False-colour palette generation using a reference colour gamut

2015 ◽  
Author(s):  
Phil Green
Keyword(s):  
Colour Palette ◽  
Colour Gamut ◽  
False Colour

scholarly journals Two-step machine learning enables optimized nanoparticle synthesis

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Flore Mekki-Berrada ◽  
Zekun Ren ◽  
Tan Huang ◽  
Wai Kuan Wong ◽  
Fang Zheng ◽  
...  
Keyword(s):  
Machine Learning ◽  
Optical Properties ◽  
Materials Science ◽  
Nanoparticle Synthesis ◽  
Bayesian Optimization ◽  
Absorbance Spectrum ◽  
Nanomaterial Synthesis ◽  
Target Spectrum ◽  
Colour Palette ◽  
Algorithmic Framework

AbstractIn materials science, the discovery of recipes that yield nanomaterials with defined optical properties is costly and time-consuming. In this study, we present a two-step framework for a machine learning-driven high-throughput microfluidic platform to rapidly produce silver nanoparticles with the desired absorbance spectrum. Combining a Gaussian process-based Bayesian optimization (BO) with a deep neural network (DNN), the algorithmic framework is able to converge towards the target spectrum after sampling 120 conditions. Once the dataset is large enough to train the DNN with sufficient accuracy in the region of the target spectrum, the DNN is used to predict the colour palette accessible with the reaction synthesis. While remaining interpretable by humans, the proposed framework efficiently optimizes the nanomaterial synthesis and can extract fundamental knowledge of the relationship between chemical composition and optical properties, such as the role of each reactant on the shape and amplitude of the absorbance spectrum.

Polycarbonate Light Guide Plates with Embedded Quantum Dots Fabricated by Large-Scale Injection Moulding for Wide Colour Gamut Displays

2021 ◽  
Author(s):  
Guan-Hong Chen ◽  
Shao-Hsuan Yang ◽  
Chang-Wei Yeh ◽  
Shih-Jung Ho ◽  
Meng-Chi Liu ◽  
...  
Keyword(s):  
Quantum Dots ◽  
Injection Moulding ◽  
Large Scale ◽  
Light Guide ◽  
Colour Gamut

A new approach to obtain a colour palette in thermographic images

2018 ◽  
Vol 16 (1) ◽  
pp. 35-54 ◽  
Author(s):  
Irving A. Cruz-Albarran ◽  
Juan P. Benitez-Rangel ◽  
Roque A. Osornio-Rios ◽  
Benjamin Dominguez-Trejo ◽  
David A. Rodriguez-Medina ◽  
...  
Keyword(s):  
New Approach ◽  
Colour Palette

P-38: Comparison of the Odiousness by Various False Colour Motion Blurs in LCDs Caused by Various Factors

2007 ◽  
Vol 38 (1) ◽  
pp. 330-333
Author(s):  
Yuzo Hisatake ◽  
Hideki Ito ◽  
Masaki Obi ◽  
Yasushi Kawata ◽  
Akio Murayama
Keyword(s):  
False Colour

scholarly journals Application of nonlinear colour enhancement on transparencies for interpretation of glacier surface characteristics

1992 ◽  
Vol 16 ◽  
pp. 190-192
Author(s):  
Cao Meisheng ◽  
Mi Desheng ◽  
Pu Yinbin ◽  
Liu Jinghaung
Keyword(s):  
Surface Characteristics ◽  
False Colour Composite ◽  
High Contrast ◽  
Glacier Surface ◽  
Ice Surface ◽  
Grey Scale ◽  
Scale Range ◽  
Colour Composite ◽  
Channel Image ◽  
False Colour

According to the analysis of grey scale range on MSS-4, -5, -6 and -7 channel image films for five snow-ice categories on glacier surface, the grey scale among snow, bare ice, ice pinnacle, moraine-covered ice surface and gully bed has been spread nonlinearly by using duplicative processing on high-contrast film. As a result of the rescaling of grey levels, the colour differences of morphological features of Rongbu Glacier in the Qpmolangma region have been increased on false colour composite photography. It is also shown that using MSS-6 to composite false colour images compared to MSS-5 will supply more information for the interpretation of the glacier area.

After the Silence

2013 ◽  
pp. 73-88
Author(s):  
Barry Forshaw
Keyword(s):  
Renaissance Art ◽  
Box Office ◽  
Level Of Confidence ◽  
Colour Palette ◽  
Valentine's Day ◽  
The City

This chapter addresses the sequel to The Silence of the Lambs (1991), Ridley Scott's Hannibal (2001). Both the colour palette and the tone of the new film were different from its predecessor, with a greater emphasis on primary colours and atmospheric chiaroscuro effects, and the material's black humour more accentuated. In keeping with the director's expertise in the realm of the epic, Hannibal was placed within a much more geographically sprawling canvas, with a great deal of the film shot in a beautifully evoked Florence, the city in which Hannibal Lecter is masquerading as the expert in Renaissance art, ‘Dr Fell’. Ridley Scott's assumption of the directorial reins proved highly successful and the film enjoyed immense popularity, breaking several box office records as it wittily opened on Valentine's Day of 2001. If the talented Julianne Moore was able to do less with the character of Clarice Starling than her predecessor, this was perhaps due to the extra level of confidence the FBI agent has acquired by this stage of her life. Professional though the actress's work was throughout, neither she nor her director could produce the kind of touching verisimilitude that was Jodie Foster's stock-in-trade in the first film. The chapter then looks at the prequels: Brett Ratner's Red Dragon (2002) and Peter Webber's Hannibal Rising (2007).

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