An overview of range images
雅思阅读段落信息匹配题解题步骤实操讲解
雅思阅读段落信息匹配题解题步骤实操讲解在雅思阅读的考试中，在时间和压力的双重考验下，很多考生会主动或被动放弃雅思阅读段落信息匹配题，很可惜也很无奈。
给大家带来了雅思阅读段落信息匹配题解题步骤实操讲解，希望能够帮助到大家，下面就和大家分享，来欣赏一下吧。
雅思阅读段落信息匹配题解题步骤实操讲解把提高解题速度的重点放在避免重复阅读*上固然有科学的一面，但其过高的能力要求却是令众多的考生望尘莫及。
其实只要时间安排合理，解答该题型时完全是有可能争取重复寻读原文，不仅可以大大提高答题的正确率，也可进一步熟悉*，为其它题型的解答奠定基础。
雅思阅读段落信息匹配题步骤：1.仔细阅读题目要求2.题干定位关键词的确定+ 所在段落的预测(限时30秒);3.阅读每段首末句，找出2-3个题干定位关键词的对应信息，确定正确答案;4.完成其他细节题，找出2-3个题干定位关键词的对应信息，确定正确答案;5.重点关注未出题段落了解了以上方法之后，为了在实际考试中提高答题的正确率，除了阅读速度方面，我们还需要进行以下一些有针对性的能力训练。
1. 雅思阅读段落信息匹配题定位关键词的快速确定，搜索及转述识别，从而确定其所在段落的能力。
特别要指出的是，对于第二种类型，应当遵循“捡芝麻丢西瓜”的原则，即舍弃题干所表达的概括性主体信息，和第一种类型一样利用特殊细节进行定位。
例如：剑5 / P73Q27/ how AI might have a military impactQ29/ the reason why AI has become a common topic of conversation againQ30/ how AI could help deal with difficulties related to the amount of information available electronically这三个题干所表达的主体信息是how和the reason why的概括性信息，在解题时应避重就轻，避免与how，why进行“纠缠”，仅以military, a common topic of conversation, electronic information这些细节作为定位关键词搜索原文，分别对应battlefield (Para.E), public debate (Para.A), e-mail/web pages (Para.F)。
顺德航拍英文介绍带翻译
3. Educational Purposes: Aerial photographs can be utilized in educational materials to provide students with a broader understanding of geography, architecture, and urban planning. Teachers can incorporate these images into lesson plans to enhance students' visual comprehension and critical thinking skills.
2. Real Estate Development: Aerial photography plays a crucial role in the real estate sector. Developers often utilize aerial images to present an overview of the property and its surroundings. These images can help potential buyers or investors understand the layout, accessibility, and potential of the area, facilitating informed decision-making.
联合图像专家组)
IJG（Independent JPEG Group，联合图像专家组）IJG JPEG库：系统的体系结构。
本文件是JPEG软件的一部分。
使用和销售的条件，请参照随带的readme文件。
本文件给出了JPEG软件的大体结构，包括系统中各个模块中的函数及模块间的接口。
更多关于数据结构和行业协议的详解请参照包含文件和源程序中的注释。
.我们假设读者已经对JPEG标准有了一定的了解。
Readme文件中列出了关于的JPEG 的参考书目。
文件libjpeg.doc从程序师实际应用的角度描述了库，因此最好先读那个文件再来看本文件。
同时，coderules.doc文件介绍了代码中的类型规定。
本文件中，JPEG的专业术语遵循JPEG标准。
“component”：颜色信道。
例如：红色或亮度。
“sample”：采样单元。
（某一图像数据的数）。
“coefficient”：频率系数。
（DCT变换的输出数）。
“block”：采样单元或频率系数中的一个8*8的组。
“MUC”（最小编码单元）：隔行扫描机制中块的大小，由采样因数决定；或某一非隔行扫描中的单独块。
我们不交叉使用术语“pixel”和“sample”。
当说到“pixel”时他代表全幅图像的一个成分，而“sample”指采样图像的一成分。
因此“sample”的数量可能经颜色信道发生改变而“pixel”不会改变。
（这一术语区分没有严格的贯穿代码始终，但使用在那些一旦混淆就将导致错误的地方。
）***系统特征***IJG的发行包括两部分：* JPEG压缩与解压的子程序库。
* cjpeg/djpeg，两个应用库，转化JFIF、JPEG到其他图像格式的软件实例。
cjpeg/djpeg不是很复杂，他们仅仅加入了对几种未压缩的图像格式使用接口和I/O程序的简单命令行。
这个文档浓缩在库本身中。
我们希望这个库能够支持所有的JPEG基线，甚至顺序和向前DCT处理。
但不支持分级处理。
The library does not support the lossless (spatial) JPEG process. Lossless JPEG shares little or no code with lossy JPEG, and would normally be used without the extensive pre- and post-processing provided by this library.We feel that lossless JPEG is better handled by a separate library.Within these limits, any set of compression parameters allowed by the JPEG spec should be readable for decompression. (We can be more restrictive about what formats we can generate.) Although the system design allows for all parameter values, some uncommon settings are not yet implemented and maynever be; nonintegral sampling ratios are the prime example. Furthermore,we treat 8-bit vs. 12-bit data precision as a compile-time switch, not arun-time option, because most machines can store 8-bit pixels much more compactly than 12-bit.For legal reasons, JPEG arithmetic coding is not currently supported, but extending the library to include it would be straightforward.By itself, the library handles only interchange JPEG datastreams --- in particular the widely used JFIF file format. The library can be used by surrounding code to process interchange or abbreviated JPEG datastreams that are embedded in more complex file formats. (For example, libtiff uses this library to implement JPEG compression within the TIFF file format.)The library includes a substantial amount of code that is not covered by the JPEG standard but is necessary for typical applications of JPEG. These functions preprocess the image before JPEG compression or postprocess it after decompression. They include colorspace conversion, downsampling/upsampling, and color quantization. This code can be omitted if not needed.A wide range of quality vs. speed tradeoffs are possible in JPEG processing, and even more so in decompression postprocessing. The decompression library provides multiple implementations that cover most of the useful tradeoffs, ranging from very-high-quality down to fast-preview operation. On thecompression side we have generally not provided low-quality choices, since compression is normally less time-critical. It should be understood that the low-quality modes may not meet the JPEG standard's accuracy requirements; nonetheless, they are useful for viewers.*** Portability issues ***Portability is an essential requirement for the library. The key portability issues that show up at the level of system architecture are:1. Memory usage. We want the code to be able to run on PC-class machineswith limited memory. Images should therefore be processed sequentially (in strips), to avoid holding the whole image in memory at once. Where afull-image buffer is necessary, we should be able to use either virtual memory or temporary files.2. Near/far pointer distinction. To run efficiently on 80x86 machines, the code should distinguish "small" objects (kept in near data space) from "large" ones (kept in far data space). This is an annoying restriction, but fortunately it does not impact code quality for less brain-damaged machines,and the source code clutter turns out to be minimal with sufficient use of pointer typedefs.3. Data precision. We assume that "char" is at least 8 bits, "short" and "int" at least 16, "long" at least 32. The code will work fine with largerdata sizes, although memory may be used inefficiently in some cases. However, the JPEG compressed datastream must ultimately appear on external storage as a sequence of 8-bit bytes if it is to conform to the standard. This may pose a problem on machines where char is wider than 8 bits. The library representscompressed data as an array of values of typedef JOCTET. If no data type exactly 8 bits wide is available, custom data source and data destination modules must be written to unpack and pack the chosen JOCTET datatype into8-bit external representation.*** System overview ***The compressor and decompressor are each divided into two main sections:the JPEG compressor or decompressor proper, and the preprocessing or postprocessing functions. The interface between these two sections is the image data that the official JPEG spec regards as its input or output: this data is in the colorspace to be used for compression, and it is downsampledto the sampling factors to be used. The preprocessing and postprocessingsteps are responsible for converting a normal image representation to or from this form. (Those few applications that want to deal with YCbCr downsampled data can skip the preprocessing or postprocessing step.)Looking more closely, the compressor library contains the following main elements:Preprocessing:* Color space conversion (e.g., RGB to YCbCr).颜色空间变换* Edge expansion and downsampling. Optionally, this step can do simplesmoothing --- this is often helpful for low-quality source data.边缘扩展和降低采样，这个可选项使采样平滑。
美术用语英语知识点总结
美术用语英语知识点总结IntroductionThe world of art is full of fascinating and intricate terminology that encompasses a broad range of techniques, styles, and concepts. Whether you're a beginner or an experienced artist, understanding art terminology is crucial for effectively communicating about art, as well as for deepening your knowledge of the discipline. This summary will provide an overview of key art terms, organized by category, to help you navigate the rich and diverse world of art.Elements of ArtLine: A mark made by a pointed tool, or brush, moving across a surface. Lines can be horizontal, vertical, diagonal, or curved, and they can communicate different feelings and moods.Shape: A two-dimensional area defined by its boundaries. Shapes can be geometric (e.g., squares, circles) or organic (irregular and asymmetrical).Form: Describes the three-dimensional aspect of an artwork, adding depth and volume to shapes. Forms can be created through the use of shading, modeling, and perspective.Color: The visual sensation produced by the reflection, absorption, or transmission of light. The color wheel is a fundamental tool for understanding color relationships, including primary, secondary, and tertiary colors.Value: The lightness or darkness of a color. A value scale can be created to show the range of values from white to black, with various shades of gray in between.Texture: The surface quality of an artwork that can be perceived through touch or sight. Textures can be rough, smooth, glossy, matte, etc., and can be created using different materials and techniques.Space: The area within and around an artwork. Artists can create a sense of space through perspective, overlapping, and scale.Principles of ArtBalance: The distribution of visual weight in an artwork. It can be symmetrical (equal on both sides) or asymmetrical (unequal but balanced).Rhythm: The repetition and variation of elements in an artwork, creating a sense of movement and flow.Emphasis: The focal point of an artwork that draws the viewer's attention. It can be achieved through contrast, placement, or size.Unity: The harmonious combination of elements in an artwork, creating a sense of wholeness and cohesion.Variety: The use of different elements to create visual interest and diversity in an artwork.Proportion: The relationship between the sizes of different elements in an artwork, creating a sense of harmony and balance.Harmony: The combination of elements to create a pleasing and coherent composition.Art Styles and MovementsRealism: An art style that aims to represent the world as it appears to the eye, without idealization or distortion.Impressionism: A 19th-century art movement that focused on capturing the fleeting effects of light and color through visible brushstrokes and open composition.Surrealism: An art movement that sought to channel the unconscious mind to unleash creative potential, resulting in dreamlike and often bizarre imagery.Abstract Expressionism: A post-World War II art movement characterized by spontaneous and gestural brushwork, conveying emotions and inner experiences rather than realistic depictions.Cubism: An early 20th-century art movement that sought to depict objects from multiple viewpoints, breaking them down into geometric shapes and reassembling them in an abstracted form.Pop Art: An art movement that emerged in the 1950s and 1960s, using popular culture and mass media as inspiration for a bold and vibrant visual language.Minimalism: An art movement that emerged in the 1960s, characterized by extreme simplicity and a focus on the essential elements of form, color, and materials.Photorealism: An art movement that emerged in the late 1960s and early 1970s, aiming to create paintings that were so realistic they could be mistaken for photographs.Techniques and MaterialsDrawing: The act of making marks on a surface with a tool, such as a pencil, pen, or charcoal. Drawing can be used for sketches, studies, and finished artworks.Painting: The application of pigment to a surface using a brush, knife, or other tools. Painting can be done with various media, including oil, acrylic, watercolor, and tempera. Sculpture: The creation of three-dimensional artworks by shaping and combining materials such as clay, stone, metal, wood, and found objects.Printmaking: The process of creating artworks by transferring an image from a matrix, such as a woodblock, metal plate, or screen, onto paper or another surface.Photography: The art and practice of capturing and creating images using light-sensitive materials, such as film or digital sensors.Collage: The technique of creating artworks by assembling and gluing various materials, such as paper, fabric, and found objects, onto a surface.Mixed Media: The use of multiple techniques and materials in a single artwork, allowing for a wide range of creative possibilities.Art MovementsRenaissance: A period of European history from the 14th to the 17th century, characterized by a renewed interest in classical art, science, and humanism, and marked by remarkable achievements in painting, sculpture, and architecture.Baroque: An artistic style that emerged in the late 16th century and flourished in the 17th century, characterized by dramatic lighting, intense emotions, and ornate decoration.Neoclassicism: An artistic movement in the 18th and early 19th centuries that revived the style and themes of ancient Greece and Rome, emphasizing clarity, order, and rationality.Romanticism: An artistic, literary, and intellectual movement that originated in the late 18th century, emphasizing emotion, individualism, and the sublime beauty of nature. Impressionism: An art movement of the late 19th century that sought to capture the fleeting effects of light and color, often through outdoor painting and visible brushstrokes.Modernism: A broad cultural movement in the late 19th and 20th centuries, embracing a wide range of artistic styles and practices that challenged traditional forms and conventions. Postmodernism: A late 20th-century movement that rejected the idea of a single, unified history and instead embraced pluralism, bricolage, and irony in art and culture.ConclusionArt terminology encompasses a vast array of concepts, styles, and techniques, reflecting the rich and diverse history of artistic expression. By understanding key art terms, from the elements and principles of art to specific techniques, materials, and movements, you can deepen your appreciation and comprehension of art, as well as enhance your ability to communicate about and create art. Whether you're an artist, art enthusiast, or student, the knowledge of art terminology is an invaluable tool for navigating the world of art and enriching your artistic practice and experiences.。
2023年新高考二卷英语原题
2023年新高考二卷英语原题Introduction: The 2023 New College Entrance Examination (commonly known as the Gaokao) is a pivotal exam in China. The English section is an important part of the test, as it evaluates students' language proficiency and communication skills. This document will provide an overview of the English questions from the 2023 New Gaokao, without any contact information, images, or tables. Let's dive into the details!Reading Comprehension:1. Passage 1: The passage discusses the benefits of reading. It emphasizes how reading can enhance one's knowledge, expand vocabulary, and improve critical thinking skills. It also highlights the importance of reading in improving writing ability and fostering creativity.2. Passage 2: This passage explores the rise of social media and its impact on society. It delves into the advantages and disadvantages of social media, such as connecting people worldwide but also contributing to feelings of loneliness and social isolation. It concludes by suggesting a balanced approach to using social media.3. Passage 3: Passage 3 examines the consequences of climate change on global ecosystems. It focuses on the destruction of coral reefs due to rising ocean temperatures, leading to the loss of biodiversity and ecosystem imbalance. The passage callsfor immediate action to mitigate climate change.4. Passage 4: This passage sheds light on the benefits of learning a second language. It outlines how bilingualism improves cognitive abilities, strengthens cultural understanding, and enhances employment prospects. The passage encourages individuals to embrace multilingualism.Language Knowledge:1. Grammar: Questions in this section test students' understanding of grammar rules, such as tense usage, articles, prepositions, and subject-verb agreement. Students are required to identify or correct errors in the given sentences.2. Vocabulary: Vocabulary questions assess students' knowledge of synonyms, antonyms, idioms, and collocations. They require students to choose the most appropriate word or phrase to complete the given sentence.3. Cloze Test: The cloze test evaluates students' comprehension and ability to fill in the missing words within a given passage. It assesses their knowledge of collocations, grammar, and contextual understanding.Writing:1. Essay: Students are required to write an essay on a given topic, such as the importance of environmental protection, the benefits of technology, or the challenges of globalization. They need to present clear arguments, provide examples, and express their opinions effectively.2. Letter Writing: Students are asked to write a formal or informal letter to a specific recipient, such as a teacher, a friend, or a local government official. They should demonstrate appropriate language usage, convey their thoughts, and address the given purpose effectively.Conclusion: This document provides an overview of the English questions in the 2023 New Gaokao. It covers reading comprehension passages discussing the benefits of reading, the impact of social media, climate change consequences, and bilingualism. Language knowledge questions assess grammar and vocabulary skills, while the writing section requires students to compose an essay or a letter. By understanding the exam structure and topics, students can better preparefor the 2023 New Gaokao English section. Good luck!。
Literacy for the 21st Century- An Overview & Orientation Guide to Media Literacy Education_version2
LITERACY for the 21st Century An Overview & Orientation Guide To Media Literacy Education Part I: Theory CML MediaLit Kit™A Framework for Learning and Teaching in a Media Age Developed and written by Elizabeth Thoman Founder Tessa Jolls President / CEO Revised and expanded by Tessa Jolls President / CEO Center for Media Literacy © 2008Edition 2Edition 2Edition 1CMLEn Espanol!Edition 1 is available in Spanish under the title:Conjunto de Herramientas Para Alfabetismo en MediosISBN: 978-1-879419-18-6/medialitkit.htmlLiteracy for the 21st Century:An Overview & Orientation Guide ToMedia Literacy EducationEdition 2Featuring CML’s Five Key Questions for both Construction and Deconstruction Questions/ Tips (Q/TIPS)ISBN: 978-1-879419-00-1© 2008/pdf/mlk/ola_mlkorientation_ rev2.pdfQuestions/TIPS (Q/TIPS)ISBN: 978-1-879419-01-8© 2008Edition 1Featuring CML’s Five Key Questions for Deconstruction onlyISBN: 978-1-879419-17-9© 2002Table of ContentsI. Literacy for the 21st Century II. The CML MediaLit Kit TM A Framework for Learning and Teaching in a Media Age III. Pedagogy in Plain Language:The Basic Framework Explained Literacy for the 21st Century / New Ways of Learning What a Difference a Century Makes!Why Media Literacy is Important Questioning the MediaMedia Literacy: Theory to Practice to Implementation How this Book is Organized Media Literacy: Charts and HandoutsThe ‘Inquiry’ Process: Deconstruction / Construction Media Literacy: A Definition Five Core Concepts / Five Key Questions: Key Words and Explanations Five Core Concepts / Five Key Questions for Consumers and Producers Media Literacy Process Skills (Access / Analyze / Evaluate / Create / Participate)How to Conduct a ‘Close Analysis’ of a Media ‘Text’• The Empowerment Spiral (Awareness / Analysis / Reflection / Action)Organizing Media Literacy Learning• 071638081112141720223942444860626567Table of ContentsIV. Alternate Questions for Different Ages and Abilities V. Getting Started: Strategies and Tools Adapting the Questions for Different Ages and Abilities Questions to Guide Young Children Expanded Questions for More Sophisticated Inquiry: Deconstruction 10 Benefits of Media Literacy Education Introducing Media Literacy in your School or District A Word about Copyright How CML Can Help CML Educational Philosophy: • Empowerment through Education Words of Wisdom: About Teaching CML‘s • Five Key Questions6876777881838586697375“Educators are often called upon to ‘teach critical thinking’ to their students, butthe big question is, ‘How?’CML’s Five Key Questions, based on the Five Core Concepts of media literacy, provide a path to follow, featuring a basic framework with a specific methodology that is engaging for students and teachers alike.”Tessa Jolls“The convergence of media and technology in a global culture is changing the way we learn about the world and challenging the very foun-dations of education. No longer is it enoughto be able to read the printed word; children, youth, and adults, too, need the ability to both critically interpret the powerful images of a multimedia culture and express themselves in multiple media forms.Media literacy education provides a framework and a pedagogy for the new literacy neededfor living, working and citizenship in the 21st century. Moreover it paves the way to master-ing the skills required for lifelong learning in a constantly changing world.”Elizabeth Thoman and Tessa JollsMedia Literacy: A National Priority for a Changing World“The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn.” Alvin TofflerLiteracy for the 21st Century“We must prepare young people for living in aworld of powerful images, words and sounds.”UNESCO, 1982Since the beginning of recorded history, the concept of “literacy” meant having the skill to interpret “squiggles” on a piece of paper as letters which, when put together, formed words that conveyed meaning. Teaching the young to put the words togetherto understand (and, in turn, express) ever more complex ideas became the goal of education as it evolved over the centuries.Today information about the world around us comes to us not only by words on a piece of paper but more and more through the powerful images and sounds of our multi-media culture. Although mediated messages appear to be self-evident, in truth, they use a complex audio/visual “language” which has its own rules (grammar) and which can be used to express many-layered concepts and ideas about the world. Not everything may be obvious at first; and images go by so fast! If our children are to be able to navigate their lives through this multi-media culture, they need to be fluent in “reading” and “writing” the language of images and sounds just as we have always taught them to “read” and “write” the language of printed communications. Furthermore, they need the skills to interact, to share their ideas and to collaborate constructively, making it possible to participate in today’s media-driven culture.In the last 40 years, the field of media literacy education has emerged to organize and promote the importance of teaching this expanded notion of “literacy.” At its core are the basic higher-order critical and creative thinking skills—e.g. knowing how to identify key concepts, how to make connections between multiple ideas, how to ask pertinent questions, formulate a response, identify fallacies—that form the very foundation of both intellectual freedom and the exercising of full citizenship in a democratic society. Indeed in a time when candidates are elected through websites and 30-second com-mercials, and wars are fought real-time on the internet and television, a unique role of media literacy is to prepare citizens to engage in and contribute to the public debate.It also expands the concept of “text” to include not just written texts but any message form—verbal, aural or visual (or all three together!)—that is used to create and then pass ideas back and forth between human beings.New ways of learningThis explosion in information has presented a major challenge to the world of formal education. For centuries, schooling has been designed to make sure students learned facts about the world—which they proved they knew by correctly answering questions on tests. But such a system is no longer relevant when the most up-to-date facts are available at the touch of a button. What students need today is to learn how to find what they need to know when they need to know it, from the best sources available—and to have the higher order thinking skills to analyze and evaluate whether the infor-mation they find is useful for what they want to know.How will schools do this? First, schools and classrooms must be transformed from being storehouses of knowledge to being more like portable tents providing a shelter and a gathering place for students as they go out to explore, to question, to experiment, to discover!Secondly, to use a phrase from the great Brazilian educator, Paulo Freire, teaching must be distinguished from “banking.” No longer is it necessary for teachers to deposit in-formation in students’ heads. Rethinking the principles of democratic pedagogy dating back to Socrates, wise teachers realize they do not have to be a “sage on the stage.” Instead their role is to be a “guide on the side:” encouraging…guiding…mentoring…supporting the learning process. Creative classrooms today are ones where everyone is learning, from each other as well as the teacher!Thirdly, curriculum, classes and activities must be designed that will engage students in active problem solving and discovery. And today’s multi-media culture, which includes print but is not limited to it, provides a nearly limitless resource for real world learning—from how to identify “point of view” by exploring how camera angles influence our perception of the subject being photographed to how to conduct a social marketing campaign through multiple communications and technology platforms.The transformation of our culture from an Industrial Age to an Information Age is why a new kind of literacy, coupled with a new way of learning, is critical in the 21st century.“Most of what we have called formal education has been intended to imprint on the human mind all of the information that we might need for a lifetime.Education is geared toward information storage. Today that is neither possible nor necessary. Rather, humankind needs to be taughthow to process information that is stored through technology.Education needs to be geared toward the handling of data rather than the accumulation of data.”David Berlo Communication and Behavior, 1975What a Difference a Century Makes!The following chart provides a quick comparison of how traditional education has been organized in the past and how it needs to change in order to prepare students for living all their lives in a 21st century media culture. Media literacy education, with inquiry as its core, provides the engaging bridge over which students can pass to learn the critical process skills they’ll need to not just survive but to thrive as adults in the 21st century.Why Media Literacy is Important1. The influence of media in our central democratic processes.In a global media culture, people need three skills in order to be engaged citizens ofa democracy: c ritical thinking, self-expression and participation. Media literacy instills these core skills, enabling future citizens to sort through political packaging, understand and contribute to public discourse, and, ultimately, make informed decisions in the voting booth.2. The high rate of media consumption and the saturation of society by media. When one considers cell phones, social networking, video games, television, pop music, radio, newspapers, magazines, billboards, the internet—even T-shirts!—we are exposed to more mediated messages in one day than our great-grandparents were exposed to in a year. Media literacy teaches the skills we need to navigate safely through this sea of images and messages—for all our lives.3. The media’s influence on shaping perceptions, beliefs and attitudes.While research disagrees on the extent and type of influence, it is unquestionable that media experiences exert a significant impact on the way we understand, interpret and act on our world. By helping us understand those influences, media education can help us separate from our dependencies on them.4. The increasing importance of visual communication and information.While schools continue to be dominated by print, our lives are increasingly influenced by visual images—from corporate logos to huge billboards to cell phones to Internet websites. Learning how to “read” the multiple layers of image-based communication isa necessary adjunct to traditional print literacy. We live in a multi-media world.5. The importance of information in society and the need for lifelong learning. Information processing and information services are at the core of our nation’s produc-tivity but the growth of global media industries is also challenging independent voices and diverse views. Media education can help both teachers and students understand where information comes from, whose interests may be being served and how to find alternative views.—With thanks to Len Masterman, Teaching the Media“From the clock radio that wakes us up in the morning until we fall asleep watching the late night talk show, we are exposed to hundreds—even thousands—of images and ideas not only from television but now also from newspaper headlines, magazine covers, movies, websites, video games and billboards.Media no longer just shape our culture…they ARE our culture.”Media&Values #57Questioning the Media“At the heart of media literacy is the principleof inquiry.”Elizabeth Thoman, Founder / Center for Media LiteracyTo be a functioning adult in a mediated society, one needs to be able to distinguish between different media forms and know how to ask basic questions about everything we see, read or hear.Although most adults learned through literature classes to distinguish a poem from an essay, it’s amazing how many people do not understand the difference between a daily newspaper and a supermarket tabloid, what makes one website legitimate and another one a hoax, or how advertisers package products to entice us to buy.Simple questions about the media can start even at the toddler stage, planting im-portant seeds for cultivating a lifetime of interrogating the world around us. Parents, grandparents, even babysitters can make a game of “spot the commercial” to help children learn to distinguish between entertainment programs and the commercial messages that support them. Even children’s picture books can help little ones grasp the storytelling power of images—”And what do you think will happen next?”As children grow and are able to distinguish the world of fantasy from the real world they live in, they can explore how media are put together by turning the sound off during a cartoon and noting the difference it makes, or even create their own super-hero story using videocams or cell phones and easy to use editing software. When students begin to use the internet to research school projects, they can compare different websites and contrast different versions of the same information in order to detect bias or political “spin.”Usually the questioning process is applied to a specific media “text”—that is, an identifiable production or publication, or a part of one: an episode of anime, an ad for Pepsi, an issue of People magazine, a billboard for Budweiser beer, photos and articles about a bank robbery on the front page of a newspaper, the SuperBowl telecast, a hot new video game.Sometimes a media “text” can involve multiple formats. A new animated Disney film, for example, involves not only a blockbuster movie released in thousands of theatres but also a whole campaign of advertising and merchandising—character dolls and toys, clothes, lunchboxes, etc.—as well as a website, storybooks, games and perhaps eventually, a ride at one of the Disney theme parks.Uncovering the many levels of meaning in a media message and the multiple answers to even basic questions is what makes media education so engaging for kids and so enlightening for adults.Essential Questions for Teachers1.Am I trying to tell the students what the message is? Or am I giving students the skills to determine what they think the message(s) might be?2.Have I let students know that I am open to accepting their interpretation, as long as it is well substantiated, or have I conveyed the message that my interpretation is the only correct view?3.At the end of the lesson, are students likely to be more analytical? Or more cynical?—with thanks to Faith Rogow, Ph.D.“…A marvelous piece of work—clear, concise, the distillation of the most available research and practice…As a framework for taking teachers through all of the necessary stages, components, ideas and assumptions about media literacy, it could scarcely be bettered.I hope it reaches every school and college in the land.”Len Masterman Author:Teaching the MediaMedia Literacy: Theory to Practice to Implementation Like a map for a journey, the CMLMediaLit Kit™ provides both a vision and an evolving guide for navigating today’s global media culture.As a vision of media literacy, the MediaLit Kit title is simply a metaphor for a collection of core ideas and tools that are fundamental to media literacy’s inquiry-based pedagogy. As an evolving guide, the CML MediaLit Kit™ expands our educational philosophy of Em-powerment through Education through a series of documents and resources articulating the theory, practice and implementation of media literacy in the US educational system.Resting on a foundation of CML’s 30 years of experience in the field plus the thinking of leading practitioners around the world, the MediaLit Kit™ was created to help establish a common ground upon which to build curriculum programs, teaching materials and training services for teaching in an increasingly mediated world.We believe that the CML MediaLit Kit™ provides, for the first time, an accessible, integrated Basic Framework of the established foundational concepts and implemen-tation models needed to organize and structure teaching activities using a media literacy lens. This Basic Framework for media literacy features the Five Core Concepts and Five Key Questions of media literacy, with help on how to apply them to decon-struct, construct and participate with media.How this project came to beThe Center for Media Literacy has built a reputation for clear and concise interpretation and articulation of the theory and issues in media education—first through Media&Values magazine (1977–1993) and later in a series of Media Literacy Workshop Kits, the first generation of teaching tools for US-based media literacy.In 1994, CML founder Elizabeth Thoman made her foundational article “Skills and Strat-egies for Media Education” copyright free. Reprinted widely for workshops and training, it helped to create a common language and understanding for media literacy nationally. In 2001, CML President and CEO Tessa Jolls, after managing school-based media literacy programs, saw that for teachers and students to more easily grasp media literacy con-cepts, “packaging” and labeling the concepts and related questions would enable teach-ers to directly engage students through a process of exploration and discovery. Connect-ing the Five Core Concepts to Five Key Questions for deconstruction represented the genesis of the CML MediaLit Kit.This new articulation reflects evolutionary developments in both education and society, including the impact of the Internet and new multi-media technology on learning—and on life. The CML MediaLit Kit™ includes the theory / practice / implementation docu-ments and resources listed below.As articulated in this Overview and Orientation Guide, the CML’s Basic Framework now serves as the basis for all CML’s work in curriculum development and training. We invite others, whether individual teachers, staff development trainers, researchers or publishers to adopt it as well.Terms of UseBooks and other elements of the CML MediaLit Kit are available for purchase through CML’s website, . Schools and districts, publishers, curriculum devel-opers, training agencies and others who incorporate elements of the MediaLit Kit™framework for profit or for wide dissemination should license it from CML. Much as soft-ware is developed by users, CML encourages additional adaptations and specialized applications as well as research relating media literacy pedagogy to learning objectives across the curriculum.A Framework for Learning and Teaching in a Media Age Part I: TheoryLiteracy for the 21st Century: An Overview and Orientation Guide to Media Literacy EducationA plain language introduction to the basic elements of media literacy education. An invaluable reference for teachers, media librarians, curriculum developers, researchers and all who want to understand what media literacy is all about. Contains CML’s Basic Framework,charts, handouts and explanation for each of the elements in the frame-work plus tips and recommendations for how to introduce media literacy in your school, district or state.Part II: PracticeFive Key Questions That Can Change the World: Classroom Activities forMedia LiteracyA collection of 25 cornerstone lesson plans to help you introduce students to the Five Key Questions of Media Literacy for deconstruction and master them through practice. Activities emphasize not just analysis but also creative production. Useful for all grade levels and across the curriculum: language arts, social studies, health, math, and the arts.MediaLit MomentsA collection of ideas and activities illustrating the Five Key Questions for deconstruction, construction and participation. Features topical and stimulating views that illicit the “Aha!” moment that often comes with asking one of the Five Key Question s.Part III: ImplementationMedia Literacy Works!Case studies illustrate program implementation in detailed and useful ways, sharing experience of those who have gone before in providing media literacy programs. These cases include Project SMARTArt: A Case Study in Elementary Media Literacy and Arts Education, featuring an inside look at a federally-funded demonstration project at Leo Politi Elementary School in Los Angeles. During Project SMARTArt, teachers developed innovative strategies to link media literacy to state standards for the arts as well as for language arts and English language development. The case also includes lesson plans, student animation and findings on how the Five Key Questions make media literacy possible to implement across the curriculum and what it takes for a media literacy pro-gram to be replicated in a school or district and sustained over time.Part IV: ResourcesCML provides a collection of curricula and supplemental materials related to CML’s Basic Framework for media literacy.All resources available online at: How this Book is OrganizedThe first section of this Overview & Orientation Guide provided a rationale for media literacy as literacy for a 21st century media culture. Now we will explore in depth each of the core elements in the MediaLit Kit’s Basic Framework, providing rationale, context, and relevant background.The Basic Framework consists of the elements outlined below. Gain a quick under-standing of these elements in the charts on the following three pages. The page refer-ence below each chart will take you to the page in later sections where the element is explained more fully.The cornerstone of the MediaLit Kit™ pedagogy is the Five Core Concepts of Media Literacy, with related Five Key Questions that provide an innovative recasting of the Five Core Concepts which the early media literacy field adapted from the traditional rhetorical analysis of primarily print literature.Through CML’s program implementations, we realized that concepts are difficult to teach but questions are powerful. Learning to ask a series of Key Questions about today’s media culture provides an internal checklist against which to analyze and evaluate any media message from any source. This provides a consistent methodology for critical thinking during deconstruction or construction of messages—a shortcut for gaining infor-mation process skills. That’s empowerment! You will see these concepts and questions in a variety of formats in the pages that follow.Basic Framework:1.The ‘Inquiry’ Process: “Activate Your Mind / Express Your View / Participate inYour World”2.A Media Literacy Definition3.Questions/TIPS (Q/TIPS)4.Five Core Concepts5.Key Words6.Five Key Questions for Consumers: Deconstruction7.Five Key Questions for Producers: Construction8.Media Literacy Process Skills: Access / Analyze / Evaluate / Create / Participate•How to Conduct a ‘Close Analysis’ of a Media ‘Text’The Empowerment Spiral: Awareness / Analysis / Reflection / Action9.•Participation in a Media World: How to Organize for Learning and ActionAlternate Questions for Different Ages and Abilities1.Key Questions to Guide Young Children: Deconstruction (Consumers)2.Key Questions to Guide Young Children: Construction (Producers)3.Expanded Questions / for more sophisticated inquiryA few ideas for exploring the concepts in the classroom are included but for a com-prehensive collection of lesson plans we refer you to Part II of the MediaLit Kit™: Five Key Questions That Can Change the World. And for implementation models, see the Media Literacy Works! case studies on the CML website.AcknowledgementsWe acknowledge the generous contribution of leaders and colleagues in the field who have graciously allowed us to incorporate their reflections, experience and wisdom in order to share them with you.Charts and Handouts. For more detail on each idea, go to the page indicated.3942Charts and Handouts. For more detail on each idea, go to the page indicated.4444Charts and Handouts. For more detail on each idea, go to the page indicated.4848Charts and Handouts. For more detail on each idea, go to the page indicated.60 65Alternate Questions for Different Ages and Abilities6969Alternate Questions for Different Ages and Abilities7575Alternate Questions for Different Ages and Abilities7575CML’s Five Key Questions: Deconstruction (Consumers)4848CML’s Five Key Questions: Deconstruction (Consumers)5051CML’s Five Key Questions: Deconstruction (Consumers)5253CML’s Five Key Questions: Deconstruction (Consumers)54CML’s Five Key Questions: Construction (Producers)4848CML’s Five Key Questions: Construction (Producers)5556CML’s Five Key Questions: Construction (Producers)5758CML’s Five Key Questions: Construction (Producers)59CML’s FIVE CORE CONCEPTS AND KEY QUESTIONS FOR CONSUMERS AND PRODUCERSMedia Deconstruction/Construction Framework“The MediaLit Kit™ is an outstanding map for anyone embarking on the critical and rewarding journey that is teaching media literacy…An incredibly valuable piece of work that will, no doubt, contribute significantly to the develop-ment and form of media literacy education in the U.S. and beyond.”Faith Rogow, Ph.D. Founding National President / Alliance for a Media Literate America (AMLA)1. The ‘Inquiry’ ProcessThe teaching approach that best suits the media literacy classroom is called the “inquiry process” and includes both analytical (deconstruction) skills as well as cre-ative communications (construction / production) skills. When analysis is combined with creative production, theory unites with application, thereby allowing students to discover and express their learning in an interconnected and natural process. Each enriches the other, and allows for interaction that furthers knowledge and encourages participation. These intermixing of skills are particularly important in using today’s communication technologies, since very quick processing is required between consuming and producing messages that are unique to the individual.Since media messages are transmitted through so many different mental processes, the combination of analysis with production also incorporates multiple intelligences in the learning process (linguistic/verbal, logical/mathematical, musical/rhythmic, visual/ spatial, body/kinesthetic, intrapersonal and interpersonal). While both activities can happen independently there is much to gain by meshing the two into one cohesive activity of analysis and production—that is: Activate Your Mind! Express Your View! Participate in Your World!2. Media Literacy: A DefinitionThe definition most often cited in the US is a succinct sentence hammered out by participants at the 1992 Aspen Media Literacy Leadership Institute:…the ability to access, analyze, evaluate and create media in a variety of forms. Definitions, however, evolve over time and a more robust definition is now needed to situate media literacy in the context of its importance for the education of students in a 21st century global media culture. CML’s MediaLit Kit™ uses this expanded definition:Media Literacy is a 21st century approach to education.It provides a framework to access, analyze, evaluate, create and participate using messages in a variety of forms—from print to video to the internet. Media literacy builds an understanding of the role of media in society as well as essential skillsof inquiry and self-expression necessary for citizens of a democracy.What is important to understand is that media literacy is not about “protecting” kids from unwanted messages. Although some groups urge families to just turn the cell phone or TV off, the fact is, media are so ingrained in our cultural milieu that even if you turn off the technology, you still cannot escape today’s media culture. Media no longer just influence our culture. They are our culture.Media literacy, therefore, is about helping students become competent, critical and literate in all media forms so that they control the interpretation of what they see, hear or interact with rather than letting the interpretation control them. To become media literate is not to memorize facts or statistics about the media, but rather to learn to raise the right questions about what you are watching, reading, listening or contributing to. Len Masterman, the acclaimed author of Teaching the Media, calls it “critical autono-my” or the ability to think for oneself.Without this fundamental ability, an individual cannot have full dignity as a human person or exercise citizenship in a democratic society, where to be a citizen is to both understand and contribute to the debates of the time.。
Imatest史上最详细教程
Imatest史上最详细教程2009 Imatest LLC Imatest Documentation 1 of 451 Imatest Documentation Image Quality An overview of the key image quality factors and how they are measured by Imatest Sharpness - What is it and how is it measured? Introduction - The Slanted-edge test - Calculation details - Results - Interpreting MTF50 SQF - Subjective Quality Factor Introduction - SQF and MTF - Meaning of SQF - Measuring SQF - The SQF equation - CSF - Links Noise in photographic images Introduction - Appearance - Noise measurements - Noise summary - F-stop noise - The mathematics of noise - Links Sharpening - Why standardized sharpening is needed for comparing cameras Standardized sharpening - Examples Sharpness comparisons - for several digital cameras Introduction - Explanation of results - Tables of results - Interpretation of MTF - Some observations - Links Chromatic Aberration - AKA Color fringing Introduction - Measurement - Demosaicing Veiling glare (Lens flare) Introduction - Target - Measurement - Results - ISO 9358 Color correction matrix Introduction - Math - Multicharts ISO Sensitivity and Exposure Index Introduction - Modules - Equations - RAW files - Related documents Shannon information capacity - information that can pass through a channel without error Meaning - Results - Summary Blur units, MTF, and DXO Analyzer's BxU The Imatest Test Lab - How to build a testing lab Introduction - Hardware - Lighting - Easel - Light measurement - Tripod - Clamps - Putting it together - Targets - Aligning target & camera Imatest Instructions -- General Installation - and getting started Install - Purchase - Register - Offline registration - Files Using Imatest Running Imatest - multi_read - RAW files - Other controls - Pulldown menus - Figures - .CSV and XML output - Use of Imatest RAW files Introduction - Using RAW files - Bayer RAW - dcraw demosaicing - Rawview utility - Generalized Read Raw The Imatest Test Lab - How to build a testing lab Introduction - Hardware - Lighting - Easel - Light measurement - Tripod - Clamps - Putting it together - Targets - Aligning target & camera Troubleshooting - What to do when Imatest doesn't work Installation problems - Problems after install - Missing DLLs - Runtime problems - INI files - Command (DOS) window - Diagnostics runs - Path conflicts Imatest Instructions -- Sharpness modules Using SFR Part 1 - Setting up and photographing SFR targets Slanted-edge test - Print chart - Lighting - Distance - Exposure - Tips - Quality and Distance Using SFR Part 2 - Running Imatest SFR Image file - ROI - Additional input - Equations - Gamma - Warnings - Saving - Repeated runs - Excel CSV output Imatest SFR LCD target Screen Patterns module - Web pattern SFR results: MTF (Sharpness) plot SFR results: - Chromatic Aberration, Noise, and Shannon capacity plot SFR results: Multiple ROI (Region of Interest) plot 2D Summary plot - 1D Summary plot - CSV Output file - Summary explanation - Excel plots Using SFRplus Part 1 - The SFRplus chart: features and how to photograph it Slanted-edge test - Advantages - Obtain chart - Print chart - Lighting - Distance - Exposure - Tips - Quality and Distance Using SFRplus Part 2 - Running Imatest SFRplus Running SFRplus - Rescharts - SFRplus settings windows - Parameters & setup window - Settings & options window - Gamma - Warnings - SFRplus summary Imatest Documentation 2 of 451 Using SFRplus Part 3 - Imatest SFRplus results SFRplus results - Saving - Repeated runs - Excel .CSV (Comma Separated Values) output Using Rescharts - Analysis of resolution-related charts Introduction - Getting started - The Rescharts window - Rescharts modules - Slanted-edge SFR - Log frequency (simple) - Log frequency-contrast Log Frequency - Analysis of log frequency-varying charts Introduction - Photographing, running - Color moire - Output - Pattern - MTF - Comparisons - Calculation details - Nyquist, aliasing Log F-Contrast - Analysis of charts that vary in log frequency andcontrast Introduction - Creating, printing - Photographing, running - Output - Pattern - MTF - MTF/contrast contours - MTFnn Star Chart - Analysis of the Siemens star chart Introduction - Creating, photographing, running - Output - MTF - MTFnn, MTFnnP - MTF contours - Equations MTF Compare - Compare MTFs of different cameras and lenses Introduction - Instructions Batchview - Postprocessor for viewing summaries of SFR, SFRplus results Introduction - Preparation - Instructions How to Test Lenses with SFRplus Introduction - Test chart - Photograph - Run SFRplus - Rescharts SFRplus - SFRplus settings - Interpret the results - Batches - Checklist How to Test Lenses with SFR - (old page: Imatest SFRplus recommended) Introduction - Test target - Photograph - Run SFR - Interpret - Checklist Imatest Instructions -- Tone, color, and spatial modules Using Stepchart Photographing the chart - Running Stepchart - Output - Saving - Dynamic range - Algorithm Stepchart: Applied Image and ISO charts Photographing chart - Instructions - Patch order Dynamic Range - Calculate Dynamic Range from several Stepchart images Introduction - Operation - Results - Dynamic Range bkgnd Using Colorcheck What Colorcheck does - Colorchecker colors - Photographing target - Photographing target - Colorchecker reference sources - Output - Saving - Links Colorcheck Appendix - Algorithms and reference formulas Color error formulas - Algorithm - Grayscale and exposure Using Multicharts - Interactive analysis of several test charts Introduction - Getting started - Reference files - The Multicharts window - Displays and options Multicharts Special Charts - Additional charts, including circles arranged on a square Instructions - Patch numbering - Examples Color correction matrix Introduction - Math - Multicharts Using Uniformity (Light Falloff) - Measures light falloff (lens vignetting) and sensor nonuniformity Instructions - Results Uniformity (Light Falloff): Imatest Master - Instructions for Imatest Master Input dialog box - Hot and dead pixels - Color shading - Uniformity profiles - Polynomial fit - Histograms - Noise detail - Spot detection Using Distortion Introduction - Instructions - Results - Main figure - Decentering - Corrected image - Intersection figure - Radius correction fig - Links - Algorithm Imatest Instructions -- Miscellaneous modules and utilities Using Test Charts - Creates test charts for high quality inkjet printers Introduction - Bitmap patterns - SVG patterns - Options Using Screen Patterns - Monitor patterns for Light Falloff, SFR, Distortion, and monitor calibration Introduction - Light Falloff - SFR - Distortion - Monitor calibration - Monitor gamma - Zone plate - SMPTE color bars - Slanted edges - Colorchecker- Stepchart - Squares (checkerboard) SVG Test Charts - Scalable Vector Graphics charts for MTF measurements Introduction: m x n squares - Squares and wedges - Operation - Options - Output figure - Printing View/Rename Files - using EXIF data Starting - 1. Select folder - 2. Select files - 3. Rename options - 4. Preview - 5. Rename files Imatest IT/EXE instructions - Running Imatest IT (Industrial Testing)/EXE Introduction - Installation - Setup - INI files - DOS call - Calling from Matlab - Testing - Error handling Using Print Test - Measure print quality factors: color response, tonal response, and Dmax Introduction - Instructions - Results Maskfill - Removes features that interfere with Imatest measurements Imatest Documentation 3 of 451 Introduction - Instructions Appendix Cross-reference tables - Tables to help you navigate Imatest Suppliers - Image quality factors - Image quality factors - Modules - Test charts - Test images Version comparisons - Differences between versions. Which is right for you? Glossary Glosario en Espanol Troubleshooting - What to do when Imatest doesn't work Installation problems - Problems after install - Missing DLLs - Runtime problems - INI files - Command (DOS) window - Diagnostics runs - Path conflicts Imatest Change Log - Imatest release history XML Changes - New XML improvements in Imatest 3.5.1+ Complete PDF documentation - Thewhole docs 14 MB and almost 500 pages, updated occasionally License - The Imatest End User License Agreement (EULA) Imatest Documentation 4 of 451 Image Quality Sharpness What is it and how is it measured? Image sharpness Sharpness is arguably the most important photographic image quality factor: it's the factor most closely related to the amount of detail an image can render. But it's not the only important factor. Imatest measures a great many others. Sharpness is defined by the boundaries between zones of different tones or colors. It is illustrated by the bar pattern of increasing spatial frequency, below. The top portion represents a target used to test a camera/lens combination. It is sharp; its boundaries are abrupt, not gradual. The bottom portion illustrates the effect of a high quality 35mm lens on a 0.5 millimeter long image of the pattern (on the film or digital sensor plane). It is blurred. All lenses, even the finest, blur images to some degree. Poor lenses blur images more than fine ones. One way to measure sharpness is to use the rise distance of the edge, for example, the distance (in pixels, millimeters, or fraction of image height) for the pixel level to go from 10% to 90% of its final value. This is called the 10-90% rise distance. Although rise distance is a good indicator of image sharpness, it has one limitation. It is poorly suited for calculating the sharpness of a complete imaging system from the sharpness of its components, for example, from a lens, digital sensor, and software sharpening algorithm. To get around this problem, measurements are made in frequency domain, where frequency is measured in cycles or line pairs per distance (typically millimeters in film measurements, but may also be inches, pixels, or image height). Line pairs per millimeter (lp/mm) is the most common spatial frequency unit for film, but cycles/pixel is convenient for digital sensors. The image below is a sine wave— a pattern of pure tones— that varies from low to high spatial frequencies, in this case from 2 to 200 lp/mm, over a distance of 0.5 millimeters. The top portion is the original sine pattern. The bottom portion illustrates the effects of the same high quality 35mm lens, which reduces pattern contrast at high spatial frequencies. The relative contrast at a given spatial frequency (output contrast/input contrast) is called the Modulation Transfer Function (MTF) or Spatial Frequency Response (SFR). Illustration of Modulation Transfer Function (MTF) (Spatial frequency response (SFR) ) Imatest Documentation 5 of 451 Green is for geeks. Do you get excited by a good equation? Were you passionate about your college math classes? Then you're probably a math geek—a member of a misunderstood but highly elite fellowship. The text in green is for you. If you're normal or mathematically challenged, you may skip these sections. You'll never know what you missed. The upper plot displays the sine and bar patterns: original and after blurring by the lens. The middle plot displays the luminance of the bar pattern after blurring by the lens (the red curve). Contrast decreases at high spatial frequencies. The lower plot displays the corresponding MTF (SFR) curve (the blue curve). By definition, the low frequency MTF limit is always 1 (100%). For this lens, MTF is 50% at 61 lp/mm and 10% at 183 lp/mm. Both frequency and MTF are displayed on logarithmic scales with exponential notation (10 0 = 1; 10 1 = 10; 10 2 = 100, etc.). Amplitude is displayed on a linear scale. The beauty of using MTF (Spatial Frequency Response) is that the MTF of a complete imaging system is the product of the the MTF of its individual components. MTF is related to edge response by a mathematical operation known as the Fourier transform. MTF is the Fourier transform of the impulse response— the response to a narrow line, which is the derivative (d/dx) of the edge response. Fortunately, you don't need to understand Fourier transforms or calculus to understand MTF. Traditional "resolution" measurements involve observing an image of a bar pattern (usually the USAF 1951 chart) on film, and looking for the highest spatial frequency (in lp/mm) where a pattern is visible. Thiscorresponds to an MTF of about 5-10%. Because this is the spatial frequency where image information disappears—where it isn't visible, it is not a good indicator of image sharpness. Experience has shown that the best indicators of image sharpness are the spatial frequencies where MTF is 50% of its low frequency value (MTF50) or 50% of its peak value (MTF50P). MTF50 or MTF50P are ideal parameters for comparing the sharpness of different cameras for several reasons: (1) Image contrast is half its low frequency or peak values, hence detail is still quite visible. (2) The eye is relatively insensitive to detail at spatial frequencies where MTF is low: 10% or less. (3) The response of virtually all cameras falls off rapidly in the vicinity of MTF50 and MTF50P. MTF50P may better for oversharpened cameras that have peaks in their MTF response. Although MTF can be estimated directly from images of sine patterns (see Rescharts Log Frequency, Log F-Contrast, and Star Chart), a sophisticated technique, based on the ISO 12233 standard, "Photography - Electronic still picture cameras - Resolution measurements," provides more accurate and repeatable results. A slanted-edge image, described below, is photographed, then analyzed by Imatest SFR or Rescharts Slanted-edge SFR. (SFR stands for Spatial Frequency Response.) Origins of Imatest SFR The algorithms for calculating MTF/SFR were adapted from a Matlab program, sfrmat, written by Peter Burns ( ) to implement the ISO 12233 standard. Imatest SFR incorporates numerous improvements, including improved edge detection, better handling of lens distortion, a nicer interface, and far more detailed output. The original Matlab code is available on the I3A ISO tools download page by clicking on ISO 12233 Slant Edge Analysis Tool sfrmat 2.0. In comparing sfrmat 2.0 results with Imatest, note that if no OECF (tonal response curve) file is entered into sfrmat, it assumes that there is no tonal response curve, i.e., gamma = 1. In Imatest, gamma is set to a default value of 0.5, which is typical of digital cameras. To obtain good agreement with sfrmat, you must set gamma to 1. The slanted-edge test for Spatial Frequency Response Slanted-edge test charts can be created with Imatest Test Charts (SVG charts are especially recommended) or downloaded from How to test lenses with Imatest. The bitmap chart has horizontal and vertical edges for best print quality. It should be Imatest Documentation 6 of 451 tilted (about 2-8 degrees) before it is photographed. Imatest SFR can also take advantage of portions of the ISO 12233 test chart, shown on the right, or a derivative like the Applied Image QA-77, or as a less expensive alternative from Danes-Picta in the Czech Republic (the DCR3 chart on their Digital Imaging page)). Two such portions are indicated by the red and blue arrows. ISO 12233 charts are used in and digital camera reviews. A printable vector-graphics version of the ISO chart is available courtesy of Stephen H. Westin of the Cornell University Computer Graphics Department. It should be printed as large as possible (24 inches high if possible) so edge sharpness is not limited by the printer itself. (There may be some jaggedness in the slanted edges; not a problem with the recommended printable target.) A typical portion is shown on the right: a crop of a vertical edge (slanted about 5.6 degrees), used to calculate horizontal MTF response. An advantage of the slanted edge test is that the camera-to-target distance isn't critical. It doesn't enter into the equation that converts the image into MTF response. Imatest Master can calculate MTF for edges of virtually any angle, though exact vertical, horizontal, and 45°can have numerical problems. Slanted edge algorithm (calculation details) The MTF calculation is derived from ISO standard 12233. Some details are contained in Peter Burns' SFRMAT 2.0 User's。
Essential Digital Skills - Entry Level 3 指导手册说明书
Essential Digital Skills – Entry Level 3Delivery GuideIntroduction:The purpose of this guide is to give you an overview of how you could holistically deliver the full range of standards, from the Essential Digital Skills through the delivery of a single project.When delivering any qualification, it is always useful to look at the full range of standards and consider how they are or could be linked together to give your delivery a more realistic and holistic approach.A holistic approach will provide you with a structured plan to teach the students how a range of standards work together, providing them with understanding of how skills and knowledge link together in a real life scenario.This approach to delivery will also help prepare your students for their summative assessment. To support this we have structured this guide in-line with the final assessment; giving your students the opportunity explore ideas and develop an understanding of the content, to practice and refine their skills, and gain an understanding of the depth and breadth that will be required in their final assessment. The project consists of six tasks covering a wide range of the standards. Each task includes several activities that students can carry out individually or in groups. If working within a group, we would advise that students contribute to each of the tasks, in order to gain the experience and skills required for the external assessment. The activities are designed to help teach the skills required within each of the tasks and give the opportunity for students to practice before their final assessment.The intention is that the students will be taught a range of knowledge and skills within each of the units and then carry out a series of tasks, linked to a scenario. Completion of each of the tasks successfully will demonstrate understanding and competency of the identified standards.Make-up of the guideThe first section of the guide goes through the scenario and provides details of the company that will form the context of the project.Following this is a pack of teaching and learning activities, structured as 6 tasks, for all the content that needs to be taught, as well as activities to reinforce learning for the scenario.ScenarioYour family are the proud owners of a vintage caravan and plan to run several catering events for local festivals and craft fairs. The festivals are happening near you in Newcastle, North of England. They have asked if you would like to be involved in the business and you have accepted. You are very excited at working in the family business and very keen to get started and help wherever possible.The family have decided on a company name for the business……”Tea To Go”.“Tea To Go” will sell hot drinks such as teas, coffees and hot chocolate as well and selling cakes, sandwiches and scones. The idea is to provide everything needed or a traditional afternoon tea.Project BriefThe family are getting prepared for the first festival event and Brooke Patterson (Manager) has called a meeting. At the meeting Brooke has identified several tasks that need to be carried out before the festival events begin.Through discussion and agreement, you have been allocated the following jobs:Your TasksTask 1 – Search for a new boilerTask 2 – Amend the menuTask 3 – Amend the spreadsheet to show the new prices of the cakesTask 4 – Create a posterTask 5 – Use social media to advertise the eventTask 6 – Email the organiser of the festival to confirm the date and timeTask 1“T ea To Go” needs to purchase a new 10 litre boiler as the existing boiler is unreliable:1.Search the internet and find 3 possible options2.Record your findings in a table, including the website link and the price (minimumof 2 columns)3.Identify your chosen boiler and justify why you have made this recommendation Standards Covered:Extension Activities:Level 1 produce a spreadsheet with the data or a table using word with possible payment options or pricing plans, extended warranty, services etcEmail a short summary to colleagues about the differing options and costTask 2“Tea To Go” has decided to update their menu and add a few more cakes to the menu. It has also been decided that the menu needs to look more attractive and you have been given the responsibility of improving this.1.Open document named “Menu Jan 2020”2.Add the new changes in the relevant sections•Lemon Drizzle Cake - £2.50•Chocolate Brownie - £2.20•Millionaire Shortbread - £3.003.Make at least 2 formatting enhancements to the menu to make it eye catching4.Save the menu with a relevant file nameStandards Covered:Extension Activities:Put together a short presentation to the family and present the new menuSave a PDF versions and share on Social mediaCreate a short promotional voice over and share on YouTube, social mediaTask 3“Tea To Go” have been looking at the prices and a decision has been made to increase the price of all hot drinks. The price list has not been updated since December 2019.1.Open the spreadsheet named “Price List”2.Amend the spreadsheet with the price changes below:•White Coffee - £2.00•Latte – £2.00•Fruit Tea - £2.003.Ensure all data is visible in all columns4.Merge and centre the title5.Format all data6.Make 1 other formatting enhancement to the spreadsheet to make it clear andeasy to read7.Save the spreadsheet with a meaningful filenameExtension Activities:Create a more detailed spreadsheet showing portion cost, retail value, and % profit and a weekly sales chart for each product, calculate busiest quietest daysPresent to family cost and profitTask 4“Tea To Go” are not very good at advertising their services and a decision has been made to create a poster. The poster will be posted in local shops and restaurants and hopes to attract people’s attention that have bought tickets to the festival. “Tea To Go” know that they need to be better with marketing and are relying on you to help with this important role.e suitable software to create a poster2.Insert the company logo from Image fileing the Image file, insert 3 suitable images4.Copy the text from the “information” file5.Evaluate the poster and ensure it is fit for purpose6.Save the poster with a meaningful filenameExtension Activities:Create a version suitable for displaying on social Media, Pinterest, Facebook Linked in for marketing locally, share with friends and family & communityEmail campaign to local medium and large size business include delivery service for office parties and conferencesTask 5“Tea To Go” have never used social media to promote themselves. They recently attended a meeting with the organisers of the event, who told them they had doubled the ticket sales by advertising on Facebook and Instagram. “Tea To Go” have made the decision to advertise on a social media platform and join the 21st century.e the internet to find 3 social media sites, suitable for advertising2.List the 3 social media platforms and identify why you would possibly use theplatform1.Decide on a social media platform in which to advertise the festival2.Create a n exciting post for the festival and “Tea To Go” – encourage people tovisit the vintage caravan for food and drinkExtension Activities:Marketing Campaign on a number social media sites with product launch offers, discount vouchers or codes when visiting the venue at a festival. Loyalty membership cards e.g. 4 coffees 1 freeTask 61.Email the organiser, to confirm the date and time that “Tea To Go” can set up forthe event2.Ask the organiser if they can advertise the menu on their website3.Attach a copy of the new menu to the emailExtension Activities:Create menu online, email campaign to organisations。
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An overview of range images
Helmut Cantzler
/rbf/CVonline/LOCAL_COPIES/CANTZLER2/ran ge.html
Intensity images are of limited use in terms of estimation of surfaces. Pixel values are related to surface geometry only indirectly. Range images encode the position of surface directly. Therefore, the shape can be computed reasonably easy. Range images are a special class of digital images. Each pixel of a range image expresses the distance between a known reference frame and a visible point in the scene. Therefore, a range image reproduces the 3D structure of a scene. Range images are also referred to as depth images, depth maps, xyz maps, surface profiles and 2.5D images.
建立表面时受到限制, 像素值与表面几何只是间接相关. 深度图像直接对表面
位置进行编码。
因此形状可以被容易的计算出来。
深度图像是一个类数字图像。
每一个深度图像像素代表一个己知的参照面和一个可见点场景可见点的距离。
因此，一个深度图像再现了一个3d结构的一个场景。
距离图像也常被叫做深度图，深度映射，xyz映射，表面档案和2.5维图像.
Range images can be represented in two basic forms. One is a list of 3D coordinates in a given reference frame (cloud of points), for which no specific order is required. The other is a matrix of depth values of points along the directions of the x,y image axes, which makes spatial organisation explicit.
深度图像可以被表示为两种形式。
一个是一系列的3d坐标在给定的参照框架（点云格式），对于这种形式，没有顺序要求。
另外一种是，所有点深度值的一个矩阵。
这个矩阵沿着x,y的图像坐标方向，这种形式使得空间组织更加明确。
Range images are acquired with range sensors. In computer vision normally optical range sensors are used. We can distinguish between active and passive range sensors. Active range sensors project energy (e.g. light) on the scene and detect its position to measure or exploit the effect of controlled changes of some sensor parameters (e.g. focus). On the other hand passive range sensors rely only on intensity images to reconstruct depth.
深度图像通过深度传感器获取。
在计算机视觉中，通常使用光学深度传感器。
我们可以将深度传感器划分为主动的和被动的两种。
主动距离传感器投射能量
(如光)在场景上，并决测它的位置以测量或检测。
而被动距离传感器只依赖于图像强度来重构深度.
Active range sensors exploit a variety of physical principles. The most common sensor techniques are triangulation, radar/sonar, moiré interferometry and active focusing/defocusing. Triangulation uses a light projector and an intensity camera, which is placed at a certain distance from the projector. The projector emits a light pattern. The most common patterns are planes and single beams. We shall use a projected plane for illustration. The intersection of the plane with the scene surface is a planar curve called the strip, which is observed by the camera. By using triangulation we get the depth map of the surface points under the strip. Radar/sonar uses a short electromagnetic or acoustic wave and detect the return (echo) reflected from surrounding surfaces. Distance is obtained as a function of the time taken by the wave to hit a surface and come back. Moiré sensors project two gratings with regularly spaced patterns onto the surface and measure the phase differences of the observed interference pattern. Other phase difference sensors measure the phase shift of the observed return beam. Distance is a function of the phase difference. Active focusing/defocusing sensors use two or more images of the same scene, which are acquired under varying focus settings. Once the best focused image is determined, a model linking focus values and distance yields the distance.
主动距离传感器是一系列物理法则的成果.最通用的传感技术是三角测量, 雷
达/声纳, ..光干涉. Triangulation 使用一个光线投射器和一个明暗摄像头. 这个明暗摄像头被放到一个距离投射器一定距离的地方。
投射器放出一个光线模式。
通常的模式是平面并且单一的光柱。
我们应该使用一个投影平面作为图示。
这个平面与场景表面的相交是一个平面的曲线被叫做草图（strip），这个草图将被摄像机观察到。
通过使用三角测量，我们可以得到表面点的距离映射在strip下。
雷达/声纳使用一个短的电子波或声波来检测从表面周转来的反射光或回声。
距离可以作为一个声波传输时间的函数获得。
Moiré se nsors投射出两个格子带有带有规则的空间模式在表面上，来测量观察到的干涉模式的相位差。
另外的相位差传感器度量观察到的返回的光柱的相位偏移。
距离是相位差的函数。
主动聚焦或散焦传感器使用同一个场景的两个或更多个图像。
这些图像在不同的交点设置下被获取。
一旦最好的聚焦图像被检测出来，一个聚焦值和距离相关的模型将会产生这个距离。