We investigate the properties of a metric between two distributions, the Earth Mover's Distance (EMD), for content-based image retrieval. The EMD is based on the minimal cost that must be paid to transform one distribution into the other, in a precise sense, and was first proposed for certain vision problems by Peleg, Werman, and Rom. For image retrieval, we combine this idea with a representation scheme for distributions that is based on vector quantization. This combination leads to an image comparison framework that often accounts for perceptual similarity better than other previously proposed methods. The EMD is based on a solution to the transportation problem from linear optimization, for which efficient algorithms are available, and also allows naturally for partial matching. It is more robust than histogram matching techniques, in that it can operate on variable-length representations of the distributions that avoid quantization and other binning problems typical of histograms. When used to compare distributions with the same overall mass, the EMD is a true metric. In this paper we focus on applications to color and texture, and we compare the retrieval performance of the EMD with that of other distances.

/pdf/the-earth-mover-s-distance-as-a-metric-for-image-retrieval-h8u7zfx61r.pdf

The Earth Mover's Distance as a Metric for Image Retrieval

Nowcasting and forecasting the potential domestic and international spread of the 2019-nCoV outbreak originating in Wuhan, China: a modelling study.

Publisher Summary This chapter discusses Raster3D, which is a suite of programs for molecular graphics. Crystallographers were among the first and most avid consumers of graphics workstations. Rapid advances in computer hardware, and particularly in the power of specialized computer graphics boards, have led to successive generations of personal workstations with ever more impressive capabilities for interactive molecular graphics. For many years, it was standard practice in crystallography laboratories to prepare figures by photographing directly from the workstation screen. No matter how beautiful the image on the screen, however, this approach suffers from several intrinsic limitations. Among these is the inherent limitation imposed by the effective resolution of the screen. Use of the graphics hardware in a workstation to generate images for later presentation can also impose other limitations. Designers of workstation hardware must compromise the quality of rendered images to achieve rendering speeds high enough for useful interactive manipulation of three-dimensional objects.

Raster3D: photorealistic molecular graphics.

Human face detection plays an important role in applications such as video surveillance, human computer interface, face recognition, and face image database management. We propose a face detection algorithm for color images in the presence of varying lighting conditions as well as complex backgrounds. Based on a novel lighting compensation technique and a nonlinear color transformation, our method detects skin regions over the entire image and then generates face candidates based on the spatial arrangement of these skin patches. The algorithm constructs eye, mouth, and boundary maps for verifying each face candidate. Experimental results demonstrate successful face detection over a wide range of facial variations in color, position, scale, orientation, 3D pose, and expression in images from several photo collections (both indoors and outdoors).

/pdf/face-detection-in-color-images-4kcjqtb9h6.pdf

Face detection in color images

Event-related potentials ~ERPs! recorded from the human scalp can provide important information about how the human brain normally processes information and about how this processing may go awry in neurological or psychiatric disorders. Scientists using or studying ERPs must strive to overcome the many technical problems that can occur in the recording and analysis of these potentials. The methods and the results of these ERP studies must be published in a way that allows other scientists to understand exactly what was done so that they can, if necessary, replicate the experiments. The data must then be analyzed and presented in a way that allows different studies to be compared readily. This paper presents guidelines for recording ERPs and criteria for publishing the results.

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Guidelines for using human event-related potentials to study cognition: Recording standards and publication criteria

From the Publisher:
Rapidly evolving computer and communications technologies have achieved data transmission rates and data storage capacities high enough for digital video But video involves much more than just pushing bits! Achieving the best possible image quality, accurate color, and smooth motion requires understanding many aspects of image acquisition, coding, processing, and display that are outside the usual realm of computer graphics At the same time, video system designers are facing new demands to interface with film and computer system that require techniques outside conventional video engineering
Charles Poynton's 1996 book A Technical Introduction to Digital Video became an industry favorite for its succinct, accurate, and accessible treatment of standard definition television (SDTV) In Digital Video and HDTV, Poynton augments that book with coverage of high definition television (HDTV) and compression systems With the help of hundreds of high quality technical illustrations, this book presents the following topics: 
Basic concepts of digitization, sampling, quantization, gamma, and filtering Principles of color science as applied to image capture and display Scanning and coding of SDTV and HDTV Video color coding: luma, chroma (4:2:2 component video, 4fSC composite video) Analog NTSC and PAL Studio systems and interfaces Compression technology, including M-JPEG and MPEG-2 Broadcast standards and consumer video equipment

https://gendocs.ru/docs/29/28063/conv_1/file1.pdf

Digital Video and HDTV Algorithms and Interfaces

Video Monitor Adjustments: Black Level and Picture Gamma Component Video Colour Coding Composite NTSC and PAL Colour. Appendices: Gamma Correction on the Apple Macintosh Reducing Eyestrain.

A Technical Introduction to Digital Video

www.inforamp.net/~poynton poynton@poynton.com This FAQ is intended to clarify aspects of color that are important to color image coding, computer graphics, image processing, video, and the transfer of digital images to print. I assume that you are familiar with intensity, luminance (CIE Y), lightness (CIE L*), and the nonlinear relationship between CRT voltage and luminance – that is, gamma. To learn more about these topics, please read the companion Frequently Asked Questions about Gamma. This document is available on the Internet from Toronto at: I retain copyright to this note. You have permission to use it, but you may not publish it.

/pdf/frequently-asked-questions-about-color-4t16cjkcqh.pdf

Frequently Asked Questions about Color

In photography, video and computer graphics, the gamma symbol γ represents a numerical parameter that describes the nonlinearity of intensity reproduction. Gamma is a mysterious and confusing subject, because it involves concepts from four disciplines: physics, perception, photography, and video. In this note I will explain how gamma is related to each of these disciplines. Having a good understanding of the theory and practice of gamma will enable you to get good results when you create, process, and display pictures. This note focuses on electronic reproduction of images, using video and computer graphics techniques and equipment. However the discussions of perception and photography may be of general interest as well. This note deals mainly with the reproduction of intensity, or as a photographer would say, tone scale. This is one important step to achieving good color reproduction, but issues specific to color reproduction, but issues specific to color are covered elsewhere

http://ieeexplore.ieee.org/iel7/7227860/7238742/07238747.pdf

Gamma and Its Disguises : The Nonlinear Mappings of Intensity in Perception, CRTs, Film, and Video

Gamma characterizes the reproduction of tone scale in an imaging system. Gamma summarizes, in a single numerical parameter, the nonlinear relationship between code value--in an 8-bit system, from 0 through 255--and physical intensity. Nearly all image coding systems are nonlinear, and so involve values of gamma different from unity. Owing to poor understanding of tone scale reproduction, and to misconceptions about nonlinear coding, gamma has acquired a terrible reputation in computer graphics and image processing. In addition, the world-wide web suffers from poor reproduction of grayscale and color images, due to poor handling of nonlinear image coding. This paper aims to make gamma respectable again.

Charles Poynton

Papers

Digital Video and HDTV Algorithms and Interfaces

A Technical Introduction to Digital Video

Frequently Asked Questions about Color

Gamma and Its Disguises : The Nonlinear Mappings of Intensity in Perception, CRTs, Film, and Video

Rehabilitation of gamma