transparent lcd panel x 3 r/g/b free sample

RJ-45 x 1 for network and DIGITAL LINK connection (video/network/serial control) (HDBaseT™ compliant), 100Base-TX (Compatible with PJLink™ [Class 2], HDCP, Deep Color, 4K/30p6 signal input)

RJ-45 x 1 for network and DIGITAL LINK connection (video/network/serial control) (HDBaseT™ compliant), 100Base-TX (Compatible with PJLink™ [Class 2], HDCP, Deep Color, 4K/30p6 signal input)

3 Around this time, light output will have decreased to approximately 50 % of its original level ([PICTURE MODE]: [DYNAMIC], [DYNAMIC CONTRAST] set to [2], temperature 30 °C (86 °F), elevation 700 m (2,297 ft) with 0.15 mg/m3 of particulate matter). Estimated time until light output declines to 50 % varies depending on environment.

10 Filter cleaning cycle varies depending on environment. Filter can be washed and reused up to two times. Filter cleaning cycle: 20,000 hours (under dust conditions of 0.08 mg/m3), 10,000 hours (under dust conditions of 0.15 mg/m3).

12 Light output is limited at operating temperatures higher than 30 °C (86 °F), and projectors cannot be operated at altitudes higher than 2,700 m (8,858 ft) above sea level.

14 When using Presenter Light Software, images are projected with 1280 x 800 dots or 1024 x 768 dots onto the screen. Also, your PC display resolution may be forcibly changed, and audio playback disrupted or become noisy, while images and sound are being transmitted.

15 When using the Wireless Projector app, display resolution differs depending on your iOS/Android™ device and the display device. The maximum supported display resolution is WXGA (1280 x 800).

RJ-45 x 1 for network and DIGITAL LINK connection, HDBase-T™ compliant, 100Base-TX, compatible with PJLink™ (Class 2), HDCP, Deep Color, 4K/30p signal input

RJ-45 x 1 for network and DIGITAL LINK connection, HDBase-T™ compliant, 100Base-TX, compatible with PJLink™ (Class 2), HDCP, Deep Color, 4K/30p signal input

RJ-45 x 1 for network and DIGITAL LINK connection, HDBase-T™ compliant, 100Base-TX, compatible with PJLink™ (Class 2), HDCP, Deep Color, 4K/30p signal input

RJ-45 x 1 for network and DIGITAL LINK connection, HDBase-T™ compliant, 100Base-TX, compatible with PJLink™ (Class 2), HDCP, Deep Color, 4K/30p signal input

*2 Around this time, light output will have decreased by approximately 50 %. IEC62087: 2008 Broadcast contents, NORMAL Mode, Dynamic Contrast [2], under conditions with 30 °C (86 °F), 700 m (2,297 ft) above sea level, and 0.15 mg/m3 of particulate matter. Estimated time until light output declines to 50 % varies depending on environment.

*6 Light output is limited at operating temperatures higher than 30 °C (86 °F), and projectors cannot be operated at altitudes higher than 2,700 m (8,858 ft) above sea level. Operating temperature is 0–40 °C (32–104 °F) with optional wireless module (AJ-WM50). Product availability may vary by country or region. The suffix at the end of the model number is omitted.

I saw a really cool video of a PC case called "Snowblind", that had a transparent LCD Screen as a side panel. I was amazed over how cool it was. The only problem was that it was really expensive. Therefore, I tried making my own! In this instructables I will go through how I made it, and how you could make your own. The best of all, since it was made from an old monitor that was thrown away, it was basically free! I just added some LED strips on the inside of the case to get better contrast on the screen. You could probably re-use the monitors backlight, but it"s safer and easier to just get some cheap LED strips.

You will have to reverse engineer the controller to find the power connections, and solder a new power connector on. This way, you can use the ATX power supply that powers your computer. I used a multimeter, where I had one probe to the ground plane (For example around the mounting screws), and used the other probe to search for 5V or 12V power on the pins coming from the power supply.

First, remove the frame of the panel. It is fixed with clips, so just bend the frame a little and lift the frame up. Next, separate the front LCD from the backlight. For the next step, you will have to be careful. This step involves removing the anti glare film. It is glued to the panel, and therefore it"s easy to break the LCD when trying to remove it.

Then you are done modding the LCD! Now, you can hook it up to the panel and test it. Just be careful with the ribbon cables going from the LCD PCB to the panel.

The side panel of this case fits the LCD perfectly. Just line it up to the side facing the back, and to the top, and use some tape to tape it to the glass. Then, use some vinyl on the outside where the LCD is not covering the glass.

Next, use some double-sided tape to fix the LED strips to the inside of the frame. Then, solder them together in series. You can now solder on a wire and connect them to the 12V line of the Molex connector.

It"s really important to have lots of lights inside the case, to make it easier to see the LCD. Therefore, try to fill the case with even more LED strips.

Now you can carefully mount the side panel back on the computer. You might have to drill a new hole for the thumb screw in the back to make it fit properly.

Hey I have a little question, I also have a Dell 1905FP, but I think it"s an older model because I don"t have a ribbon cable but a normal cable with a plug. My problem is that I have peeled off one film but it still looks like there is a second film on the back because it is still a little blurry. But I"m afraid that if I try to pull them off, my LCD display will break. Maybe you have an idea. Thanks in advance

Great tutorial and video! I"m trying my hand at replicating your process and I even got my hands on the exact monitor. I have reached the point where I"ve disassembled the panel and controllers, and discharged the capacitors from the PSU, but I am a little stuck at this point because I don"t know how to wire up the molex header. I watched your video and saw that you had two wires soldered to the power connector. Which connectors are they and where do they go on the molex cable? Thank you!

You probably have figured this out by now, but he used the black and red from molex to power the monitor and used the yellow and black to power his led

Really neat. I saw the same snowblind case and wanted it but too expensive. I also saw someone who made their own using a USB monitor. But I like your setup better.2

Terrific job! May I ask why you would need to remove the front polarizer? If my understanding is correct, both the front and back polarizers are needed in order for the LCD to work properly (i.e., the light gets polarized by the back polarizer first, and then passes through the front polarizer)? You comments will be appreciated!

I think you should have more pics and info about the re- mounting the LCD. After all if you don"t do it right all that work is for nothing. While I understand your wiring diagram, I think that it should be explained and a larger part of this Instructible...for example to get white lite your are powering all 3 lanes (red,green,blue) on the RGB tape.

Hello, Wonderfull project, I have the same case and I would love to do it (if I have time and the screen to the right size). Just a question, can you put a photo of the cable connection to see if it"s easy to open the case ? One little suggestion, instead of connecting the panel to the graphic card (which mean to run a cable outside, why don"t you use a USB to VGA or DVI converter (like this https://www.amazon.fr/Adaptateur-convertisseur-adaptateur-Affichage-multi-écrans/dp/B079L81FRD/ref=asc_df_B079L81FRD/?tag=googshopfr-21&linkCode=df0&hvadid=227894524041&hvpos=&hvnetw=g&hvrand=17927658121409960098&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9055710&hvtargid=pla-442905712462&psc=1) ?

Thanks! So I actually bought one of those adapters, as well as an internal USB 3.0 to USB A port and tried it that way, but I couldn"t get it to work reliably. You might have better luck than I have, but I found it simpler to just run the cable through the case. I just removed one of the PCIE slot covers, and ran it out through there, so opening and closing the case is not a problem.More CommentsPost Comment

In particular bright outdoor panels with small multiplex ratios require this. Often an indicator: if there are fewer address lines than expected: ABC (instead of ABCD) for 32 high panels and ABCD (instead of ABCDE) for 64 high panels.

Chipset of the panel. In particular if it doesn"t light up at all, you might need to play with this option because it indicates that the panel requires a particular initialization sequence.

--led-row-addr-type=<0..4>: 0 = default; 1 = AB-addressed panels; 2 = direct row select; 3 = ABC-addressed panels; 4 = ABC Shift + DE direct (Default: 0).

You can see more examples and video capture of speed on Marc MERLIN"s page "RGB Panels, from 192x80, to 384x192, to 384x256 and maybe not much beyond"

A schematic of the sample architecture is shown in Fig. 2. In the following, we will explain how each sub-unit of our stacked device is operated. The red unit is controlled by putting C1 on a positive potential with respect to C2. In this configuration, the n-side of the blue-emitting unit is connected to a positive potential (by C1) and the p-side of the green unit is on a negative potential (by C2). Contacting the blue and the green unit works analogously. For green emission, C2 must be on a positive potential and C3 on a negative potential. Applying a positive voltage to C3 and a negative voltage to C1 leads to emission from the blue unit. The described addressing scheme allows us to independently investigate the electrical and optical characteristics of the red-, green-, and blue-emitting unit.

Schematic of the vertically stacked RGB pixel design developed here. E1 to E4 are the internal electrodes, whereas C1 to C3 represent the external terminals which can be accessed to individually drive any of the three emission units. Electrodes E1 and E4 are connected to each other, effectively reducing the amount of required terminals to only three. A detailed schematic of the device architecture, as well as an equivalent circuit diagram is given in Supplementary Fig. 1.

Figure 3a shows the current density j as a function of the applied voltage V for each unit. We find that leakage currents are very low, in the range of 10−4–10−3 mA/cm2, and diode onset voltages are below 3 V for all three units. The slope of the j-V curves is steep and a current density of 100 mA/cm2 is already obtained at 4–4.6 V. These results demonstrate that the vertical stacking of three emission units has no adverse effects on the electrical performance of each individual unit.

The light emission onset voltage which is shown in the luminance-voltage (L-V) characteristics in Fig. 3b is at around 2.2 V for the red-emitting, 2.4 V for the green-emitting, and 2.8 V for the blue-emitting unit. At 4 V, we measure luminance levels of 9,000 cd/m2 for the red-emitting, 14,700 cd/m2 for the green-emitting, and 700 cd/m2 for the blue-emitting unit. Again, these values are close to what is commonly shown for single emission unit OLEDs. The luminous efficacy as a function of the current density (LE-j) is shown in Fig. 3c. At a display-relevant brightness of 400 cd/m2, we obtain luminous efficacies of 13.9 lm/W, 29.2 lm/W, and 1.5 lm/W for the red, green, and blue emitting unit, respectively. Compared to the performance of single unit OLEDs, the power efficacy of our vertical pixel sub-units is thus not yet on par4a–c. Despite the top-emission design and the application of three silver layers within the device, the obtained spectra only show minor micro-cavity features. The peak emission wavelengths of the red and green sub-units coincide with the peak photoluminescence (PL) wavelengths of the corresponding emitter species. For the blue sub-unit, the shoulder of the PL spectrum of 4P-NPD is predominantly outcoupled up to angles of around 30°. For higher angles, the blue emission spectra increasingly resemble the PL emission of 4P-NPD

The corresponding CIE color coordinates are shown as a function of the viewing angle in Fig. 4d–f. Due to the top-emission geometry with three semitransparent silver electrodes, one may expect the emission color to be angle-dependent4e), the emission color of each unit is rather independent of the viewing angle which renders the vertically stacked devices very well suited for display applications.

Figure 5 illustrates the color gamut provided by the different sub-units of our device for a 0° observation angle. For comparison, the sRGB color space is shown as a dotted line4a–d). Here, mixing of colors was achieved in a pulsed time-division multiplexing mode. All three subunits were driven at a fixed voltage, e.g. at 3.6 V. Within a time frame of 10 ms, each emission unit was switched on for a certain amount of time, corresponding to the desired spectral contribution (examplary timing diagrams are provided in Supplementary Fig. S3). This results in a refresh rate of 100 Hz which ensures that the human eye cannot resolve the sequentially emitted light pulses from the individual sub-units, but instead perceives a color equivalent to the integrated emission over several emission cycles

Chromaticity diagram showing the color coordinates of the pure emission from the red, green, and blue emission unit. The solid triangle spanned by connecting these three color points defines all colors that an RGB pixel can display by changing the contribution of the individual emitters. The dotted triangle represents the sRGB color space for comparison. The photographs show the device operating at the indicated color coordinates.

A wide range of color temperatures from 2700 K (incandescent bulb) to 6500 K (natural outdoor lighting) was available, making the presented approach ideal for customizable solid-state lighting (SSL) applications. The corresponding emission spectra for two driver configurations of the device are shown in Fig. 6. Matching the emission chromaticity coordinates to the CIE standard illuminant A was achieved by an R:G:B ratio of 58:30:12, which translates to pulse lengths of tR = 5.8 ms, tG = 3.0 ms, and tB = 1.2 ms. Figure 6b shows a spectrum of the device emission when the color is tuned to match the chromaticity coordinates of CIE standard illuminant D65 (see Fig. 5 for CIE coordinates). The presence of emission from the red, green, and blue emitters within the device leads to a high color rendering index (CRI) of 90 when the emission color is tuned to match the daylight illuminant D65, and a CRI of 73 when tuned to warm-white color coordinates.

ActiveBorderActive window border.ActiveCaptionActive window caption.AppWorkspaceBackground color of multiple document interface.BackgroundDesktop background.ButtonFaceThe face background color for 3-D elements that appear 3-D due to one

that appear 3-D due to one layer of surrounding border.ButtonTextText on push buttons.CaptionTextText in caption, size box, and scrollbar arrow box.GrayTextGrayed (disabled) text. This color is set to #000 if the current

display driver does not support a solid gray color.HighlightItem(s) selected in a control.HighlightTextText of item(s) selected in a control.InactiveBorderInactive window border.InactiveCaptionInactive window caption.InactiveCaptionTextColor of text in an inactive caption.InfoBackgroundBackground color for tooltip controls.InfoTextText color for tooltip controls.MenuMenu background.MenuTextText in menus.ScrollbarScroll bar gray area.ThreeDDarkShadowThe color of the darker (generally outer) of the two borders away from

The driver used in this LCD is GC9A01, with a resolution of 240RGB×240 dots and 129600 bytes of GRAM inside. This LCD supports 12-bits/16-bits/18-bits data bus by MCU interface, which are RGB444, RGB565, RGB666.

For most LCD controllers, the communication method of the controller can be configured, they are usually using 8080 parallel interface, 3-line SPI, 4-line SPI, and other communication methods. This LCD uses a 4-line SPI interface for reducing GPIO and fast speed.LCD

If you are wondering which point is the first pixel of the screen (because the screen is round), you can understand it as a square screen with an inscribed circle drawn in it, and it only displays the content in this inscribed circle. The pixels in other locations are simply discarded (just like most round smartwatches on the market)

The physical world around us is three-dimensional (3D); yet traditional display devices can show only two-dimensional (2D) flat images that lack depth (the third dimension) information. This fundamental restriction greatly limits our ability to perceive and to understand the complexity of real-world objects. Nearly 50% of the capability of the human brain is devoted to processing visual information [1]. Flat images and 2D displays do not harness the brain’s power effectively.

If a 2D picture is worth a thousand words, then a 3D image is worth a million. This article provides a systematic overview of the state-of-the-art 3D display technologies. We classify the autostereoscopic 3D display technologies into three broad categories: (1) multiview 3D display, (2) volumetric 3D display, and (3) digital hologram display. A detailed description of the 3D display mechanism in each category is provided. For completeness, we also briefly review the binocular stereoscopic 3D displays that require wearing special eyeglasses.

For multiview 3D display technologies, we will review occlusion-based technologies (parallax barrier, time-sequential aperture, moving slit, and cylindrical parallax barrier), refraction-based (lenticular sheet, multiprojector, prism, and integral imaging), reflection-based, diffraction-based, illumination-based, and projection-based 3D display mechanisms. We also briefly discuss recent developments in super-multiview and multiview with eye-tracking technologies.

For volumetric 3D display technologies, we will review static screen (solid-state upconversion, gas medium, voxel array, layered LCD stack, and crystal cube) and swept screen (rotating LED array, cathode ray sphere, varifocal mirror, rotating helix, and rotating flat screen). Both passive screens (no emitter) and active screens (with emitters on the screen) are discussed.

For digital hologram 3D displays, we will review the latest progress in holographic display systems developed by MIT, Zebra Imaging, QinetiQ, SeeReal, IMEC, and the University of Arizona.

We also provide a section to discuss a few very popular “pseudo 3D display” technologies that are often mistakenly called holographic or true 3D displays and include on-stage telepresence, fog screens, graphic waterfalls, and virtual reality techniques, such as Vermeer from Microsoft.

Concluding remarks are given with a comparison table, a 3D imaging industry overview, and future trends in technology development. The overview provided in this article should be useful to researchers in the field since it provides a snapshot of the current state of the art, from which subsequent research in meaningful directions is encouraged. This overview also contributes to the efficiency of research by preventing unnecessary duplication of already performed research.

Conventional 2D display devices, such as cathode ray tubes (CRTs), liquid crystal devices (LCDs), or plasma screens, often lead to ambiguity and confusion in high-dimensional data/graphics presentation due to lack of true depth cues. Even with the help of powerful 3D rendering software, complex data patterns or 3D objects displayed on 2D screens are still unable to provide spatial relationships or depth information correctly and effectively. Lack of true 3D display often jeopardizes our ability to truthfully visualize high-dimensional data that are frequently encountered in advanced scientific computing, computer aided design (CAD), medical imaging, and many other disciplines. Essentially, a 2D display apparatus must rely on humans’ ability to piece together a 3D representation of images. Despite the impressive mental capability of the human visual system, its visual perception is not reliable if certain depth cues are missing.

Figure 1 illustrates an example of an optical illusion that demonstrates how easy it is to mislead the human visual system in a 2D flat display. On the left of the figure are some bits and pieces of an object. They look like corners and sides of some 3D object. After putting them together, a drawing of a physically impossible object is formed in a 2D screen (right-hand side of Fig. 1). Notice that, however, there is nothing inherently impossible about the collection of 2D lines and angles that make up the 2D drawing. The reason for this optical illusion to occur is lack of proper depth cues in the 2D display system. To effectively overcome the illusion or confusion that often occurs in visualizing high-dimensional data/images, true volumetric 3D display systems that preserve most of the depth cues in an image are necessary.

True 3D display is the “holy grail” of visualization technology that can provide efficient tools to visualize and understand complex high-dimensional data and objects. 3D display technologies have been a hot topic of research for over a century [2–27].

What is a “perfect” 3D display? A perfect 3D display should function as a “window to the world” through which viewers can perceive the same 3D scene as if the 3D display screen were a transparent “window” to the real-world objects. Figure 2 illustrates the “window to the world” concept. In Fig. 2(a), a viewer looks at 3D objects in the world directly. We now place a 3D display screen between the viewer and the 3D scene. The 3D display device should be able to totally duplicate the entire visual sensation received by the viewer. In other words, a perfect 3D display should be able to offer all depth cues to its viewers [Fig. 2(b)].

What is a perfect 3D display? (a) A viewer looks at 3D scene directly. (b) A perfect 3D display should function as a “window to the world” through which viewers can perceive the same 3D scene as if the 3D display screen were a transparent “window” to the real world objects.

Computer graphics enhance our 3D sensation in viewing 3D objects. Although an enhanced 3D image appears to have depth or volume, it is still only 2D, due to the nature of the 2D display on a flat screen. The human visual system needs both physical and psychological depth cues to recognize the third dimension. Physical depth cues can be introduced only by true 3D objects; psychological cues can be evoked by 2D images.

Illustration of four major physical depth cues.Accommodation is the measurement of muscle tension used to adjust the focal length of eyes. In other words, it measures how much the eye muscle forces the eyes’ lenses to change shape to obtain a focused image of a specific 3D object in the scene, in order to focus the eyes on the 3D object and to perceive its 3D depth.

Convergence is a measurement of the angular difference between the viewing directions of a viewer’s two eyes when they look at the same fixation point on a 3D object simultaneously. Based on the triangulation principle, the closer the object, the more the eyes must converge.

Motion parallax offers depth cues by comparing the relative motion of different elements in a 3D scene. When a viewer’s head moves, closer 3D objects appear to move faster than those far away from the viewer.

Binocular disparity (stereo) refers to differences in images acquired by the left eye and the right eye. The farther away a 3D object is, the farther apart are the two images.

Some 3D display devices can provide all of these physical depth cues, while other autostereoscopic 3D display techniques may not be able to provide all of these cues. For example, 3D movies based on stereo eyeglasses may cause eye fatigue due to the conflict of accommodation and convergence, since the displayed images are on the screen, not at their physical distance in 3D space [28].

The human brain can also gain a 3D sensation by extracting psychological depth cues from 2D monocular images [3]. Examples (Fig. 4) include the following:

Illustration of psychological depth cues from 2D monocular images.Linear perspective is the appearance of relative distance among 3D objects, such as the illusion of railroad tracks converging at a distant point on the horizon.

Shading cast by one object upon another gives strong 3D spatial-relationship clues. Variations in intensity help the human brain to infer the surface shape and orientation of an object.

Texture refers to the small-scale structures on an object’s surface that can be used to infer the 3D shape of the object as well as its distance from the viewer.

Prior knowledge of familiar sizes and the shapes of common structures—the way light interacts with their surfaces and how they behave when in motion—can be used to infer their 3D shapes and distance from the viewer.

The human visual system perceives a 3D scene via subconscious analysis with dynamic eye movements for sampling the various features of 3D objects. All visual cues contribute to this dynamic and adaptive visual sensing process.

It is often quite difficult for a 3D display device to provide all the physical and psychological depth cues simultaneously. Some of the volumetric 3D display techniques, for example, may not be able to provide shading or texture due to the inherently transparent nature of displayed voxels. Some 3D display technologies, such as stereoscopic display, provide conflicting depth cues about the focusing distance and eye converging distance, a phenomenon that is often referred as the accommodation/convergence breakdown (to be discussed in Section 2.5).

Plenoptic function for a single viewer: the spherical coordinate system of the plenoptic function is used to describe the lines of sight between an observer and a scene.the location in space from where light being viewed or analyzed, described by a 3D coordinate (x; y; z);

Note that the plenoptic function and the light field [8] to be discussed in Section 3.1 have similarity in describing the visual stimulation that could be perceived by vision systems.

Most 2D display screens produce pixels that are points emitting light of a particular color and brightness. They never take on a different brightness or color hue no matter how or from where they are viewed. This omnidirectional emission behavior prevents 2D display screens from producing a true 3D sensation.

The profound insight offered by plenoptic function and light field theories reveals that picture components that form 3D display images, often called voxels (volumetric picture elements) or hogels (holographic picture elements) must be directional emitters—they appear to emit directionally varying light (Fig. 7). Directional emitters include not only self-illuminating directional light sources, but also points on surfaces that reflect, refract, or transmit light from other sources. The emission of these points is dependent on their surrounding environment.

Each element (voxel or hoxel) in a true 3D display should consist of multiple directional emitters: if tiny projectors radiate the captured light, the plenoptic function of the display is an approximation to that of the original scene when seen by an observer.

A 3D display mimics the plenoptic function of the light from a physical object (Fig. 7). The accuracy to which this mimicry is carried out is a direct result of the technology behind the spatial display device. The greater the amount and accuracy of the view information presented to the viewer by the display, the more the display appears like a physical object. On the other hand, greater amounts of information also result in more complicated displays and higher data transmission and processing costs.

There have been a number of books and review articles on the topic related to 3D display technologies in the past [2–27]. They formed a rich knowledge base in this fascinating field. In this article, we attempt to organize this rich set of domain knowledge bases, plus some of the latest state-of-the-art developments, into a unified framework. Figure 8 presents a classification chart of 3D display technologies. Two fundamentally different categories are the binocular stereo display technologies that rely upon special eyeglasses worn by viewers for obtaining 3D sensation and the autostereoscopic 3D display technologies that are glasses free and in which viewers can gain a 3D sensation via their naked eyes. There are three major classes in the autostereoscopic 3D display technologies, namely, multiview 3D display, volumetric 3D display, and holographic display.

In the following sections, we will provide brief discussions on each technique listed in Fig. 8. We try to highlight the key innovative concept(s) in each opto-electro-mechanical design and to provide meaningful graphic illustration, without getting bogged down in too much technical detail. It is our hope that readers with a general background in optics, computer graphics, computer vision, or other various 3D application fields can gain a sense of the landscape in the 3D display field and benefit from this comprehensive yet concise presentation when they carry out their tasks in 3D display system design and applications.

The thresholds range from 0 to 100% (e.g. -canny 0x1+10%+30%) with {+lower-percent} < {+upper-percent}. If {+upper-percent} is increased but {+lower-percent} remains the same, lesser edge components will be detected, but their lengths will be the same. If {+lower-percent} is increased but {+upper-percent} is the same, the same number of edge components will be detected but their lengths will be shorter. The default thresholds are shown.

The expression consists of one or more channels, either mnemonic or numeric (e.g. red or 0, green or 1, etc.), separated by certain operation symbols as follows:

The image is divided into tiles of width and height pixels. Append % to define the width and height as percentages of the image"s dimensions. The tile size should be larger than the size of features to be preserved and respects the aspect ratio of the image. Add ! to force an exact tile width and height. number-bins is the number of histogram bins per tile (min 2, max 65536). The number of histogram bins should be smaller than the number of pixels in a single tile. clip-limit is the contrast limit for localized changes in contrast. A clip-limit of 2 to 3 is a good starting place (e.g. -clahe 50x50%+128+3). Very large values will let the histogram equalization do whatever it wants to do, that is result in maximal local contrast. The value 1 will result in the original image. Note, if the number of bins and the clip-limit are ommitted, they default to 128 and no clipping respectively.

Set each pixel whose value is below zero to zero and any the pixel whose value is above the quantum range to the quantum range (e.g. 65535) otherwise the pixel value remains unchanged.

This is identical to -clip except choose a specific clip path in the event the image has more than one path available. ImageMagick supports UTF-8 encoding. If your named path is in a different encoding, use `iconv` to convert the clip path name to that encoding otherwise the path name will not match.

While performing the stretch, black-out at most black-point pixels and white-out at most white-point pixels. Or, if percent is used, black-out at most

Color depth is the number of bits per channel for each pixel. For example, for a depth of 16 using RGB, each channel of Red, Green, and Blue can range from 0 to 2^16-1 (65535). Use this option to specify the depth of raw images formats whose depth is unknown such as GRAY, RGB, or CMYK, or to change the depth of any image after it has been read.

A rigid affine (also known as a Euclidean transform), is similar to Affine but restricts the distortion to 4 arguments (S, R, Tx, Ty) with Sy = Sx and Ry = -Rx so that the distortion only has scale, rotation and translation. No skew. A minimum of two control point pairs is required.

Alter channel pixels by evaluating an arithmetic, relational, or logical expression over a sequence of images. Ensure all the images in the sequence are in the same colorspace, otherwise you may get unexpected results, e.g. add -colorspace sRGB to your command-line.

No further options are processed after this option. Useful in a script to force the magick command to exit without actually closing the pipeline that it is processing options from. You can also use the option as a final option on the magick command line instead of an implicit output image, to completely prevent any image write. Note, even the NULL: coder requires at least one image, for it to "not write"! This option does not require any images at all.

The command can also be used with a ratio. If the image is not already at that ratio, it will be cropped to fit it. The -gravity setting has the expected effects.

Append < to pad only if the image is smaller than the specified size and not crop if the image is larger (i.e. no-op). Append > to crop only if the image is larger than the specified size and not extend if the image is smaller. (i.e. no-op).

Display (co-occurrence matrix) texture measure features for each channel in the image in each of four directions (horizontal, vertical, left and right diagonals) for the specified distance.

By default the FFT is normalized (and the IFT is not). Use "-define fourier:normalize=forward to explicitly normalize the FFT and unnormalize the IFT.

easily graphed. Note however that some filters are internally defined in terms of other filters. The Lanczos filter for example is defined in terms of

To specify an explicit font filename or collection, specify the font path preceded with a @, e.g., @arial.ttf. You can specify the font face index for font collections, e.g., @msgothic.ttc[1].

See Image Geometry for complete details about the geometry argument. The size portion of the geometry argument indicates the amount of extra width and

The process accumulates counts for every white pixel in the binary edge image for every possible orientation (for angles from 0 to 179 in 1 deg increments) and distance from the center of the image to the corners (in 1 px increments). It stores the counts in an accumulator matrix of angle vs distance. The size of the accumulator will be 180x(diagonal/2). Next it searches the accumulator for peaks in counts and converts the locations of the peaks to slope and intercept in the normal x,y input image space. The algorithm uses slope/intercepts to find the endpoints clipped to the bounds of the image. The lines are drawn from the given endpoints. The counts are a measure of the length of the lines..

The WxH arguments specify the filter size for locating the peaks in the Hough accumulator. The threshold excludes lines whose counts are less than the threshold value.

By default the IFT is not normalized (and the FFT is). Use "-define fourier:normalize=inverse to explicitly normalize the IFT and unnormalize the FFT.

Kmeans (iterative) color reduction (e.g. -kmeans 5x300+0.0001). Colors is the desired number of colors. Initial colors are found using color quantization. Iterations is the stopping number of iterations (default=300). Convergence is the stopping threshold on the color change between iterations (default=0.0001). Processing finishes, if either iterations or tolerance are reached. Use -define kmeans:seed-colors=color-list to initialize the colors, where color-list is a semicolon delimited list of seed colors (e.g. -define kmeans:seed-colors="red;sRGB(19,167,254);#00ffff). A color list overrides the color quantization. A non-empty list of colors overrides the number of colors. Any unassigned initial colors are assigned random colors from the image.

Double or triple the size of the image with pixel art scaling. Specify an alternative scaling method with -define magnify:method=method Choose from these methods: eagle2X, eagle3X, eagle3XB, epb2X, fish2X, hq2X, scale2X, scale3X, xbr2X. The default is scale2X.

The mean shift algorithm is iterative and thus slower the larger the window size. For each pixel, it gets all the pixels in the window centered at the pixel and excludes those that are outside the radius=sqrt((width-1)(height-1)/4) surrounding the pixel. From those pixels, it finds which of them are within the specified squared color distance from the current mean. It then computes a new x,y centroid from those coordinates and a new mean. This new x,y centroid is used as the center for a new window. This process is iterated until it converges and the final mean is then used to replace the original pixel value. It repeats this process for the next pixel, etc, until it processes all pixels in the image. Results are better when using other colorspaces rather than RGB. Recommend YIQ, YUV or YCbCr, which seem to give equivalent results.

The choices for paper sizes are: 4x6, 5x7, 7x9, 8x10, 9x11, 9x12, 10x13, 10x14, 11x17, 4A0, 2A0, a0, a1, a2, a3, a4, a4small, a5, a6, a7, a8, a9, a10, archa, archb, archC, archd, arche, b0, b1, b10, b2, b3, b4, b5, b6, b7, b8, b9, c0, c1, c2, c3, c4, c5, c6, c7, csheet, dsheet, esheet, executive, flsa, flse, folio, halfletter, isob0, isob1, isob10, isob2, isob3, isob4, isob5, isob6, isob7, isob8, isob9, jisb0, jisb1, jisb2, jisb3, jisb4, jisb5, jisb6, ledger, legal, letter, lettersmall, monarch, quarto, statement, tabloid. To determine the cooresponding size in pixels at 72DPI, use this command for example:

Combines multiple images according to a weighted sum of polynomials; one floating point weight (coefficient) and one floating point polynomial exponent (power) for each image expressed as comma separated pairs.

The exponents may be positive, negative or zero. A negative exponent is equivalent to 1 divided by the image raised to the corresponding positive exponent. A zero exponent always produces 1 scaled by quantumrange to white, i.e. wt*white, no matter what the image.

A weighted sum of each image provided all weights add to unity and all exponents=1. If the weights are all equal to 1/(number of images), then this is equivalent to -evaluate-sequence mean.

Note that one may add a constant color to the expression simply by using xc:somecolor for one of the images and specifying the desired weight and exponent equal to 0.

Similarly one may add white to the expression by simply using null: (or xc:white) for one of the images with the appropriate weight and exponent equal to 0.

Note, some resampling functions are damped oscillations in approximation of a Sinc function. As such, you may get negative lobes if your release of ImageMagick is HDRI-enabled. To eliminate them, add -clamp to your command-line.

negative y-axis), sliding the top edge to the right when 0°<90° and to the left when 90°<180°. For vertical shears Ydegrees is measured clockwise relative to "right" (the

Smush is a more flexible version of -append, joining the images in the sequence top-to-bottom (-smush) or left-to-right (+smush), with a gap between images according to the specified offset.

Strip the image of any profiles, comments or these PNG chunks: bKGD,cHRM,EXIF,gAMA,iCCP,iTXt,sRGB,tEXt,zCCP,zTXt,date. To remove the orientation chunk, orNT, set the orientation to undefined, e.g., -orient Undefined.

for performance. In addition, comments and color profiles are removed, and Thumb properties are set. This option respects -filter, e.g., for additional performance but with a slight degradation in quality, use -filter box.

The vignette effect rolloff is controlled by radiusxsigma. For nominal rolloff, this would be set to 0xsigma. A value of 0x0 will produce a circle/ellipse with no rolloff. The arguments x and y control the size of the circle. Larger values decrease the radii and smaller values increase the radii. Values of +0+0 will generate a circle/ellipse the same size as the image. The default values for x and y are 10% of the corresponding image dimension. Thus, the radii will be decreased by 10%, i.e., the diameters of the circle/ellipse will be 80% of the corresponding image dimension. Note, the percent symbol in a geometry affects x and y, whereas radius and sigma are absolute (e.g., -vignette "0x2+10%+10%").

The display driver is able to display predefined setups of text or user defined text. To display text using DisplayText set DisplayMode to 0, or set DisplayMode to 1 for the HT16K33 dot-matrix display.

To use the seven-segment-specific TM1637, TM1638 and MAX7219 Display- commands, set DisplayMode to 0. Parameter LCD Display OLED Display TFT Display 7-segment Display (TM163x and MAX7219) 0 DisplayText DisplayText DisplayText All TM163x Display- functions

The DisplayText command is used to display text as well as graphics and graphs on LCD, OLED and e-Paper displays (EPD). The command argument is a string that is printed on the display at the current position. The string can be prefixed by embedded control commands enclosed in brackets [].

In order to use the DisplayText command the DisplayMode must be set to 0 (or optional 1 on LCD displays) or other modes must be disabled before compilation with #undef USE_DISPLAY_MODES1TO5.

Text is printed at the last provided position, either l or y for the vertical position, and either x or x for the horizontal position. Neither x nor y are advanced/updated after printing text.

fp = set font (1=12, 2=24,(opt 3=8)) if font==0 the classic GFX font is used, if font==7 RA8876 internal font is used, if font==4 special 7 segment 24 pixel number font is used, a ram based font is selected if font==5

Pfilename: = display an rgb 16-bit color (or jpg on ESP32) image when file system is present, Scripteditor contains a converter to convert jpg to special RGB16 pictures See ScriptEditor Ffilename: = load RAM font file when file system is present. the font is selected with font Nr. 5, these fonts are special binary versions of GFX fonts of any type. they end with .fnt. an initial collection is found in Folder BinFonts

Draw up to 16 GFX buttons to switch real Tasmota devices such as relays or draw Sliders to dimm e.g. a lamp Button number + 256 - a virtual touch toggle button is created (MQTT => TBT)

When a file system is present you may define displaytext batch files. If a file named "display.bat" is present in the file system this batch file is executed. The file may contain any number of diplaytext cmds, one at a line. You may have comment lines beginning with a ;

While computers and web design are generally using a 24-bit RGB888 color code built from a byte-triplet such as (255, 136, 56) or #FF8038, small color panels often use a more compact code 16-bit RGB565 color code. This means that the R, G and B coefficient are coded on less number of bits: Red on 5 bits = 0..31

E-Paper displays have 2 operating modes: full update and partial update. While full update delivers a clean and sharp picture, it has the disadvantage of taking several seconds for the screen update and shows severe flickering during update. Partial update is quite fast (300 ms) with no flickering but there is the possibility that erased content is still slightly visible. It is therefore useful to perform a full update in regular intervals (e.g., each hour) to fully refresh the display.

The typical specifications for the lifetime of an OLED when permanently on is about 10000 hours (416 days). Dimming to 50% expands the lifetime to about 25000 hours.

The data sheets of the TFT and OLED displays mention burn-in effects when a static display is shown for extended periods of time. You may want to consider turning on the display on demand only.

The EPD font contains 95 characters starting from code 32, while the classic GFX font contains 256 characters ranging from 0 to 255. Custom characters above 127 can be displayed. To display these characters, you must specify an escape sequence (standard octal escapes do not work). The ~character followed by a hex byte can define any character code.

The I2C address must be specified using DisplayAddress XX, e.g., 60. The model must be specified with DisplayModel, e.g., 2 for SSD1306. To permanently turn the display on set DisplayDimmer 100. Display rotation can be permanently set using DisplayRotate X (x = 0..3).

E-Paper displays are connected via software 3-wire SPI (CS, SCLK, MOSI). DC should be connected to GND , Reset to 3.3 V and busy may be left unconnected. The jumper on the circuit board of the display must be set to 3-wire SPI.

The ILI9488 is connected via hardware 3-wire SPI (SPI_MOSI=GPIO13, SPI_SCLK=GPIO14, CS=GPIO15) and must also be connected to the backlight pin The SSD1351 may be connected via hardware 3-wire SPI or 4-wire SPI with support for dimmer. The ILI9341 is connected via hardware 4-wire SPI, Backlight and OLEDRESET (dimmer supported on ESP32) Wiring

The RA8876 is connected via standard hardware 4-wire SPI (SPI_MOSI=GPIO13, SPI_SCLK=GPIO14, RA_8876_CS=GPIO15, SSPI_MISO=GPIO12). No backlight pin is needed, dimmer supported, on ESP32 gpio pins may be freeley defined (below gpio 33).

The drivers are subclasses of the Adafruit GFX library. The class hierarchy is LOWLEVEL :: Paint :: Renderer :: GFX, where: GFX: unmodified Adafruit library

Universal Display Driver or uDisplay is a way to define your display settings using a simple text file and easily add it to Tasmota. uDisplay is DisplayModel 17. It supports I2C and hardware or software SPI (3 or 4 wire).

Initial register setup for the display controller. (IC marks that the controller is using command mode even with command parameters) All values are in hex. On SPI the first value is the command, then the number of arguments and the the arguments itself. Bi7 7 on the number of arguments set indicate a wait of 150 ms. On I2C all hex values are sent to I2C.

rotation pseudo opcode for touch panel, in case of RGB panel use only these entries the appropriate coordinate convervsions are defined via pseudo opcodes 0 = no conversion 1 = swap and flip x 2 = flipx, flip y 3 = swap and flip y 4 = flip x 5 = flip y bit 7 = swap x,y

This list of monochrome and RGB palettes includes generic repertoires of colors (color palettes) to produce black-and-white and RGB color pictures by a computer"s display hardware. RGB is the most common method to produce colors for displays; so these complete RGB color repertoires have every possible combination of R-G-B triplets within any given maximum number of levels per component.

Each palette is represented by a series of color patches. When the number of colors is low, a 1-pixel-size version of the palette appears below it, for easily comparing relative palette sizes. Huge palettes are given directly in one-color-per-pixel color patches.

These elements illustrate the color depth and distribution of the colors of any given palette, and the sample image indicates how the color selection of such palettes could represent real-life images. These images are not necessarily representative of how the image would be displayed on the original graphics hardware, as the hardware may have additional limitations regarding the maximum display resolution, pixel aspect ratio and color placement.

Implementation of these formats is specific to each machine. Therefore, the number of colors that can be simultaneously displayed in a given text or graphic mode might be different. Also, the actual displayed colors are subject to the output format used - PAL or NTSC, composite or component video, etc. - and might be slightly different.

For simulated images and specific hardware and alternate methods to produce colors other than RGB (ex: composite), see the List of 8-bit computer hardware palettes, the List of 16-bit computer hardware palettes and the List of video game console palettes.

These palettes only have some shades of gray, from black to white (considered the darkest and lightest "grays", respectively). The general rule is that those palettes have 2n different shades of gray, where n is the number of bits needed to represent a single pixel.

Monochrome graphics displays typically have a black background with a white or light gray image, though green and amber monochrome monitors were also common. Such a palette requires only one bit per pixel.

In some systems, as Hercules and CGA graphic cards for the IBM PC, a bit value of 1 represents white pixels (light on) and a value of 0 the black ones (light off); others, like the Atari ST and Apple Macintosh with monochrome monitors, a bit value of 0 means a white pixel (no ink) and a value of 1 means a black pixel (dot of ink), which it approximates to the printing logic.

In an 8-bit color palette each pixel"s value is represented by 8 bits resulting in a 256-value palette (28 = 256). This is usually the maximum number of grays in ordinary monochrome systems; each image pixel occupies a single memory byte.

Alpha channels employed for video overlay also use (conceptually) this palette. The gray level indicates the opacity of the blended image pixel over the background image pixel.

ColorCode 3-D,anaglyph stereoscopic color scheme, uses the RG color space to simulate a broad spectrum of color in one eye, while the blue portion of the spectrum transmits a black-and-white (black-and-blue) image to the other eye to give depth perception.

Here are grouped those full RGB hardware palettes that have the same number of binary levels (i.e., the same number of bits) for every red, green and blue components using the full RGB color model. Thus, the total number of colors are always the number of possible levels by component, n, raised to a power of 3: n×n×n = n3.

Systems with a 3-bit RGB palette use 1 bit for each of the red, green and blue color components. That is, each component is either "on" or "off" with no intermediate states. This results in an 8-color palette ((21)3 = 23 = 8) that has black, white, the three RGB primary colors red, green and blue and their correspondent complementary colors cyan, magenta and yellow as follows:

Systems with a 6-bit RGB palette use 2 bits for each of the red, green, and blue color components. This results in a (22)3 = 43 = 64-color palette as follows:

Systems with a 9-bit RGB palette use 3 bits for each of the red, green, and blue color components. This results in a (23)3 = 83 = 512-color palette as follows:

Systems with a 12-bit RGB palette use 4 bits for each of the red, green, and blue color components. This results in a (24)3 = 163 = 4096-color palette. 12-bit color can be represented with three hexadecimal digits, also known as shorthand hexadecimal form, which is commonly used in web design. The palette is as follows:

The Allegro library supported in the (legacy) version 4, an emulated 12-bit color mode example code ("ex12bit.c"), using 8-bit indexed color in VGA/SVGA. It used two pixels for each emulated pixel, paired horizontally, and a specifically adapted 256-color palette. One range of the palette was many brightnesses of one primary color (say green), and another range of the other two primaries mixed together at different amounts and brightnesses (red and blue). It effectively reduced the horizontal resolution by half, but allowed a 12-bit "true color" in DOS and other 8-bit VGA/SVGA modes. The effect also somewhat reduced the total brightness of the screen.

Systems with a 15-bit RGB palette use 5 bits for each of the red, green, and blue color components. This results in a (25)3 = 323 = 32,768-color palette (commonly known as Highcolor) as follows:

Systems with an 18-bit RGB palette use 6 bits for each of the red, green, and blue color components. This results in a (26)3 = 643 = 262,144-color palette as follows:

Often known as truecolor and millions of colors, 24-bit color is the highest color depth normally used, and is available on most modern display systems and software. Its color palette contains (28)3 = 2563 = 16,777,216 colors. 24-bit color can be represented with six hexadecimal digits.

The complete palette (shown above) needs a squared image of 4,096 pixels wide (50.33 MB uncompressed), and there is not enough room in this page to show it at full.

The color transitions in these patches must be seen as continuous. If color stepping (banding) inside is visible, then probably the display is set to a Highcolor (15- or 16- bits RGB, 32,768 or 65,536 colors) mode or lesser.

This is also the number of colors used in true color image files, like Truevision TGA, TIFF, JPEG (the last internally encoded as YCbCr) and Windows Bitmap, captured with scanners and digital cameras, as well as those created with 3D computer graphics software.

Some newer graphics cards support 30-bit RGB and higher. Its color palette contains (210)3 = 10243 = 1,073,741,824 colors. However, there are few operating systems or applications that support this mode yet. For some people, it may be hard to distinguish between higher color palettes than 24-bit color offers. However, the range of luminance, or gray scale, offered in a 30-bit color system would have 1,024 levels of luminance rather than the 256 of the common standard 24-bit, to which the human eye is more sensitive than to hue. This reduces the banding effect for gradients across large areas.

The 4-bit RGBI palette is similar to the 3-bit RGB palette but adds one bit for intensity. This allows each of the colors of the 3-bit palette to have a dark and bright variant, potentially giving a total of 23×2 = 16 colors. However, some implementations had only 15 effective colors due to the "dark" and "bright" variations of black being displayed identically.

A common use of 4-bit RGBI was on IBM PCs and compatible computers that used a 9-pin DE-9 connector for color output. These computers used a modified "dark yellow" color that appeared to be brown. On displays designed for the IBM PC, setting a color "bright" added ⅓ of the maximum to all three channels" brightness, so the "bright" colors were whiter shades of their 3-bit counterparts. Each of the other bits increased a channel by ⅔, except that dark yellow had only ⅓ green and was therefore brown instead of ochre.

The CGA palette is also used by default by IBM"s later EGA, MCGA, and VGA graphics standards for backward compatibility, but these standards allow the palette to be changed, since they either provide extra video signal lines or use analog RGB output.

The MOS Technology 8563 and 8568 Video Display Controller chips used on the Commodore 128 series for its 80-column mode (and the unreleased Commodore 900 workstation) also used the same palette used on the IBM PC, since these chips were designed to work with existing CGA PC monitors.

The 3-level, or 1-trit (not 3 bits) RGB uses three levels for every red, green and blue color component, resulting in a 33 = 27 colors palette as follows:

The 3-3-2 bit RGB use 3 bits for each of the red and green color components, and 2 bits for the blue component, due to the human eyes having lesser sensitivity to blue. This results in an 8×8×4 = 256-color palette as follows:

Most modern systems support 16-bit color. It is sometimes referred to as High color (along with the 15-bit RGB), medium color or thousands of colors. It utilizes a color palette of 32×64×32 = 65,536 colors. Usually, there are 5 bits allocated for the red and blue color components (32 levels each) and 6 bits for the green component (64 levels), due to the greater sensitivity of the common human eye to this color. This doubles the 15-bit RGB palette.

It must be noticed that not all systems using 16-bit color depth employ the 16-bit, 32-64-32 level RGB palette. Platforms like the Sharp X68000 home computer or the Neo Geo video game console employs the 15-bit RGB palette (5 bits are used for red, green, and blue), but the last bit specifies a less significant intensity or luminance. The 16-bit mode of the Truevision TARGA/AT-Vista/NU-Vista graphic cards and its associated TGA file format also uses 15-bit RGB, but it devotes its remaining bit as a simple alpha channel for video overlay. The Atari Falcon can also be switched into a matching mode by setting of an "overlay" bit in the graphics processor mode register when in 16-bit mode, meaning it can actually display in either 15- or 16-bit color depth depending on application.