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The Generic Anatomy of a color LCD Pixel - PowerPoint PPT Presentation


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Color Vision and Colorimetry. 400. 500. 600. 700. violet blue green yellow orange red. Color names associated with monochromatic stimuli. Newton first discovered that the spectrum generated these colors by dispersing a white light (polychromatic) beam using a prism.

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PowerPoint Slideshow about 'The Generic Anatomy of a color LCD Pixel' - RexAlvis


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slide1

Color Vision and Colorimetry

400

500

600

700

violet blue green yellow orange red

Color names associated with monochromatic stimuli

Newton first discovered that the spectrum generated these colors by dispersing a white light (polychromatic) beam using a prism.

slide2

The importance of color.

These two images are of the same scene, one in color and one only gray-scale.

Notice how difficult it is to identify the (red) fruit without the color signal.

Clearly color vision is essential for humans.

slide3

Part 1: The interrelationship between colorimetry (the science of quantifying color) and the trichromatic theory of human color vision.

1. Making color: Color mixing (additive & subtractive)

2. Trichromatic color theory (Maxwell’s color mixing experiments)

3. Color Space (RGB)

4. CIE color Space

slide4

Making Color: Color mixing (additive & subtractive) The way humans make color tells us a lot about how color is created within the human visual system

1. Additive Color Mixing: adding together different colored lights.

3 types of Additive Color Mixing

A. Project different superimposed lights :added together in the stimulus.

B. Spatially juxtapose different colored spots; added together by the eyes optics (“partitive” color mixing)

C. Temporal addition: added together in the human neural system

slide5

A. Project different superimposed lights :added together in the stimulus (old style color TV projectors)

Use 3 primaries: red, green and blue

Primaries are colors that when added together allow one to produce many other colors.

BLUE

R+B = Magenta

R+G = Yellow

G+B = Cyan

R+G+B = White

B

B+G

R+B

R+G+B

G

R

R+G

slide6

B. Spatially juxtapose different colored spots: added together by the eyes optics (partitive color mixing)

Sony Trinitron

Most TVs, computer displays

Used with TV, computers, and commercial printing (half-toning)

slide7

Optical blurring

Blurred

PSFs

R+G+B

By varying the relative intensity of the three spatially separate phosphor dots/lines, the spatially superimposed retinal image can be any combination of the three primaries (R+G+B)

slide8

Optical blurring

Mixing Colors on a Computer screen

Individual phosphor dots

Color created by mixing primaries in retinal mage

R, G and B primaries

slide9

“Pointilism”

Surat (and later Monet) employed additive (partitive) color mixing, which was in direct contrast to earlier (and more recent) artists who created desired colors by subtractively mixing paints and dyes.

Perceived color due to partitive color mixing of paint spots (points) and white canvas.

slide10

Example of Surat’s pointilism.

In his picture, we see yellow cheeks, but he painted orange, blue and black spots with some white gaps between.

slide13

New Color Technology: LCD Projector Anatomy

High Intensity

White Light Source

(a Super Backlight!)

Projection

Optics

Mirror

Mirror

Mirror

Condenser

Optics

Red LCD

Green LCD

Blue LCD

Transmissive

Full Image

Grayscale

LCD Arrays

Lens

Lens

Lens

Mirror

Mirror

Dychroic

Mirror

(wavelength

selective)

Dychroic

Mirror

(wavelength

selective)

slide14

V

The optical principles of Liquid Crystal Projection

Plane polarized light

Unpolarized light

Polarizing filter

Liquid Crystal, voltage controlled cross-polarizer

Demo: view LC watch or TV or projector with polarizing sunglasses. Can you determine the orientation of the device’s polarizing filter?

Intensity modulated plane polarized light

slide15

Image courtesy of Texas Instruments

New Color Technology 2: Digital Micromirror Projectors

Digital Micromirrors

  • An array of digital micromirrors packaged in a single device a Digital Micromirror Device (DMD)
  • Digital images are created by reflecting a projection lamp off of the device
slide16

DLP Projector Anatomy

High Intensity

White Light Source

Projection

Optics

Mirror

Mirror

Mirror

Condenser

Optics

Selective

Red

Reflection

Selective

Blue

Reflection

Selective

Green

Reflection

Mirror

Mirror

Dychroic

Mirror

Dychroic

Mirror

Light Trap

Light Trap

Light Trap

Red DMD

Green DMD

Blue DMD

slide17

Example is the color wheel: place lots of different colored segments, but spin rapidly. Each retinal location then receives different colors in rapid succession. Due to neural temporal integration, the neural response to each color overlaps in time, and thus we see the addition of the neural response from each individual color.

C. Temporal addition: added together in the human neural system

Neural response

Neural persistence

Once a anachronistic demonstration, this phenomenon is now the basis for many of the newest high-tech digital projectors.

All 3 responses occur (add)

time

slide18

RGB color wheel

You can tell if your projector uses three DMDs or one with a rotating color filter by saccading past the edge of the white screen. If it uses a filter the retinal image of the white edge will be separated into a red, green and blue edge.

slide19

2. Subtractive Color Mixing:

Concept of a filter: Filters color light by absorbing some wavelengths more than others. Absorbing light is the same as subtracting it.

Output = Input x Transmission

absorb

subtract

transmit

Transmission

Spectrum of a red filter

Transmission

wavelength

slide20

Remember: Must choose primaries that, when mixed allow as many as possible colors to be produced. Subtractive primaries must be different from additive primaries.

Example showing how cyan and yellow filters together produce green from white.

Magenta

(R+B)

Cyan (B+G)

B

C

Cyan

M

White

Green

Bk

G

R

Y

Subtract

B

Subtract

R&Y

Yellow (R+G)

slide21

Subtractive Color Mixing: Much more complicated that additive. This happens with inks and dyes.

Light reflected from colored ink has been transmitted through minute ink particles of two primaries, similar to having two filters in series.

White

Green

Layer of dye particles on surface of paper

slide22

When you purchase a color ink cartridge, it contains three color inks, the three primaries, from which all other colors are generated via subtractive color mixing.

In this example, we see the box that contains a HP color cartridge. Notice that they show the three primaries (Yellow, Magenta, Cyan) overlapping to generate Red, Green and Blue.

slide23

400

500

600

700

wavelength (nm)

Spectral description of mixing paints, pigments, dyes.

Output spectrum = Input Spectrum x Bl x Yl

White

Blue

reflectance

absorption

Yellow

slide24

Principle of Univariance: Once absorbed, each photon has the same effect, irrespective of its wavelength. Wavelength only influences the probability that a photon will be absorbed, not its effect once absorbed.

Key Point: A single photoreceptor cannot differentiate between 440 (blue) and 640 (red) photon and therefore is totally wavelength-blind and thus color-blind.

slide25

Single Photoreceptor Retina: Monochromat

Can create metameric match for any l by using only one primary (P)

10%

P

l

5%

E.g. for one unit of l1, one unit of P will be a metamer, and thus for l2, a match will be achieved with 2 units of P

Photon Efficiency

P

l1

l2

Wavelength

slide26

Single Photoreceptor Retina: Monochromat

Appearance to Rod Monochromat

10%

l

P

Property of Photoreceptor

Photon Efficiency

5%

l2

l1

Wavelength

P

Appearance to Trichromat

l

P

Equal Radiance of primary and variable stimulus l

Radiance

Wavelength

slide27

Single Photoreceptor Retina: Monochromat

Appearance to Rod Monochromat

10%

l

P

Property of Photoreceptor

Photon Efficiency

5%

l2

l1

Wavelength

P

Adjust Radiance of primary to make perceptual match (metameric match) variable stimulus l

Appearance to Trichromat

l

P

Radiance

Wavelength

slide28

Two Photoreceptor Retina: Dichromat

Can create metameric match for any l by using only two primaries (P1 and P2)

10%

P1

+

P2

l

5%

Photon Efficiency

How many units of P1 and P2 will be required to match l1 and l2?

2.5%

l2

l1

P1

P2

Wavelength

slide29

Three Photoreceptor Retina: Trichromat

Can create metameric match for any l by using only three primaries (P1 , P2 and P3)

P1

+

P2

+

P3

10%

l

5%

How many units of P1, P2 and P3 will be required to match l1?

Photon Efficiency

2.5%

l1

P1

P2

P3

Wavelength

slide30

2. Real color matching data and the Young-Helmholtz Trichromatic color theory (Maxwell’s color mixing experiments).

Maxwell’s color Addition or Color Mixing experiments: evidence for Trichromatic color theory

Example for l = 580

Monochromatic

Yellow (580nm)

Color matching paradigm

R

G

B

Mixture of R+G+B

(approx equal R+G and zero B)

Two stimuli appear identical. They are Metamers, this is a metameric match

l

slide31

435

+

546

+

700

l

Maxwell and others observed that all colors could be created by adding together R, G, and B lights in different proportions. That is ONLY 3 primaries were needed to match all possible colors.

Conclusion!!!

There must therefore be only 3 different photoreceptor types. Hence, the Trichromatic theory of human color vision.

Color matching experiment.

Identify metamers.

Logic of a metamer: When two physically different stimuli create matching photon absorptions of the three photoreceptor types, the two stimuli will appear identical.

slide32

Quantification of color by quantifying the amount of three primaries necessary to create each color. That is, every color can now be defined by three numbers.

This graph shows the amount of 3 primaries (R, G, & B) necessary to match every wavelength from 400 to 700. Called the RGB color matching functions, or tristimulus values rl, gl, bl.

slide33

For a given stimulus spectrum, we measure the amount of each primary R, G, and B to produce a match. These are the “Tristimulus values” for each color.

The tristimulus values are then “normalized” to the sum of R,G, and B to create r, g, and b.

r = R/(R+G+B)

g = G/(R+G+B)

b = B/(R+G+B)

r + g + b = 1.0

R+G+B is a measure of the radiant intensity of the stimulus

g

r

Thus, if know r and g, then MUST also know b.

We plot g vs. r. This is known as the Chromaticity Diagram for the RGB system.

slide34

Problem with RGB chromaticity system: has negative tristimulus values for some wavelengths. Solved this by transforming RGB to new coordinates (XYZ). Same basic idea, but now the primaries are not real stimuli but only mathematical or “imaginary” primaries.

The color matching (tristimulus) functions for the theoretical (“imaginary”) XYZ primaries used in CIE 1931

slide35

Radiance

Wavelength (nm)

Graph showing the amounts of X, Y, and Z primaries for each wavelength in the stimulus spectrum. The level of each primary is computed by multiplying the radiance by the tristimulus values for each primary. The total amount of each primary necessary to match this stimulus is the sum of all of the RadxPrimary values.

slide36

y

x

CIE 1931

For any given color, it can be matched by using appropriate amounts of XY&Z.

x=X/(X+Y+Z)

y=Y/(X+Y+Z)

z=Z /(X+Y+Z)

x+y+z = 1.0

Now plot y as a function of x. This is CIE 1931 chromaticity space, which is still the most widely used.

slide37

Shortcomings of CIE 1931.

The ellipses represent the color discrimination thresholds in this CIE chromaticity pace (10x). Notice that they are not uniform in size, and very large in the top section. Who cares??

Notice also, that almost half of the space is taken up by green.

Prompted search for “uniform” color space in which color jnd’s are circles.

slide38

CIE 1931 (XYZ)

CIE 1976 (LUV)

v’

u’

With new primaries (LUV) the non-uniform XY chromaticity space was replaced by the u’v’ chromaticity space. This new space is approximately perceptually uniform. The old CIE XYZ is still the most used system.

slide39

Alternate color specification system:

Munsell Colors.

Again, 3D space.

Instead of XYZ, have

hue (circumferential location),

chroma (distance from center)

and

value (vertical position).

Many color vision tests are specified in terms of Munsell Colors (e.g. D15 includes 15 colors with value of 5 and chroma of 4, and 15 different hues).

slide40

Valuable properties of CIE space:

Easy to calculate additively mixed colors, and specify all colors produced by combining 3 “primaries” with additive mixing.

slide41

CIE 1931

Color diagram

Possible colors produced by additive color mixing on TV and subtractive color mixing by dyes/inks.

slide42

Example #1:

Mix equal amounts of monochromatic 510 and 560, result is color M (half way between 510 and 560).

Color M has a dominant wavelength of 525 and an excitation purity of a/(a+b) = 0.75.

slide43

Example #2:

Mix 3x as much 580 as 490, get color P.

P has a dominant wavelength of 570, and a purity of 0.5.

slide44

Class

Demo

Experiment in class:

Measure spectrum of colors, and plot in CIE space.

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