DOCSLIB.ORG

Color and False-Color Films for Aerial Photography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Color and False-Color Films for Aerial Photography Color and False-Color Films for Aerial Photography RATFE G. TARKINGTON and ALLAN L. SOREM Research Laboratories, Eastman Kodak Company Rochester, N. Y. ABSTRACT: Color reproduction by the photographic process using three primary colors is discussed, and the 11se of these photographic and optical principles for false-color reproduction is explained. The characteristics of two new aerial films-Kodak Ektachrome Aero Film (Process E-3) and a false-color type, Kodak Ektachrome Infrared Aero Film (Process E-3)-are compared with those of the older products they replace. The new films have higher speed, im­ proved definition, and less granularity. OPULAR processes of color photography are KODAK EKTACHROME AERO FILM (PROCESS E-3) P based upon the facts that (1) the colors perceived by the human eye can be produced BLUE SENSITIVE YELLOW POSITIVE IMAGE by mixtures of only three suitably chosen =====::::==l=====~=~=~~[M~ colors called primaries; (2) photographic GREEN SENSITIVE MAGENTA POSITIVE IMAGE emulsions can be made to respond selectively REO SENSITIVE CYAN POSITIVE IMAGE to each of these three colors; and (3) chemical reactions exist which can produce three in­ dividual colorants, each capable of absorbing FIG. 1. Schematic representation of a essentially only one of the chosen primary multilayer color film. colors. Although theory imposes no single unique set of three primary colors, in prac­ in a scene, but the results obtained with tice the colors chosen are those produced by modern color photographic materials are re­ light from successive thirds of the visible markably realistic representations of the spectrum: red, green, and blue. When these original scene. While a good representation choices have been made for the primary of the original scene is completely satisfactory colors, the colorants, each of which will absorb for practically all applications, an aerial color only one of these primaries, are uniquely photograph of the ground taken from a high specified, and are cyan which absorbs red, altitude without any modification in its char­ magenta which absorbs green, and yellow acteristics would be unsuitable for most pur­ which absorbs blue. These latter colors are poses. referred to as the complementary colors or as The difficulty in obtaining satisfactory the su btractive primaries.l aerial photographs is due to atmospheric A color photographic material based on the haze which drastically lowers the luminance use of these pri maries consists of three sensi­ ratios of grou nd detail? In color photography, tive layers coated on a support, each layer in addition to lowering of the contrast in the sensitized to a different primary color and image as in a black-and-white photograph, capable of producing the appropriate com­ the color saturation is also markedly reduced. plementary color in situ (Figure 1). In addi­ I t has been established that photographic tion, the amount of colorant produced in any materials having a higher gradient character­ area is related to the amoun t of silver de­ istic curve will restore some of the loss in con­ veloped; this is, in turn, related to the in­ trast and, in addition, with color materials color saturation is increased. Therefore tensity of light in this area of the original Con~ scene. Thus each layer is a separate record of Kodak Ektachrome Aero Film (High the brightnesses of a single primary color and, trast),* which Eastman Kodak Company with the three layers of the film superimposed, supplied to the Allied Armed Forces during the colors and brightnesses of the original World War II,3 had a characteristic curve scene are reproduced within the limits im­ gradient about 100 per cent higher than that posed by the process. of comparable pictorial materials. No process of color photography is avail­ * Known as Kodacolor Aero Reversal Film able which can accurately reproduce all colors when it was first introduced in 1942. 88 OLD PRODUCTS KODAK EKTACHROME AERO FILM KODAK EKTACHROME AERO FILM (High Contrast) (Camouflage Detection) Exposure 1/500 sec. at]/4.5 Exposure 1/500 sec. at]/3.5 NEW PRODUCTS KODAK EKTACHROME AERO FILM KODAK EKTACHROME INFRARED AERO FILM (Process E- 3) (Process E-3) Exposure 1/500 sec. a(j/8.0 Exposure 1/500 sec. a(j/5.6 Figure 8 - Comparison of photographs on old and new Kodak color aerial films, taken from 8,000 feet altitude on days of average haze. COLOR AND FALSE-COLOR FILMS 93 KODAK EKTACHROME INFRARED AERO FILM particular objects which are visually quite (PROCESS E-3) similar. These principles of false-color sys­ tems were used during World \Var II, and INFRARED SENSITIVE CYAN POSITIVE IMAGE Kodak Ektachrome Aero Film (Camouflage GREEN SENSITIVE YELLOW POSITIVE IMAGE Detection)* which, beginning in 1942, was supplied by the Eastman Kodak Company to RED SENSITIVE MAGENTA POSITIVE IMAGE the Allied Armed Forces5 ; this film empha­ sized the difference in infrared reflection be­ tlyeen green vegetation and most visually si m­ FIG. 2. Schematic represen ta tion of the structure ilar green paints. The structure of this film (Process E-3). material, showing the sensitivities and the colors developed in the different layers, is Under some conditions the degree of atten­ shown in Figure 2. The material was always uation is dependent upon \\"ave-Iength; for a used wi th a yellow fil ter over the camera lens "pure" atmosphere, according to Rayleigh, \\"hich absorbed blue light to \\"hich all photo­ the scattering is inversely proportional to the graphic emulsions are sensitive. The chloro­ fourth power of the wave-length. This means phyll of green vegetation, which reflects that blue light is scattered more than green strongly in the infrared region of the spec­ light which, in turn, is scattered more than trum, would appear red in the photographs, red light. It appears, therefore, that a color \\"hereas other objects visually si milar to film should have a higher gradient in the blue­ vegetation would be rendered as dull blue. sensitive layer than in the green-sensitive Any spectral differences that exist in the layer which, in turn, should be higher than photographic sensitivity range can be simi­ that in the red-sensitive layer. In fact, a larly differentiated and emphasized by a limited investigation of this effect during suitable choice of emulsion sensitivities, filter V,Torld \Var II indicated that thet"e was some absorptions, and developed dye in the layers. wave-length-dependence, but the effect is For this application of the techniques of false­ extemely small except where the atmosphere color photography, only two different layers is almost completely devoid of all aerosols. and colorants are needed for differentiation This later condition so seldom exists that for * Then known as KodacoJor Aero Film, Camou­ most practical aerial photographic condi tions, Aage Detection. the contrast-degrading effect of the atmos­ pheric haze can be reduced by simply increas­ 100,---,--.---,--.---,----,.---, ing the gradient of all three sensitive layers. 80 The principles just discussed apply only when a color photograph is desired which represen ts a scene as it appears visually or as it would appear if certain unwanted dis­ turbing elements could be minimized. It is to be emphasized that while the colors in the scene can be approximated by photography based on these principles, a colorimetric match does not imply a spectral match.4 .,'" ~ 4.0 Therefore, the recording of three separate .~ regions of the visible spectrum and the choice $ of dyes are uniquely interrelated only when e 2.0 ~ a natural-appearing color picture is desired. c. Technically, any portions of the spectru m (J) to which photographic materials are sensitive (within or outside the visible spectrum) can be recorded, and the colorant developed by .4 this record can be any that are available, without regard to the spectral region initially .2 chosen. Such processes have been proposed for specialized purposes and are known as false-color systems. In aerial photography, particularly for in­ terpretation purposes, spectral regions can FIG. 3. Sensitivity curves for Kodak Ektachrome be chosen to emphasize differences between Aero Film (Process E-3). 94 PHOTOGRAMMETRIC ENGINEERING between the two spectral regions of interest. However, two-color systems cannot produce as wide a gamut of colors, or approximate the appearance of colors, as well as can be pro­ duced by a three-color system; also if neutrals KODAK EKTACHROME must be reproduced from neutrals in the orig­ --AERO FILM inal scene, the colors produced in the two­ (HIGH CONTRAST) color system will be still less satisfactory. In the experimental work conducted by the Eastman Kodak Company which led to the ~ "5 2.0 Q) manufacture of this material, two-color films c: were actually produced and tested; but from c: Q) a side-by-side comparison between photo­ "0 > ·3 graphs taken by the two-color and the three­ 0­ w color types of film, the military and scientific people concerned chose the three-color ma­ 1.0 terial. In a similar manner, any two (or more) different portions of the spectrum, whether in the visual, ultraviolet, or infrared regions, can be selected to emphasize any spectral ! I differences occurring in objects of interest. In 2.0 To 0.0 general, each different portion of the spectrum Log exposure (mcs) used will require a particular combination of FIG. 5. Typical sensitometric curves for Kodak filter absorptions and emulsion sensitivities if Ektachrome Aero Film (Process E-3) and for the the false-color technique is to be employed. older product. Special multiple emulsion-coated materials, as was the case with the "Camouflage Detec­ "Camou flage Detection" material; or the tion" type of film, are not required, of course, same original picture can be used by additive because readily available conventional ma­ projectio~ techniques to produce approxi- terials can be used with suitable techniques to produce the same visual end result.
Load more

Recommended publications
  • Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once.
    [Show full text]
  • Jupiter Litho
    What Is a False-Color Composite? When most of us think of light, we naturally think about the light we can see with our eyes. But did you know that visible light is only a tiny fraction of the electromagnetic spectrum? You see, the human eye is only sensitive to certain wavelengths of light, and there are many other wavelengths, including radio waves, infrared light, ultraviolet light, x-rays, and gamma rays. When astronomers observe the cosmos, some objects are better observed at wavelengths that we cannot see. In order to help us visualize what we're looking at, sometimes scientists and artists will create a false-color image. Basically, the wavelengths of light that our eyes can't see are represented by a color (or a shade of grey) that we can see. Even though these false-color images do not show us what the object we're observing would actually look like, it can still provide us with a great deal of insight about the object. A composite is an image which combines different wavelengths into the same image. Since a composite isn't what an object really looks like, the same object can be represented countless different ways to emphasize different features. On the reverse are nine images of the planet Jupiter. The first image is a visible-light image, and shows the planet as it might look to our eyes. This image is followed by two false-color images, one showing the planet in the ultraviolet spectrum, and one showing it in the infrared spectrum. The six composites that follow are all made from the first three images, and you can see how different the planet can look! Definitions composite – An image that combines several different wavelengths of light that humans cannot see into one picture.
    [Show full text]
  • False Color Photography Effect Using Hoya UV\&Amp
    MATEC Web of Conferences 197, 15008 (2018) https://doi.org/10.1051/matecconf/201819715008 AASEC 2018 False Color Photography Effect using Hoya UV&IR Cut Filters Feature White Balance Setya Chendra Wibawa1,6*, Asep Bayu Dani Nandyanto2, Dodik Arwin Dermawan3, Alim Sumarno4, Naim Rochmawati5, Dewa Gede Hendra Divayana6, and Amadeus Bonaventura6 1Universitas Negeri Surabaya, Educational in Information Technology, Informatics Engineering, 20231, Indonesia, 2Universitas Pendidikan Indonesia, Chemistry Department, Bandung, 40154, Indonesia, 3Universitas Negeri Surabaya, Informatics Engineering, 60231, Indonesia, 4Universitas Negeri Surabaya, Educational Technology, 60231, Indonesia, 5Universitas Negeri Surabaya, Informatics Engineering, 60231, Indonesia, 6Universitas Pendidikan Ganesha, Educational in Information Technology, Informatics Engineering, 81116, Indonesia Abstract. The research inspired by modification DSLR camera become False Color Photography effect. False Color Photography is a technique to give results like near-infrared. Infrared photography engages capturing invisible light to produces a striking image. The objective of this research to know the effect by change a digital single-lens reflex (D-SLR) camera to be false color. The assumption adds a filter and make minor adjustments or can modify the camera permanently by removing the hot mirror. This experiment confirms change usual hot mirror to Hoya UV&IR Cut Filter in front of sensor CMOS. The result is false color effect using feature Auto White Balance such as the color of object photography change into reddish, purplish, old effect, in a pint of fact the skin of model object seems to be smoother according to White Balance level. The implication this study to get more various effect in photography. 1 Introduction The camera sensor is, in essence, monochromatic.
    [Show full text]
  • Study of X-Ray Image Via Pseudo Coloring Algorithm
    Sharma Komal et al.; International Journal of Advance Research, Ideas and Innovations in Technology ISSN: 2454-132X Impact factor: 4.295 (Volume 5, Issue 1) Available online at: www.ijariit.com Study of X-ray image via pseudo coloring algorithm Komal Sharma Karamvir Singh Rajpal Ravi Kant [email protected] [email protected] [email protected] Rayat Bahra University, Neonex Technology, Rayat Bahra University, Mohali, Punjab Mohali, Punjab Mohali, Punjab ABSTRACT The objective of this paper is to comprehensively study the concept of pseudo colouring techniques with Repetitive Line Tracking Method Keywords— False coloring, MATLAB, Ferro magnetic, Medical images 1. INTRODUCTION Fig. 2: X-Ray Image of hand before repetitive line tracking Medical imagining refers to techniques and processing used to method is applied create images of unanimous parts of the body. It is not always easy to analyze and interpret X-Ray images. The human eye can distinguish only a limited number of gray scale values but can distinguish thousands of color. So it is clear that the human eye can extract more amount of information from the colored image than that of a gray image. So pseudo coloring is very useful in improving the visibility of an image. As we know that in X-Ray images can only perceive gray shades. In detecting edges of dark hues like Violet, Indigo, Blue and Green [2]. Organs and tissues within the body contain magnetic properties. MRI involves radio waves and magnetic field (instead of X-rays) and on another side, a computer is used to Fig. 3: X-Ray Image of hand after repetitive line tracking manipulate the magnetic elements and generate highly detailed method is applied images of organs in the body.
    [Show full text]
  • Film Grain, Resolution and Fundamental Film Particles
    FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver
    [Show full text]
  • Computational RYB Color Model and Its Applications
    IIEEJ Transactions on Image Electronics and Visual Computing Vol.5 No.2 （2017） -- Special Issue on Application-Based Image Processing Technologies -- Computational RYB Color Model and its Applications Junichi SUGITA† (Member), Tokiichiro TAKAHASHI†† (Member) †Tokyo Healthcare University, ††Tokyo Denki University/UEI Research <Summary> The red-yellow-blue (RYB) color model is a subtractive model based on pigment color mixing and is widely used in art education. In the RYB color model, red, yellow, and blue are defined as the primary colors. In this study, we apply this model to computers by formulating a conversion between the red-green-blue (RGB) and RYB color spaces. In addition, we present a class of compositing methods in the RYB color space. Moreover, we prescribe the appropriate uses of these compo- siting methods in different situations. By using RYB color compositing, paint-like compositing can be easily achieved. We also verified the effectiveness of our proposed method by using several experiments and demonstrated its application on the basis of RYB color compositing. Keywords: RYB, RGB, CMY(K), color model, color space, color compositing man perception system and computer displays, most com- 1. Introduction puter applications use the red-green-blue (RGB) color mod- Most people have had the experience of creating an arbi- el3); however, this model is not comprehensible for many trary color by mixing different color pigments on a palette or people who not trained in the RGB color model because of a canvas. The red-yellow-blue (RYB) color model proposed its use of additive color mixing. As shown in Fig.
    [Show full text]
  • Download the Technical Data for Kodak Professional
    TECHNICAL DATA / COLOR TRANSPARENCY FILM May 2004 • E-2529 KODAK PROFESSIONAL EKTACHROME Duplicating SIZES AVAILABLE Film EDUPE is a low-contrast color reversal duplicating Sizes and catalog numbers may differ from country to film designed for making high-quality duplicates from country. See your dealer who supplies KODAK originals on KODAK EKTACHROME or KODACHROME PROFESSIONAL Products. Films. It features excellent color reproduction, extremely fine grain, and very high sharpness. Rolls Code / Acetate CAT No. Although its primary application is producing duplicate Spec No. Base slides, you can also use this film for making copy slides of 135-36 EDUPE 134 2641 high-contrast color reflection prints. EDUPE/ 35 mm x 100 ft 195 2837 SP663 FEATURES BENEFITS EDUPE/ 35 mm x 400 ft 114 7461 • Optimized spectral • Versatile performance SP663 sensitivity and tone scale • Exceptional tone and color EDUPE/ 35 mm x 1000 ft 197 5358 reproduction from a variety SP663 of original film types 5-mil EDUPE/ (0.13 mm) • Extended tone scale • Increased highlight and 46 mm x 100 ft 122 1985 latitude shadow detail SP446 EDUPE/ • Faithful reproduction of 61.5 mm x 100 ft 102 3035 original tone scale SP816 • Richer blacks EDUPE / 70 mm x 100 ft* 813 7523 • Cleaner whites SP481* • Finest grain available in a • Outstanding reproduction of 120 EDUPE 139 5268 color reversal duplicating detailed images—even with film enlargement *Perforated on both edges. • The perfect match for today’s finer-grained films Film Code Acetate • Excellent latent-image • No color or contrast shifts Sheets Size CAT No. keeping within a roll, or from the start Base to the end of the day 10 802 4531 • Superb reciprocity • No tone scale compromise 4 x 5 in.
    [Show full text]
  • Switchable Primaries Using Shiftable Layers of Color Filter Arrays
    Switchable Primaries Using Shiftable Layers of Color Filter Arrays Behzad Sajadi ∗ Kazuhiro Hiwadaz Atsuto Makix Ramesh Raskar{ Aditi Majumdery Toshiba Corporation Toshiba Research Europe Camera Culture Group University of California, Irvine Cambridge Laboratory MIT Media Lab RGB Camera Our Camera Ground Truth Our Camera CMY Camera RGB Camera 8.14 15.87 Dark Scene sRGB Image 17.57 21.49 ∆E Difference ∆E Bright Scene CMY Camera Our Camera (2.36, 9.26, 1.96) (8.12, 29.30, 4.93) (7.51, 22.78, 4.39) Figure 1: Left: The CMY mode of our camera provides a superior SNR over a RGB camera when capturing a dark scene (top) and the RGB mode provides superior SNR over CMY camera when capturing a lighted scene. To demonstrate this, each image is marked with its quantitative SNR on the top left. Right: The RGBCY mode of our camera provides better color fidelity than a RGB or CMY camera for colorful scene (top). The DE deviation in CIELAB space of each of these images from a ground truth (captured using SOC-730 hyperspectral camera) is encoded as grayscale images with error statistics (mean, maximum and standard deviation) provided at the bottom of each image. Note the close match between the image captured with our camera and the ground truth. Abstract ment of the primaries in the CFA) to provide an optimal solution. We present a camera with switchable primaries using shiftable lay- We investigate practical design options for shiftable layering of the ers of color filter arrays (CFAs). By layering a pair of CMY CFAs in CFAs.
    [Show full text]
  • INTRODUCTION to ERDAS IMAGINE Goals: 1. Display a Raster Image
    ERDAS 1: INTRODUCTION TO ERDAS IMAGINE Goals: 1. Display a raster image using panchromatic, normal and false color options. 2. Use the zoom tool/buttons to properly display an image and the inquire cursor to identify pixel X, Y locations and digital numbers (DN). 3. Display an image automatically scaled with DN’s stretched from 0-255, or with natural spectral variation. o Use the histogram to view spectral variability and frequency/proportion of DN’s within each class. 4. Perform a linear contrast stretch 5. Measure distances and areas within an image. 6. Create spatial and spectral profiles of an image. GETTING STARTED To begin your Imagine Session, double-click on the ERDAS Imagine / Imagine Icon or select it from the start-up menu. Erdas Imagine 2011 with a blank 2D View# 1will appear. 1. DISPLAYING AN IMAGE To open and display a raster image you can do either of the following: • From the ERDAS Application select File - Open – Raster Layer (Data will be in Vender Data; ERDAS folder; Example Data_201; lanier.img) Do not Click OK yet. Select the Raster Options tab. This is a Landsat Thematic Mapper (TM) image that has 7 wavebands of information with 512 rows and columns of raster information. In the Layers to Colors section, use the following band/color assignments: Red 4, Green 3, Blue 2. This is a False Color Composite which sends Near Infrared (NIR) Light in TM Band 4 to the Red color gun, Red Light in TM Band 3 to the Green gun, and Green Light TM Band 2 to the Blue gun.
    [Show full text]
  • False Color Suppression in Demosaiced Color Images
    FalseColorSuppressioninDemosaicedColorImages JayantaMukherje ManfredK.Lan S.K.Mitra DepartmentofComputerInstituteforHuman-DepartmentofElectrical Science&Engg.-MachineCommunication&ComputerEngg. IndianInstituteofTechnology TechnicalUniversityofMunich, UniversityofCalifornia Kharagpur,INDIA-721302D-80290,Munich,GermanySantaBarbara,93106,USA [email protected]@[email protected] ¡ ¡ Abstract ¢ In a single-chip digital color camera, a color filter array ¢ ¡ ¡ (CFA) is used to obtain sampled spectral components (red, green and blue) in an interleaved fashion. A color demo- ¢ ¢ saicing operation is then carried out to determine the miss- ing spectral components at every location. One of the prob- lems in color demosaicing is that many of the interpolated Figure1:TheBayerpattern. images are affected by colored artifacts near the edges cre- ating false colors. The problem is more severe if the edges are achromatic. In this paper we propose the use of median filtering for suppressing this phenomenon. We have con- or color demosaicing. sidered a set of existing interpolation algorithms and pre- One of the major concerns of this interpolation task is to sented their performances in interpolating mosaiced pat- keep the hardware cost as well as the computation time as terns. Next we have carried out median filtering of the small as possible. This is to make the digital color imag- chrominance components of the demosaiced images. In ing (for both still and video images) cost-effective and tech- each case, the post-processing has remarkably improved the nologically viable. Hence the methods usually employed quality of the reconstructions. The observations are verified in practice are based on low storage requirement (storing by both quantitative measures for expressing the quality of two or three rows of the captured image during scanning reconstruction as well as by visual examinations of the re- and processing) and simple computations (such as averag- constructed images.
    [Show full text]
  • Primary Color | 23
    BRAND Style GuiDe PriMary Color | 23 PRIMARY COLOR The primary color for Brandeis IBS is Brandeis IBS Blue, which is also the color of Brandeis University. Brandeis IBS Blue is BrandeiS iBS BLUE to be used as the prominent color in all communications. The PANTONE 294 C primary color is ideal for use in: CMYK 100 | 86 | 14 | 24 • Headlines • Large areas of text RGB 0 | 46 | 108 • Large background shapes HEX #002E6C Always use the designated color values for physical and digital Brandeis IBS communications. WEB HEX for use with white backgrounds #002E6C DO NOT use a tint of the primary color. Always use the primary color at 100% saturation. PANTONE color is used in physical applications whenever possible to reinforce the visual brand identity. CMYK designation is used for physical applications as an alternative to PANTONE (with the exception of any Microsoft Office documents, which use RGB). RGB values are used for any digital communications (excluding websites and e-communications), and all Microsoft Office documents (physical or digital). HEX values are used for any digital communications (excluding websites and e-communications). The value is an exact match to RGB. WEB HEX values are designated so websites and e-communica- tions can meet accessibility requirements. This compliance will ensure that people with disabilities can use Brandeis IBS online communications. For more about accessibility, visit http://www.brandeis.edu/acserv/disabilities/index.html. For examples of how the primary color should be applied across communications, please see pages 30-44. BRAND Style GuiDe SeCondary Color | 24 SeCondary Color The secondary color for Brandeis IBS is Brandeis IBS Teal, which is to be used strongly throughout Brandeis IBS com- BrandeiS iBS teal munications.
    [Show full text]
  • Kodak Movie News; Vol. 10, No. 4; Winter 1962-63
    PUBLISHED BY EASTMAN KODAK COMPANY W I N T E R 1 9 6 2- 6 3 KODAK MOVIE NEWS Q. I have a roll of KODACHROME Film in my 8mm camera that has been exposed on the first half. I've LETTERS TO lost the carton the film came in and I forgot whether I have KODACHROME or KODACHROME II Film . And I'm not sure whether it's Daylight Type or Type A. Is THE EDITOR there any way I can tell? Mr. C. B., Nashville, Tenn. Comments: I thought you might be interested in an unusual sequence I shot recently. I observed a big snapping turtle come into my yard and, knowing that she was going to dig a hole and lay her eggs, I loaded my camera and took some wonderful shots. I watched the eggs, and 3½ months later when they started to hatch, I made shots of the baby turtles coming out of the eggs and learning to walk. Later I made appropri· ate titles, and came up with what I call a creditable color movie. Mrs. B. E. C., Moorestown, N.J. A. Yes. Take a look at the end of your film. If it's Your seasonal titles are more helpful now that you KODACHROME Fi lm, you will see the legend "KOD print them sideways. At least mine were not creased. HALF EXP " punched through the film ind icating Day- Mr. L. G. P., Philadelphia, Pa. light Type, or " KOD A HALF EXP" if it's Type A. If your roll is KODACHROME II Film, th ere will be Please continue to publish seasonal titles.
    [Show full text]