By utilizing a Research through Design approach this master thesis studies how technological changes might affect professionals working in the motion picture industry, specifically; how the advent of HDR (High Dynamic Range) affects the colorist. The research questions formulated are the following; (1) How can color grading in HDR be approached? (2) What effect can HDR have on visual modality? (3) What specific affordances can HDR offer the colorist? (4) How can HDR affect the creative space of the colorist? Three of the research questions are derived from the theoretical framework applied in this master thesis; starting with the social semiotic implementation of the term modality (models of reality), the Gibsonian term affordance (possibilities for action and meaning making) and its use in communications research, and lastly; the concept of creative space in motion picture production. Analytic autoethnography was used to generate primary data by documenting the process of color grading a 13-minute short film, and also performing semistructured interviews with four colorists. Amongst other findings, this study found that HDR offers a wider range of modality expression than SDR (Standard Dynamic Range); regarding several visual modality markers. Four HDR-specific affordances were formulated; (1) color expandability, (2) highlight differentiability, (3) tonal rangeability, (4) brightness disturbability. Relating to the concept of creative space; the colorists expressed a concern that they will have to create multiple versions when delivering HDR, but not get a bigger budget for it, therefore having less time to spend on other aspects of color grading.

A pintura de íris protética é uma das fases mais delicadas durante o processo de confecção de uma prótese ocular e requer, do Cirurgião-Dentista especialista em Prótese Bucomaxilofacial, qualidades técnico-artísticas para uma dissimulação satisfatória. A reprodução fiel da íris do paciente é de fundamental importância para sua reabilitação estética e consequente reintegração social. Em função disso, o presente estudo desenvolveu uma escala de cores para pintura de íris em prótese ocular, a fim de ser utilizada como ferramenta auxiliar durante esta fase. Foram desenvolvidas sete matizes (castanho-avermelhado, castanho, ocre, verde, verde-azulado, azul e cinza) a partir de mistura de tintas acrílicas Acrilex®, levando como base os conceitos de formação da cor da íris para o proporcionamento das tintas, no intúito de mapear os tons presentes nas íris humanas. A escala foi testada em 145 indivíduos com íris saudáveis, por três observadores calibrados, verificando se algum tom da escala se aproximava à cor base dessas íris. A opinião de cada obeservador foi anotada em ficha de avaliação da íris e os dados seguiram para análise estatística. Foram avaliadas a associação entre matiz de escolha e observadores, a coerência inter-observador em relação ao matiz e a coerência inter-observador em relação ao tom. Os resultados apontaram alta concordância entre os obeservadores, o que garantiu a validação da escala proposta. / Artificial eye iris painting is one of the most delicate stages in the process of making an ocular prosthesis. The Oral and Maxillofacial Prosthodontics Specialist Dentist is required to have technical and artistic abilities for a satisfactory simulation. The accurate reproduction of the patient\'s iris is thoroughly important for his or her aesthetic rehabilitation and social reintegration. On that basis, the present study aimed to develop an iris painting color scale, which can be used as an auxiliary tool for this stage of production. In order to map out the present shades in human irides, seven hues have been developed (reddish-brown, brown, ochre, green, bluishgreen, blue and gray) by mixing Acrilex® acrylic paint, which were based on the concepts of iris color formation for the establishment of the paint mixtures. The scale has been tested by three calibrated observers in 145 individuals presenting healthy irides. The observers would verify if any of the shades in the color scale matched the subject\'s iris color base. Each observer\'s opinion was registered in an iris evaluation sheet and the data was then submitted to statistical analysis. Evaluated factors included the association of the selected hue by the observer; the consistency of the choice of hue among all observers; the consistency of the choice of shade among all observers. Results revealed substantial consensus among observers, ensuring the legitimacy of the proposed color scale.

Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING / Includes bibliographical references. / by David P. Harrahy. / B.S.

Dans le cadre d'une création-recherche, la question initiale qui présidait cette réflexion épistémologique était de savoir comment penser la couleur et la coloration dans l'architecture traditionnelle et contemporaine dans les villes du sud tunisien. Ma thèse est fondée sur l'interprétation empruntée d'une propre expérience sur le terrain. J'ai élaboré une analyse chromatique rétrospective du site, de la ville et de l'architecture dans leurs dimensions économiques, sociales et culturelles. Ce travail d'invention de la couleur est, dans le fonds de ses parties, formé pour comprendre l'identité chromatique du lieu culturel. Ma recherche consiste à l'application de la méthode de planification scientifique à partir de laquelle les enjeux objectifs de la classification des couleurs ont été dégagés sur la base des facteurs sensoriels et des notions rationnelles. Elle regroupe toutes les activités qui consistent à structurer, fonder et évaluer un savoir chromatique en s'ouvrant sur des expériences de coloristes professionnels. Une pensée du développement a été établie au niveau de la couleur qui s'intègre dans une progression dynamique du secteur particulier du design environnement et développe ses propres concepts, usages et finalités au sein d'un milieu culturel spécifique. À travers cette recherche, j'ai développé le concept de la couleur locale comme étant un souci individuel, une pratique socioculturelle, un savoir scientifique et enfin comme un matériau et un processus de développement durable. Comment la couleur locale représente-t-elle un équilibre savant et permanent entre dimensions culturelles et axes d'acculturation ? / As part of a research-creation, the original question who chaired the epistemological thinking was how to think the color in the traditional and contemporary architecture in the cities of southern Tunisia. My thesis is based on the interpretation borrowed from its own field experience. I developed a color retrospective analysis of the site, the city and architecture in their economic, social and cultural dimensions. Inventive work of the color in the background of its parts, formed due to understand the cultural identity of color instead. My research involves the application of the scientific method of planning, from which the objectives of the color classification issues were identified on the basis of sensory factors and rational notions. It includes ail activities which include structure, build and evaluate a chromatic know, opening on the experiences of professional colorists. Development thinking has been established at the color that fits into a dynamic growth sector of particular environmental design and develops its own concepts, uses and purposes within a specific cultural environment. Through this research, I developed the concept of local color as an individual concern, a socio-cultural practice, scientific knowledge and finally as a material and a process of sustainable development. How local color represents a scholar and permanent balance between cultural dimensions and areas of acculturation?

Many Hymenoptera, with their painful stings and noxious chemical defenses, exhibit bright aposematic warning color patterns and are the most frequently mimicked group of organisms. Such aposematic color patterns are found in parasitic wasps of the Neotropical Compsobracon group (Braconidae). Many members of this group exhibit color patterns similar to several thousand other species of Braconidae, Ichneumonidae, sawflies, assassin bugs, flies, moths, and beetles. One hypothesis to explain this observation is that the members of the complex and their colors are generated by multiple cospeciation events resulting in the constituent genera having isomorphic phylogenetic trees. An alternative hypothesis is that the organisms have colonized existing color pattern niches independently and do not have topologically similar phylogenetic histories. In order to test the hypothesis that these patterns are the result of cospeciation events they will be described and mapped onto a phylogenetic tree. If clades are found to have isomorphic topologies; evidence will suggest cospeciation. However, if clades are not found to have similar topologies, evidence will suggest independent colonization of color pattern niches. / Graduation date: 2006

A solar fiber optic lighting system, SP3 from the Swedish company Parans Solar Lighting AB, has been installed in a study area/corridor test site. A collector is tracking the sun during daytime, focusing the direct sun irradiance via Fresnel lenses into optical fibers, which guide the solar light into the building. The illumination properties of the system have been characterized. The energy saving due to reduced need of artificial lighting have been calculated and methods for balancing the artificial lights in the test site have been evaluated. The illumination at the test site using solar light was at least as high as when using the artificial lights and even higher at very clear days. The luminous flux output (500 lm) was somewhat lower than specified by the manufacturer (550 lm) at 100 000 lx direct sun illuminance. The output at 130 000 lx was high 767±33 lm the sunlight coupling efficiency 23 %. However, for a 20 m SP3 system the luminous flux output (400 lm) at 100 000 lx was higher than specified (350 lm). The SP3 system of Parans provides high quality solar light. It has a fuller spectrum close to the spectrum of the sun compared to the fluorescent lights at the test site. The correlated color temperature of the system was 5800±300 K and the color rendering index 84.9±0.5. The lighting energy saved due to decreased need for artificial light was estimated to 19 % in Uppsala which has 1790 annual sun hours. The savings in Italy, which has 3400 sun hours, is 46 %. Additional saving, especially in warmer countries can be obtained due to decreased need for cooling in the building as the solar luminaires provide negligible heat to the indoor air. Economical saving could also be realized by improved well-being of the occupants spending time under the solar luminaires. Three ways of balancing the artificial light due to sunshine fluctuations have been investigated. The global horizontal irradiance could not be used as a control signal for balancing the artificial lights but a pyranometer attached to the SP3 sun tracking collector was usable. Also the signal from an indoor luxmeter sensor could be used for balancing the light. However the signal from the light sensor which makes the SP3 collector to track the sun is probably the most cost effective method as it would serve two purposes; tracking the sun and balancing the artificial lights.

<p>The color gamut, i.e. the range of reproducible colors, is in most conventional display systems not sufficient for accurate color reproduction of highly saturated colors. Any conventional three-primary display suffers from a color gamut limited within the triangle spanned by the primary colors. Even by using purer primaries, enlarging the triangle, there will still be a problem to cover all the perceivable colors. By using a system with more than three primary colors, in printing denoted Hi-Fi color, the gamut will be expanded into a polygon, yielding a larger gamut and better color reproduction. </p><p><i>Digital Light Processing (DLP)</i> is a projection technology developed by Texas Instrument. It uses a chip with an array of thousands of individually controllable micromirrors, each representing a single pixel in the projected image. A lamp illuminates the micromirrors, and by controlling the amount of time each mirror reflect the light, using pulse width modulation, the projected image is created. Color reproduction is achieved by letting the light pass through color filters, corresponding to the three primaries, mounted in a filter wheel. </p><p>In this diploma work, the DLP projector InFocus^® LP™350 has been evaluated, using the Photo Research^® PR^®-705 Spectroradiometer. The colorimetric performance of the projector is found to be surprisingly poor, with a color gamut noticeably smaller then that of a CRT monitor using standardized phosphors. This is due to the broad banded filters used, yielding increased brightness at the expense of the pureness of the primaries. </p><p>With the intention of evaluating the potential for the DLP technology in multi- primary systems, color filters are selected for additional primary colors. The filters are selected from a set of commercially available filters, the Kodak Wratten filters for science and technology. Used as performance criteria for filter selection is the volume of the gamut in the CIE 1976 (L*u*v*) uniform color space. </p><p>The selected filters are measured and evaluated in combination with the projector, verifying the theoretical results from the filter selection process. Colorimetric performance of the system is greatly improved, yielding an expansion of the color gamut in CIE 1976 (L*u*v*) color space by 79%, relative the original three-primary system. These results indicate the potential for DLP in multiprimary display systems, with the capacity to greatly expand the color gamut, by using carefully selected filters for additional primary colors.</p>

Clitellate annelids display conserved mechanisms of segmental ectodermal and mesodermal patterning. These tissues are generated by asymmetric divisions of large stem cells called teloblasts, elongating the ectoderm and mesoderm of the embryo. Each teloblast-derived lineage makes highly stereotyped contributions to the leech: the N, O, P, and Q contribute specific neurons, epidermis, and other ectodermal tissues along the ventral-to-dorsal axis of the embryo, respectively. The N and Q ectodermal lineages appear to be specified autonomously, but specification of the O and P lineages depends upon interactions with other, neighboring teloblast lineages. Until quite recently, there have been precious few teloblast lineage-specific markers, and virtually no molecular candidates for genes influencing the proper differentiation of any of these lineages. Here, I explore the possibility that members of the Pax-Six-Eyes absent-Dachshund network are involved in leech ectodermal patterning. I show that the leech Helobdella sp. Austin has two Pax6 paralogs, and demonstrate that Hau-Pax6A is expressed early in a subset of N-derived cells and O-derived cells. Next, I demonstrate that an ortholog of the six gene family, Hau-six1/2a, is expressed in the P lineage. I show through a series of cell ablations that Hau-six1/2a expression is regulated by neighboring teloblasts in a manner consistent with P fate induction, hinting that this transcription factor may be involved in P specification. The identification of these genes is a first step towards dissecting the molecular mechanisms of ectodermal teloblast differentiation in the leech embryo. The evolutionary context of the deployment of these genes is also discussed. In the appendices, I present two projects on the evolution of pigment patterns in Danio rerio and its relatives. In the first, I show that the larval melanin-containing pigment cells of Danio nigrofasciatus are uniquely redeployed into the adult pigment pattern, in contrast to seven related fishes. In the second, I show that variation in yellow pigment cell populations in different danio species may be dependent on variable signaling through the receptor tyrosine kinase fms pathway. / text

Elucidation of mechanisms that generate and maintain population-level phenotypic variability provides insight into processes that influence within-species genetic divergence. Historically, color pattern polymorphisms were used to infer population-level genetic variability, but recent approaches directly capture genetic variability using molecular markers. Here, I clarify the relationship between genetic variability and color pattern polymorphism within and among populations using the Australian common froglet, Crinia signifera. To illustrate genetic variability in C. signifera, I used phylogenetic analysis of mitochondrial DNA and uncovered three ancient geographically restricted lineages whose distributions are consistent with other southeastern Australian species. Additional phylogeographic structure was identified within the three ancient lineages and was consistent with geographic variation in male advertisement calls. Natural selection imposed by predators has been hypothesized to act on black-and-white ventral polymorphisms in C. signifera, specifically through mimicry of another Australian frog, Pseudophryne. I used clay replicas of C. signifera to test whether predators avoid black-and-white coloration. In fact, black-and-white replicas were preferentially avoided by predators in some habitats, but not in others, indicating that differential selection among habitats plays a role in maintaining color pattern polymorphism. When black-and-white color patterns in a sample of C. signifera populations were compared with those in sympatric Pseudophryne, several color pattern characteristics were correlated between the species. Furthermore, where C. signifera and Pseudophryne are sympatric, color patterns are more similar compared to those in allopatry. Extensive phylogenetic variability suggests that phylogenetic history and genetic drift may also influence C. signifera color pattern. Fine-scale phylogenetic analysis uncovered additional genetic diversity within lineages and low levels of introgression among previously identified clades. Measures of color pattern displayed low levels of phylogenetic signal, indicating that relationships among individuals only slightly influence color patterns. Finally, simulations of trait evolution under Brownian motion illustrated that the phylogeny alone cannot generate the pattern of variation observed in C. signifera color pattern. Therefore, this indicates a minimal role for genetic drift, but instead supports either the role of stabilizing selection due to mimicry, or diversifying selection due to habitat differences, in color pattern variation in C. signifera. / text

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