On the Uniform Sampling of CIELAB Color Space and the Number of Discernible Colors
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COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING
COLOR SPACE MODELS for VIDEO and CHROMA SUBSAMPLING Color space A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components (e.g. RGB and CMYK are color models). However, a color model with no associated mapping function to an absolute color space is a more or less arbitrary color system with little connection to the requirements of any given application. Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space. This "footprint" is known as a gamut, and, in combination with the color model, defines a new color space. For example, Adobe RGB and sRGB are two different absolute color spaces, both based on the RGB model. In the most generic sense of the definition above, color spaces can be defined without the use of a color model. These spaces, such as Pantone, are in effect a given set of names or numbers which are defined by the existence of a corresponding set of physical color swatches. This article focuses on the mathematical model concept. Understanding the concept Most people have heard that a wide range of colors can be created by the primary colors red, blue, and yellow, if working with paints. Those colors then define a color space. We can specify the amount of red color as the X axis, the amount of blue as the Y axis, and the amount of yellow as the Z axis, giving us a three-dimensional space, wherein every possible color has a unique position. -
Cielab Color Space
Gernot Hoffmann CIELab Color Space Contents . Introduction 2 2. Formulas 4 3. Primaries and Matrices 0 4. Gamut Restrictions and Tests 5. Inverse Gamma Correction 2 6. CIE L*=50 3 7. NTSC L*=50 4 8. sRGB L*=/0/.../90/99 5 9. AdobeRGB L*=0/.../90 26 0. ProPhotoRGB L*=0/.../90 35 . 3D Views 44 2. Linear and Standard Nonlinear CIELab 47 3. Human Gamut in CIELab 48 4. Low Chromaticity 49 5. sRGB L*=50 with RGB Numbers 50 6. PostScript Kernels 5 7. Mapping CIELab to xyY 56 8. Number of Different Colors 59 9. HLS-Hue for sRGB in CIELab 60 20. References 62 1.1 Introduction CIE XYZ is an absolute color space (not device dependent). Each visible color has non-negative coordinates X,Y,Z. CIE xyY, the horseshoe diagram as shown below, is a perspective projection of XYZ coordinates onto a plane xy. The luminance is missing. CIELab is a nonlinear transformation of XYZ into coordinates L*,a*,b*. The gamut for any RGB color system is a triangle in the CIE xyY chromaticity diagram, here shown for the CIE primaries, the NTSC primaries, the Rec.709 primaries (which are also valid for sRGB and therefore for many PC monitors) and the non-physical working space ProPhotoRGB. The white points are individually defined for the color spaces. The CIELab color space was intended for equal perceptual differences for equal chan- ges in the coordinates L*,a* and b*. Color differences deltaE are defined as Euclidian distances in CIELab. This document shows color charts in CIELab for several RGB color spaces. -
OMEGA Learning Guide
Learning Guide OMEGA Software THE POSSIBILITIES ARE INFINITE Copyright Notice COPYRIGHT 2003 Gerber Scientific Products, Inc. All Rights Reserved. This document may not be reproduced by any means, in whole or in part, without written permission of the copyright owner. This document is furnished to support OMEGA. In consideration of the furnishing of the information contained in this document, the party to whom it is given assumes its custody and control and agrees to the following: 1. The information herein contained is given in confidence, and any part thereof shall not be copied or reproduced without written consent of Gerber Scientific Products, Inc. 2. This document or the contents herein under no circumstances shall be used in the manufacture or reproduction of the article shown and the delivery of this document shall not constitute any right or license to do so. Information in this document is subject to change without notice. Printed in USA GSP and EDGE are registered trademarks of Gerber Scientific Products. OMEGA, EDGE, MAXX, SUPER CMYK, Support First, FastFacts, enVision and GerberColor Spectratone are trademarks of Gerber Scientific Products, Inc. Adobe Illustrator is a registered trademark of Adobe System, Inc. CorelDRAW is a registered trademark of Corel Corporation. MonacoEZcolor is a trademark of Monaco Systems Inc. 3M is a registered trademark of 3M. Microsoft and Windows are registered trademarks of Microsoft Corporation in the United States and other countries. PANTONE® Colors generated may not match PANTONE-identified standards. Consult current PANTONE Publications for accurate color. PANTONE and other Pantone, Inc. trademarks are the property of Pantone, Inc. -
Psychovisual Evaluation of the Effect of Color Spaces and Color Quantification in Jpeg2000 Image Compression
PSYCHOVISUAL EVALUATION OF THE EFFECT OF COLOR SPACES AND COLOR QUANTIFICATION IN JPEG2000 IMAGE COMPRESSION Mohamed-Chaker Larabi, Christine Fernandez-Maloigne and Noel¨ Richard IRCOM-SIC Laboratory, University of Poitiers BP 30170 - 86962 Futuroscope cedex FRANCE Email : [email protected] ABSTRACT 4]. Figure 1 shows the fundamental building blocks of a typical JPEG2000 is an emerging standard for still image compres- JPEG2000 encoder as described by Rabbani[4]. sion. It is not only intended to provide rate-distortion and subjective image quality performance superior to existing standards, but also to provide features and additional func- tionalities that current standards can not address sufficiently such as lossless and lossy compression, progressive trans- mission by pixel accuracy and by resolution, etc. Currently the JPEG2000 standard is set up for use with the sRGB three-component color space.the aim of this research is to Fig. 1. JPEG2000 fundamental building blocks. determine thanks to psychovisual experiences whether or Color management in JPEG2000 was an important topic in not the color space selected will significantly improve the the development of the standard and the issue of present- image compression. The RGB, XYZ, CIELAB, CIELUV, ing color properly is becoming more and more important as YIQ, YCrCb and YUV color spaces were examined and com- systems get better and as a wider range of systems are doing pared. In addition, we started a psychovisual evaluation similar things. In the past, color has been targeted as an area on the effect of color quantification on JPEG2000 image of least concern with the overall presentation. -
Download Amosaic Gradient
Gradient: Alchemy GRADIENT COLLECTION Glass Mosaic Tile Blends AMosaic.com 231.375.8037 Recycled Glass GRADIENTCOLLECTION Gradients available in our Huron and Superior Collections using any combinations of 1” x 1” (25x25 mm) or 1” x 2”(25 x 50/ 25 x 52mm) in eased or rustic edge. ALCHEMY AMBER ROSE GOLD E11.ALCH.XXS E11.AMBE.XXS E11.ROSE.XXS 7-Color Gradient 5-Color Gradient 5-Color Gradient EMERALD JADE TURQUOISE E11.EMER.XXS E11.JADE.XXS E11.TURQ.XXS 5 Color Gradient 5-Color Gradient 5-Color Gradient Occasional variations in color, shade, tone and texture are to be expected in all glass products. Samples do not necessarily represent an exact match to existing inventory. 11-2017 7103 Enterprise Drive Spring Lake, MI 49456 AMosaic.com 231.375.8037 Recycled Glass GRADIENT INFORMATION OUR STORY OVER 50 YEARS GLASS TRADITION 100% RECYCLED FINISH Of Italian Glass Of beauty, consistency, Made in the USA. Mosaic Experience. & distinction. Standard Color (PCL) Iridescent (IRD) Aventurina (AVC) TEST PERFORMED SHADE VARIATION ASTM C650-04 No Effect V2 - Slight Variation Chemical Resistance Clearly distinguishable texture and/or pattern within similar colors. ANSI A 137.2 No Defects Thermal Shock Resistance ASTM C648 Passes SUITABLE APPLICATIONS Breaking Strength Interior and exterior walls. ASTM C373 Impervious Pools/spa/submerged. Water Absorption Freezing environments. ASTM C424 Passes Light traffic floor use. Crazing Resistance ASTM C499 Passes Facial Dimension/Thickness MAINTENANCE ASTM C485-09 Passes Standard household glass cleaner, or a Warpage neutral mild detergent with water. ASTM C1026-13 Passes Freeze Thaw LEAD TIME DCOF Acutest .33 AVG. -
Multiscale Gradients Based Directional Demosaicing
International Journal of Engineering Research and Applications (IJERA) ISSN: 2248-9622 International Conference on Humming Bird ( 01st March 2014) RESEARCH ARTICLE OPEN ACCESS Multiscale Gradients based directional demosaicing A. Jasmine ,John Peter.K2 Jasmine A. Author is currently pursuing M.Tech (IT) in Vins Christian College of Engineering..Email:[email protected]. 2John Peter K. Author is currently the Head of the Department of IT in VINS Christian College of Engineering. Abstract: Single sensor digital cameras capture one color value for every pixel location. The remaining two color channel values need to be estimated to obtain a complete color image. This process is called demosaicing or Color Filter Array (CFA) interpolation. We propose a directional approach to the CFA interpolation problem that makes use of multiscale color gradients .The relationship between color gradients on different scales is used to generate signals in vertical and horizontal directions. We determine how much each direction should contribute to the green channel interpolation based on these signals. The proposed method is easy to implement since it isnon iterative and threshold free. Experiments on test images show that it offers superior objective and subjective interpolation quality. Index Terms -Demosaicing, Color filter array interpolation, Multiscale color gradient, directional interpolation. I. INTRODUCTION Most digital cameras employ single sensor designs because using multiple sensors coupled with beam splitters for each pixel location is costly in hardware. This design choice necessitates the use of color filter arrays. The color channel layout on a color filter array determines which channel will be captured at each pixel location. Many different CFA Figure1. -
Effective Appearance Model and Similarity Measure for Particle Filtering and Visual Tracking
Effective Appearance Model and Similarity Measure for Particle Filtering and Visual Tracking Hanzi Wang, David Suter, and Konrad Schindler Institute for Vision Systems Engineering, Department of Electrical and Computer Systems Engineering, Monash University, Clayton Vic. 3800, Australia {hanzi.wang, d.suter, konrad.schindler}@eng.monash.edu.au Abstract. In this paper, we adaptively model the appearance of objects based on Mixture of Gaussians in a joint spatial-color space (the approach is called SMOG). We propose a new SMOG-based similarity measure. SMOG captures richer information than the general color histogram because it incorporates spa- tial layout in addition to color. This appearance model and the similarity meas- ure are used in a framework of Bayesian probability for tracking natural objects. In the second part of the paper, we propose an Integral Gaussian Mixture (IGM) technique, as a fast way to extract the parameters of SMOG for target candidate. With IGM, the parameters of SMOG can be computed efficiently by using only simple arithmetic operations (addition, subtraction, division) and thus the com- putation is reduced to linear complexity. Experiments show that our method can successfully track objects despite changes in foreground appearance, clutter, occlusion, etc.; and that it outperforms several color-histogram based methods. 1 Introduction Visual tracking in unconstrained environments is one of the most challenging tasks in computer vision because it has to overcome many difficulties arising from sensor noise, clutter, occlusions and changes in lighting, background and foreground appear- ance etc. Yet tracking objects is an important task with many practical applications such as smart rooms, human-computer interaction, video surveillance, and gesture recog- nition. -
Improved Three-Dimensional Color-Gradient Lattice Boltzmann Model
Improved three-dimensional color-gradient lattice Boltzmann model for immiscible multiphase flows Z. X. Wen, Q. Li*, and Y. Yu School of Energy Science and Engineering, Central South University, Changsha 410083, China Kai. H. Luo Department of Mechanical Engineering, University College London, Torrington Place, London WC1E 7JE, UK *Corresponding author: [email protected] Abstract In this paper, an improved three-dimensional color-gradient lattice Boltzmann (LB) model is proposed for simulating immiscible multiphase flows. Compared with the previous three-dimensional color-gradient LB models, which suffer from the lack of Galilean invariance and considerable numerical errors in many cases owing to the error terms in the recovered macroscopic equations, the present model eliminates the error terms and therefore improves the numerical accuracy and enhances the Galilean invariance. To validate the proposed model, numerical simulation are performed. First, the test of a moving droplet in a uniform flow field is employed to verify the Galilean invariance of the improved model. Subsequently, numerical simulations are carried out for the layered two-phase flow and three-dimensional Rayleigh-Taylor instability. It is shown that, using the improved model, the numerical accuracy can be significantly improved in comparison with the color-gradient LB model without the improvements. Finally, the capability of the improved color-gradient LB model for simulating dynamic multiphase flows at a relatively large density ratio is demonstrated via the simulation of droplet impact on a solid surface. PACS number(s): 47.11.-j. 1 I. Introduction In the past three decades, the lattice Boltzmann (LB) method [1-9], which originates from the lattice gas automaton (LGA) method [10], has been developed into an efficient numerical approach for simulating fluid flow and heat transfer. -
Color Builder: a Direct Manipulation Interface for Versatile Color Theme Authoring
CHI 2019 Paper CHI 2019, May 4–9, 2019, Glasgow, Scotland, UK Color Builder: A Direct Manipulation Interface for Versatile Color Theme Authoring Maria Shugrina Wenjia Zhang Fanny Chevalier University of Toronto University of Toronto University of Toronto Sanja Fidler Karan Singh University of Toronto University of Toronto Figure 1: Designers can experiment with swatches, gradients and three-color blends in a unifed Color Builder playground. ABSTRACT CCS CONCEPTS Color themes or palettes are popular for sharing color com- • Human-centered computing → Graphical user inter- binations across many visual domains. We present a novel faces; User interface design; Web-based interaction; Touch interface for creating color themes through direct manip- screens; ulation of color swatches. Users can create and rearrange swatches, and combine them into smooth and step-based KEYWORDS gradients and three-color blends – all using a seamless touch Color themes, color palettes, color pickers, gradients, direct or mouse input. Analysis of existing solutions reveals a frag- manipulation interfaces, creativity support. mented color design workfow, where separate software is used for swatches, smooth and discrete gradients and for ACM Reference Format: Maria Shugrina, Wenjia Zhang, Fanny Chevalier, Sanja Fidler, and Karan in-context color visualization. Our design unifes these tasks, Singh. 2019. Color Builder: A Direct Manipulation Interface for while encouraging playful creative exploration. Adjusting Versatile Color Theme Authoring. In CHI Conference on Human a color using standard color pickers can break this inter- Factors in Computing Systems Proceedings (CHI 2019), May 4–9, 2019, action fow with mechanical slider manipulation. To keep Glasgow, Scotland UK. ACM, New York, NY, USA, 12 pages.https: interaction seamless, we additionally design an in situ color //doi.org/10.1145/3290605.3300686 tweaking interface for freeform exploration of an entire color neighborhood. -
Color Appearance Models Today's Topic
Color Appearance Models Arjun Satish Mitsunobu Sugimoto 1 Today's topic Color Appearance Models CIELAB The Nayatani et al. Model The Hunt Model The RLAB Model 2 1 Terminology recap Color Hue Brightness/Lightness Colorfulness/Chroma Saturation 3 Color Attribute of visual perception consisting of any combination of chromatic and achromatic content. Chromatic name Achromatic name others 4 2 Hue Attribute of a visual sensation according to which an area appears to be similar to one of the perceived colors Often refers red, green, blue, and yellow 5 Brightness Attribute of a visual sensation according to which an area appears to emit more or less light. Absolute level of the perception 6 3 Lightness The brightness of an area judged as a ratio to the brightness of a similarly illuminated area that appears to be white Relative amount of light reflected, or relative brightness normalized for changes in the illumination and view conditions 7 Colorfulness Attribute of a visual sensation according to which the perceived color of an area appears to be more or less chromatic 8 4 Chroma Colorfulness of an area judged as a ratio of the brightness of a similarly illuminated area that appears white Relationship between colorfulness and chroma is similar to relationship between brightness and lightness 9 Saturation Colorfulness of an area judged as a ratio to its brightness Chroma – ratio to white Saturation – ratio to its brightness 10 5 Definition of Color Appearance Model so much description of color such as: wavelength, cone response, tristimulus values, chromaticity coordinates, color spaces, … it is difficult to distinguish them correctly We need a model which makes them straightforward 11 Definition of Color Appearance Model CIE Technical Committee 1-34 (TC1-34) (Comission Internationale de l'Eclairage) They agreed on the following definition: A color appearance model is any model that includes predictors of at least the relative color-appearance attributes of lightness, chroma, and hue. -
Skin Color Measurements in Terms of CIELAB Color Space Values
Skin Color Measurements in Terms of CIELAB Color Space Values Ian L. Weatherall and Bernard D. Coombs School of Consumer and Applied Sciences (IL W) and Department of Preventative and Social Medicine (BDC), University of Otago, Dunedin, New Zealand The principles of color measurement established by the terms of one, two, or all three color-space parameters. Be Commission International d'Eclairage have been applied to cause the method is quantitative and the principles interna skin and the results expressed in terms of color space L *, hue tionally recognized, these color-space parameters are pro angle, and chroma values. The distribution of these values for posed for the unambiguous communication of skin-color the ventral forearm skin of a sample of healthy volunteers is information that relates directly to visual observations of presented. The skin-color characteristics of a European sub clinical importance or scientific interest. ] Invest Dermato199: group is summarized and briefly compared with others. 468-473, 1992 Color differences between individuals were identified in he appearance of human skin is a major descriptive that differ systematically from those based on scanning spectro parameter in both clinical and scientific evaluations. photometry [16,17] . There appear to have been no reports of the Skin color may be associated with susceptibility to the evaluation of the color of skin by applying reflectance spectroscopy development of skin cancer [1,2]' changes in color according to the principles laid down by the Commission Interna characterize erythema [3-6], and the observation of tional d'Eclairage (CIE) for the measurement of the color Tcolor variegation is an important clinical criterion for differentiat of surfaces with the results given in terms of CIE 1976 L * a* b* ing between cutaneous malignant melanoma and benign nevi [7]. -
Color Palettes
Chapter 8 All About Color Palettes In this chapter, you’ll learn about: w Color spaces w Color palettes w Color palette organization w Cross-platform color palette issues w System palettes w Platform specific palette peculiarities w Planning color palettes w Creating color palettes w Color palette effects w Tips for creating effective color palettes w Color reduction 243 244 Chapter 8 / All About Color Palettes There are many elements that influence how an arcade game looks. Of these, color selection is one of the most important. Good color selections can make a game stand out aesthetically, make it more interesting, and enhance the overall perception of the game’s quality. Conversely, bad color selection has the potential to make an otherwise good game seem unattractive, boring, and of poor quality. The purpose of this chapter is to show you how to choose and implement color in your games. In addition, it provides tips and issues to consider during this process. Color Space As mentioned previously, color is a very subjective entity and is greatly influenced by the elements of light, culture, and psychology. In order to streamline the identi- fication of color, there has to be an accurate and standardized way to specify and describe the perception of color. This is where the concept of color space comes in. A color space is a scientific model that allows us to organize colors along a set of axes so they can be easily communicated between various people, cultures, and more importantly for us, machines. Computers use what is called the RGB (red-green-blue) color space to specify col- ors on their displays.