Since the Egyptian Revolution in 2011 and the Tunisian Revolution, social media, especially Facebook, Twitter, and YouTube, began to gain traction as a political tool in Africa. Various political actors have used social media to pursue a wide range of political objectives. State actors can use social media to encourage political discourse, campaign, or implement censorship and surveillance. Non-state actors, such as civil society organizations and opposition movements, can use social media to address political concerns and to organize widespread uprisings, such as the 2014 Burkinabé uprising. Meanwhile, extremist organizations can use social media to further their propaganda and recruitment. However, social media has been criticized for its limited accessibility and for facilitating the spread of misinformation, causing some skepticism about its effectiveness. Due to low entry barriers and user-generated content, social media provides a platform where people from different social classes can engage and interact with one another. Under traditional media, the public had limited opportunities to voice their political opinions. Social media enables people to both create and consume content. The public has become increasingly comfortable and confident in expressing political opinions online, often away from government scrutiny. Scholars argue that social media use has democratizing effects in African countries. == State actors == === Promoting political discourse === Through social media, the government and its citizens can discuss policy ideas, policy implementation, and political actions. Regardless of geographical location and distance, people are able to voice their opinions to the government. Social media includes citizens who were previously not able to express their discontent or share their ideas to the government. As state actors keep the public informed, social media can increase civic engagement. With more civic engagement, policies can be discussed without politicization. Before the commonplace use of social media, African countries faced weak feedback mechanisms that effectively excluded the average African citizen from policy discourse. In South Africa, the government uses social media to connect with constituencies. The South African president runs an official Twitter, Facebook, YouTube, and Flickr accounts to engage with the public. === Campaigning === Political parties also use social media for political campaigns during election periods. In South Africa, the ANC (African National Congress) and DA (Democratic Alliance) use social media for political purposes. These parties specifically use Facebook as a tool for campaigning and engaging with the public to improve their relationship with citizens. Nigerian President Goodluck Jonathan employed social media to campaign for the presidential election in 2011, which he won. When President Goodluck Jonathan announced his bid for the presidency on social media in 2010, it reached about 217,000 people. As his campaign progressed, President Goodluck Jonathan was able to increase his followers to half a million by early 2011. === Censorship & Surveillance === While state actors can use social media to encourage their party or discourse, social media can be used to censor and surveil citizens. For example, the ANC and DA use Facebook to monitor South Africans. The government is able to track down people who have spoken against the government and translate this information into physical action to stop any possibility of a revolution. Social media platforms can be shut down to manipulate the flow of information. In Chad, citizens cannot access information through online platforms. This censorship blocked "Facebook, Twitter, WhatsApp and Viber". In the Democratic Republic of Congo, the government shut down the internet before contested elections. In Zimbabwe, the government shut down the internet to hide civilian protests against fuel price increases. == Non-state actors == === Civil society organizations (CSOs) === Civil society organizations have also used social media networks in an effort to recruit supporters and communicate with the public. CSOs can use social media to mobilize people to support their cause, such as the Ghanaian Committee for Joint Action (CJA). In 2005 and 2006, the CJA gathered support to protest against the 50% fuel price increase. CSOs can play the role of a counterforce against state actors and state propaganda during times of crises, such as protests and military clashes. In some cases, CSOs release their own videos and photos on social media which challenges traditional forms of media. CSOs have also served to monitor elections to reduce corruption and violence during election day. For instance, the Zambian Bantu Watch started the #bantuwatch social media campaign to monitor the 2011 presidential election. Zambians used Facebook and Twitter to report polling station results to mitigate election fraud and election violence. In South Africa, CSOs created 'amandla.mobi' to campaign for public policies by creating petitions. Through 'amandla.mobi', CSOs are able to circulate petitions on social media to collect signatures. South African CSOs reported how social media helped their organizations to gain support and share ideas. However, CSOs struggle to attract media attention and often have to pay for media coverage. === Opposition forces against the government === Social media is also used by the public or opposition forces against the government. Through horizontal social media, organizing can lead to street protests and revolutions, some of which are successful. For instance, during the Egyptian revolution of 2011, "The Day of the Revolution Against Torture, Poverty, Corruption, and Unemployment" and "We Are All Khaled Said" gathered support against President Hosni Mubarak. In particular, "We Are All Khaled Said" had Egyptian citizens gather around the death of Khaled Said who was brutally tortured and killed by the Egyptian government because Said wanted to uncover government corruption. As unrest erupted into public demonstrations, President Hosni Mubarak was forced to resign. Witnessing the success of social media during the Egyptian revolution, the Tunisian Revolution, or the Jasmine Revolution, mobilized through Facebook and Twitter. Likewise, in South Africa, Malawi, and Mozambique, these countries have used social media as "new protest drums." Due to social media's low entry barrier, opposition forces against the government can facilitate political discourse that can lead to accountability. Whistleblowers and opposition forces are able to expose corruption through social media, where they face less repression while reaching a larger audience. For example, the youth of Zimbabwe and South Africa use Facebook to discuss politics without judgment. Specifically, in Zimbabwe, political youth used Facebook to avoid state surveillance. Social media is used as a supplemental tool for activism. In 2015, South African student activists started the hashtag #RhodesMustFall to push the issue of colonialism and racism at the forefront of the public. === Extremist organizations === Social media is easily accessible and created by user-based content. Therefore, marginalized groups are able to use social media to spread extremist ideas. For instance, Boko Haram created the Media Office of West Africa Province and perpetuated propaganda through Twitter and YouTube. Boko Haram's online propaganda campaign targets and persuades young dissuaded Nigerians to join their cause. It is important to note that social media has also been used against Boko Haram. In April 2014, Boko Haram kidnapped 276 schoolgirls and an international campaign fought for their return through #BringBackOurGirls. Another extremist group, Al-Shabaab, has created an online presence through Twitter and YouTube. Through these social media networks, Al-Shabaab recruits new members to their extremist group through their propaganda which emphasizes the group's successes. Albeit their efforts, Al-Shabaab has not been very successful in coordinating their members but they are successful in financing their group. Furthermore, the Islamic State of Iraq and the Levant (ISIL) use social media to target and recruit individuals to their cause. ISIL's social media usage is more diverse compared to Boko Haram and Al-Shabaab; ISIL uses "Facebook, Twitter, YouTube, WhatsApp, Telegram, JustPaste.it, Kik and Ask.fm." Since ISIL's Twitter accounts kept getting shut down, ISIL uses Telegram and WhatsApp chat rooms to privately conduct meetings. Due to the spread of extremist ideology, Zhuravskaya et al. acknowledge social media's potential to be misused. == Challenges == Although social media can be used as a political tool, it faces challenges in Africa. Due to low literacy rates in Africa, social media networks exclude many of the population members. In addition, lack of access to electricity and the internet can fur
Shepp–Logan phantom
The Shepp–Logan phantom is a standard test image created by Larry Shepp and Benjamin F. Logan for their 1974 paper "The Fourier Reconstruction of a Head Section". It serves as the model of a human head in the development and testing of image reconstruction algorithms. == Definition == The function describing the phantom is defined as the sum of 10 ellipses inside a 2×2 square:
Videotex
Videotex (or interactive videotex) was one of the earliest implementations of an end-user information system. From the late 1970s to early 2010s, it was used to deliver information (usually pages of text) to a user in computer-like format, typically to be displayed on a television or a dumb terminal. In a strict definition, videotex is any system that provides interactive content and displays it on a video monitor such as a television, typically using modems to send data in both directions. A close relative is teletext, which sends data in one direction only, typically encoded in a television signal. All such systems are occasionally referred to as viewdata. Unlike the modern Internet, traditional videotex services were highly centralized. Videotex in its broader definition can be used to refer to any such service, including teletext, the Internet, bulletin board systems, online service providers, and even the arrival/departure displays at an airport. This usage is no longer common. With the exception of Minitel in France, videotex elsewhere never managed to attract any more than a very small percentage of the universal mass market once envisaged. By the end of the 1980s its use was essentially limited to a few niche applications. == Initial development and technologies == === United Kingdom === The first attempts at a general-purpose videotex service were created in the United Kingdom in the late 1960s. In about 1970 the BBC had a brainstorming session in which it was decided to start researching ways to send closed captioning information to the audience. As the Teledata research continued the BBC became interested in using the system for delivering any sort of information, not just closed captioning. In 1972, the concept was first made public under the new name Ceefax. Meanwhile, the General Post Office (soon to become British Telecom) had been researching a similar concept since the late 1960s, known as Viewdata. Unlike Ceefax which was a one-way service carried in the existing TV signal, Viewdata was a two-way system using telephones. Since the Post Office owned the telephones, this was considered to be an excellent way to drive more customers to use the phones. Not to be outdone by the BBC, they also announced their service, under the name Prestel. ITV soon joined the fray with a Ceefax-clone known as ORACLE. In 1974, all the services agreed on a standard for displaying the information. The display would be a simple 40×24 grid of text, with some "graphics characters" for constructing simple graphics, revised and finalized in 1976. The standard did not define the delivery system, so both Viewdata-like and Teledata-like services could at least share the TV-side hardware, which was expensive at the time. The standard also introduced a new term that covered all such services, teletext. Ceefax first started operation in 1974 with a limited 30 pages, followed quickly by ORACLE and then Prestel in 1979. By 1981, Prestel International was available in nine countries, and a number of countries, including Sweden, The Netherlands, Finland and West Germany were developing their own national systems closely based on Prestel. General Telephone and Electronics (GTE) acquired an exclusive agency for the system for North America. In the early 1980s, videotex became the base technology for the London Stock Exchange's pricing service called TOPIC. Later versions of TOPIC, notably TOPIC2 and TOPIC3, were developed by Thanos Vassilakis and introduced trading and historic price feeds. === France === Development of a French teletext-like system began in 1973. A very simple 2-way videotex system called Tictac was also demonstrated in the mid-1970s. As in the UK, this led on to work to develop a common display standard for videotex and teletext, called Antiope, which was finalised in 1977. Antiope had similar capabilities to the UK system for displaying alphanumeric text and chunky "mosaic" character-based block graphics. A difference however was that while in the UK standard control codes automatically also occupied one character position on screen, Antiope allowed for "non spacing" control codes. This gave Antiope slightly more flexibility in the use of colours in mosaic block graphics, and in presenting the accents and diacritics of the French language. Meanwhile, spurred on by the 1978 Nora/Minc report, the French government was determined to catch up on a perceived falling behind in its computer and communications facilities. In 1980 it began field trials issuing Antiope-based terminals for free to over 250,000 telephone subscribers in Ille-et-Vilaine region, where the French CCETT research centre was based, for use as telephone directories. The trial was a success, and in 1982 Minitel was rolled out nationwide. === Canada === Since 1970, researchers at the Communications Research Centre (CRC) in Ottawa had been working on a set of "picture description instructions", which encoded graphics commands as a text stream. Graphics were encoded as a series of instructions (graphics primitives) each represented by a single ASCII character. Graphic coordinates were encoded in multiple 6 bit strings of XY coordinate data, flagged to place them in the printable ASCII range so that they could be transmitted with conventional text transmission techniques. ASCII SI/SO characters were used to differentiate the text from graphic portions of a transmitted "page". In 1975, the CRC gave a contract to Norpak to develop an interactive graphics terminal that could decode the instructions and display them on a colour display, which was successfully up and running by 1977. Against the background of the developments in Europe, CRC was able to persuade the Canadian government to develop the system into a fully-fledged service. In August 1978, the Canadian Department of Communications publicly launched it as Telidon, a "second generation" videotex/teletext service, and committed to a four-year development plan to encourage rollout. Compared to the European systems, Telidon offered real graphics, as opposed to block-mosaic character graphics. The downside was that it required much more advanced decoders, typically featuring Zilog Z80 or Motorola 6809 processors. === Japan === Research in Japan was shaped by the demands of the large number of Kanji characters used in Japanese script. With 1970s technology, the ability to generate so many characters on demand in the end-user's terminal was seen as prohibitive. Instead, development focussed on methods to send pages to user terminals pre-rendered, using coding strategies similar to facsimile machines. This led to a videotex system called Captain ("Character and Pattern Telephone Access Information Network"), created by NTT in 1978, which went into full trials from 1979 to 1981. The system also lent itself naturally to photographic images, albeit at only moderate resolution. However, the pages typically took two or three times longer to load, compared to the European systems. NHK developed an experimental teletext system along similar lines, called CIBS ("Character Information Broadcasting Station"). Based on a 388×200 pixel resolution, it was first announced in 1976, and began trials in late 1978. (NHK's ultimate production teletext system launched in 1983). == Standards == Work to establish an international standard for videotex began in 1978 in CCITT. But the national delegations showed little interest in compromise, each hoping that their system would come to define what was perceived to be going to be an enormous new mass-market. In 1980 CCITT therefore issued recommendation S.100 (later T.100), noting the points of similarity but the essential incompatibility of the systems, and declaring all four to be recognised options. Trying to kick-start the market, AT&T Corporation entered the fray, and in May 1981 announced its own Presentation Layer Protocol (PLP). This was closely based on the Canadian Telidon system, but added to it some further graphics primitives and a syntax for defining macros, algorithms to define cleaner pixel spacing for the (arbitrarily sizeable) text, and also dynamically redefinable characters and a mosaic block graphic character set, so that it could reproduce content from the French Antiope. After some further revisions this was adopted in 1983 as ANSI standard X3.110, more commonly called NAPLPS, the North American Presentation Layer Protocol Syntax. It was also adopted in 1988 as the presentation-layer syntax for NABTS, the North American Broadcast Teletext Specification. Meanwhile, the European national Postal Telephone and Telegraph (PTT) agencies were also increasingly interested in videotex, and had convened discussions in European Conference of Postal and Telecommunications Administrations (CEPT) to co-ordinate developments, which had been diverging along national lines. As well as the British and French standards, the Swedes had proposed extending the British Prestel standard with a new se
Sports Card Investor
Sports Card Investor is an American sports collectibles media platform and mobile application founded by Geoff Wilson. The platform provides market data, analysis, and editorial content focused on sports trading cards and related collectibles. It operates a website, mobile app, and digital media channels covering developments in the sports card industry. The company posted its first YouTube video in July 2019, shortly before a period of rapid growth in sports card collecting in the early 2020s, which was marked by increased trading volumes and mainstream media attention. == History == Sports Card Investor was founded by Geoff Wilson, an entrepreneur and collector who began publishing sports card–related content online before launching the platform's dedicated app and subscription tools. In February 2020, the company launched Market Movers, the first website and app to chart sports card prices and track card collections. The platform expanded its media presence through partnerships and distribution agreements. In 2023, Yahoo Sports announced a new collectibles coverage initiative that included additional content from Sports Card Investor. In February 2024, the Sports Card Investor studio relocated to CardsHQ in Atlanta, Georgia, and visitors to the facility can watch Sports Card Investor videos being filmed. == Platform and content == The Sports Card Investor app provides users with pricing data, portfolio-tracking tools, and market-trend analysis for trading cards. The company also produces video and editorial content discussing market developments, grading trends, and major card releases. Coverage in industry publications has referenced Sports Card Investor in discussions about shifts in sports card licensing rights and hobby market reactions. == Industry context == The growth of Sports Card Investor coincided with a broader resurgence in trading card markets, including record sales and expanded retail presence. Mainstream outlets have cited the company and its founder in reporting on collectibles investing trends, grading practices, and market volatility. The Sports Card Investor app has attracted over 37,000 reviews on the Apple App Store, reflecting its strong user engagement within the sports card community.
Local coordinates
Local coordinates are the ones used in a local coordinate system or a local coordinate space. Simple examples: Houses. In order to work in a house construction, the measurements are referred to a control arbitrary point that will allow to check it: stick/sticks on the ground, steel bar, nails... Addresses. Using house numbers to locate a house on a street; the street is a local coordinate system within a larger system composed of city townships, states, countries, postal codes, etc. Local systems exist for convenience. On ancient times, every work was made on relative bases as there was no conception of global systems. Practically, it is better to use local systems for small works as houses, buildings... For most of the applications, it is desired the position of one element relative to one building or location, and in a more local way, relative to one furniture or person. In a regular way, you will not give your position by geographical coordinates rather than "I am 15 meters away of the entry to the building". So it is a pretty common way to locate things. It is possible to bring latitude and longitude for all terrestrial locations, but unless one has a highly precise GPS device or you make astronomical observations, this is impractical. It is much simpler to use a tape, a rope, a chain... The position information (global) should be transformed into a location. Position refers to a numeric or symbolic description within a spatial reference system, whereas location refers to information about surrounding objects and their interrelationships. (Topological space) == Use == In computer graphics and computer animation, local coordinate spaces are also useful for their ability to model independently transformable aspects of geometrical scene graphs. When modeling a car, for example, it is desirable to describe the center of each wheel with respect to the car's coordinate system, but then specify the shape of each wheel in separate local spaces centered about these points. This way, the information describing each wheel can be simply duplicated four times, and independent transformations (e.g., steering rotation) can be similarly effected. Bounding volumes of objects may be described more accurately using extents in the local coordinates, (i.e. an object oriented bounding box, contrasted with the simpler axis aligned bounding box). The trade-off for this flexibility is additional computational cost: the rendering system must access the higher-level coordinate system of the car and combine it with the space of each wheel in order to draw everything in its proper place. Local coordinates also afford digital designers a means around the finite limits of numerical representation. The tread marks on a tire, for example, can be described using millimeters by allowing the whole tire to occupy the entire range of numeric precision available. The larger aspects of the car, such as its frame, might be described in centimeters, and the terrain that the car travels on could be specified in meters. In differential topology, local coordinates on a manifold are defined by means of an atlas of charts. The basic idea behind coordinate charts is that each small patch of a manifold can be endowed with a set of local coordinates. These are collected together into an atlas, and stitched together in such a way that they are self-consistent on the manifold. In Cartography and Maps, the traditional way of works are local datum. With a local datum the land can be mapped on relative small areas as a country. With the need of global systems, the transformations on between datum became a problem, so geodetic datum have been created. More than 150 local datum have been used in the world.
Real-time computer graphics
Real-time computer graphics or real-time rendering is the sub-field of computer graphics focused on producing and analyzing images in real time. The term can refer to anything from rendering an application's graphical user interface (GUI) to real-time image analysis, but is most often used in reference to interactive 3D computer graphics, typically using a graphics processing unit (GPU). One example of this concept is a video game that rapidly renders changing 3D environments to produce an illusion of motion. Computers have been capable of generating 2D images such as simple lines, images and polygons in real time since their invention. However, quickly rendering detailed 3D objects is a daunting task for traditional Von Neumann architecture-based systems. An early workaround to this problem was the use of sprites, 2D images that could imitate 3D graphics. Different techniques for rendering now exist, such as ray-tracing and rasterization. Using these techniques and advanced hardware, computers can now render images quickly enough to create the illusion of motion while simultaneously accepting user input. This means that the user can respond to rendered images in real time, producing an interactive experience. == Principles of real-time 3D computer graphics == The goal of computer graphics is to generate computer-generated images, or frames, using certain desired metrics. One such metric is the number of frames generated in a given second. Real-time computer graphics systems differ from traditional (i.e., non-real-time) rendering systems in that non-real-time graphics typically rely on ray tracing. In this process, millions or billions of rays are traced from the camera to the world for detailed rendering—this expensive operation can take hours or days to render a single frame. Real-time graphics systems must render each image in less than 1/30th of a second. Ray tracing is far too slow for these systems; instead, they employ the technique of z-buffer triangle rasterization. In this technique, every object is decomposed into individual primitives, usually triangles. Each triangle gets positioned, rotated and scaled on the screen, and rasterizer hardware (or a software emulator) generates pixels inside each triangle. These triangles are then decomposed into atomic units called fragments that are suitable for displaying on a display screen. The fragments are drawn on the screen using a color that is computed in several steps. For example, a texture can be used to "paint" a triangle based on a stored image, and then shadow mapping can alter that triangle's colors based on line-of-sight to light sources. === Video game graphics === Real-time graphics optimizes image quality subject to time and hardware constraints. GPUs and other advances increased the image quality that real-time graphics can produce. GPUs are capable of handling millions of triangles per frame, and modern DirectX/OpenGL class hardware is capable of generating complex effects, such as shadow volumes, motion blurring, and triangle generation, in real-time. The advancement of real-time graphics is evidenced in the progressive improvements between actual gameplay graphics and the pre-rendered cutscenes traditionally found in video games. Cutscenes are typically rendered in real-time—and may be interactive. Although the gap in quality between real-time graphics and traditional off-line graphics is narrowing, offline rendering remains much more accurate. === Advantages === Real-time graphics are typically employed when interactivity (e.g., player feedback) is crucial. When real-time graphics are used in films, the director has complete control of what has to be drawn on each frame, which can sometimes involve lengthy decision-making. Teams of people are typically involved in the making of these decisions. In real-time computer graphics, the user typically operates an input device to influence what is about to be drawn on the display. For example, when the user wants to move a character on the screen, the system updates the character's position before drawing the next frame. Usually, the display's response-time is far slower than the input device—this is justified by the immense difference between the (fast) response time of a human being's motion and the (slow) perspective speed of the human visual system. This difference has other effects too: because input devices must be very fast to keep up with human motion response, advancements in input devices (e.g., the current Wii remote) typically take much longer to achieve than comparable advancements in display devices. Another important factor controlling real-time computer graphics is the combination of physics and animation. These techniques largely dictate what is to be drawn on the screen—especially where to draw objects in the scene. These techniques help realistically imitate real world behavior (the temporal dimension, not the spatial dimensions), adding to the computer graphics' degree of realism. Real-time previewing with graphics software, especially when adjusting lighting effects, can increase work speed. Some parameter adjustments in fractal generating software may be made while viewing changes to the image in real time. == Rendering pipeline == The graphics rendering pipeline ("rendering pipeline" or simply "pipeline") is the foundation of real-time graphics. Its main function is to render a two-dimensional image in relation to a virtual camera, three-dimensional objects (an object that has width, length, and depth), light sources, lighting models, textures and more. === Architecture === The architecture of the real-time rendering pipeline can be divided into conceptual stages: application, geometry and rasterization. === Application stage === The application stage is responsible for generating "scenes", or 3D settings that are drawn to a 2D display. This stage is implemented in software that developers optimize for performance. This stage may perform processing such as collision detection, speed-up techniques, animation and force feedback, in addition to handling user input. Collision detection is an example of an operation that would be performed in the application stage. Collision detection uses algorithms to detect and respond to collisions between (virtual) objects. For example, the application may calculate new positions for the colliding objects and provide feedback via a force feedback device such as a vibrating game controller. The application stage also prepares graphics data for the next stage. This includes texture animation, animation of 3D models, animation via transforms, and geometry morphing. Finally, it produces primitives (points, lines, and triangles) based on scene information and feeds those primitives into the geometry stage of the pipeline. === Geometry stage === The geometry stage manipulates polygons and vertices to compute what to draw, how to draw it and where to draw it. Usually, these operations are performed by specialized hardware or GPUs. Variations across graphics hardware mean that the "geometry stage" may actually be implemented as several consecutive stages. ==== Model and view transformation ==== Before the final model is shown on the output device, the model is transformed onto multiple spaces or coordinate systems. Transformations move and manipulate objects by altering their vertices. Transformation is the general term for the four specific ways that manipulate the shape or position of a point, line or shape. ==== Lighting ==== In order to give the model a more realistic appearance, one or more light sources are usually established during transformation. However, this stage cannot be reached without first transforming the 3D scene into view space. In view space, the observer (camera) is typically placed at the origin. If using a right-handed coordinate system (which is considered standard), the observer looks in the direction of the negative z-axis with the y-axis pointing upwards and the x-axis pointing to the right. ==== Projection ==== Projection is a transformation used to represent a 3D model in a 2D space. The two main types of projection are orthographic projection (also called parallel) and perspective projection. The main characteristic of an orthographic projection is that parallel lines remain parallel after the transformation. Perspective projection utilizes the concept that if the distance between the observer and model increases, the model appears smaller than before. Essentially, perspective projection mimics human sight. ==== Clipping ==== Clipping is the process of removing primitives that are outside of the view box in order to facilitate the rasterizer stage. Once those primitives are removed, the primitives that remain will be drawn into new triangles that reach the next stage. ==== Screen mapping ==== The purpose of screen mapping is to find out the coordinates of the primitives during the clipping stage. ==== Rasterizer stage ==== The rasterizer
Channel (digital image)
Color digital images are made of pixels, and pixels are made of combinations of primary colors represented by a series of code. A channel in this context is the grayscale image of the same size as a color image, made of just one of these primary colors. For instance, an image from a standard digital camera will have a red, green and blue channel. A grayscale image has just one channel. In geographic information systems, channels are often referred to as raster bands. Another closely related concept is feature maps, which are used in convolutional neural networks. == Overview == In the digital realm, there can be any number of conventional primary colors making up an image; a channel in this case is extended to be the grayscale image based on any such conventional primary color. By extension, a channel is any grayscale image of the same dimension as and associated with the original image. Channel is a conventional term used to refer to a certain component of an image. In reality, any image format can use any algorithm internally to store images. For instance, GIF images actually refer to the color in each pixel by an index number, which refers to a table where three color components are stored. However, regardless of how a specific format stores the images, discrete color channels can always be determined, as long as a final color image can be rendered. The concept of channels is extended beyond the visible spectrum in multispectral and hyperspectral imaging. In that context, each channel corresponds to a range of wavelengths and contains spectroscopic information. The channels can have multiple widths and ranges. Three main channel types (or color models) exist, and have respective strengths and weaknesses. === RGB images === An RGB image has three channels: red, green, and blue. RGB channels roughly follow the color receptors in the human eye, and are used in computer displays and image scanners. If the RGB image is 24-bit (the industry standard as of 2005), each channel has 8 bits, for red, green, and blue—in other words, the image is composed of three images (one for each channel), where each image can store discrete pixels with conventional brightness intensities between 0 and 255. If the RGB image is 48-bit (very high color-depth), each channel has 16-bit per pixel color, that is 16-bit red, green, and blue for each per pixel. ==== RGB color sample ==== Notice how the grey trees have similar brightness in all channels, the red dress is much brighter in the red channel than in the other two, and how the green part of the picture is shown much brighter in the green channel. === YUV === YUV images are an affine transformation of the RGB colorspace, originated in broadcasting. The Y channel correlates approximately with perceived intensity, whilst the U and V channels provide colour information. === CMYK === A CMYK image has four channels: cyan, magenta, yellow, and key (black). CMYK is the standard for print, where subtractive coloring is used. A 32-bit CMYK image (the industry standard as of 2005) is made of four 8-bit channels, one for cyan, one for magenta, one for yellow, and one for key color (typically is black). 64-bit storage for CMYK images (16-bit per channel) is not common, since CMYK is usually device-dependent, whereas RGB is the generic standard for device-independent storage. ==== CMYK color sample ==== === HSV === HSV, or hue saturation value, stores color information in three channels, just like RGB, but one channel is devoted to brightness (value), and the other two convey colour information. The value channel is similar to (but not exactly the same as) the CMYK black channel, or its negative. HSV is especially useful in lossy video compression, where loss of color information is less noticeable to the human eye. == Alpha channel == The alpha channel stores transparency information—the higher the value, the more opaque that pixel is. No camera or scanner measures transparency, although physical objects certainly can possess transparency, but the alpha channel is extremely useful for compositing digital images together. Bluescreen technology involves filming actors in front of a primary color background, then setting that color to transparent, and compositing it with a background. The GIF and PNG image formats use alpha channels on the World Wide Web to merge images on web pages so that they appear to have an arbitrary shape even on a non-uniform background. == Other channels == In 3D computer graphics, multiple channels are used for additional control over material rendering; e.g., controlling specularity and so on. == Bit depth == In digitizing images, the color channels are converted to numbers. Since images contain thousands of pixels, each with multiple channels, channels are usually encoded in as few bits as possible. Typical values are 8 bits per channel or 16 bits per channel. Indexed color effectively gets rid of channels altogether to get, for instance, 3 channels into 8 bits (GIF) or 16 bits. == Optimized channel sizes == Since the brain does not necessarily perceive distinctions in each channel to the same degree as in other channels, it is possible that differing the number of bits allocated to each channel will result in more optimal storage; in particular, for RGB images, compressing the blue channel the most and the red channel the least may be better than giving equal space to each. Among other techniques, lossy video compression uses chroma subsampling to reduce the bit depth in color channels (hue and saturation), while keeping all brightness information (value in HSV). 16-bit HiColor stores red and blue in 5 bits, and green in 6 bits.