How to use your camera’s white balance controls

May 3rd, 2010

How to use your camera’s white balance controls

The human eye has a lot of amazing capabilities. It can see in 3D, it has continuous auto-focus, and it is so light-sensitive that it can detect a single photon of light. Amongst these and other astounding feats is the ability to perceive color correctly under any lighting conditions. If this seems like a ho-hum achievement, consider that we have yet to develop an imaging technology that can do this. Film can’t, and neither can digital sensors.

What is white balance?

The problem is that different types of light shine with different colors. Sunlight, for example, shines a very blue light (no, our sun does not cast yellow light; take a look at your shadow next time you’re outside and you’ll find that it’s slightly blue), and incandescent light bulbs shine very red. While your eye can adjust automatically to these different light sources, so that color appears correct under each of them, your digital camera must be calibrated to a light source to properly represent color. This calibration process is called white balancing.

If you think back to elementary school, there was probably a day that you learned about rainbows and prisms, and how both of these split light into its component colors of red, orange, yellow, green, blue, indigo, and violet. In other words: white light contains every other color. The idea with white balancing is that if you can get your camera to properly represent white, then all other colors will be correct.

Choose a white balance preset


The top image was shot using auto white balance in the shade on a cloudy day. The color’s not wildly inaccurate but the overall tone is too cool. The bottom image was shot using my camera’s Cloudy preset. It is warmer with more accurate flesh tones.

By default, your camera is configured to use its auto white balance mode. When in this mode, the camera analyzes the scene and tries to determine the best white balance—the one that will yield the most accurate colors. These days, the auto white balance mechanisms on most cameras are very good, and will almost always yield accurate results when shooting in bright daylight, and several other types of light. However, even the best auto white balance system can begin to fail when shooting in shade.

I shot an image in the shade using the auto white balance setting on a Canon EOS 5D Mark II. While the image doesn’t look terrible, it is a little “cool”—the subject’s flesh isn’t quite as warm and healthy-looking as it should be. There are multiple options for correcting this problem.

Most cameras include white balance presets for different lighting situations—usually daylight, shade, cloudy, tungsten, flash, and fluorescent (of which there are often two types). I switched the camera to its Cloudy white balance preset and tried again. Some cameras have a dedicated Shade preset, but mine doesn’t. However, a cloudy day is very similar to shade, so it was a good choice.

Set your white balance manually

Shade is not the only type of light that can cause problems. Mixed lighting—sunlight streaming through a window into a fluorescent-lit room—can also play havoc with the white balance in your camera, yielding images with bad color casts. Or, perhaps you’re shooting in tungsten light, but standing next to a bright yellow wall. Even though your camera’s tungsten white balance might normally yield very good results, the yellow wall can cast the light into a color range that your camera’s preset doesn’t work for.

For this reason SLRs, and many point-and-shoots, include the ability to define white balance manually. The process different from camera to camera, but the general procedure is the same: Place something light gray (or, in a pinch, white) within the light of your scene and fill as much of the frame with that object as you can. This is your white balance target.

Now activate the camera’s manual white balance process. On some cameras you’ll need to take a picture of the target, while in others you’ll simply frame the shot and hold it while the camera analyzes the target. (If your camera requires you to take a picture of the white balance target, then you’ll have an additional step wherein you tell the camera’s manual white balance feature to use that specific image.)


Shooting with manual white balance yielded an image that was warmer than auto white balance, but not as overly warm as the Cloudy white balance preset.

I used manual white balance to retake the same image, and as you can see in the photo on the right, it yielded better results than the camera’s Cloudy white balance preset.

If you choose to set your camera’s white balance manually, you can also use a white balance card, such as the Raw Workflow WhiBal G6 pocket card. The small, $21 card is specifically designed to be a white balance target. It’s lightweight, and spectrally neutral, meaning it doesn’t have a color cast of any kind. What’s more, it’s gray all the way through, so if it gets scuffed, you can just sand it off to return to a gray surface.

Remember that a white balance target needs to go within the light that’s striking your scene. If you simply hold it in front of your camera, you may not get a good white balance, because you might be standing in different light from your subject.

Don’t count on post production corrections

Because digital image editing software is so powerful, a lot of people think “I don’t have to worry about white balance, I’ll just fix my image in post production” but this is the wrong approach to take for white balance if you’re shooting JPEG images. That’s because it’s often extremely difficult to fix a JPEG’s bad white balance with a photo editor, and sometimes outright impossible. For those times when you can fix it, you may find that performing any additional edits leads to bad artifacts in your image, such as shadow areas that end up looking chunky and banded. Therefore, it’s best to get white balance right in-camera when shooting JPEGs, both to save yourself editing hassle later, and to ensure good results. Alternatively, you can choose to shoot raw.

The Raw solution


Because I shot the first image in Raw mode, it was no trouble for me to correct its white balance by simply dialing in a new white balance value in post-production. Here, I’ve warmed the image up so that the skin tones look correct.

If you want to avoid white balance troubles altogether, just shoot in raw mode. One of the great advantages of raw files is that you can alter the white balance in a raw file after you shoot, and achieve the exact same results as careful, manual white balance.

For times when you forget to white balance, or when it’s impossible to achieve correct white balance (low-light shooting, shooting a distant object in a different type of light from where you’re standing, or shooting stage productions lit with multiple-colored lights can all be impossible manual white balance situations) the ability to alter a raw file’s white balance can mean the difference between getting and missing the shot.

Film photographers have to be certain that they use film that is balanced for the type of light in which they are shooting, and if that isn’t possible, then they have to work hard to add gels to lights and windows to correct the light for their film. Digital photographers have it much easier, but only if they take the time to learn and use their camera’s white balance settings.

[Macworld senior contributor Ben Long is the author of Complete Digital Photography, fifth edition (Charles River Media, 2009).]

Adobe CS5

April 3rd, 2010

So i’ve been watching and waiting to see the new features of the soon to be released Adobe CS5. Here is a few nice upgrades they have made.
http://cs5.org

Here is the link to all their vids on youtube: http://www.youtube.com/user/CS5ORG

Photoshop:
Content Aware Fill: http://www.youtube.com/watch?v=NH0aEp1oDOI&feature=player_embedded
Spot Healing: http://www.youtube.com/watch?v=X58evj9A8lg
Warping: This looks like it was taken from after effects so I wouldn’t call it new.

A/V Terminology

April 2nd, 2010

1080i – An HDTV standard that specifies an interlaced resolution of 1920×1080.

16:9 – Sometimes expressed as 16×9 or 16 by 9 (known as 1.78:1 in the film world); the standard DTV wide-screen television screen size, or aspect ratio–16 arbitrary units wide by 9 arbitrary units high, as compared to a standard TV aspect ratio of 4:3. The phrase describes the shape of a TV set or program, not an actual inch measurement.

4:3- Standard “square” NTSC TV screen-size aspect ratio of 4 arbitrary units wide by 3 arbitrary units high; often expressed as 4×3 or 4 by 3. It was originally known as the Academy Ratio (as in Academy of Motion Picture Arts and Sciences, the film industry organization that awards the Oscars) prior to 1954 and the introduction of wide-screen aspect-ratio film formats; also known in the film world as 1.33:1.

480i – 480 interlaced; form of standard-definition digital television (SDTV) that approximates the quality of analog television but not considered high-definition television (HDTV). Even though the native resolution of DVDs is 480p, they are viewed at 480i on an NTSC analog television.

480p – 480 progressive; form of standard-definition digital television (SDTV) comparable to VGA computer displays but not considered high-definition television (HDTV), though 480p is discernibly cleaner and slightly sharper than analog television. The native resolution of DVD is 480p, but that resolution can be seen only if a DVD player outputs a progressive-scan signal and the DTV has progressive-scan or component-video inputs; it is also known as EDTV.

5.1 channel digital surround sound – The popular digital surround-sound technique used by Dolby Digital technology in which audio is recorded on six, or 5.1, separate tracks: front left, front right, front center, rear left, and rear right, with an extra track (the .1) reserved for very low bass. This method (also called AC-3) mimics the three-dimensional quality of sound in real life and has become ubiquitous in home-theater systems. Although analog surround sound such as Dolby Pro Logic also often uses six speakers, the analog format simply splits a traditional stereo signal into front and rear components.

720p – 720 progressive. One of two currently used formats designated as high-definition television in the ATSC DTV standard, this technology comprises 720 vertical pixels and 1,280 horizontal pixels. The p stands for progressive, as opposed to interlaced, scanning, which is used in the other accepted HDTV standard, known as 1080i. Contrary to myth, 720p is not inferior to 1080i; 720p has fewer lines but also has the advantages of progressive scanning and a constant vertical resolution of 720 lines, making it better able to handle motion.

Anamorphic – Adopted from the film technique of shooting a wide-screen image on a square 35mm frame, it’s the process of compressing wide-screen images to fit into the squarer standard 4:3 television signal. The images are then expanded for viewing in their original format on a wide-screen display device. Wide-screen or letterboxed DVDs that are not anamorphic have less detail when projected on a wide-screen monitor. In other words, a nonanamorphic wide-screen DVD is designed to be shown letterboxed on a standard “square” TV but appears with a black box all around the image when shown on a larger 16:9 wide-screen TV. To fill a 16:9 screen, a nonanamorphic DVD has to be blown up, resulting in loss of resolution and detail. Conversely, a DVD that is anamorphic, enhanced for 16:9, or enhanced for wide-screen delivers 33 percent more resolution than regular letterboxed transfers, is designed to be shown on a 16:9 TV, and does not need to be blown up. When one of these DVDs is shown on a “square” TV, it is often subject to anamorphic downconversion artifacts unless the TV has a vertical compression feature.

Aspect Ratio – The ratio of width to height in a video picture or other graphic image. Standard U.S. TV broadcasts and computer monitors feature a 4:3 aspect ratio; HDTV has a much wider 16:9 ratio.

Black Level – The intensity of black in the television picture, frequently referred to as brightness; adjusted to compensate for ambient room light. Black level is set with a TV’s brightness control using a PLUGE test pattern. Setting black level correctly is critical to overall picture quality, particularly the ability to see detail in dimly lit scenes of a movie. The term also refers to the ability of a display to produce an inky, deep black, which is often a problem in fixed-pixel displays.

Burn In – occurs when an image such as a stock ticker, a network logo, or letterbox bars gets etched permanently onto the screen because it sits in one place too long. The danger of burn-in has been greatly exaggerated, and people with normal viewing habits have nothing to worry about. The potential for burn-in is greatest during the first 100 or so hours of use.

Component Video – The elements that make up a video signal, consisting of luminance and two separate chrominance signals, expressed either as Y R-Y B-Y or Y Pb Pr.

Composite Video – A type of video signal in which all the necessary video information is combined into one signal. This is the type of signal used for broadcast TV in the United States. Most computer monitors use RGB video, in which the red, blue, and green signals are sent separately to produce a sharper image.

Contrast Ratio – The difference in light intensity between the brightest white and the darkest black that a display device can produce. A higher the contrast ratio is better than a lower one.

CRT – Cathode Ray Tube

EDTV – Enhanced Definition TelevisionAlso used to describe plasma and other fixed-pixel displays that have 852×480 resolution. They can show an HDTV image but don’t provide as much detail as higher-resolution displays.

HDMI – High-Definition Multimedia Interface. USB-like digital video connectivity standard designed as a successor to DVI; can transmit both digital audio and video signals; incorporates HDCP digital copy protection.

Interlaced Scanning – Scan method used by the majority of televisions and the 1080i HDTV format. As opposed to progressive scanning in which the CRT’s electron beam scans or “paints” all lines at once, interlaced scanning TVs paint odd-numbered lines in succession, then go back and fill in the remaining even-numbered lines. This method is more prone to artifacts and less stable than progressive.

Judder – A visual artifact that often occurs when film is transferred to video. The result is what appears to be jerky or stuttering camera movement, where it should be a smooth pan

LCD – liquid-crystal display A technology used in creating displays for notebook computers, tablet PCs, personal digital assistants (PDAs), mobile phones, and flat-panel monitors for PC systems. This type of display consists of an electrically reactive liquid-crystal substance sandwiched between two sheets of polarizing material. An electric current passed through the liquid causes the crystals to align so that light can or cannot pass through them, thus creating the images on the screen. LCD screens are slim and light and can be produced in a wide range of sizes.

Lumens – The unit of measure for the light output of a projector. Different manufacturers may rate their projectors’ light output differently, and these numbers are usually inflated. “Peak lumens” is measured by illuminating an area of about 10 percent of the screen size in the center of the display. This measurement ignores the reduction in brightness at the sides and corners of the screen.

Native Resolution – The resolution at which a TV or monitor is designed to display images. Image signals higher or lower than a specified native resolution must be converted to be displayed accurately. For example, a TV with a native resolution of 1080i can display 1080i images but may upconvert 480p images to 1080i. In contrast, a TV with a native resolution of 480p must downconvert a 1080i signal to 480p for display. CRT-based projection TVs can have more than one native resolution, but fixed-pixel displays such as LCD and DLP are limited to display one resolution and convert all others.

Overscan – The amount of picture area that gets cropped off along the edges of a television screen. Zero percent overscan means the television does not crop off any of the incoming picture. Overscan is often set intentionally at the factory to be 5 percent, or even higher along the edges, to ensure the screen is full at all times regardless of fluctuations in brightness (which can change the overall picture size) or nonstandard signals, such as those from camcorders or video games.

Progressive Scan – A method of displaying images on a CRT monitor or a high-definition TV in which all the lines of a picture are drawn in one quick burst, from left to right and from top to bottom. Compare this to interlacing, in which every other line is displayed in two successive swoops to form a complete picture.

RCA Connectors – This type of connector is used mainly for carrying video and line-level audio on stereos, TVs, VCRs, and video cameras. The connector has a center contact (a pin or a hole) and an outer contact (a flower or a cylinder).

Refresh Rate – The speed at which the pixels on a display device can change.

Wide-Screen – Image with an aspect ratio greater than 1.33:1 or a picture wider and narrower than a standard television image. Typically refers to TVs in the 16:9 aspect ratio.

The weakest link

April 1st, 2010

The weakest link

29 March 2010

Could a hacker put pornography on your client’s digital signage? Tim Kridel investigates some recent AV security breaches and how to protect against them.

They’re the kind of security breaches that will put an integrator in the foetal position in the middle of the day: One February afternoon in Moscow, a man whom police described as “a highly educated, temporarily unemployed and extremely advanced Internet user” hacked into digital signage along a busy road to make it show a pornographic video, causing an elderly motorist to have a heart attack.
A few weeks earlier in another part of Moscow, police announced that for five months, their surveillance systems had been fed pre-recorded video – a trick right out of the “Oceans 11” films. The investigation is ongoing, but the initial finding is that the system was hacked by a rival integrator looking to undermine its competitor.
To avoid unwittingly enabling the next embarrassing AV hack, it helps to understand how vulnerabilities are created. Increasingly, those vulnerabilities are a by product of AV’s ongoing migration away from closed systems and toward just another form of traffic running over an IP network. But in other cases, the back door can be a simple as coax run through a drop ceiling in a storage room.

Cutting the cord

Wireless is an increasingly common way to connect devices, such as a laptop to a projector in a conference room. One reason is because the latest versions – such as 802.11n Wi-Fi – are fast enough to support HD video. In other cases, the appeal is being able to piggyback signage or surveillance cameras on the client’s existing wireless local area network (WLAN) to eliminate the expense of building a dedicated AV network.
Some vendors say Wi-Fi is inherently more secure than fibre or copper because today’s versions have built-in authentication and encryption technologies such as WPA2.
“If they’re in place, it is almost impossible to break into those wireless networks,” says Dr. Amit Sinha, a fellow and chief technologist in Motorola’s enterprise WLAN business unit. “Ethernet does not have any encryption running on it by default.”
By authenticating each device before it’s allowed to connect, WPA2 also helps thwart “main-in-the-middle” attacks: overriding the signal from a surveillance camera or to a display and substituting it with fake or pornographic video. 
“Wireless makes it particularly easy to do because you don’t have to cut cords or gain physical access to a networking closet,” Sinha says. “WPA2 provides a critical element of security: integrity protection, whereby it’s virtually impossible for someone to become a man in the middle.”
Even so, Wi-Fi has a few vulnerabilities. One is jamming the system, such as to cause video to freeze or pixelate. Another is when a unauthorised or “rogue” AP (access point) is connected to the wired LAN, creating a back door to the WLAN and any AV device that’s on it. 
A wireless intrusion-detection system can mitigate those problems by constantly monitoring for them and alerting, say, the client’s IT staff when they’re detected. Some enterprises already have these systems, so they wouldn’t have to be factored into the cost of an AV project.

Security by complexity

Copper cables, such as Cat-5, are another risk partly because they can act as antennas that radiate their traffic to nearby eavesdroppers. Even coax’s shielding doesn’t completely trap all of the electromagnetic signals passing through the cable. Copper cables also can be physically tapped to capture the traffic they carry.
One obvious way to minimise those risks is to restrict access to the cables, such as by running them through conduit, which further attenuates the signals and requires additional effort – and noise – for someone to literally hack through them to tap the cable inside. 
In installations where copper cable have to run near electric lines, conduit also can provide additional shielding between the two. The concern isn’t so much that the current will create electrical interference with the AV traffic, but rather that electric lines don’t pick up the AV traffic and reradiate it, facilitating a little-known type of eavesdropping.
Although fibre doesn’t radiate signals, it can be tapped, which is why some highly sensitive users will run it through conduit. A fibre-optic power meter also can be used to identify reflections in places where there aren’t supposed to be any, indicating a possible tap. 
Fibre modems also have lights and other indicators that show when a link has been disrupted. Some also can send alerts to the client’s network monitoring system. 
Fibre also has some inherent features that make taps difficult. For example, the tapping process takes longer than with coax, increasing the chances that a person or monitoring system will notice the signal disruption. The hacker also would have to know whether the fibre is single- or multi-mode, as well the vendor equipment. 
“Fibre modules between manufacturers are incompatible with each other, so I’d better know exactly what fibre module [is in place],” says Neil Heller, global product and marketing manager for fibre and transmission at GE Security. “The degree of complexity makes it almost ridiculous to even try.” 
For both fibre and copper, encryption provides an additional layer of protection.
“We use Transport Level Security (TLS) to encrypt signalling information, [which are the] messages among video elements,” says Stefan Karapetkov, Polycom’s emerging technologies director. “Once the media streams are set up, we encrypt all packets with AES encryption using 128-bit encryption keys. 
“Since AES 128 is supported across the entire Polycom portfolio and by third parties, most video calls today are transmitted encrypted. In addition, hash mechanisms such as MD5 are used to make sure no one has modified the packets during their transmission through the network.”

Good enough for government work

Government agencies often have additional security requirements. For integrators looking to target that market, success sometimes means understanding the requirements of governments in countries other than where they’re doing the work. 
One examples is the U.S. Defense Department’s DoD 8100.2, which covers wireless security. It’s based on authentication and encryption techniques from the commercial sector, a sign of how far those have come in terms of providing iron-clad security. 
“It’s interesting to see that the defence department has adopted industry standards as opposed proprietary encryption techniques,” says Motorola’s Sinha.
 Another is the U.S. National Security Agency’s TEMPEST guidelines, which plug security holes that occur when signals – such as from a copper cable – radiate far enough to facilitate eavesdropping.
“TEMPEST is required for some installations, especially for military and intelligence facilities in foreign countries,” says Gary Hall, CTS-D, CTS-I, who works for a U.S. intelligence agency.
Suppose that a project calls for a videoconferencing system that sometimes will be used for meetings with government agencies in other countries. 
“NATO countries and other U.S. partners have complex information-sharing regulations that must be taken into account when processing data that will be transferred between nations,” Hall says. 
A basic understanding of government requirements also can be useful when designing AV systems for general enterprises that have high security concerns, such as financial institutions. Even if those clients aren’t aware of guidelines and standards such as DoD 8100.2, the benefits are another way that an AV integrator can differentiate itself, including against IT integrators. 
“Integrators that really want to add value for their clients can go further by becoming experts on security regulations and assisting their customers in planning for operations,” Hall says. “This includes the creation of operational security checklists, and gathering volatility statements from manufacturers that customers can use during the systems security accreditation process.”

Physical and virtual

Cultural norms are another factor that affects AV security. For example, some clients have requested command-and-control displays that can’t be photographed so that shots of an unmarried man and woman passing each other on the street can’t be used for blackmail.
The techniques and products used for meeting cultural norms can be useful when designing AV systems in markets that don’t require them but still can benefit from the additional security and privacy that they enable. For example, in a command-and-control room, consider what’s going to be shown on each display when deciding its size.
“The whole idea of a large-screen display is to share data, not to make it personal,” says David Griffiths, Christie’s EMEA market development manager for control rooms. “If you want to show sensitive data, you can put it on a monitor.
“We look at the whole operation area. Data can be secured the moment unsecured personnel [are] walking into the room. That is what we call ‘sanitising’ the display wall: by pushing a button, change the content on the screen.”
Physical access to AV equipment can be a major security factor. For example, running cable through a drop ceiling in a storage room makes it easy for hacker to get access.
“Physical security is important since some endpoints are associated with a conference room, and access to the room gives you access to the endpoint and therefore to the video network,” says Polycom’s Karapetkov. “Endpoints have local password protection. End points must be authenticated and registered to the gatekeeper in order to participate in bridged calls. Many IT managers limit endpoints to certain networks or virtual LANs (VLANs) to contain video traffic within parts of the network.
Sometimes it’s difficult to limit public access to an AV device. In those cases, one security measure is to make them configurable only remotely.
“Most hardware elements – hard endpoints, conferencing servers, etc. – have serial ports for local configuration,” Karapetkov says. “For increased security, these ports can be disabled. Administrators and sometimes users can access some of the video elements over Web browser.” 
But remote access also enables scenarios such as the Moscow signage hack. To reduce that risk, AV vendors often create an administrative option to disable remote access from a Web browser. Access also can be restricted to only those people who are already authenticated by the client’s LAN or WLAN. 
“Users authenticated once in the corporate network do not need additional authentication when they use video applications because the video servers already know them and handle access accordingly,” Karapetkov says. “This limits the number of passwords required to access the network and reduces the probability that passwords will be written down, lost or otherwise compromised.”

Macbook 3D

April 1st, 2010

http://www.yankodesign.com/2010/03/26/macbook-3d-glasses-included/

MacBook 3D Laptop Concept by Tai Chiemmacbook_3d_2macbook_3d_2macbook_3d_3macbook_3d_4