBox™ Analog>SDI has a Status LED on the side of the unit which functions as follows: inputs. -
Evolution of Photography: Film to Digital
University of North Georgia Nighthawks Open Institutional Repository Honors Theses Honors Program Fall 10-2-2018 Evolution of Photography: Film to Digital Charlotte McDonnold University of North Georgia, [email protected] Follow this and additional works at: https://digitalcommons.northgeorgia.edu/honors_theses Part of the Art and Design Commons, and the Fine Arts Commons Recommended Citation McDonnold, Charlotte, "Evolution of Photography: Film to Digital" (2018). Honors Theses. 63. https://digitalcommons.northgeorgia.edu/honors_theses/63 This Thesis is brought to you for free and open access by the Honors Program at Nighthawks Open Institutional Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of Nighthawks Open Institutional Repository. Evolution of Photography: Film to Digital A Thesis Submitted to the Faculty of the University of North Georgia In Partial Fulfillment Of the Requirements for the Degree Bachelor of Art in Studio Art, Photography and Graphic Design With Honors Charlotte McDonnold Fall 2018 EVOLUTION OF PHOTOGRAPHY 2 Acknowledgements I would like thank my thesis panel, Dr. Stephen Smith, Paul Dunlap, Christopher Dant, and Dr. Nancy Dalman. Without their support and guidance, this project would not have been possible. I would also like to thank my Honors Research Class from spring 2017. They provided great advice and were willing to listen to me talk about photography for an entire semester. A special thanks to my family and friends for reading over drafts, offering support, and advice throughout this project. EVOLUTION OF PHOTOGRAPHY 3 Abstract Due to the ever changing advancements in technology, photography is a constantly growing field. What was once an art form solely used by professionals is now accessible to every consumer in the world. -
Chronology of the Department of Photography
f^ The Museum otI nModer n Art May 196k 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart CHRONOLOGY OF THE DEPARTMENT OF PHOTOGRAPHY The Department of Photography was established in lQl+0 to function as a focal center where the esthetic problems of photography can be evaluated, where the artist who has chosen the camera as his medium can find guidance by example and encouragement and where the vast amateur public can study both the classics and the most recent and significant developments of photography. 1929 Wi® Museum of Modern Art founded 1952 Photography first exhibited in MURALS BY AMERICAN PAINTERS AND PHOTOGRAPHERS; mural of George Washington Bridge by Edward Steichen included. Accompany ing catalog edited by Julian Levy. 1953 First photographs acquired for Collection WALKER EVANS: PHOTOGRAPHS OF 19th CENTURY HOUSES - first one-man photogra phy show. 1937 First survey exhibition and catalog PHOTOGRAPHY: I839-I937, by Beaumont NewhalU 1958 WALKER EVANS: AMERICAN PHOTOGRAPHS. Accompanying publication has intro duction by Lincoln Firstein. Photography: A Short Critical History by Beaumont Newhall published (reprint of 1937 publication). Sixty photographs sent to the Musee du Jeu de Paume, Paris, as part of exhibition TE.3E CENTURIES OF AMERICAN ART organized and selected by The Museum of Modern Art. 1939 Museum opens building at 11 West 53rd Street. Section of Art in Our Tims (10th Anniversary Exhibition) is devoted to SEVEN AMERICAN PHOTOGRAPHERS. Photographs included in an exhibition of paintings and drawings of Charles Sheeler and in accompanying catalog. 19^0 Department of Photography is established with David McAlpin, Trustee Chairman, Beaumont Newhall, Curator. -
Application No. AU 2020201212 A1 (19) AUSTRALIAN PATENT OFFICE
(12) STANDARD PATENT APPLICATION (11) Application No. AU 2020201212 A1 (19) AUSTRALIAN PATENT OFFICE (54) Title Adaptive color space transform coding (51) International Patent Classification(s) H04N 19/122 (2014.01) H04N 19/196 (2014.01) H04N 19/186 (2014.01) H04N 19/46 (2014.01) (21) Application No: 2020201212 (22) Date of Filing: 2020.02.20 (43) Publication Date: 2020.03.12 (43) Publication Journal Date: 2020.03.12 (62) Divisional of: 2017265177 (71) Applicant(s) Apple Inc. (72) Inventor(s) TOURAPIS, Alexandras (74) Agent / Attorney FPA Patent Attorneys Pty Ltd, ANZ Tower 161 Castlereagh Street, Sydney, NSW, 2000, AU 1002925143 ABSTRACT 2020 An apparatus for decoding video data comprising: a means for decoding encoded video data to determine transformed residual sample data and to determine color transform parameters Feb for a current image area, wherein the color transform parameters specify inverse color 20 transform coefficients with a predefined precision; a means for determining a selected inverse color transform for the current image area from the color transform parameters; a means for performing the selected inverse color transform on the transformed residual 1212 sample data to produce inverse transformed residual sample data; and a means for combining the inverse transformed residual sample data with motion predicted image data to generate restored image data for the current image area of an output video. 1002925143 ADAPTIVE COLOR SPACE TRANSFORM CODING 2020 Feb PRIORITY CLAIM 20 [01] The present application claims priority to U.S. Patent Application No. 13/940,025, filed on July 11, 2013, which is a Continuation-in-Part of U.S.