As can be seen in the video, the color calibration is performed when image data are linear, which is very useful help of a transfer function display ( ScreenTransferFunction ). ;
Currently there is a tool which automatically cut the same, but with a few clicks. PixInsight Core is available in 1.5 from a few days ago with the name of ColorCalibration .
ColorCalibration The idea is based on using as reference two types of sub images (or previews). First, the white reference and second reference sky.
The reference targets can be for example the total light emitted by a galaxy, since we can safely say that most of all light sources emitting in the continuum (mainly stars). And then a sky background reference (background), here always assumed to be neutral.
In the picture outlined in the video blog is more difficult to find a white reference, because it is an object of a different nature. Ie not emit the photographed object in the continuous spectrum, but it does so in more specific wavelengths (emission lines). For this reason, the user interacts with the global statistics of the sky background, instead of using a white reference when calibrating the overall color of the image.
General Criteria: 1) Delivery of work on time 2) has control over published information and / or exposed 3) brings new and relevant information in the papers 4) Communicate ideas and information clearly 5) Attend classes with the material (files, documents, images) to move forward in the workshop
Laboratory Evaluation Criterion blog (individual): 1) publishes papers, concepts, terminology relevant entries 2) Post tutorials using digital paper from script.com 3) Post tutorials using code from Youtube ember 4) Publish the final work on the blog
Criteria Evaluation of audiovisual narrative and photoshop: 1) Respect the established format (720x480) a minimum of 40 seconds and a maximum of 3 minutes 2) video Transisón 3) audio Transisón 4) Place 3 photos photoshopped together with time sequence 4) titles at the beginning and end
720x480 Format 1) Free Transform 2) Color Correction 3) Brightness / Contrast 4) Grayscale 5) Lighting
individual's account must have a dramatic structure
When we ded language we refer to a series of signs properly encoded can address a specific field and communication. The image on a model that replaces reality by iconic elements (line, point, color) also presents a high degree of activity. Therefore media are half mechanical, technical, electronic record, play sound or visual messages that are used separately or together to represent and facilitate the acquisition, reproduce or modify certain behaviors In this way a foreground interpreted as the point of view of an observer, based on the expressiveness and emotion of the character. The darkening of the screen, represents the passage of time, the possibility of observing two parallel actions that occur in different scenarios.
MEASURES OF MESSAGE UNITS AUDIOVISUAL
3 units have been established audiovisual speech: 1 .- Sequence
2 - Scene 3 .- The plane
The sequence is the unit of audio visual story in which arises, develops and completes a dramatic situation. Can develop in one scenario, including one or more scenes, or can consist of various scenarios. It can also develop from beginning to end, or mixed with other sequences.
The scene: It develops itself has no effect full ramat
Plane: The smallest of significance of visual narrative, from which build scenes and sequences.
The shot is a term used to describe the capture of images by the camera. The shots are selected and combined through editing.
PLANE film properties include
3 factors: 1 .- Aspects
2 .- Full photographic plane 3 .- Location of the plane
The contrast between colors, including white and black type deeterminan ded image appearance. The audiovisual usually modify certain effects, to attract the interest of the expert
CONTRAST OF COLORS AND LIGHT
The crust refers to the difference between the most clear and the darkest plane. In film, the Contracting high ded ded area is bright white, black and rare dark gray. By contrast puededn cause espextador look toward brighter. Using a harsh light on the texture value, refuses to detail and the images are more flat, get soft light volume and definition. The use of space creates delicate high tones and bass playing mysterious images.
DEPTH OF FIELD AND FOCUS
called depth of field to the range of distance between the camera and the object within which objects can be photographed in sharp focus. short-focus lenses have a greater depth of field of focus that long.
THE FRAME
We define the plane, the fact of choosing a camera position makes a difference in the framing of the image and how Persiva the fact filmed. Can affect the image: -Size and shape "The angle and height " The way that the frame can move with relation to the staging
Skills: is the creation of video footage and live audio using the software time adobe Cs3
Incorporation from other software.
transcision Creation of audio effects and video, credits Gc.
Generation of compressed files (mpg,. Mov, AVI) in a final dvd
digitizing devices using video cameras. Activity
1 .- Find and post on his blog: "A tutorial premiere CS3 software (Video) (PDF) Work-group max 4 persons
-build and create a video of a minimum of 40 seconds and a maximum of 3 minutes.
must-have titles and captions input or output Gc -transition effects and audio video music should have. Free-Topic and respect the times. -The working group delivered the final work on a DVD.
Example color calibration of large-scale processing (wavelets)
What I show below is a simple way to process large-scale structures from the brainchild of Carlos Milovic (PTeam).
This sample processing large scale is made on an image of the Milky Way centered on the constellation of Cygnus. This is a single 30 minute exposure Fuji film Provia 400F chemistry through a standard lens 50mm F4 closed, taken in August 2004 under clear skies and dark (Ordesa).
This image is an excellent test which enhance large-scale structures. The picture is processed entirely in PixInsight Core. The adjustments include color calibration, correction of the backlight (ABE) by a division based on prior data linearization (Divide), histograms, curves and noise reduction for luminance (ACDNR).
In this photograph, to process large-scale structures a problem occurs. The stars, especially the brightest, for reflections in the upper layers of wavelets. This means that increasing the weight in layers where the stars are not present, they also exert some influence, creating strange halos.
The solution here is basically subtract the stars, to isolate them. It is not possible to simply disable the wavelets the lower layers (small scale) because the halos dark adversely affect the outcome. We must do the opposite: to duplicate the image (in this case the luminance) and her first disable all layers above 64 pixels. Then, it maximizes deringing parameter in the layers survivors and applied. This generates an image with the stars alone, without his halo negative.
then subtract the result (without climbing) and you get a picture without the small-scale components (smaller than 64 pixels).
This is usually enough to enhance large-scale structures by changing the weight of the upper layers of wavelets. However, if only enhance dark detail, bright structures dilute the effect. The solution is to invert the image with no stars, before and after processing the dark structures.
You must then add the result to the image of small-scale objects (mainly stars), this time Rescaling.
enhanced
Once large-scale structures, we combine the processed luminance original RGB image.
Here we have used the LRGBCombination process for several reasons. First, we import the luminance changing their relative weight with respect to the RGB data, on the other hand, we also avoid the loss of color saturation by light transfer function halftones on the channel C, while reduce the noise in the chrominance.
Finally I show the luminance processed with this technique.
