The Experts below are selected from a list of 5487 Experts worldwide ranked by ideXlab platform

David Wood - One of the best experts on this subject based on the ideXlab platform.

Michael A Kriss - One of the best experts on this subject based on the ideXlab platform.

  • how many Pixels does it take to make a good 4 6 print Pixel Count wars revisited
    IEICE Transactions on Fundamentals of Electronics Communications and Computer Sciences, 2012
    Co-Authors: Michael A Kriss
    Abstract:

    This paper explores why larger Pixels and sensors are key to the future of DSCs. It also looks at how aliasing artifacts are created as a function of the relationship between the optical spread function of the lens, the Pixel size and the presence of a color filter array.

  • Pixel Count wars revisited
    Rundbrief Der Gi-fachgruppe 5.10 Informationssystem-architekturen, 2012
    Co-Authors: Michael A Kriss
    Abstract:

    This paper explores why larger Pixels and sensors are key to the future of DSCs. It also looks at how aliasing artifacts are created as a function of the relationship between the optical spread function of the lens, the Pixel size and the presence of a color filter array.

  • it s not the Pixel Count you fool
    Proceedings of SPIE, 2012
    Co-Authors: Michael A Kriss
    Abstract:

    The first thing a "marketing guy" asks the digital camera engineer is "how many Pixels does it have, for we need as many mega Pixels as possible since the other guys are killing us with their "umpteen" mega Pixel pocket sized digital cameras. And so it goes until the Pixels get smaller and smaller in order to inflate the Pixel Count in the never-ending Pixel-wars. These small Pixels just are not very good. The truth of the matter is that the most important feature of digital cameras in the last five years is the automatic motion control to stabilize the image on the sensor along with some very sophisticated image processing. All the rest has been hype and some "cool" design. What is the future for digital imaging and what will drive growth of camera sales (not Counting the cell phone cameras which totally dominate the market in terms of camera sales) and more importantly after sales profits? Well sit in on the Dark Side of Color and find out what is being done to increase the after sales profits and don't be surprised if has been done long ago in some basement lab of a photographic company and of course, before its time.

  • Color Imaging: Displaying, Processing, Hardcopy, and Applications - It's not the Pixel Count, you fool
    Proceedings of SPIE, 2012
    Co-Authors: Michael A Kriss
    Abstract:

    The first thing a "marketing guy" asks the digital camera engineer is "how many Pixels does it have, for we need as many mega Pixels as possible since the other guys are killing us with their "umpteen" mega Pixel pocket sized digital cameras. And so it goes until the Pixels get smaller and smaller in order to inflate the Pixel Count in the never-ending Pixel-wars. These small Pixels just are not very good. The truth of the matter is that the most important feature of digital cameras in the last five years is the automatic motion control to stabilize the image on the sensor along with some very sophisticated image processing. All the rest has been hype and some "cool" design. What is the future for digital imaging and what will drive growth of camera sales (not Counting the cell phone cameras which totally dominate the market in terms of camera sales) and more importantly after sales profits? Well sit in on the Dark Side of Color and find out what is being done to increase the after sales profits and don't be surprised if has been done long ago in some basement lab of a photographic company and of course, before its time.

  • how many Pixels does it take to make a good 4 6 print Pixel Count wars revisited
    Proceedings of SPIE, 2011
    Co-Authors: Michael A Kriss
    Abstract:

    In the early 1980's the future of conventional silver-halide photographic systems was of great concern due to the potential introduction of electronic imaging systems then typified by the Sony Mavica analog electronic camera. The focus was on the quality of film-based systems as expressed in the number of equivalent number Pixels and bits-per-Pixel, and how many Pixels would be required to create an equivalent quality image from a digital camera. It was found that 35-mm frames, for ISO 100 color negative film, contained equivalent Pixels of 12 microns for a total of 18 million Pixels per frame (6 million Pixels per layer) with about 6 bits of information per Pixel; the introduction of new emulsion technology, tabular AgX grains, increased the value to 8 bit per Pixel. Higher ISO speed films had larger equivalent Pixels, fewer Pixels per frame, but retained the 8 bits per Pixel. Further work found that a high quality 3.5" x 5.25" print could be obtained from a three layer system containing 1300 x 1950 Pixels per layer or about 7.6 million Pixels in all. In short, it became clear that when a digital camera contained about 6 million Pixels (in a single layer using a color filter array and appropriate image processing) that digital systems would challenge and replace conventional film-based system for the consumer market. By 2005 this became the reality. Since 2005 there has been a "Pixel war" raging amongst digital camera makers. The question arises about just how many Pixels are required and are all Pixels equal? This paper will provide a practical look at how many Pixels are needed for a good print based on the form factor of the sensor (sensor size) and the effective optical modulation transfer function (optical spread function) of the camera lens. Is it better to have 16 million, 5.7-micron Pixels or 6 million 7.8-micron Pixels? How does intrinsic (no electronic boost) ISO speed and exposure latitude vary with Pixel size? A systematic review of these issues will be provided within the context of image quality and ISO speed models developed over the last 15 years.

Masayuki Sugawara - One of the best experts on this subject based on the ideXlab platform.

  • Ultra-High-Definition Television (Rec. ITU-R BT.2020): A Generational Leap in the Evolution of Television [Standards in a Nutshell]
    IEEE Signal Processing Magazine, 2014
    Co-Authors: Masayuki Sugawara, Seo-young Choi, David Wood
    Abstract:

    The International Telecommunication Union Radiocommunication Sector (ITU-R) published Recommendation (Rec.) BT.2020? Parameter Values for Ultra-High-Definition Television Systems for Production and International Programme Exchange? [1] in August 2012. The parameters for television (TV) systems are roughly equivalent to the image format, including Pixel Count, frame frequency, and colorimetry. These basic system parameters determine what kind of visual experiences the system can provide to the viewers in terms of possible field of view (FOV) size, quality of motion portrayal, and accuracy of color reproduction.

  • Paper No 6.1: Expectations for UHDTV Displays
    SID Symposium Digest of Technical Papers, 2013
    Co-Authors: Masayuki Sugawara, Keiji Ishii, Yuichi Kusakabe, Yukihiro Nishida, Yoshiaki Shishikui
    Abstract:

    Ultra-high definition television (UHDTV) intends to provide viewers with a better visual experience by giving them a strong sensation of reality by widening the field of view (FOV) of the image. A large Pixel Count is needed to widen the FOV while keeping the picture quality as high as that of HDTV. In particular, SUPER Hi-VISION is or 8K-UHDTV with 7680 × 4320 Pixels. The development of the SUPER Hi-VISION to date has given priority to achieving this high Pixel Count. It has resulted in a projector with four 4K liquid crystal on silicon (LCOS) devices, an 8K projector, an 85" liquid crystal display (LCD), and a 145" plasma display panel (PDP) with 7680 × 4320 Pixels for each RGB color. Meanwhile, other parameters such as the frame frequency and colorimetry also improve the visual experience. After a thorough review of each system parameter, Recommendation ITU-R BT.2020 was standardized. Besides the Pixel Count, it specifies a frame frequency, colorimetry, and bit depth beyond those of HDTV. A SUPER Hi-VISION display should cover all of these parameters.

Nicolas Dupuis - One of the best experts on this subject based on the ideXlab platform.

  • Monolithic Flexible-Grid 1 $\,\times\,$2 Wavelength-Selective Switch in Silicon Photonics
    Journal of Lightwave Technology, 2012
    Co-Authors: Christopher R. Doerr, Lawrence L. Buhl, Long Chen, Nicolas Dupuis
    Abstract:

    We describe in further detail a demonstration of a monolithic 1 × 2 silicon wavelength-selective switch in silicon photonics. The switching has a flexible grid with 32 Pixels on a pitch of 100 GHz. It is extremely compact, being only 3.0 × 5.5 mm2, and it can potentially be mass-produced by a silicon foundry. It requires improvements in many characteristics, though, most notably insertion loss, resolution, and Pixel Count.

Ben Cox - One of the best experts on this subject based on the ideXlab platform.

  • Single-Pixel optical camera for video rate ultrasonic imaging
    Optica, 2016
    Co-Authors: Nam Huynh, Marta Betcke, Edward Zhang, Paul Beard, Simon Arridge, Ben Cox
    Abstract:

    A coherent-light single-Pixel camera was used to interrogate a Fabry Perot polymer film ultrasound sensor, thereby serially encoding a time-varying 2D ultrasonic field onto a single op- tical channel. By facilitating compressive sensing, this device enabled video rate imaging of ultrasound fields. In experimen- tal demonstrations, this compressed sensing capability was exploited to reducemotion blur and capture dynamic features in the data. This relatively simple and inexpensive proof-of- principle device offers a route to high Pixel Count, high frame rate, broadband 2D ultrasound field mapping.