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E-grāmata: Illumination, Colour and Imaging - Evaluation and Optimization of Visual Displays: Evaluation and Optimization of Visual Displays [Wiley Online]

(Technical University Darmstadt, Germany), (Technical University Darmstadt, Germany)
  • Formāts: 395 pages
  • Sērija : Wiley Series in Display Technology
  • Izdošanas datums: 19-Sep-2012
  • Izdevniecība: Blackwell Verlag GmbH
  • ISBN-10: 3527650725
  • ISBN-13: 9783527650729
Citas grāmatas par šo tēmu:
  • Wiley Online
  • Cena: 147,68 €*
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Illumination, Colour and Imaging - Evaluation and Optimization of Visual Displays: Evaluation and Optimization of Visual DisplaysPalielināt
  • Formāts: 395 pages
  • Sērija : Wiley Series in Display Technology
  • Izdošanas datums: 19-Sep-2012
  • Izdevniecība: Blackwell Verlag GmbH
  • ISBN-10: 3527650725
  • ISBN-13: 9783527650729
Citas grāmatas par šo tēmu:
Wiley Online E-booksMore info about Wiley Online
Rokasgrāmatas mājas lapa: https://onlinelibrary.wiley.com/doi/book/10.1002/9783527650729
This much needed, comprehensive and modern reference on display technology, illumination sources and color imaging focuses on visual effects and how reproduced images are best matched to human visual features.
As such, it teaches readers how to exploit the knowledge of human color information processing to design usable, ergonomic, and pleasing displays or visual environments. The contents describe design principles and methods to optimize self-luminous visual technologies for the human user, including modern still and motion image displays, and indoor light sources. Design principles and methods are derived from the knowledge of the human visual system, with a special emphasis on color vision, color cognition, color harmony, color preference and visually evoked emotions. The expert authors include the most important and latest applications of the design principles and methods, forming a comprehensive view of human color information processing from the receptors through the retina via high-level visual perception right up to the level of cognition, preference, harmony, as well as visually evoked emotions.
This book is included in the Wiley SID Series.
Series Editor's Foreword xiii
Preface xv
About the Authors xxi
1 Color Vision and Self-Luminous Visual Technologies
1(24)
1.1 Color Vision Features and the Optimization of Modern Self-Luminous Visual Technologies
2(16)
1.1.1 From Photoreceptor Structure to Colorimetry
2(4)
1.1.2 Spatial and Temporal Contrast Sensitivity
6(6)
1.1.3 Color Appearance Perception
12(3)
1.1.4 Color Difference Perception
15(2)
1.1.5 Cognitive, Preferred, Harmonic, and Emotional Color
17(1)
1.1.6 Interindividual Variability of Color Vision
18(1)
1.2 Color Vision-Related Technological Features of Modern Self-Luminous (Nonprinting) Visual Technologies
18(2)
1.3 Perceptual, Cognitive, and Emotional Features of the Visual System and the Corresponding Technological Challenge
20(5)
References
23(2)
2 Colorimetric and Color Appearance-Based Characterization of Displays
25(72)
2.1 Characterization Models and Visual Artifacts in General
25(26)
2.1.1 Tone Curve Models and Phosphor Matrices
26(1)
2.1.2 Measured Color Characteristics, sRGB, and Other Characterization Models
27(8)
2.1.3 Additivity and Independence of the Color Channels
35(1)
2.1.4 Multidimensional Phosphor Matrices and Other Methods
35(4)
2.1.5 Spatial Uniformity and Spatial Independence
39(6)
2.1.6 Viewing Direction Uniformity
45(1)
2.1.7 Other Visual Artifacts
46(2)
2.1.8 The Viewing Environment: Viewing Conditions and Modes
48(1)
2.1.9 Application of CIELAB, CIELUV, and CIECAM02 to Self-Luminous Displays
49(2)
2.2 Characterization Models and Visual Artifacts of the Different Display Technologies
51(21)
2.2.1 Modern Applications of the Different Display Technologies
52(1)
2.2.2 Special Characterization Models of the Different Displays
53(1)
2.2.2.1 CRT
53(2)
22.2.2 PDP
55(5)
2.2.2.3 Various LCD Technologies and Their Viewing Direction Uniformity
60(7)
2.2.2.4 Head-Mounted Displays and Head-Up Displays
67(1)
2.2.2.5 Projectors Including DMD and LCD
68(3)
2.2.2.6 OLEDs
71(1)
2.3 Display Light Source Technologies
72(9)
2.3.1 Projector Light Sources
73(2)
2.3.2 Backlight Sources
75(4)
2.3.3 Color Filters, Local Dimming, and High Dynamic Range Imaging
79(2)
2.4 Color Appearance of Large Viewing Angle Displays
81(16)
2.4.1 Color Appearance Differences between Small and Large Color Stimuli
81(1)
2.4.1.1 Color Appearance of an Immersive Color Stimulus on a PDP
82(5)
2.4.1.2 Xiao et al.'s Experiment on the Appearance of a Self-Luminous 50 Color Stimulus on an LCD
87(1)
2.4.2 Mathematical Modeling of the Color Size Effect
87(4)
References
91(6)
3 Ergonomic, Memory-Based, and Preference-Based Enhancement of Color Displays
97(64)
3.1 Ergonomic Guidelines for Displays
97(8)
3.2 Objectives of Color Image Reproduction
105(2)
3.3 Ergonomic Design of Color Displays: Optimal Use of Chromaticity Contrast
107(27)
3.3.1 Principles of Ergonomic Color Design
107(1)
3.3.2 Legibility, Conspicuity, and Visual Search
108(3)
3.3.3 Chromaticity Contrast for Optimal Search Performance
111(12)
3.3.4 Chromaticity and Luminance Contrast Preference
123(11)
3.4 Long-Term Memory Colors, Intercultural Differences, and Their Use to Evaluate and Improve Color Image Quality
134(8)
3.4.1 Long-Term Memory Colors for Familiar Objects
135(4)
3.4.2 Intercultural Differences of Long-Term Memory Colors
139(2)
3.4.3 Increasing Color Quality by Memory Colors
141(1)
3.5 Color Image Preference for White Point, Local Contrast, Global Contrast, Hue, and Chroma
142(9)
3.5.1 Apparatus and Method to Obtain a Color Image Preference Data Set
143(1)
3.5.2 Image Transforms of Color Image Preference
144(1)
3.5.3 Preferred White Point
144(3)
3.5.4 Preferred Local Contrast
147(1)
3.5.5 Preferred Global Contrast
147(3)
3.5.6 Preferred Hue and Chroma
150(1)
3.6 Age-Dependent Method for Preference-Based Color Image Enhancement with Color Image Descriptors
151(10)
References
156(5)
4 Color Management and Image Quality Improvement for Cinema Film and TV Production
161(76)
4.1 Workflow in Cinema Film and TV Production Today - Components and Systems
161(5)
4.1.1 Workflow
161(3)
4.1.2 Structure of Color Management in Today's Cinema and TV Technology
164(1)
4.1.3 Color Management Solutions
165(1)
4.2 Components of the Cinema Production Chain
166(25)
4.2.1 Camera Technology in Overview
166(8)
4.2.2 Postproduction Systems
174(2)
4.2.3 CIELAB and CIEDE 2000 Color Difference Formulas Under the Viewing Conditions of TV and Cinema Production
176(2)
4.2.3.1 Procedure of the Visual Experiment
178(3)
4.2.3.2 Experimental Results
181(3)
4.2.4 Applications of the CIECAM02 Color Appearance Model in the Digital Image Processing System for Motion Picture Films
184(7)
4.3 Color Gamut Differences
191(4)
4.4 Exploiting the Spatial-Temporal Characteristics of Color Vision for Digital TV, Cinema, and Camera Development
195(28)
4.4.1 Spatial and Temporal Characteristics in TV and Cinema Production
195(4)
4.4.2 Optimization of the Resolution of Digital Motion Picture Cameras
199(6)
4.4.3 Perceptual and Image Quality Aspects of Compressed Motion Pictures
205(1)
4.4.3.1 Necessity of Motion Picture Compression
205(1)
4.4.3.2 Methods of Image Quality Evaluation
205(2)
4.4.3.3 The Image Quality Experiment
207(7)
4.4.4 Perception-Oriented Development of Watermarking Algorithms for the Protection of Digital Motion Picture Films
214(1)
4.4.4.1 Motivation and Aims of Watermarking Development
214(2)
4.4.4.2 Requirements for Watermarking Technology
216(1)
4.4.4.3 Experiment to Test Watermark Implementations
217(6)
4.5 Optimum Spectral Power Distributions for Cinematographic Light Sources and Their Color Rendering Properties
223(6)
4.6 Visually Evoked Emotions in Color Motion Pictures
229(8)
4.6.1 Technical Parameters, Psychological Factors, and Visually Evoked Emotions
229(2)
4.6.2 Emotional Clusters: Modeling Emotional Strength
231(2)
References
233(4)
5 Pixel Architectures for Displays of Three- and Multi-Color Primaries
237(36)
5.1 Optimization Principles for Three- and Multi-Primary Color Displays to Obtain a Large Color Gamut
238(12)
5.1.1 Target Color Sets
240(4)
5.1.2 Factors of Optimization
244(1)
5.1.2.1 Color Gamut Volume
244(1)
5.1.2.2 Quantization Efficiency
244(1)
5.1.2.3 Number of Color Primaries
245(1)
5.1.2.4 White Point
245(1)
5.1.2.5 Technological Constraints
246(1)
5.1.2.6 P/W Ratio
247(2)
5.1.2.7 Roundness
249(1)
5.1.2.8 RGB Tone Scales and Display Black Point
250(1)
5.2 Large-Gamut Primary Colors and Their Gamut in Color Appearance Space
250(7)
5.2.1 Optimum Color Primaries
251(1)
5.2.2 Optimum Color Gamuts in Color Appearance Space
252(5)
5.3 Optimization Principles of Subpixel Architectures for Multi-Primary Color Displays
257(5)
5.3.1 The Color Fringe Artifact
258(1)
5.3.2 Optimization Principles
259(1)
5.3.2.1 Minimum Color Fringe Artifact
259(1)
5.3.2.2 Modulation Transfer Function
260(1)
5.3.2.3 Isotropy
260(1)
5.3.2.4 Luminance Resolution
261(1)
5.3.2.5 High Aperture Ratio
261(1)
5.4 Three- and Multi-Primary Subpixel Architectures and Color Image Rendering Methods
262(11)
5.4.1 Three-Primary Architectures
262(2)
5.4.2 Multi-Primary Architectures
264(4)
5.4.3 Color Image Rendering Methods
268(2)
Acknowledgment
270(1)
References
271(2)
6 Improving the Color Quality of Indoor Light Sources
273(56)
6.1 Introduction to Color Rendering and Color Quality
273(3)
6.2 Optimization for Indoor Light Sources to Provide a Visual Environment of High Color Rendering
276(10)
6.2.1 Visual Color Fidelity Experiments
276(6)
6.2.2 Color Rendering Prediction Methods
282(1)
6.2.2.1 Deficits of the Current Color Rendering Index
282(3)
6.2.2.2 Proposals to Redefine the Color Rendering Index
285(1)
6.3 Optimization of Indoor Light Sources to Provide Color Harmony in the Visual Environment
286(7)
6.3.1 Visual Color Harmony Experiments
287(1)
6.3.2 Szab el al.'s Mathematical Model to Predict Color Harmony
287(2)
6.3.3 A Computational Method to Predict Color Harmony Rendering
289(4)
6.4 Principal Components of Light Source Color Quality
293(11)
6.4.1 Factors Influencing Color Quality
293(3)
6.4.2 Experimental Method to Assess the Properties of Color Quality
296(6)
6.4.3 Modeling Color Quality; Four-Factor Model
302(1)
6.4.4 Principal Components of Color Quality for Three Indoor Light Sources
303(1)
6.5 Assessment of Complex Indoor Scenes Under Different Light Sources
304(14)
6.5.1 Psychological Relationship between Color Difference Scales and Color Rendering Scales
305(6)
6.5.2 Brightness in Complex Indoor Scenes in Association with Color Gamut, Rendering, and Harmony: A Computational Example
311(5)
6.5.3 Whiteness Perception and Light Source Chromaticity
316(2)
6.6 Effect of Interobserver Variability of Color Vision on the Color Quality of Light Sources
318(11)
6.6.1 Variations of Color Vision Mechanisms
319(1)
6.6.2 Effect of Variability on Color Quality
320(1)
6.6.2.1 Variability of the Visual Ratings of Color Quality
321(1)
6.6.2.2 Variability of Perceived Color Differences and the Color Rendering Index
321(1)
6.6.2.3 Variability of Similarity Ratings
322(2)
6.6.3 Relevance of Variability for Light Source Design
324(1)
Acknowledgments
324(1)
References
324(5)
7 Emerging Visual Technologies
329(34)
7.1 Emerging Display Technologies
329(10)
7.1.1 Flexible Displays
329(1)
7.1.2 Laser and LED Displays
330(4)
7.1.3 Color Gamut Extension for Multi-Primary Displays
334(5)
7.2 Emerging Technologies for Indoor Light Sources
339(18)
7.2.1 Tunable LED Lamps for Accent Lighting
339(2)
7.2.2 Optimization for Brightness and Circadian Rhythm
341(6)
7.2.3 Accentuation of Different Aspects of Color Quality
347(1)
7.2.4 Using New Phosphor Blends
348(6)
7.2.5 Implications of Color Constancy for Light Source Design
354(3)
7.3 Summary and Outlook
357(6)
Acknowledgments
360(1)
References
360(3)
Index 363
Dr. Peter Bodrogi is a senior research fellow at the Laboratory of Lighting Technology of the Technische Universität Darmstadt in Darmstadt, Germany. He graduated in Physics from the Lorįnd Eötvös University of Budapest, Hungary. He obtained his PhD degree in Information Technology from the University of Pannonia in Hungary. He has co-authored numerous scientific publications and invented patents about colour vision and self-luminant display technology. He has received several scientific awards including a Research Fellowship of the Alexander von Humboldt Foundation, Germany, and the Walsh-Weston Award, Great Britain. He has been member of several Technical Committees of the International Commission of Illumination (CIE).

Prof. Tran Quoc Khanh is University Professor and Head of the Laboratory of Lighting Technology at the Technische Universität Darmstadt in Darmstadt, Germany. He graduated in Optical Technologies, obtained his PhD degree in Lighting Engineering, and his degree of lecture qualification (habilitation) for his thesis in Colorimetry and Colour Image Processing from the Technische Universität Ilmenau, Germany. He has gathered industrial experience as a project manager by ARRI CineTechnik in München, Germany. He has been the organizer of the well-known series of international symposia for automotive lighting (ISAL) in Darmstadt, Germany, and is a member of several Technical Committees of the International Commission of Illumination (CIE).
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