Multimedia color in image and video

Fundamentals of MultimediaFundamentals of Multimedia
Color in Image andVideo
1
Lecture slidesLecture slides
ByBy
RashaRasha

 Color Science
 Color Models in Images
 Color Models in Video.
2
Out line

4.1 Color Science4.1 Color Science
Light and Spectra
 Light is an electromagnetic wave. Its color is characterized
by the wavelength content of the light.
 Visible light is an electromagnetic wave in the 400nm-700
nm rang. most light we see is not one wavelength , it’s a
combination of many wavelengths.
SPD( Spectral Power Distribution)
The relative power in each wavelength interval for typical
daylight this type of curve is called SPD or Spectrum.
The symbol for wavelength is λ. This curve is called E(λ ).
 Fig. 4.2 shows the relative power in each wavelength interval
for typical outdoor light on a sunny day. This type of curve is
3

4

 Spectrophotometer: device used to measure visible
light, by reflecting light from a diffraction grating
(prism) (a ruled surface) that spreads out the different
wavelengths.
 Figure 4.1 shows the phenomenon that white light
contains all the colors of a rainbow.
 Visible light is an electromagnetic wave in the range 400
nm to 700 nm (where nm stands for nanometer, 10 9−
meters).
5

7
Human Vision
 The eye is basically just a camera
 Each neuron is either a rod or a cone. Rods are not
sensitive to color.
 Cones come in 3 types: Red ,Green and blue . Each
responds differently to various frequencies of light.
 The color signal to the brain comes from the response
of the 3 cones to the spectral being observed .

10
Spectral Sensitivity of the Eye
The eye is most sensitive to light in the middle of
the visible spectrum.
. The following fig4.3 shows the spectral
sensitivity functions of the cones and the luminous
–efficiency
function called V(λ) of the human eye.

SpectralSpectral Sensitivity of the EyeSensitivity of the Eye
It is usually denoted V (λ) and is formed as
the sum of the response curves for Red,
Green, and Blue.
11

Image FormationImage Formation
In most situations, we actually image light that is
reflected from a surface.
Surfaces reflect different amounts of light at
different wavelengths, and dark surfaces reflect less
energy than light surfaces.
Surface spectral reflectance functions S(λ) for
objects.
then the reflected light filtered by the eye’s cone.
 Reflection is shown in Fig. 4.5 below.
12

13

14
Camera Systems
 Camera systems are made in a similar fashion; a good camera
has three signals produced at each pixel location
(corresponding to a retinal position).
 Analog signals are converted to digital, truncated to integers,
and stored. If the precision used is 8-bit, then the maximum
value for any of R,G,B is 255, and the minimum is 0.
 The light entering the eye of the computer user is what the
screen emits – the screen is essentially a self-luminous
source. Therefore, we need to know the light E(λ)
entering the eye.

Gamma correctionGamma correction

Gamma: is the light emitted is in fact roughly proportional to the voltage
raised to power ,this power is called Gamma with symbol Y
(a) Thus, if the file value in the red channel is R, the screen emits light
proportional to R, with SPD equal to that of the red phosphor paint on
the screen that is the target of the red channel electron gun. The value of
gamma is around 2.2.
(b) It is customary to append a prime to signals that are gamma-corrected
by raising to the power before transmission. Thus we arrive at linear
signals:
15

 The combined effect is shown in Fig. 4.7(b). Here, a ramp is shown in
16 steps from gray-level 0 to gray-level 255.
17

 A more careful definition of gamma recognizes that a simple power law
would result in an infinite derivative at zero voltage makes constructing
a circuit to accomplish gamma correction difficult to devise in analog.
18

19

Color-Matching FunctionsColor-Matching Functions
 A color can be specified as the sum of three color .So colors form a
3 dimensional vector space .
 The amounts of R, G, and B the subject selects to match each
single-wavelength light forms the color-matching curves .These are
denoted
 The negative value indicates that some colors cannot be exactly
produced by adding up the primaries.
20

CIE chromaticity diagramCIE chromaticity diagram
 Since the r(λ) color-matching curve has a negative lobe, a set of
fictitious primaries were devised that lead to color-matching functions
with only positives values.
 (a) The resulting curves are shown in Fig. 4.10;,these are usually
referred to as the color-matching functions.
 (b) They are a 3 *3 matrix away from curves, and are
denoted x(λ),y(λ),z(λ).
 (c) The matrix is chosen such that the middle standard color-matching
function y(λ) exactly equals the luminous-efficiency curve V (λ)
shown in Fig. 4.3.
21

 For a general SPD E(λ), the essential colorimetric information
required to characterize a color is the set of tristimulus values X, Y , Z
defined in analogy to (Eq. 4.1) as(Y == luminance):
* from Eq(4.6) increasing the brightness of illumination increases
tristimulus value by scalar multiple
 3D data is difficult to visualize, so the CIE devised a 2D diagram based
on the values of (X,Y,Z) triples implied by the curves in Fig. 4.10.
22

We go to 2D by factoring out the magnitude of vectors (X,Y,Z); we
could divide by , but instead we divide by the
sum X +Y +Z to make the chromaticity:
This effectively means that one value out of the set (x, y , z)is
redundant since we have
23

24
Effectively, we are projecting each tristimulus vector (X,Y,Z)
onto the plane connecting points (1,0, 0), (0,1,0), and (0,0,1).
Fig. 4.11 shows the locus of points for monochromatic light

 (a) The color matching curves each add up to the same
value the area under each curve is the same for each
of x(λ),y(λ),z(λ).
 (b) For an E(λ) = 1 for all ,λ an “equi-energy white light"
chromaticity values are (1l3,1l3). Fig. 4.11 displays
a typical actual white point in the middle of the
diagram.
 (c) Since , all possible
chromaticity values lie below the dashed diagonal line in
(Fig. 4.11).
25

Color monitor specificationsColor monitor specifications
• Color monitors are specified in part by the white point chromaticity
that is desired if the RGB electron guns are all activated at their
highest value .
• We want the monitor to display a specified white when
R`=G`=B`=1
Out –of –Gamut colors
 For any (x,y) pair we wish to find that RGB triple giving the specified (x, y,z):
We form the z values for the phosphors , via
z = 1 x y− − and solve for RGB from the phosphor chromaticities.
 We combine nonzero values of R, G, and B via
26

Out –of –Gamut colorsOut –of –Gamut colors
 If (x y) [color without magnitude] is specified, instead of
derived as above, we have to invert the matrix of
phosphor (x, y, z) values to obtain RGB.
 What do we do if any of the RGB numbers is negative?
that color, visible to humans, is out-of-gamut for our
display.
1. One method: simply use the closest in-gamut color
available, as in Fig. 4.13.
2. Another approach: select the closest complementary
color.
27

Out –of –Gamut colorsOut –of –Gamut colors
 Grassman's Law: (Additive) color matching is linear. This
means that if we match color1 with a linear combinations
of lights and match color2 with another set of weights, the
combined color color1+color2 is matched by the sum of the
two sets of weights.
 Additive color results from self-luminous sources, such as
lights projected on a white screen, or the phosphors glowing
on the monitor glass. (Subtractive color applies for printers,
and is very different).
29

White point correctionWhite point correction
 Problems:
 One deficiency in what we have done so far is that we need
to be able to map tristimulus values XY Z to device RGBs
including magnitude, and not just deal with chromaticity xyz.
 To correct both problems, take the white point magnitude of
Y as unity: Y (white point) = 1 (4:11)
 Now we need to find a set of three correction factors such
that if the gains of the three electron guns are multiplied by
these values we get exactly the white point XY Z value at
R = G = B = 1.
 Suppose the matrix of phosphor chromaticities xr; xg ; ::: etc.
in Eq. (4.10) is called M . We can express the correction as
a diagonal matrix D = diag (d1; d2; d3) such that XY Z white
M D (1, 1,1)T (4:12)
30

XYZ to RGB transformXYZ to RGB transform
To transform XYZ to RGB calculate the
linear RGB required ,by inverting the
equ.
then make nonlinear signals via gamma
correction
31

Transform with Gamma correctionTransform with Gamma correction
 Now the 3 × 3 transform matrix from XYZ to RGB is taken to be
T = M D (4:15)
32

L*a*b* (CIELAB) Color ModelL*a*b* (CIELAB) Color Model
33

L*a*b* (CIELAB) Color ModelL*a*b* (CIELAB) Color Model
 A refined CIE model ,named CIE L*a*b in 1979
 Luminance : L
 Chrominance : a– ranges from green to red, b– ranges
from blue to yellow
 Used by Photoshop
34

More color-coordinate schemesMore color-coordinate schemes
 There are several other coordinate schemes in use to describe
color as humans perceive it ,whether gamma correction should or
not be applied
 Schemes include:
 a) CMY | Cyan (C), Magenta (M) and Yellow (Y ) color model;
 b) HSL | Hue, Saturation and Lightness;
 c) HSV | Hue, Saturation and Value;
 d) HSI | Hue, Saturation and Intensity;
 e) HCI | C=Chroma;
 f) HVC | V=Value;
 g) HSD | D=Darkness.
35

Munsell color naming systemMunsell color naming system
The idea is to set up approximately
perceptually uniform system of three
axes to discuss and specify color.
The axes are
value(black,white),Hue,chroma.
Value divided into 9 steps, hue is in 40
step . The circle’s radius with value.
36

Color Models in ImagesColor Models in Images
RGB Color Model for Displays
 we expect to be able to use 8 bit per color channel for color that is
accurate enough. However, in fact we have to use about 12 bits per
channel to avoid an aliasing effect in dark image areas __contour
bands that result from gamma correction.
 For images produced from computer graphics, we store integers
pro-portional to intensity in the frame bufer. So should have a
gamma correction LUT between the frame bufer
and the CRT.
 If gamma correction is applied to floats before quantizing to integers,
before storage in the frame buffer, then in fact we can use only 8 bits
per channel and still avoid contouring artifacts.
37

Subtractive Color: CMY Color ModelSubtractive Color: CMY Color Model
 So far, we have effectively been dealing only with
additive color. Namely, when two light beams
impinge on a target, their colors add; when two
phosphors on a CRT screen are turned on, their colors
add.
 for example
red phosphor+ green phosphor= yellow phosphor
* red, green, and blue primaries, we used in monitor .
• subtractive color primaries are Cyan (C),
Magenta (M) and Yellow (Y ) inks
38

* In subtractive CMY system, black arises from
subtractive all the light by laying down inks with
C=M=Y=1
39

Additive and subtractive colorAdditive and subtractive color
40

Transformation from RGB to CMYTransformation from RGB to CMY
Simplest model we can invent to specify what ink density
to lay down on paper, to make a certain desired RGB
color:
41

Undercolor Removal: CMYK SystemUndercolor Removal: CMYK System
 Black ink is in fact cheaper than mixing colored inks to
make black, so a simple approach to producing sharper
printer color , remove it from the color proportions
and add it back as real this is called “undercolor
removal”
calculate that
The new specification of inks is thus:
42

 Actual transmission curves overlap for the C, M, Y inks.
This leads to “crosstalk” between the color channels and
difficulties in predicting colors achievable in printing.
43
Printer GamutsPrinter Gamuts

 Video Color Transforms
(a) Largely derive from older analog methods of
coding color for TV . Luminance is separated
from color information.
(b) This coding also makes its way into VHS
( VIDEO HOME SYSTEM) video tape coding in
these countries since video tape technologies
also use YIQ.
(c) In Europe, video tape uses the PAL or ECAM
coding which are based on TV that uses a matrix
transform called YUV.
44
Color models in videoColor models in video

YUV Color ModelYUV Color Model
• Human perception is more sensitive to luminance
(brightness )than chrominance (color) . Therefore
instead of separating colors on can separate the
brightness information from the color information Y
is luminance
• Y=0.299R+ 0.587G+0.114B
• Chrominance is defined as the difference between a
color and a reference white at the same luminance
it can be represented by U and V the color
differences
U=B`-Y` V=R`-Y`
45

• Eye is most sensitive to Y. therefore any
error in the resolution of the luminance (Y)
is more important the chrominance (U,V)
values.
• In PAL,5(OR 5.5)MHz is allocated to Y ,1,3
MHz to U and V
46
YUV Color ModelYUV Color Model

YIQ Color ModelYIQ Color Model
 YIQ is used in NTSC color TV broadcasting.
Again, gray
pixels generate zero (I,Q) chrominance signal.
Although U and V nicely define the color
differences . They do not align with the desired
human perceptual color sensitivities. Hence , I
and Q are used instead
 (a) I and Q are a rotated version of U and V .
48

(b) Y ' in YIQ is the same as in YUV,U and V are
rotated by 33:
(c) This leads to the following matrix transform:
49

(d) Fig. 4.19 shows the decomposition of the same
color image as a bove,into YIQ components.
50

YCbCr Color ModelYCbCr Color Model
 The Rec. 601 standard for digital video uses
another color space, Y CbCr, often simply written
YCbCr -- closely related to the YUV transform.
(a) YUV is changed by scaling such that Cb is U,
but with a coefficient of 0.5 multiplying B'. In
some software systems, Cb and Cr are also
shifted such that values are between 0 and 1.
(b) This makes the equations as follows:
51

 (d) In practice, however, Recommendation 601 species 8-
bit coding, with a maximum Y ' value of only 219, and a
minimum of +16. Cb and Cr have a range of -+112 and
offset of +128. If R', G', B‘ are floats in [0..+ 1], then we
obtain Y ', Cb, C rin [0.. 255] via the transform:
52

YCbCr Color ModelYCbCr Color Model
(f) The YCbCr transform is used in JPEG
image compression and MPEG video
compression.
53

Multimedia color in image and video

More Related Content

What's hot (20)

Similar to Multimedia color in image and video (20)

More from Mazin Alwaaly (20)

Recently uploaded (20)

Multimedia color in image and video

Editor's Notes