The goal is to study the visual perception of graphic composition of various styles. An original author's method of conducting an experiment has been developed, which includes the preparation of stimulus material, collecting data, and statistical algorithms to analyze parametric data. The stimulus materials were based on graphic images in the cubism and abstractionism styles as well as on photorealistic images. An eye-tracking equipment was used to record eye movement activity and collect experimental data. The statistical analysis of the parametric data of the observer's viewing pattern has revealed that the viewer’s perception of visual information is more effective by observers with art education. The results are of importance for developing effective training and test systems for operators, users, GUI developers, etc.
The efficiency of fulfilling the tasks set by the operator of remote facilities directly depends on the features of displaying the information that he receives and on the basis of which he draws certain conclusions and makes decisions. This article formulates an approach to the formation of stimulus material based on the factors influencing the conditions of perception of the output information. Stimulus material was prepared in the amount of 54 illustrations for the experiment. The parametric data of the stimulus material viewing template obtained from the eyetracker are analyzed using mathematical statistics tools. The influence of factors determined in the work on the average time of viewing a stimulus, the average duration of fixation when considering one stimulus, and the average number of fixations when considering one stimulus is revealed. The average amplitude during the examination of the stimulus was analyzed. It was determined that there is a statistically significant influence of information content on the solution of the problem of identifying objects in the stimulus material. It is also indicated that the gender feature has a statistically significant effect on the parameters of the template for viewing the stimulus material and, accordingly, the time for solving the problem of the experiment. Based on the data obtained, new hypotheses about the effective work with images in a certain color combination are formulated.
Описан эксперимент, задачей которого является исследование влияния фактора цветового ре-шения кинокадра на восприятие его зрителем. В эксперименте использовались три цветовых схемы: монохромная, комплементарная и триадная. Рассмотрен процесс разработки стимульного материа-ла и методика проведения эксперимента. В качестве теоретической модели экспериментального ис-следования использована бинарная модель цветового восприятия человека. Установлено, что фак-тор цветового решения имеет значимое влияние на процесс сканирования изображения человеком, это необходимо учитывать при гармонизации кадра. Сформулированы определенные правила для решения комплексной задачи гармонизации кинокадра от момента его проектирования до этапа постобработки. Наиболее сложным цветовым решением является триада, однако кадр при этом по-лучается наиболее читаемым в условиях его перегруженности.КиНематОгРаф; гаРмОНизация КадРа; цВетОВОе зРеНие; цВетОВОе РешеНие; ай-тРеКеР; эКСпеРимеНт.We studied the impact that a color palette chosen for a film frame has on the scanning and recognition process of the human eye. We used three color palettes: mono-color, complimentary colors, and three-color. The experiment, including the preparation of picture frames, and collection of data is described in detail. A binary model of the human color vision was used for theoretical confirmation of the experimental data. We have shown that the choice of the color palette has an impact on the scanning process of a film frame by the human eye. Therefore, the color palette can be used during film frame formatting to enhance and enrich the cinematic experience. ANOVA statistical analysis of the data allows to formulate several rules for film frame harmonization at every step of the frame production (from frame design to frame post production). We show that a three-color palette is the most readable but also the most complex to realize.
Представлен краткий аналитический обзор главных исторических достижений и новых возмож-ностей работы с цветом в киноиндустрии. Исследованы современные тенденции компьютерной постобработки видеоматериала при переходе с традиционного линейного на нелинейный монтаж. Особое внимание уделено важности теоретических и практических аспектов колористики для реше-ния задач цифровой цветокоррекции видеоматериала. Приведены конкретные примеры эффектив-ного применения инновационных компьютерных технологий цифровой цветокоррекции, основан-ные на реальном практическом опыте наиболее успешных проектов на каналах телевидения России и в ведущих американских киностудиях.КИНЕМАТОГРАФ; НЕЛИНЕЙНЫЙ ВИДЕОМОНТАЖ; ЦИФРОВАЯ ЦВЕТОКОРРЕКЦИЯ; ГРЕЙДИНГ.This article is a brief analytical overview of the main historical milestones and new capabilities of working with color in the cinema industry. Modern tendencies in video post-processing are studied in the transition from traditional linear mounting to the non-linear one. Special attention is paid to the importance of theoretical and practical aspects of coloring to solve the problems of digital video color correction. Real-world examples of effectively implemented innovative computer technologies of digital video color correction are provided based on the actual practical experience of the most successful projects of Russian television channels and at the leading American film studios.
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