Lab Session 1 ( I H S L L M I L (With Supplemental Materials to Lecture

Total Page:16

File Type:pdf, Size:1020Kb

Lab Session 1 ( I H S L L M I L (With Supplemental Materials to Lecture Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Outline Lab Session 1 z Review (ihS(with Supp lementa lMl Mater ilials to z Color Spaces in General Lecture 1) z Color Spaces for Image/Video Coding z Image/Video Formats Review z Perceptual Quality z MATLAB Exercises April 27 , 2009 • Reading and showing images and video sequences • Getting familiar with color spaces 1 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Image and video encoding: A big picture Image and video encoding: A big picture Image and video decoding: A big picture Differential Coding Motion Estimation and Compensation A/D Conversion Context-Based Coding Color Space Conversion Predictive Predictive … Pre-Filtering Predictive Encoded Coding Coding Partitioning Coding Image/Video … Input Input Image/Video Post- Image/Video Post- Decoded Pre- Lossy Lossless Pre- Lossy Lossless Processing Processing Image/Video Post- Lossy Lossless Processing Coding Coding Processing Coding Coding Pre-Processing (Post-Filter ing ) (Post-filter ing ) PiProcessing CdiCoding CdiCoding Quantization Entropy Coding Transform Coding Dictionary-Based Coding Encoded Model-Based Coding Run-Length Coding Encoded Image/Video … … Image/Video 3 4 5 1 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding A zoo of standards An example: MPEG-video codec MPEG-video encoding process z Image coding standards • JPEG • JPEG2000 • JBIG/JBIG2 • JPEG XR (Microsoft HD Photo) • … z Video coding standards • MPEG-1/2 • MPEG-4Part24 Part 2 • H.264/MPEG-4 Part 10 AVC • SMPTE VC-1 (Microsoft WMV9) • … z International standardization bodies • ISO, IEC, ITU, SMPTE, ANSI, … • MPEG, JPEG, JVT, VCEG, … 6 7 8 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Some terms Human visual system: Color perception Cone z Luminance = Brightness = Lightness = Intensity = Value z Hue: z Saturation = Colorfulness = Chroma = Vividness = Purity z Chromaticity = Hue + Saturation ⇒ It is a 2-tuple. Light Color Spaces z Chromaticity Diagram: a 2-D diagram showing chromaticities z Color = Luminance + Chromaticity ⇒ So, it is a 3-tuple. z Chrominance (Chroma) = Color Difference z Color Space: a 3-D space of colors z Color Mixing Systems (light) vs. Color Appearance Systems (perception) z Gamut: range of colors (in a color space) Anatomy of human retina z JND: Just-Noticeable Difference (50% accuracy) Retinal neurons Rod 10 11 2 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding CIE 1931 XYZ color space CIE 1976 uniform color spaces CIE 1931 RGB color space CIE = Commission internationale de l'éclairage = International Commission on Illumination z Problem: CIE XYZ color space is nonlinear in term of perceptual color differences. b* a* CIE 1931 RGB Color matching Color matching functions of the functions CIE standard observer CIE 1931 xyY color space CIE 1931 RGB color space chromaticity diagram CIELUV (CIE 1976 L*u*v*) color space CIELAB (CIE 1976 L*a*b*) color space chromaticity diagram 12 13 14 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding sRGB color space (IEC 61966-2-1:1999) More RGB color spaces… HSV/HSL (HSI/HSB) color spaces HSV color space HSL color space Adobe 1998 RGB color space ProPhoto RGB color space (by Kodak) 15 16 17 3 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Munsell color system Gamma correction Color Spaces for Image/Video Coding y=xr 18 20 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Luma (Y’) vs. Luminance (Y) Y’UV/Y’CbCr color space Color conversion in image/video encoding z Roughly, U=C =B-Y, z Luma = Luminance after gamma correction b Pre-Processing V=Cr=R-Y Input Image/Video z RGB ⇒ R’G’B’ z But, Y ≠ Y’ and Y’UV Color Space A/D ≠ Y’C C RGB R’G’B’Conversion Y’UV/ Conversion z Y=kr*R+kg*G+kb*B ⇒ b r Y’PbPr z Practically, YUV = Y’CbCr Y’=kr’*R’+kg’*G’+kb’*B’ YCbCr = Y’UV = Chroma Subsampling Y’CbCr z In practice, many people (even some z Y’PbPr = Y’CbCr for analog signal …001110101001… experts!) don’t know the difference between Other Parts of Encoding Process z YCC = Y’CbCr Encoded Y and Y’. Image/Video U-V plan (Y’=0.5) 21 22 23 4 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Color conversion: R’G’B’ => Y’CbCr Why Y’CbCr? Chroma subsampling formats z R’,G’,B’∈[[,],0,1], kr, kb∈((,),0,1), kr+kb<1 z Human eyes are less sensitive to A 4X2 Image z Y’=kr*R’+(1-kr-kb)*G’+kb*B’∈[0,1] chrominance. P(1,1) P(1,2) P(1,3) P(1,4) Pb=0.5*(B’-Y’)/(1-kb)∈[-0.5,0.5] P(2,1) P(2,2) P(2,3) P(2,4) Pr=0.5*(R’-Y’)/(1-kr)∈[-0.5,0.5] Ø z Values of k and k can be different! Y Sampling C Sampling C Sampling b r z We can sample chroma (CbCr) less YC C b r b r Locations Locations Locations • ITU-T BT.601 (SDTV): kr=0.229, kb=0.114 frequently than the luma (Y’). 4:4:4 4 4 4 ALL ALL ALL • ITU-T BT. 709 (HDTV): kr=0. 2126, kb=007220.0722 P(1,1) P(1,3) P(1,1) P(1,3) • ANSI/SMPTE 240M-1995 (HDTV): kr=0.212, kb=0.087 Ø 4:2:2 4 2 2 ALL P(2,1) P(2,3) P(2,1) P(2,3) z Y’P P ⇒ Y’C C (taking MPEG-2 as an example) b r b r z We achieve the goal of data compression. 4:2:0 4 1 1 ALL P(1,1) P(1,3) P(1,1) P(1,3) • Y’=219*Y’+16∈[16,235] 4:1:1 4 1 1 ALL P(1,1) P(2,1) P(1,1) P(2,1) Cb=224*Pb+128∈[16,240] Cr=224*Pr+128∈[16,240] 24 25 26 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Spatial display resolutions (W×H) Spatial resolutions: Images z No standards z For research purpose: 2n×2n, such as Image/Video Formats 128×128, 256×256, 512×512, 1024×1024 28 29 5 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Some test images for research Digital video formats YUV video file format (.yuv/.cif/.qcif/.sif/…) z CIF = Common Intermediate Format (()since H.261) z Planar formats • CIF (Full CIF = FCIF) = 352×288 • YUV = I420 = IYUV (4:2:0) • QCIF (Quarter CIF) = 176×144 • YV12 (4:2:0) • SQCIF (Sub Quarter CIF) = 128×96 • 4CIF = 4×CIF = 704×576 • YV16 (4:2:2) • 16CIF = 4×4CIF = 1408×1152 • … z SIF = Source Inpp(ut Format (since MPEG-1) z Packed formats • 625/50 (TV: PAL/SECAM) = 352×288/360×288 • UYVY = UYNV = Y422 (4:2:2) • 525/59.94 (TV: NTSC) = 352×240/ 360×240 • YUY2 = YUNV = V422 = YUYV (4:2:2) • Sub-SIF (Computers) = 320×288 or 384×288 • … z More info available at http://www.fourcc.org/yuv.php 30 31 32 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding YUV4MPEG2 format (.y4m) Image and video coding: Quality issue Quality z File Header MtMeter ics • ‘YUV4MPEG2’ + a number of parameters + 0x0A • Parameters Input Decoded • (Mandatory) Width, height and frame rate: ‘ Wxxx Hyyy Fa:b’ image/video image/video • (Optional) Interlacing: ‘ Ip’ (progressive), ‘ It’ (top field first), ‘ Ib’ (bottom Perceptual Quality field first), ‘ Im’ (mixed mode, detailed in frame headers) Visual Quality • (Optional) Aspect ratio: ‘ Aa:b’ Measurement • (Optional) Color space (Chroma format): ‘ C4xx...’ • (il)(Optional) Comment: ‘ X….’ Encoder Decoder z Frames • Frame Header Encoded • ‘FRAME’ + a number of parameters (optional) + 0x0A image/video • Frame (YUV planar format) 33 35 6 Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Shujun LI (李树钧): INF-10845-20091 Multimedia Coding Visual quality measurement: Subjective Visual quality measurement: Objective Visual quality measurement: Objective z DSIS (Double Stimulus Impairment Scale) z Two imaggges: the original one f(x,y) and the z DSCQS (Double Stimulus Continuous decoded one f’(x,y) Quality Scale) z MSE = Mean Squared Error 1 2 (f 0(x, y) f(x, y)) z SSCQE (Single Stimulus Continuous Quality MN − x,y Evaluation) z X SNR = Signal-to-Noise Ratio The original image PSNR=32.7 dB PSNR=37.5 dB (f (x, y))2 z StthdhbSome measurement methods have been x,y 0 10 log10 2 Ã x,y(f 0(x, y) f(x, y)) ! standardized: ITU-R BT.500, ITU-R BT.710, P − Research Question: PSNR is not good enough to perfectly z PSNR =P Peak Signal-to-Noise Ratio ITU-T P.910 MNL2 reflect visual quality, more advanced metrics considering 10 log10 2 HVS are wanted.
Recommended publications
  • Lesson05 Colorimetry.Pdf
    VIDEO SIGNALS Colorimetry WHAT IS COLOR? Electromagnetic Wave Spectral Power Distribution Illuminant D65 (nm) Reflectance Spectrum Spectral Power Distribution Neon Lamp WHAT IS COLOR? Spectral Power Distribution Illuminant F1 Spectral Power Distribution Under D65 Reflectance Spectrum Spectral Power Distribution Under F1 WHAT IS COLOR? Observer Stimulus WHAT IS COLOR? M L Spectral Ganglion Horizontal Sensibility of the Bipolar Rod S L, M and S Cone Cones Light Light Amacrine Retina Optic Nerve Color Vision Rods Cones Cones and Rods5 THE ELECTROMAGNETIC SPECTRUM Incident light prism SPECTRAL EXAMPLES The light emitte d from a Laser isstitltrictly monochromatic and its spectrum is made from a single line where all the energy is concentrated. Laser He - Ne SPECTRAL EXAMPLES The light emitted from the 3 Blue different phosphors of a traditional color CthdCathode Ray Tube (CRT) green red SPECTRAL EXAMPLES The light emitted from a gas vapour lamp is a set of diffent spectral lines. Their value is linked to the allowed energy steps performed by the excited gas electrons. SPECTRAL EXAMPLES Many objects, when heated, emit light with a spectral distribution close to the “Black body” radiation. It follows the Planck law and its shape depends only on the absolute object temperature. Examples: - the stars, -the sun. - incandenscent lamps THE “BLACK BODY” LAW Planck's law states that: where: I(ν,T) dν is the amount of energy per unit surface area per unit time per unit solid angle emitted in the frequency range between ν and ν + dν by a black body at temperature T; h is the Planck constant; c is the speed of light in a vacuum; k is the Boltzmann constant; ν is frequency of electromagnetic radiation; T is the temperature in Kelvin.
    [Show full text]
  • Preparing Images for Delivery
    TECHNICAL PAPER Preparing Images for Delivery TABLE OF CONTENTS So, you’ve done a great job for your client. You’ve created a nice image that you both 2 How to prepare RGB files for CMYK agree meets the requirements of the layout. Now what do you do? You deliver it (so you 4 Soft proofing and gamut warning can bill it!). But, in this digital age, how you prepare an image for delivery can make or 13 Final image sizing break the final reproduction. Guess who will get the blame if the image’s reproduction is less than satisfactory? Do you even need to guess? 15 Image sharpening 19 Converting to CMYK What should photographers do to ensure that their images reproduce well in print? 21 What about providing RGB files? Take some precautions and learn the lingo so you can communicate, because a lack of crystal-clear communication is at the root of most every problem on press. 24 The proof 26 Marking your territory It should be no surprise that knowing what the client needs is a requirement of pro- 27 File formats for delivery fessional photographers. But does that mean a photographer in the digital age must become a prepress expert? Kind of—if only to know exactly what to supply your clients. 32 Check list for file delivery 32 Additional resources There are two perfectly legitimate approaches to the problem of supplying digital files for reproduction. One approach is to supply RGB files, and the other is to take responsibility for supplying CMYK files. Either approach is valid, each with positives and negatives.
    [Show full text]
  • Digital Printing Insights #6: Color Space Conversions and Gamut Loss © 2009 Michael E
    Digital Printing Insights #6: Color Space Conversions and Gamut Loss © 2009 Michael E. Gordon “I need to convert an image from AdobeRGB to CMYK, but I’m concerned about color shifts and need to retain 100% of the Adobe RGB gamut (gamut = the entire range of color that can be reproduced within this color space). Is this possible?“ Unfortunately, it is not possible. Any time we convert from a wide gamut color space such as Adobe RGB or ProPhoto RGB to a smaller color space (such as any of the CMYK color spaces), we diminish the color gamut. Take a look at the graphic at left, which compares the Adobe RGB color space with the ProPhoto RGB color space. Here we can see that Adobe RGB (the solid color space) is considerably smaller in gamut compared to the AdobeRGB vs. ProPhotoRGB massive ProPhoto RGB space (represented by the wire frame). Before I proceed any further, let me clarify something which you might already be thinking: “so, I can convert from Adobe RGB to ProPhoto to gain a wider color gamut?” No! We can only convert downward, from a larger color space to a smaller color space. Converting upward will not expand the gamut any further, as it has already been limited by the origin color space (compare this to pixel resolution, whereby interpolating [or "uprezzing"] does not gain us additional data beyond what was already provided by the sensor). Let’s take a look at another comparison (at left), this time Adobe RGB to sRGB, the color space we all view on our monitors.
    [Show full text]
  • Nikon DSLR: the Ultimate Photographer's Guide
    NIKON DSLR: THE ULTIMATE PHOTOGRAPHER’S GUIDE intended use of your image. Is it for publication in a magazine or book? Do you plan on processing and printing your own images? Are you planning to shoot JPEGs and turn them over to a print agency for processing and printing? Your answer will dictate your choice of color space. Adobe RGB (1998) has a larger color gamut, meaning more colors can be displayed within the color space. For those planning to edit and print their own digital fi les, many photographers believe Adobe RGB is a better color space; but this is only a personal preference and not a caveat. More recently, some photographers have adapted the ProPhoto RGB color space as it provides an even larger color gamut than Adobe RGB. The sRGB color space was developed cooperatively by Hewlett Packard and Microsoft to provide a color standard for monitors, printers, and the Internet, so consequently most web browsers are designed to best display images with this color space. In actuality most commercial and desktop printers are sRGB driven devices and many print agencies specify the sRGB color space as the commercial printers are calibrated for it. If you plan to shoot mainly for web output, or you use an outside agency specifying sRGB to print your work, shooting in sRGB mode can save you a great deal of time later as you won’t be faced with converting a large batch of images. You can always convert to another profi le later but the whole idea of workfl ow is to avoid putting extra steps in the process.
    [Show full text]
  • Prophoto Rgb Download Free ICM Profiles
    prophoto rgb download free ICM Profiles. On this page there is a set of ICC profiles, also knows as ICM profiles. These have been created from the data on Bruce Lindbloom's site, as well as information from Adobe, using the little cms toolkit. Profiles tell you system how to display colors - they contain three key pieces of information: An exact definition of what the gamut of the color space is - in simple terms, what exact shade of red the R component is, the G component, etc A white point - these are often specified as a "D number", one of the CIE standard illuminants e.g., D65 (6500K, overcast daylight) or D55(5500K, warm daylight) A Gamma curve - the way that we see light is non-linear, and many color systems mimic this. You can use these profiles in a number of ways: If you have a raw developer program, such as Capture One, that directly supports ICC profiles, you can load and use these directly. So, for example, if under Capture One you wanted the screen readouts to be in WideGamut, you would just load WideGamut.icc as the output profile. You can also convert color on the Mac by using the ColorSync utility's calculator; just select the appropriate profile in the calculator screen. The profiles are in a single ZIP file, ICCProfiles.zip. The root of the Zip file has the following profiles: The MelissaRGB profile deserves some explanation. Melissa RGB is not an "official" color space, but is the combination of the ProPhoto color space, with an sRGB gamma curve.
    [Show full text]
  • Blank Template
    Introduction To Colour Management And Printing Licensed under Creative Commons Public domain content 1 http://creativecommons.org/ Copyright Original Author and photographer - 2 - Contents What color is this? .......................................................................................................................................3 Are you sure? ...............................................................................................................................................3 sRGB Colour Space ......................................................................................................................................4 Adobe RGB and Adobe Wide Gamut RGB Colour Spaces ....................................................................4 ProPhoto RGB Colour Space.......................................................................................................................5 Technical Example of Colour Spaces ........................................................................................................5 What does it mean to calibrate your monitor? .......................................................................................6 Recommendations for Monitor Calibration: .............................................................................................7 The Print Module in Lightroom ..................................................................................................................8 Printer Setup Presets ................................................................................................................................10
    [Show full text]
  • For Best Results Don't Use Jpegs, Use Anyone of the Other Formats
    Understanding File Formats RAW (Raw Image File) – The native format your camera uses • No compression – lossless • 10 - 14 bits per color – 1024 to 16k shades of gray • Unprocessed format that won’t look good unless “developed” • Development settings are stored in a companion file .XMP • Camera specific formats . .NEF –Nikon . .CR2 – Canon . .ARW – Sony . .DNG – Adobe TIFF (Tagged Image File Format) • No compression – lossless • Adobe owned, no update since 1992 • Development settings are stored in the file format • Very large files approaching 100 Meg PSD (Photoshop file format) • No compression – lossless • Adobe owned • Development settings are stored in the file format • Very large files approaching 100 Meg JPEG (Joint Photographic Experts Group) • Variable compression/Quality levels – Lossy format – data will be lost • Development settings are stored in the file format • Image is processed – limited ability to change later • 8 bits per color – 256 shades of gray • Applies White Balance , Exposure, Color and tone • “Sharpens” the image For best results don’t use JPEGs, use anyone of the other formats. Copyright 2013 by CanvasWorthy Page 1 Understanding Color Space From A color Managed Raw Workflow – From Cameras to Final Print by Jeff Schewe and Bruce Fraser of Adobe. “The Gamut of the various color Spaces shows that there are colors that can be printed on the Epson 2200 (cicra 2002) that falls outside both sRGB and even Adobe RGB. ProPhoto RGB can contain all the colors that a digital camera can capture.” NOTE: Modern printers can print much larger color spaces then the Epson 2200. ProPhot RGB is the colorspace of choice to capture all the colors your camera can take and the printer can print.
    [Show full text]
  • Karla Ledic,Disertacija
    SVEUČILIŠTE U ZAGREBU STOMATOLOŠKI FAKULTET Karla Ledić ISPITIVANJE OPTIČKIH SVOJSTAVA ZUBNIH KERAMIKA DOKTORSKI RAD Zagreb, 2015. UNIVERSITY OF ZAGREB SCHOOL OF DENTAL MEDICINE Karla Ledić ANALYSIS OF OPTICAL PROPERTIES OF DENTAL CERAMICS DISSERTATION Zagreb, 2015. SVEUČILIŠTE U ZAGREBU STOMATOLOŠKI FAKULTET Karla Ledić ISPITIVANJE OPTIČKIH SVOJSTAVA ZUBNIH KERAMIKA DOKTORSKI RAD Mentorica: Prof. dr. sc. Ketij Mehulić Zagreb, 2015. Rad je izrađen: - u Zavodu za fiksnu protetiku Stomatološkog fakulteta Sveučilišta u Zagrebu, - u Zavodu za materijale Fakulteta strojarstva i brodogradnje Sveučilišta u Zagrebu, - na Grafičkom fakultetu Sveučilišta u Zagrebu. Voditeljica rada: prof. dr. sc. Ketij Mehulić Lektor hrvatskog jezika: prof. hrvatskog jezika i književnosti Sandra Katunarić, Gračanske Dužice 21, 10000 Zagreb tel. 099/61-61-004 Lektor engleskog jezika: prof. engleskog i francuskog jezika, Sanda Katalenić Cvjetno naselje 18, 10410 Velika Gorica tel. 098/93-64-469 Rad sadrži: 177 stranica 83 slika 15 tablica 1 CD Rad je napravljen u sklopu znanstveno-istraživačkog projekta, "Istraživanje keramičkih materijala i alergija u stomatološkoj protetici" (065-0650446-0435) financiranim od Ministarstva znanosti, obrazovanja i sporta Republike Hrvatske, voditeljice prof. dr. sc. Ketij Mehulić te u sklopu sveučilišne potpore 2014. godine “Istraživanje novih keramičkih materijala i tehnologija izrade u stomatološkoj protetici” financirane od Sveučilišta u Zagrebu, voditeljice prof. dr. sc. Ketij Mehulić. Ono što čujem, zaboravim. Ono što vidim, zapamtim. Ono što sâm napravim, razumijem. Konfucije Uspješan završetak ove disertacije ne bi bio moguć bez pomoći i podrške velikog broja ljudi i institucija. Najljepše i iskreno se zahvaljujem mojoj mentorici prof. dr. sc. Ketij Mehulić na strpljivosti i vremenu te velikoj podršci i sugestijama od odabira teme do završne izrade rada.
    [Show full text]
  • Copyrighted Material
    Index Note to the Reader: Throughout this index boldfaced page numbers indicate primary discussions of a topic. Italicized page numbers indicate illustrations. A Aspect Ratio Calculator app, 236 hard drives, 268 ATSC standard, 8 methods, 273–274 AC adapters, 57, 101, 101 audio, 195 ball-head tripods, 137 AC-3 audio, 332 accessories, 209 balloon lights, 193, 193 action movie look, 346 ADR, 291–295, 291–294 banding actors buy vs. rent decisions, 56 description, 251–252, 252, 313, 313 checking, 265 checking, 265 removing, 360–361 eye lines, 109–110 clipping, 198, 214–215 barn doors, 185, 185 looking directly into camera, 110 dialogue, 210 barrel distortion, 70, 114 adapters equipment, 197 barrel size of lenses, 120, 120 AC, 57, 101, 101 headphones, 203 Bartech follow focus, 49, 50, 120 audio, 202–203, 203 lack of, 255 bass roll-off, 210 lenses, 28, 30–31, 31, 56, 245 levels, 213–215, 213–214 batteries additive color system, 299, 299 microphones, 43–45, 43–44, charging, 238 Adobe Encore program, 333 204–209, 205–209 emergency kits, 234 Adobe Flash format, 334 mixers, 42, 42 grips, 100 Adobe Premiere Pro, 276, 280 out-of-sync, 289–291 managing, 100–101, 101 AdobeRGB color space, 39 peaks, 199 microphones, 44 ADR (automated dialogue replacement), professionals, 196 plates, 57 291–295, 291–294 recorders, 42, 42 selecting, 53 Advanced Video Upload feature, recording. See recording sound BeachTek audio adapters, 203, 203 334–336, 336 reference audio, 201–202, 202 bellows, 35 aerial rigs, 152–153, 152 role, 195–196 bins for footage, 282–283, 282
    [Show full text]
  • Prophoto RGB
    Adobe RGB (1998) vs. ProPhoto RGB Are you getting maximum quality in your images and prints? The answer is probably not! Why? in conjunction with This is an extract from an Adobe Technical paper: At this point, we should put to bed the myth that digital cameras capture sRGB. The truth is that cameras are not limited to capturing a gamut as small as sRGB. Very often, camera sensors capture saturated colours that fall outside the gamut of even Adobe RGB (1998). For some images, if the goal is to maintain the maximum gamut, the only Color Space that can do so is ProPhoto RGB. This gamut map of the various Color Spaces shows that there are colours that can be printed on an Epson 4800 that fall outside both sRGB and even Adobe RGB (1998). ProPhoto RGB can contain all colours that a digital camera can capture–even highly saturated colours. Cameras don’t capture and printers don’t print in sRGB Color Space. End of extract. Adobe RGB (1998) vs. ProPhoto RGB Many people are familiar with Adobe Photoshop and for many years the main advice has been to process your RAW images using the Adobe RGB (1998) Color Space in Adobe Camera Raw, then set the RGB working space in Adobe Photoshop to Adobe RGB (1998). To set the RGB working space in Adobe Photoshop. Select Edit / Color Settings in Photoshop to bring up the Color Settings dialogue box. In the working Space section, you will see in this instance that Adobe RGB (1998) is already selected as the current working space Adobe RGB (1998) vs.
    [Show full text]
  • Research Online
    University of Wollongong Research Online Faculty of Science, Medicine and Health - Papers Faculty of Science, Medicine and Health 2015 Technical considerations and methodology for creating high-resolution, color-corrected, and georectified photomosaics of stratigraphic sections at archaeological sites Erich C. Fisher Arizona State University Derya Akkaynak Massachusetts nI stitute of Technology Jacob Harris Arizona State University Andy I.R Herries La Trobe University Zenobia Jacobs University of Wollongong, [email protected] See next page for additional authors Publication Details Fisher, E. C., Akkaynak, D., Harris, J., Herries, A. I.R., Jacobs, Z., Karkanas, P., Marean, C. W. & Mcgrath, J. R. (2015). Technical considerations and methodology for creating high-resolution, color-corrected, and georectified photomosaics of stratigraphic sections at archaeological sites. Journal of Archaeological Science, 57 380-394. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Technical considerations and methodology for creating high-resolution, color-corrected, and georectified photomosaics of stratigraphic sections at archaeological sites Abstract Using a conventional, off-the-shelf digital single lens reflex camera and flashes, we were able to create high- resolution panoramas of stratigraphic profiles ranging from a single meter to over 5 m in both height and width at the Middle Stone Age site of PP5-6 at Pinnacle Point, Mossel Bay, South Africa. The final photomosaics are isoluminant, rectilinear, and have a pixel spatial resolution of 1 mm. Furthermore, we systematically color-corrected the raw imagery. This process standardized the colors seen across the photomosaics while also creating reproducible and meaningful colors for relative colorimetric analysis between photomosiacs.
    [Show full text]
  • Digital Printing: Inkjet Pigment Prints Vs
    A Guide to Digital Printing: Inkjet Pigment Prints vs. Digital C-Prints “The negative is the equivalent of the composer’s score, and the print the performance.” – Ansel Adams Introduction In order to secure a place in history, top photographers understand their vision must live on in print. To produce a beautiful lasting work of art, the print must exhibit certain qualities, remaining faithful to the subject matter and emotion present at the time of capture. Color fidelity and gamut, as well as archival media and fade resistant inks, are each critical components of an enduring print. The modern era of digital printing has ushered in an explosion of commercial photo labs and print studios, each battling for your printing dollars, promising the highest quality, most archival prints, along with top notch service and support. Researching whether these claims are true is one of the most frustrating and time-consuming experiences a photographer must endure. From inexpensive chemical dye prints, metal and wood prints, to inkjet pigment prints, the industry has rapidly mushroomed. There are the ‘we print it all on everything’ giant commercial labs, smaller boutique fine art print studios focused solely on pigment printing, to everything in between. It seems each week another print business opens, offering a cornucopia of products. With the gargantuan array of print companies on the market today, even experienced photographers have difficulty deciding on the right one for the job. The choices can simply be overwhelming. Quality and technical support ranges from superb to downright substandard. Sorting the wheat from the chaff is difficult.
    [Show full text]