Color in Image and Video

• Color Science
1. Light and Spectra
2. Human Vision
3. Spectral Sensitivity of the Eye
4. Image Formation
5. Camera Systems
6. Gamma Correction
7. Color-Matching Functions
8. CIE Chromaticity Diagram
9. Color Monitor Specifications
10. Out-of-Gamut Colors
11. White-Point Correction
12. XYZ to RGB Transform
13. Transform with Gamma Correction
14. L*a*b* (CIELAB) Color Model
15. More Color-Coordinate Schemes
16. Munsell Color Naming System
1. Light and Spectra
• Humans cannot detect a light just contributions that fall in the visible
wavelength.
• Short wavelengths produce a blue sensation, and long wavelengths
produce a red one.
• We measure visible light using a device called a spectrophotometer,
by reflecting light from a diffraction grating (a ruled surface) that
spreads out the different wavelengths, much as a prism does.
2. Human Vision
• The eye works like a camera, with the lens focusing an image onto the
retina (upside,down and left-right reversed).
3. Spectral Sensitivity of the Eye
• The eye is most sensitive to light in the middle of the visible spectrum.
4. Image Formation
• we image light reflected from a surface.
• Surfaces reflect different amounts of light at different wavelengths,
and dark surfaces reflect less energy than light surfaces.
5. Camera Systems
• Now, we humans develop camera systems 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, the maximum value for any of R,
G, B is 255, and the minimum is O.
6. Gamma Correction
• The RGB numbers in an image file are converted back to analog and
drive the electron guns in the cathode ray tube (CRT).
• EIectrons are emitted proportional to the driving voltage, and we
would like to have the CRT system produce light linearly related to the
voltage.
• Unfortunately, it turns out that this is not the case.
• The light emitted is actually roughly proportional to the voltage raised
to a power; this power is called "gamma", with symbol y.
7. Color-Matching Functions
• Practically speaking, many color applications involve
specifying and re-creating a particular desired color. Suppose
you wish to duplicate a particular shade on the screen, or a
particular shade of dyed cloth.
• Over many years, even before the eye-sensitivity curves of
Figure were known, a technique evolved in psychology for
matching a combination ofbasic R, G, and B lights to a given
shade.
• A particularset ofthree basic lights was available, called the
set of colorprimaries.
• To match a given shade, a set ofobservers was asked to
separately adjust the brightness ofthe three primaries using
a set ofcontrols, until the resulting spot of light most closely
matched the desired color.
• Figure shows the basic situation. A device for carrying out
such an experiment is called a colorimeter.
• Color Models in Images
• RGB ColorModel for CRT Displays
• Subtractive Color: CMY Color Model
• Transformation from RGB to CMY
• UndercolorRemoval: CMYK System
• Printer Gamuts
• Color Models in Images
• RGB ColorModel for CRT Displays
• For images produced from computer
graphics, we store integers proportional to
intensity in the frame buffer..
• Then we should have a gamma correction
LUT between the frame buffer and the CRT.
• If gamma correction is applied to floats
before quantizing to integers, before
storage in the frame buffer, then we can use
only 8 bits per channel and still avoid
contouring artifacts.
Subtractive Color: CMY Color Model
• So far, we have effectively been dealing only with additive color.
• Namely, when two light beams impinge ona target, theircolorsadd; when two
phosphors ona CRT screen are turned on, their colors add.
• So, for example, red phosphor+green phosphor makes yellow light. But for ink
deposited on paper, in essence the opposite situation holds: yellow ink
subtracts blue from white illumination but reflects red and green; which is
why it appears yellow!
• So, instead of red, green, and blue primaries, we need primaries that amount
to ~red, -green, and -blue; we need to subtractR, G, or B.
• These subtractive color primaries are cyan (C), magenta (M), and yellow (Y)
inks.
Transformation from RGB to CMY
• Given our identification of the role of inks in subtractive
systems, the simplest model we can invent to specify what ink
density to lay down on paper, to make a certain desired ROB
color.
• Color Models in Video
• Video Color Transforms
• YUV ColorModel
• YIQ Color Model
• YCbCr ColorModel
• Color Models in Video
• Video Color Transforms
• Methods of dealing with color in digital video derive largely from older analog methods
ofcoding color for TV.
• Typically, some version of the luminance is combined with color information in a single
signal.
• For example, a matrix transform method similar to YIQ is used to transmit TV signals in
North America and Japan.
• The Y component represents the luma information, and is the only component used by
black-and-white television receivers. I and Q represent the chrominance information.
YUV ColorModel
• YUV Colorspace. YUV colorspace is a bit unusual. The Y
component determines the brightness of the color (referred
to as luminance or luma), while the U and V components
determine the color itself (the chroma).

YCbCr ColorModel
• It is a family of color spaces used as a part of the color image
pipeline in video and digital photography systems. Y′ is the
luma component and CB and CR are the blue-difference and
red-difference chroma components. Y′ (with prime) is
distinguished from Y, which is luminance, meaning that light
intensity is nonlinearly encoded based on gamma corrected
RGB primaries.