Illumination, Color and Imaging

optimization for digital TV and digital cinema3.1 Colour management workflows for digital TV and digital cinema3.1.1 Colour management workflows of today?s digital film technology3.1.2 Application of colour appearance models3.1.3 Application of colour difference models3.1.4 Test objects and colorimetric measurement3.1.5 Colour gamut 3.1.6 Conversion between analogue film and digital film3.1.7 High dynamic range colour motion picture imaging3.2 Colour management and colour image processing in digital postproduction3.2.1 Colour management and image processing in modern film and TV post production3.2.2 Suitability of colour difference formulae and colour appearance models for the colourist 3.2.3 Differences among proof monitors, analogue cinema and digital cinema3.2.4 Colour fidelity of monitors and projectors for postproduction3.2.5 Film-like colour image appearance3.2.6 Hybrid film projection environments3.2.6.1 Depth of field, colour and resolution3.2.6.2 Colour gamut conversion3.2.6.3 ICC profiles and 3D-LUTs3.2.6.4 DCI-conform hybrid colour image processing workflows3.2.6.5 Factors of perceived colour quality3.3 Exploiting the spatio-temporal characteristics of colour vision for digital TV, cinema and camera3.3.1 Spatial and temporal optimization of motion pictures3.3.2 Colour vision and motion picture compression3.3.2.1 Perceived colour image quality3.3.2.2 Scalability and loss of visual information3.3.2.3 Compression efficiency3.3.2.4 Objective and subjective evaluation of motion image compression3.3.2.5 Choice of test sequences3.3.3 Optimization of digital motion picture cameras3.3.3.1 Optimization of the sensors3.3.3.2 Optimization of the objective lens3.3.4 Video watermarking in colour film post-production3.4 Light sources in TV and film production and postproduction3.4.1 Optimum spectral power distribution for cinematographic light sources3.4.2 Colour rendering properties3.4.3 Colour transformations in digital cameras3.5 Visually evoked emotions in colour motion pictures3.5.1 Technical parameters of motion picture sequences3.5.2 Psychological factors3.5.3 Visually evoked emotions3.5.4 Emotional clusters3.5.5 A model of emotional strength3.5.6 Automatic emotional image processing enhancement4 Pixel architectures for displays of three and multiple colour primaries4.1 Optimization principles for three- and multi-primary colour displays to obtain a large colour gamut4.1.1 Target colour sets4.1.2 Factors of optimization4.2 Large-gamut primary colours and their gamut in colour appearance space4.2.1 Optimum colour primaries4.2.2 Optimum colour gamuts in colour appearance space4.3 Optimization principles of sub-pixel architectures for multi-primary colour displays4.4 Three- and multi-primary sub-pixel architectures and colour image rendering methods4.4.1 Three-primary architectures4.4.2 Multi-primary architectures4.4.3 Colour image rendering methods5 Memory and preference based enhancement of colour displays5.1 Ergonomic design of colour displays: optimal use of chromaticity contrast5.1.1 Principles of ergonomic colour design5.1.2 Legibility, conspicuity and visual search5.1.3 Chromaticity contrast for optimal search performance5.1.4 Chromaticity contrast preference5.1.5 Luminance contrast preference5.2 Long-term memory colours, intercultural differences and their use to evaluate and improve colour image quality5.2.1 Long-term memory colours for familiar objects5.2.2 Intercultural differences5.2.3 Increasing colour quality by memory colours5.3 Colour image preference for white point, local contrast, global contrast, hue and chroma5.3.1 Apparatus and method to obtain a colour image preference dataset5.3.2 Image transforms of colour image preference5.3.3 Preferred white point5.3.4 Preferred local contrast5.3.5 Preferred global contrast5.3.6 Preferred hue and chroma5.4 Age dependent method for preference based colour image enhancement5.4.1 Colour image descriptors5.4.2 Colour image enhancement method6 Improving the colour quality of indoor light sources6.1 Optimization for indoor light sources to provide a visual environment of high colour rendering6.1.1 Visual colour fidelity experiments6.1.2 Colour rendering prediction methods6.2 Optimization of indoor light sources to provide colour harmony in the visual environment6.2.1 Visual colour harmony experiments6.2.2 A recent mathematical method to predict colour harmony6.2.3 A computational method to predict colour harmony rendering6.3 Principal components of light source colour quality6.3.1 Factors influencing colour quality6.3.2 Experimental methods6.3.3 Modelling colour quality6.3.4 Principle components of colour quality6.4 Assessment of complex indoor scenes under different light sources6.5 Effect of inter-observer variability of colour vision on the colour quality of light sources6.5.1 Variations of colour vision mechanisms6.5.2 Effect of variability on colour quality6.5.3 Relevance of variability for light source design7 Emerging visual technologies7.1 Emerging display technologies7.1.1 Three-dimensional displays7.1.2 Laser and LED displays7.1.3 Colour gamut extension and image rendering for multi-primary displays7.2 Emerging technologies for indoor light sources7.2.1 Tuneable LED lamps for accent lighting7.2.2 Optimization for brightness and Circadian rhythm7.2.3 Accentuation of different aspects of colour quality7.2.4 Using new phosphor blends7.2.5 Implications of colour constancy for light source design7.3 Summary and outlook