Luminance-difference-based adaptive subpixel rendering algorithm for matrix displays

2012 ◽  
Author(s):  
Suk-Ju Kang ◽  
Seonggyun Kim ◽  
Euiyeol Oh ◽  
Young-Won Song
Keyword(s):  
Luminance Difference

scholarly journals Changes of mind and absolute evidence

2019 ◽  
Author(s):  
William Turner ◽  
Daniel Feuerriegel ◽  
Milan Andrejevic ◽  
Robert Hester ◽  
Stefan Bode
Keyword(s):  
Decision Process ◽  
Initial Response ◽  
Luminance Ratio ◽  
Noise Sources ◽  
Initial Decision ◽  
Luminance Difference ◽  
The World ◽  
Sensory Evidence

To navigate the world safely, we often need to rapidly ‘change our mind’ about decisions. Current models assume that initial decisions and change-of-mind decisions draw upon common sources of sensory evidence. In two-choice scenarios, this evidence may be ‘relative’ or ‘absolute’. For example, when judging which of two objects is the brightest, the luminance difference and luminance ratio between the two objects are sources of ‘relative’ evidence, which are invariant across additive and multiplicative luminance changes. Conversely, the overall luminance of the two objects combined is a source of ‘absolute’ evidence, which necessarily varies across symmetric luminance manipulations. Previous studies have shown that initial decisions are sensitive to both relative and absolute evidence; however, it is unknown whether change-of-mind decisions are sensitive to absolute evidence. Here, we investigated this question across two experiments. In each experiment participants indicated which of two flickering greyscale squares was brightest. Following an initial decision, the stimuli remained on screen for a brief period and participants could change their response. To investigate the effect of absolute evidence, the overall luminance of the two squares was varied whilst either the luminance difference (Experiment 1) or luminance ratio (Experiment 2) was held constant. In both experiments we found that increases in absolute evidence led to faster, less accurate initial responses and slower changes of mind. Change-of-mind accuracy decreased when the luminance difference was held constant, but remained unchanged when the luminance ratio was fixed. The initial response effects could be explained by the presence of input-dependent noise within the decision process, varying either within or across trials. However, the change-of-mind effects could not be captured by existing models, nor by two modified models which included input-dependent noise sources. This suggests that that the continued integration of sensory evidence following an initial decision operates differently to that described in existing theoretical accounts.

A Testing Method for the Luminance Difference of Stereoscopic Television

2013 ◽  
Vol 380-384 ◽  
pp. 955-958
Author(s):  
Dong Yan Wu ◽  
Jian Dong Cao ◽  
Yi Jin
Keyword(s):  
Quality Evaluation ◽  
Measuring Point ◽  
Testing Model ◽  
Testing Method ◽  
Luminance Difference ◽  
Center Point ◽  
Black Field ◽  
Left And Right ◽  
3D Tv

The luminance difference is one of the important factors of stereoscopic television. In this paper, according to the characteristics of stereoscopic television glasses, we use white window signal and black field signal to measure luminance difference of 3D TV. We adopt the left and right eye channel individually tested brightness. We chose the center point of stereoscopic television as measuring point. And then, we select a few of stereoscopic television as testing model. The proposed method may be helpful for the quality evaluation of stereoscopic television.

The Boogie-Woogie Illusion

Perception ◽  
10.1068/p3378 ◽  
2002 ◽  
Vol 31 (8) ◽  
pp. 1005-1011 ◽  
Author(s):  
Patrick Cavanagh ◽  
Stuart Anstis
Keyword(s):  
Second Order ◽  
Order Difference ◽  
First Order ◽  
Luminance Difference ◽  
Order Pattern

A grid of vertical and horizontal lines, each composed of light and dark squares, is moved rigidly at 45° to the vertical on a gray surround. When the luminance of the background is set midway between the luminances of the light and dark squares, the squares appear to race along the lines even though they are actually ‘painted’ on the lines. The effect arises from the unequal apparent speeds of the lines and their textures. The light and dark squares along the lines define a first-order pattern whose apparent speed, parallel or along the line, is close to veridical. The lines themselves have no overall luminance difference from the background so that they are defined by a second-order difference. As reported elsewhere, apparent speed is reduced for second-order motion so that the motion perpendicular to the line is perceived as slower than the motion along the line even though they are physically equal. The imbalance creates the impression that the small squares are moving along the lines rather than moving rigidly with them.

Chromatic and Luminance Difference Contribution to Stereopsis

1986 ◽  
Vol 63 (12) ◽  
pp. 970-977 ◽  
Author(s):  
EBI PETER OSUOBENI ◽  
D. J. OʼLEARY
Keyword(s):  
Luminance Difference

Chromaticity and Luminance as Coding Dimensions in Visual Search

1992 ◽  
Vol 34 (5) ◽  
pp. 601-614 ◽  
Author(s):  
Allen L. Nagy ◽  
Robert R. Sanchez
Keyword(s):  
Visual Search ◽  
Search Time ◽  
Critical Difference ◽  
Luminance Difference ◽  
The Mean ◽  
The Difference

Visual search times were measured as a function of chromaticity and luminance differences between a target and distractor stimuli. Results showed that mean search time increased linearly with the number of distractors if the luminance difference between target and distractors was small but was roughly constant if the luminance difference was large. Similar results were previously found for chromaticity differences. With the number of distractor stimuli held constant, the mean search time decreased with increases in the difference between target and distractors, up to some critical difference. Further increases in target-distractor difference had little effect. Results were similar for targets defined by luminance and chromaticity. There was some advantage to combining luminance differences with chromaticity differences when the target was dimmer than the distractors. Generally there was no advantage for combining a chromaticity difference with a luminance difference when the target was brighter than the distractors.

Effects of Algebraic and Absolute Luminance Differences on Achromatic Surface Grouping

Perception ◽  
10.1068/p3426 ◽  
2003 ◽  
Vol 32 (5) ◽  
pp. 615-620 ◽  
Author(s):  
Sergio Cesare Masin
Keyword(s):  
Light Quality ◽  
Absolute Value ◽  
Luminance Difference ◽  
The Absolute

The algebraic luminance difference corresponding to a uniform achromatic surface on a uniform achromatic background determines the dark or light quality and the extent of this quality in the achromatic colour of the surface, while the absolute value of this difference determines the amount of perceived contrast between the achromatic colours of the surface and of the background. The results of an experiment designed to test whether grouping of achromatic surfaces depends on one or on both of these differences are here reported. Grouping was found to depend prevailingly on algebraic luminance difference in some subjects, prevailingly on absolute luminance differences in other subjects, and on both of these differences with similar probabilities in still other subjects.

Effects of Patterning on Flicker Frequency

1983 ◽  
Vol 27 (1) ◽  
pp. 46-50 ◽  
Author(s):  
Jack D. Grimes
Keyword(s):  
White Background ◽  
Significant Finding ◽  
Computer Terminal ◽  
Line Drawings ◽  
Spatial Image ◽  
Black Background ◽  
Luminance Difference ◽  
The Subject ◽  
The Relationship ◽  
Video Format

Flicker was studied as perceived on a raster-scan CRT-based computer terminal in a typical use environment. The subject of the research was the relationship between the perception of flicker and the kind of spatial image presented. Both traditional images (filled white disks or squares) and images consisting of text and line drawings, similar in content to typical graphic computer terminal displays, were used in the study. This study measured the flicker perception of eight people. The most significant finding from this study was that CFF thresholds for some images presented on CRT displays in a typical use setting, differed significantly from more traditional images used in most CFF studies reported in the literature. For the eight images tested, the two which exhibited significantly higher CFF thresholds were lines or text on a black background (patterns 3 and 4). Therefore, an important factor to be considered in the prediction of the flicker characteristics of a 60 Hertz, noninterlaced CRT display in conditions similar to those of this study is the choice of normal video (black background) or reverse video format. The white background video format is likely to flicker when the display luminance is above 20 ft-L while the black background video format threshold was about 80 ft-L for both patterns 3 and 4. Alternatively, this luminance difference corresponds to about a 10 Hertz shift in CFF. In this study, the choice of video format alone, resulted in a luminance difference of 60 ft-L at CFF, or alternatively, resulted in a 10 Hertz shift in CFF at a particular luminance, for images normally found on actual CRT displays.

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