File Sony oled.jpg thumb Sony XEL 1 front File Sony XEL 1.jpg thumb Sony XEL 1 side Produced and released in 2008, the Sony XEL 1 is the world s first Organic light emitting diode OLED television . It was also the world s thinnest television during its production at just 3 mm. It has a screen size of 11 with a native resolution 960x540. As the screen is too thin for I O ports and buttons, Sony has connected the screen to an irremovable base that contains these. The top of the base has the speaker, the Power, Volume, Channel, Input, and the Menu buttons, which are backlit so the symbols and abbreviations change when the XMB is accessed. The back of the panel has a DMeX service input, a 16 Volt DC input, a VHF UHF cable input, a Memory Stick slot, and two High Definition Multimedia Interface HDMI inputs. On the left side of the panel there is an Analog Digital audio output. The XEL 1 has a very high contrast ratio of 1,000,000 1, high colorfulness color saturation , large viewing angles, high screen uniformity, and low power consumption Citation needed date July 2009 . On the other hand, it has poor primary color accuracy, a quarter of the Full HD resolution 1920x1080p , no anti judder processing, a light reflective screen, a minimal number of inputs, an irremovable panel, a small screen and a MSRP of 2,499.99 USD. ref name Magazine cite news title The Future of HDTV Sony s hot new TV s have gone organic page 48 work Ur magazine publisher Rogers accessdate 2008 08 01 ref It was released in the United States, Canada, Russia, Japan, the European Union, and Australia. Specifications General Aspect ratio Aspect Ratio Aspect ratio image 16 9 standard 16 9 Screen Size 11 inches measured diagonal ly Television Type Organic LED OLED Flat panel display Flat Panel Color Black Auto Session Announcement Protocol SAP Closed captioning Closed Caption CC Yes ID 1 Detection Yes XrossMediaBar Xross Media Bar Favorite Television channel Channel Weight 11 pounds Video Contrast rati ... more details
refimprove date March 2010 Differential gain is a kind of linearity distortion which affects the color saturation in TV broadcasting . Composite color video signal Composite color video signal CCVS consists of three terms Luminance monochrome signal Auxiliary signals sync pulse and blanking video blanking level signals Chrominance , which is actually a subcarrier modulated by chrominance chroma information The first two terms are usually called composite video signal CVS The modulation technique of the color subcarrier is quadrature amplitude modulation QUAM both in PAL and NTSC systems. The amplitude of the color signal represents the saturation colorfulness purity in both systems. On the other hand, the level of the CVS represents the brightness. So in order to reproduce the original vision in the receiver the ratio between these two pieces of information should be kept constant in the receiver. Non linearity in the broadcast system The main steps of visual signal from the scene to receiver screen for terrestrial broadcasting are as follows Cameras and associated Buffer amplifier buffer stages Recording circuits and storage medium CDs, tapes etc. Playback units and studio equipment Cable, microwave or TVRO equipment TV transmitter Transmitters and sometimes also transposer s TV set Receivers and sometimes also antenna amplifier s and distribution units In cable television cable broadcasting and satellite broadcasting some of the above maybe replaced by other equipment. All of the above circuitry include active circuit devices. These devices are only approximatelly linear devices. In particular, amplification factor is not constant for all levels. Usually the amplification factor decreases as the input level increases. This is known as gain nonlinearity . In system specifications, the nonlinearity in percentage is almost always specified. It must be under a tolerable level depending on the required sensitivity of the system. Differential gain Differential gain is a ... more details
correlates for yellow blue, red green, brightness, and colorfulness. Let us make some preliminary ... The correlate of colorfulness is math M C cdot F L 1 4 math The correlate of saturation is math s 100 ... more details
Dan Margulis born 21 December 1951 is an expert on color correction and reproduction of photographs, using Adobe Photoshop or similar software. His Professional Photoshop series first edition 1994, currently in its fifth edition, 2006 is widely viewed as an authoritative work in the field of digital color correction of photographs. His Photoshop LAB Color The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace established the usage of Lab color space L a b as a standard part of the repertory of high end retouchers. His magazine column, Makeready , which ran from 1993 to 2006, introduced many concepts in color handling that have since become accepted practice in the industry. The column appeared in several publications worldwide. In its later years, it was carried simultaneously by Electronic Publishing and Photoshop User magazines in the United States. Body of work The work of Margulis is associated with the concept that digital color correction should seek to correspond to what a human observer would see if placed in the position of the camera. He popularized, but did not originate, a method he described as color by the numbers , which requires the retoucher to verify that certain values in the digital file agree with known standards. His techniques attempt to emulate certain well known reactions attributes of the visual system human visual system , such as chromatic adaptation and Contrast effect simultaneous contrast . He has identified several other characteristics of perception human perception that he states should be taken into account when processing a digital image. These include assertions that humans prefer fuller and richer tonality in the quartertone region than cameras customarily provide, that humans subconsciously use colorfulness saturation as a measure of an object s distance, and that humans do not focus on strongly colored objects as intensely as on more neutral ones. Other theoretical suggestions made by Margulis include In con ... more details
The so called Desmet Method also known as Desmetcolor is a method for Film preservation restoring the colours of early silent film s, which had originally been subjected to the processes of either Tinting Film tinting a process that suffuses the entire image a single colour Toning a process that colours only the dark parts of the image A combination of the two It was developed by No l Desmet, a film archivist and Conservation restoration restorer working for the Cinematheque Cin math que Royale de Belgique in Brussels, Belgium. Background Before the 1960s, early coloured films were almost without exception preserved on Black and white black and white film and the colours, if recorded at all, only noted in writing. These actions have unfortunately cost many subsequent restorations dearly. ref Mark Paul Meyer, Paul Read eds. 2000 , Restoration of Motion Picture Film , Oxford Butterworth Heinemann, p. 275 & 287 ref Fortunately, however, there are a number of different methods for restoring early coloured films today, each of which nonetheless comes with its own inherent strengths and weaknesses. The most obvious, in a way the most straightforward though it still requires a great deal of skill and accuracy in order to be done successfully , and still the most common method today is that of copying the original coloured print as is onto modern Eastman Color Negative Eastman colour inter negative film . From the developed inter negative then a new Color motion picture film colour positive print can be struck. If set up and executed correctly, the colours in the new positive print can resemble very closely the colours in the original print but only as they survive today. Therefore, whatever fading, decomposition and or other changes, which may have occurred to the colours down through the years, will also be copied along with them. Unfortunately, beyond the possibility to make very slight improvements to the Colorfulness saturation this method offers little in the way of a ... more details
1 G 118 , nobr 1 B 33 , and want to reduce its colorfulness by half to a less saturated orange ... The brightness relative to the brightness of a similarly illuminated white . Colorfulness The attribute ... chromatic . Chroma The colorfulness relative to the brightness of a similarly illuminated white . Saturation The colorfulness of a stimulus relative to its own brightness . Brightness and colorfulness ... and colorfulness change with different lighting illumination . Saturation can be defined as either the ratio of colorfulness to brightness or of chroma to lightness. General approach HSL, HSV ... text. In each of our models, we calculate both hue and what this article will call colorfulness ... more details
. Tones See Colorfulness for more information. Tone is a general term, typically used by painters, to refer to the effects of reducing the colorfulness of a hue. ref name ArtDesignVisualThinking ref ref ... more details
Image PlanckianLocus.png right 300px thumb Planckian locus in the CIE 1931 chromaticity diagram In physics and color science , the Planckian locus or black body locus is the path or locus mathematics locus that the color of an incandescent black body would take in a particular chromaticity space as the blackbody temperature changes. It goes from deep red at low temperatures through orange color orange , yellow ish white, white , and finally blue bluish white at very high temperatures. A color space is a three dimensional space that is, a color is specified by a set of three numbers for example, either the CIE 1931 color space CIE coordinates X , Y , and Z , or other values such as hue , colorfulness , and luminance which specify the color and brightness of a particular homogeneous visual stimulus. A chromaticity is a color projected into a two dimensional space that ignores brightness. For example, the standard CIE XYZ color space projects directly to the corresponding chromaticity space specified by the two chromaticity coordinates known as x and y , making the familiar chromaticity diagram shown in the figure. The Planckian locus, the path that the color of a black body takes as the blackbody temperature changes, is often shown in this standard chromaticity space. The Planckian locus in the XYZ color space Image CIE 1931 XYZ Color Matching Functions.svg thumb right http www.cie.co.at main freepubs.html CIE 1931 Standard Colorimetric Observer functions used to map blackbody spectra to XYZ coordinates In the CIE 1931 color space CIE XYZ color space , the three coordinates defining a color are given by X , Y , and Z ref name stiles cite book author Wyszecki, G nter and Stiles, Walter Stanley title Color Science Concepts and Methods, Quantitative Data and Formulae edition 2E publisher Wiley Interscience year 2000 isbn 0 471 39918 3 ref math X T int 0 infty X lambda I lambda,T ,d lambda math math Y T int 0 infty Y lambda I lambda,T ,d lambda math math Z T int 0 infty Z ... more details
down into three components hue , Colorfulness saturation , and Lightness color tone . Hue is most ... or colorfulness of the color, and tone is the lightness to darkness of the color. ref name wise1 Wise ... more details
Other uses Image Commercial pastels.JPG thumb right 300px Commercial pastels Pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as those used to produce all colored art media, including oil paint s the binder is of a neutral hue and low Colorfulness Saturation saturation . The color effect of pastels is closer to the natural dry pigments than that of any other process. ref Mayer, Ralph. The Artist s Handbook of Materials and Techniques. Viking Adult 5th revised and updated edition, 1991. ISBN 0 670 83701 6 ref The noun pastel gives rise to another noun, for an artwork whose medium is pastels a verb, meaning to produce an artwork with pastels an adjective, meaning pale in color Pastel media Pastel sticks or crayons consist of pure powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and the type and amount of binder used. It also varies by individual manufacturer. Dry pastels have historically used binders such as gum arabic and gum tragacanth . Methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present. They are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to rip the paper and create more tooth. Dry pastel media can be subdivided as follows Soft pastels This is the most widely used form of pastel. The sticks have a higher portion of pigment and less binder, resulting in brighter colors. The drawing can be readily smudged and blended, but it results in a higher proportion of dust. Finished drawings made with soft pastels require protecting, either framing under glass or spraying with a fixative to prevent smudging Hairspray also works. White chalk may be used as a filler in producing pale and bright hues with greater luminosity. ref cite book last Mart ... more details
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