Transcoding JPEG_RTP to RGB

Short Version: Does anyone know of a JMF compatible Codec implementation that will allow an incoming JPEG_RTP or JPEG stream to be transcoded to RGB?
Longer Version: I've got a JPEG_RTP stream coming from a server and I am able to connect to it and display it no problem using the Generic JMF (i.e. Java only version - on a Mac). However, I need to do some vision processing on the image before displaying it. The easiest way to do that would be to implement an Effect and add it to the CodecChain. I would like to interface to a vision library that expects image data in RGB. So I figured I'd just transcode to RGB. However, the Generic JMF does not support converting JPEG to RGB. So I'm looking for a 3rd party Codec that will do the job. Alternatively if someone can point me to some information on what's in the data array of a Buffer coming from a JPEG_RTP stream and how to process that directly that might work too.
Thanks.
Grant
Edited by: Grant_Braught on Jul 9, 2008 11:13 AM

I found a little utility class embedded in a library from Northwestern (released under GPL) that did the trick:
http://wordhoard.northwestern.edu/userman/javadoc/edu/northwestern/at/utils/swing/JPEGConverters.html
Just take the data array from the JFM Buffer and feed it to the fromJPEG method, it returns a BufferedImage.
The reverse also works (though it acted a bit funny when quality was 1.0 so I just used 0.99).
Grant

Similar Messages

How to transcode AVI with RGB , to AVI with MJPEG

Hi!!
I create a AVI movie. I use a format RGB. So, the size of movie is verybig!!!! ( 1 GB )
I want to a size of movie smaller.
Regards!

LabVIEW AVI VIs rely on the installed codec to encode/decode.
You need download a codec for the motion jpeg.
It's very easy to find a free codec for it online. Search bing or google instead of NI.
George Zou
http://webspace.webring.com/people/og/gtoolbox

RGB from VGA for feed into TV

I did read the posted discussions on this but couldn't find what I need to know. Hopefully I didn't miss anything.
I am new to macs and have just bought one for use as a media server (to play divx and audio). Ok its really just to play with because its cool.
I have a Philips matchline CRT 100Hz TV (32PW9534) and a mini 1.4MH mac. I have tried the s-video adaptor from Apple and am not overly impressed with the result. It does work but at all resolutions other than one (PAL 7..x576 with no overscan and not best for video) where 7.. is the one up from 720. I get occasional (every second) flickering at the top left of the screen. There is one NTSC resolution that works as well. The edge of the picture seems to jump away from the boarder of the tube. The picture is as good as I would expect using s-video which is just usable at the above working resolution. Has anyone else seen this or know what I might try to fix it? That’s not my main question....
The thing I want to do is to use the mac's VGA output with some external circuit to produce a SCART RGB feed. The circuit to do this is simple since all that is required is to mix the horizontal & vertical syncs from VGA to a combined sync for SCART. From experience I know that moving to RBG will make a big difference even though it is still a TV signal.
However to do this successfully needs the video card to be configured to output an appropriate interlaced signal even though it is connected to what looks like a VGA monitor.
So how can I make this happen? When I plug in the s-video adaptor the mac recognised it has s-video attached and presents only PAL and NTSC interlaced resolutions for use which is what I want. Are the VGA signals disabled when the s-video adaptor is plugged in? How does the mac know that an s-video adaptor is plugged in? Are there pins to load/short to trick it? Could it damage my TV if I accidentally drive it at 1280x1024@85Hz?
Any information gratefully received.
mac mini Mac OS X (10.4.3)

Personally, I would export as a movie, using the MS DV-AVI type of export. Set the Audio to PCM 16/48, unless you have bought the SurCode Dolby Digital encoder.
When you import this into Encore, it will give you much better control over where you place chapter points and additionally Encore will - if you let it - use automatic transcoding for the final MPEG-2 compresssion.
The reason I suggest this is because MPEG-2 encoding is every much an art form as the filming, editing & cutting process and major studios employ people who do nothing other than encoding. It is
i unbelievably
easy to create an MPEG-2 stream that is not DVD-Video compliant.
Don't use progressive, stick to interlaced.
Progressive scan modes open up whole cans of worms.....
Good Luck.

Error loading transcode preset (yes I know, again, but please read)

I am new to most of the Adobe products and recently purchased Adobe creative suite cs4 master. I make slide shows, haven't tried any video yet. I am making a several-disc large set of slideshows of a European vacation for a friend of mine. There were roughly 2000 pictures, most of which I edited in Photoshop.
I built the slideshows in Encore and burned the first three DVD's no problem. They play well on a dvd player attached to a TV. The current DVD I'm trying to burn gives me the message "Error Loading transncode preset. I have spent many hours researching this online, and I do some some references and fixes for it here on this forum. However they are not working for me. I went back and looked at my DVD's that burned properly and tried to make everything the same, but I still get the same message.
The first couple of tries, the burn process always stopped when loading the same song, so I removed it and put a different one in. This project has 4 slideshows in it, about 10 songs and nothing else.
I have a Dell Precision T3400 and am using XP Pro service pack 3. It has Intel(R) Core (TM) Quad CPU, Q6600 @ 2.4 GHz with 2.39 GHz 3.00 GB RAM. I have Creative SB XFI sound and MVidia Quadro FX 1700 video. I dont know what else you need in the way of documentation.
I have rebuilt this whole project once already and now I still cant burn it from the second build.
I know this question has been asked already, but I tried one of the suggestions about removing the stuff in the Source Folder which didn't work for me. I don't understand some of your complex terminology but I am willing to learn anything.
Is there someone who would adopt a newbie and help me wade through some of the terminology I haven't picked up yet? I'm a quick learner and am building my own terminology dictionary as I go.
Thank you for listening. I hope you can help.

Here is more information about my Encore slideshows. The DVD I'm trying to make has 5 slideshows in it, no timelines and no playists. Each of the slide shows have between 55 and 75 jpeg images in them and between 1 and 3 wma or mp3 music files in each one. There are more .wma than .mp3 music files, and many of them I first edited in Soundbooth to make it exactly the same length since it is going into a slideshow and not a timeline. The lwma files I try to remember to save as mp3 files thinking they would be easier to transcode. Honestly I know so very little about transcoding that it's virtually impossible to help myself with that. I have yet to find a good tutorial on that.
Regarding the images in all the slideshows, they are all jpg files and are mostly 600x800 in size. Most of them are 95kb or less in size. They were taken with the same camera except for a very few, less than 1% that I added for effect. One image that I just looked at is 180 ppi. I didnt create it that way, because I dont know how. The size in inches of the images are around the area of 7.8 inches x 6.7 inches. The mode is RGB.
Regarding linking, I set the menu, which is an encore template and have used the same menu for all DVD's, as first play object and then link the menu to the first slide show, each slideshow to the next, and have end action of the last slideshow returning to the menu. I have kept this as simple as possible because I'm new to Encore and most of the CS4 master suite. My plan is to learn Premiere Pro and do the slideshows there but wanted to get this big one done as quickly as possibly. I edited most of the 2000 images all in Photoshop so it has been a timely process.
I am unable to open this project anymore without getting an error message saying "[..\..\Src\Clip\VideoClip.cpp-275]" This happened after I tried the suggestion to delete everything out of the transcode folder for this project. I did that, but when I reopened my project, it didnt ask me to locate any files and only gave me the above error. When I click on on the error, Encore crashes. So I cant do the screen shots of my project.
I'll be glad to add any information I inadvertently left out. Thank you in advance for any help you can give me.
Ginny

15-inch have the same high adobe rgb gamut as 17-inch?

Just wondering if the 15-inch has the same high adobe RGB color gamut as the 17-inch (think it is like 90% of the gamut or something like for the 17-inch). Thanks in advance! This is the Only thing keeping me from purchasing the 15-inch right now.

Actually, it all depends upon your needs, as you see them. While it’s true that ‘many, many’ professional photographers use the 15” UMBP, a great many do not. And, of those that <do>, many cannot afford the investment, don’t wish to acknowledge there’s even a possibility that a difference exists (I’ve seen this in studios many times- it’s known to some of the staff and creative heads for whom I’ve consulted as ‘17” envy’.)... Then there’s the flat-out ignorance of the difference, and, lastly, the least-common reason- “... I know the difference, need the difference, but I’m going to settle for ‘adequate’...”. Not common if the Pro’s needs are more than average. The ‘ballpark’ is sometimes not good enough- if it often needs to be a certain part of the outfield, then the 17” UMBP’s screen, the best laptop solution is the next step up from the 15” UMBP. The realistic expectations of a pro photographer, who needs more than the display accuracy of the 15”UMBP, there IS an alternative. And if it raises productivity, and/or the quality of your final product, the 17” display’s broader color gamut is immediately worth it as an investment going forward; after a certain period, the 17” becomes cheaper, not more expensive to use, by saving editing time on the 23”, for example, when the workflow can be more ‘localized’ to left field, rather than Wrigley Field ;^). I use the 15” UMBPs all the time- but for color-critical work, where time is money and my 30” ACDs are far away for the day, I need MORE than the 17” UMBP can provide, so all the hardware ability I can get is a requirement, not an alternative. An example: I had to batch-process over 600 NEFs from my D3X several weeks back... I had both a 15” and a 17” at my disposal, the 15” calibrated to its color space limit, a just-barely Adobe RGB 1998, w/ 500GB 7200 rpm drive, 6GB RAM, Capture One Pro, NX2, LR2, Aperture, Bibble, RAW Developer, CS4, etc..., same software on my 17”, but 8GB RAM, a calibrated ProPhoto color space, bigger screen, 2.93 Ghz processor, and no power to either for the afternoon. Both batteries were fully charged, and I had an extra battery for my 15”, also fully charged. I knew I could batch-process all 600 NEFs on the 17”, and still have about 35-45 minutes of surf/e-mail time after batch-processing. I also knew that, if I grabbed the 15” for the job, I’d have to batch-process WAY differently, since I’d have to ‘strip’ each NEF of its ICC tag (for Adobe RGB 1998), because, if I batched into CS4 or Aperture or Capture One Pro, for example, with any of those programs on the 15”’s ‘maxed’ ICC calibrated color space of Adobe RGB 1998, I’d never regain the lost gamut from any of the 15”’s batched files, because, well.. it’d be gone. With the 17”, calibrated to ProPhoto RGB, I’d be able to bring ALL the gamut from ALL my batched files into CS4 one of my office office Mac Pros (32GB, 8-core, 12 TB RAID, yada yada), and have a leg up on the next day, when some of these batched files would be fed the output ICC tag of ProPhoto RGB to print on an Epson 9800 for proofs that could hang on a gallery wall, which is exactly where my client wanted to be able to hang HER NEF files, after the full process she wanted to implement at her studio, beginning with a Nikon + laptop, next stop, ProPhotoRGB files being fully massaged on a pair of 24” ACDs (LED), then some of these being incorporated into very high-end HD video loops edited in FCP. ProPhoto RGB is the ONLY color space that photo files have a chance in that kind of application, as with so many other pro applications/scenarios; Adobe RGB 1998 may be NTSC-safe, but would be dwarfed by the video gamut, given the type of output monitors being used...
all right, so many, many scenarios are far more mundane, but obviously still ‘professional’ in nature.. I’m illustrating my point with a high-end flashlight so that the spectrum is clear- in so many professional photo, video, layout and graphical, even architectural applications/situations, the 8GB, broadest-gamut capable, big-real-estate, 133 dpi screen rez (AMAZINGLY helpful when editing/viewing fine detail/tonal gradations), and even the 2.93 Ghz chip (I save about 20 minutes a day, by my estimation, with the difference in clock speed alone, for some of the transcoding and Shake-related projects I do), amount to a significant increase in both utility and ‘easy-breathing’ performance- it’s easier to hit the bulleye when your equipment’s not breathing too hard, straining at its limits!
OTOH, if the above sounds like WAY further out to sea than you normally venture, get the smaller, more maneuverable craft. But if you need a rig that gets you between islands as fast and as accurately as possible, the big dog’s your rig. To strain the metaphor a <little> further, it sounds as if you might need the bigger boat, eventually, and RAW files in CS3 go WAY more accurately and speedily on the 17” UMBP- I’d get the blue-water rig, because you never know when you’ll get a job that changes your needs for good- to the bigger! ;^)
Best,
Charlie

Poor Color on TV after Transcoding with Encore

The color is bad when I view the DVD on my (Panasonic) DVD/VCR-TV that I created with PP/Encore; whereas, when the same DVD is run on my computer the colors are fine. They look just like the originals I worked on in Photoshop. So the problem appears to be with the way the TV is processing the data.
I created the slideshow of 260 photos in PP CS3; then exported to Encore and authored/burned from there without changing anything.
On TV, the images are more contrasty, and the colors seem hotter. Brown looks orange, etc.
I've adjusted the picture settings on the TV, but with little effect.
There's a similar issue when I run the DVD on my Phillips DVD player, but not as pronounced.
Is there some way to correct the colors after the file's been rendered in Premiere Pro and transcoded/authored in Encore?

When the Project was still in PrPro, did you monitor it on a feed to a calibrated NTSC (or PAL) CRT monitor? If you only judged it on the Program Monitor in PrPro, you could well be off. Going back to when the images were in PS, how is your monitor calibrated? Did you use a profile for NTSC (or PAL) Video, or perhaps one for CMYK printing, or RGB display?
Have you tried your DVD on another TV? Unfortunately, most TV's are improperly calibrated. To use one to judge, you should invest in a calibration disc, and run through the setup proceedure. This takes some time and some tweaking, but would be well worth it. Unfortunately, even after you have done this, and all looks perfect on your calibrated TV, you have no control over how the client's TV will be set up. If it's out of the box, with factory settings, it's likely to be way off. That is the unfortunate nature of video. It is actually easier to calibrate one's computer for, say CMYK print work, including their scanner, printers, cameras and monitor, than it is to get great video on several different TV's. Multiply that problem by the different types (and ages) of the displays and it gets out of hand in a hurry.
If you have a friendly retailer, especially one with high-end TV that HAVE been calibrated, ask if you can test your DVD on one of their systems.
Other than the necessary Transcoding to MPEG-2 and the changes in image quality there, Encore should not be changing the gamma, or the color. Also, remember that you are first judging your images on a higher-rez progressive computer monitor, and then compressing the files to a DVD with only the NTSC, or PAL resolution. No TV will ever look as good as a well-calibrated computer screen. That is one reason to view critically only on a true TV monitor fed from PrPro via FireWire.
Let's hope that it's just the device that you are checking the DVD on, but my $ would be on that as the likely problem.
Good luck,
Hunt

PPro2 best bitrates for transcoding in AME to DVD

Hello. I have created a 165-minute movie (including 8 minutes of motion menus) to be authored with menus/chapters in TMPG Authoring Works 4. I'm exporting from PPro2 via Adobe Media Encoder for transcoding to mp2, and have space left over due to my current bitrate settings: 1.5 minimum, 6 target, 8 maximum. The resulting master will be factory-replicated with glass master. Audio will be transcoded to stereo AC3 only; no subtitles.
TMPG is showing that my current movie size is 7.323GB. I would like to increase my bitrate settings in AME for the best possible visual quality, but I've read various limit recommendations of 7, 8, or at most 9mbps for the max setting. I will burn to Verbatim DVD+R DL which shows a usable space of 8.025GB. Can I assume that factory replicating will avoid DVD player compatability problems due to high bitrates?
My Bit Budget Calculator v.2 gives a maximum video-only bitrate of 9.352mbps, average bitrate of 6.594, and a video-only target bitrate of 6.146. The target number is easily doable, but I wonder if I dare boost the max to 9mbps (which Bit Budget Calculator says should not be exceeded), while keeping the minimum at 1.5
Any advice about bitrates will be appreciated. Thank you.

Hi Jim et al.
I wanted to update this thread since I figured out where my problems originated and how to solve them. I received advice from Adobe forum, videohelp.com, and doom9.org, and I am grateful to all those who commented.
First, Ann, my last WinXP re-installation was in 11/08. Lacking an XP CD, it required taking my computer to a shop for hours of billable work, so I am not eager to repeat that. My experiences since Sept.2010 suggest that my computer was not causing the various problems.
I had been getting various artifacts in my AVI lossless encoding using Lagarith and UT. There is a "gallery" of screenshots of these artifacts at:
http://forum.videohelp.com/threads/326242-artifacts-created-by-Lagarith-UT-unable-to-impor t-into-HC?p=2021174#post2021174
I attempted my same workflows in PremiereCS3, but again got artifacts. Poisondeathray wrote: "I think this is a PP2 problem . The lagarith artifact looks very familiar - I remember reading about incompatibilities with PP2. I don't recall seeing any of these after CS4 or 5." A thread at doom9 commented on PPro2's shortcomings: http://forum.doom9.org/showthread.php?t=107558 This thread includes the suggestion: "I choose Microsoft AVI. Then I go to the video menu, and choose None for the codec." But for me none of the "uncompressed" settings ever worked--the output was always gibberish.
Through trial and error, I found that Huffyuv (version 211 only) produced no (or the fewest) artifacts. Huffyuv 211 worked for me, so I've been using it for processing crucial movies and for archiving.
I had been getting repeated error messages when trying to use an AviSynth script in HC-025. MT mode was not needed in the script, after all. Poisondeathray wrote: "If you used lagarith or UT directly from PPro2, it will be RGB and you need to convert to YV12 , if it's interlaced add interlaced=true
Avisource("F:\Exports\CopyofMontage1.post.avi")
ConvertToYV12()
or
Avisource("F:\Exports\CopyofMontage1.post.avi")
ConvertToYV12(interlaced=true)
The second script worked for me. For future readers, I stress the importance of filling-in HC's output and log names+locations before encoding, and of selecting "Make DVD compliant." Here are the settings for my letterboxed 4:3 movie:
Having learned how to use HC-025, I ended up not using it in my workflow. Since I definitely wanted to use TMPG Authoring Works 4 (TAW4) for authoring, I brought three samples into it for comparison:
1) plain AVI exported directly from PPro2 with no lossless encoding. 2) AVI with Huffyuv-211 lossless encoding. 3) AVI with Huffyuv-211 processed through HC-025. #3 produced the least clean footage--HC added barely visible "borders" around the feet of letters in text, an artifact that was not present in #1 and #2. Since #1 and #2 looked the same, I ended up using #2: AVI with Huffyuv-211 imported into TAW4.
TAW4 with its onboard Intercom MPEG-Video Transcoder and its video settings probably made a great contribution to my DVD's visual quality. TAW4's video settings are not obvious; they're at the upper left when in "Source" view. For each Track, click Settings>Video, and make your selections. 8000 bitrate is the highest recommended by Craig Hanna at DiscMakers, with 1550 bitrate as the minimum (which answers one of my earliest questions in 9/10), and 6050 for average bitrate for my particular file size. Then click Video Encoder Advanced Settings and choose Highest (with error correction). Here are my settings for my 172-minute DVD-9 (grab lower-right corner and stretch image to read better):
Thank you. --Best regards, SamB.

Encore CS6 takes for ever to transcode

Hi All,
I am busy with a African Weddding and it is Sony EX1R footage (1920 x 1080 50I). The project is 03:46:00 long and I am trying to trancode to a 50 gig Blu-Ray. I started trancoding last nigh at about 22h00 and this morning at 04h45 it is only one third done. The footage only has RGB curves applied. I did dissable Cuda as the out put quality is poor when cuda is enabled.
Machine spec:
I7 980X OC 4.1
24 gig Ram 1600
Win 7 64
GTX 480
1 x 600 gig WD Raptor (OS)
1 x 1tb for project files
7 x 1tb raid 0 (intel RBL080 raid controller)
Black magic Ultra studio pro (9.5.2 drivers)
all of windows and CS6 programs have the latest updates. I stopped the transcode and am trying the transcode now (that uses AME). I need this finished urgently as the customer is going back home on Friday. As I am writing this the machine is only using 10.7 gig of ram (set to use 20) and using 20 to 30% of the CPU.
any ideas
Thank you
Darren

rafaelze, Welcome to the discussion area!
It sounds like your iMac has forgotten which System folder to start from. Open System Preferences->Startup Disk and select the System folder that you want your iMac to boot from.
If the condition persists, it could be a sign that the internal PRAM battery has failed and needs to be replaced.

ScreenGrabber RTP Transcoding

I'm attempting to use VideoTransmit.java and the JMF ScreenGrabber example to transmit a live video feed of a desktop to a remote machine.
Obviously, I've not been able to get it to work. I receive an error, such as:
Unable to transcode format: RGB, etc. to JPEG/RTP.
I've read that this can be fixed by first transcoding to YUV - however I'm not sure that's applicable as I'm trying to do this on the fly. Basically, I want to be able to do this:
java VideoTransmit screen://0,0,640,480/30 224.122.122.122 2222
Can someone point me in the right direction on how to accomplish this?
I appreciate the help.
-Kris

Thanks for your answers.
I have already enable the dspfarm services. So I think it's a problem with DSPs. But how is it possible to know if I have enough DSP available ?
When I try to configure the dspfarm profile I have this:
#dspfarm profile 1 transcode
Dspfarm profile 1 :: No resource, check voice card or dspfarm service is not configured.

Can you show slideshow within Lightroom 4.4 in Adobe RGB color space?

Can you show slideshow within Lightroom 4.4 (not export out from LR) in Adobe RGB color space provided that you are using a wide gamut monitor which is capable and hardware calibrated & profiled to show such color space?
If this is possible, what is required to do so in Windows 8 and i7-4770 & HD Graphics 4600 platform or does LR take care of it automatically?
This is very basic question, however, I could not find a clear answer/info from LR documentation, so wish that someone can advice.

Those settings are probably stored in a plist somewhere in ~/Library/Preferences. If you can locate the appropriate file, you should be able to copy it to all the network user folders.

Is there a way to open two color windows? I want to use both HSB and RGB sliders and have them side by side. If there isn't a way, how would I go about creating my own script for it?

Here's an example of what I mean:
http://i.imgur.com/Q5aiHvE.png
I would have access to both RGB and HSB at the same time instead of constantly switching back and forth. Any input on this matter would greatly help thank you!

Photoshop only has one Color Palette. If you could script something like a Color Palette with two sets of active sliders the script would be in control till you dismissed its sliders dialog. You would not be able to do anything but adjust the script's sliders in Photoshop while the script dialog window is being displayed. Photoshop Scripting does not have real palette dialog type support.
I do not know what is possible with Photoshop extensions using HTML 5 Panels.....

? Selecting 2 of 3 RGB channels in to adjust in Levels

This is a CS4 question (and let me express my ingratitude to Adobe for dropping support for an $1800 set of apps).
In Photoshop CS4, using a G5 (non-Intel), in the Channels view panel (alongside Layers, etc), when it is displaying RGB, Red, Green,and Blue I am able to shift-click, on say, the Red and Blue channels to sleect only those two. The image still displays in full RGB. When I issue command-L (Levels) I end up with the basic Levels disalog box, and instead of it choosing by default "RGB" for adjusting, I now have "RB" and I can adjust Red and Blue together with the sliders, avoiding the green channel. I can do this in, obviously, three combinations.
For some reason, when I try this same thing on a friend's Intel Mac with Photoshop CS4 (same!), shift-clicking the Red and Blue channels in the Channels palette chooses them but the image display now displays without the Green channel influencing the image, thus rendering it unusable for adjusting two channels at once.
I figure that since I am using the same App version on each Mac, maybe there is a setting somewhere I cannot find, or I am forgetting a step on the way to my friend's computer.
Q: How do I choose 2 channels in the Channels palette while still having my image display in full color, and also be able to choose those two channels for adjustment in the Levels?
For those of you who are wondering WHY I would want to adjust 2 channels at once, here's an example: an image looks lsightly too yellow, bt ther eis no yellow channel. Yellow is full Red & Green, so, using my method, I can choose both those channels, and reduce the yellow by reduing R and G together.

You should be able to shift click the red and blue channels, then make the rgb composite visible (make the EYE visible by clicking in that box)

Photoshop gives, Program Error, when attempting to use blending options in RGB

This problem started today when i tryed to throw a drop shadow on a layer. in RGB mode. "Program Error," appeared and would not let me access any Blending options. Although, in cmyk mode it works perfectly fine. Was some hotkey hit on accident or has something gone wrong? Help!
Adam
Adobe Photoshop CS6 Version: 13.0 (13.0 20120315.r.428 2012/03/15:21:00:00) x64
Operating System: Windows 7 64-bit

Hmm.
Can you tell us more about what you're doing and what sort of document(s) you are using?

RGB printing bug still not fixed with 6.0.4

I guess I should not be surprised.
After three major releases of OSX and 20 updates and two major version and 8 updates of Indesign the monitor profile is still being introduced into the RGB printflow.
What the HELL does it take to get this bug fixed?
And, yes I know you can use "Print as Bitmap" or "Fast Graphic Process" in the Canon drivers to work around this problem.
Just maybe if IDCS5 uses the Cocoa print path that PS and LR now use it will be fixed then.

Anyone know if CS5 has fixed/addressed this problem?

Average filter but the image is gray and not color RGB

Hi,
i use this code for an average filter 3x3, the result is the image whit average but gray and not RGB color.... why??
thanks in advance
    public void Average()
        int values[]=null;
        int input2d[] = new int [image.getWidth()*image.getHeight()];
        int [][] output2d=new int [image.getWidth()][image.getHeight()];
        image.getRaster().getSamples(0, 0, image.getWidth(), image.getHeight(),0,input2d);
        for(int y=0; y < image.getHeight(); y++)
            for(int x=0; x < image.getWidth(); x++)
                int count = 0;
                int average=0;
          values = new int[5*5];
                for(int s = 0; s < 5; s++)
                    for(int r = 0; r < 5; r++)
                        try
                            values[count] = input2d[(y-2+r)*image.getWidth()+(x-2+s)];
                            count++;
                        catch(ArrayIndexOutOfBoundsException e){ }
                //trovo il valore medio dell'intorno 5x5
                for (int temp=0; temp<count; temp++)
                    average+=values[temp];
                int valpixel=average/count;
                output2d[x][y]=valpixel;
        image2 = new BufferedImage(image.getWidth(),image.getHeight(), BufferedImage.TYPE_INT_RGB);
        image2.getGraphics().drawImage(image,0,0,null);
        for(int y=0; y < image.getHeight(); y++)
            for(int x=0; x < image.getWidth(); x++)
                image2.getRaster().setSample(x, y, 0, output2d[x][y] );// componente R
                image2.getRaster().setSample(x, y, 1, output2d[x][y] );// componente G
                image2.getRaster().setSample(x, y, 2, output2d[x][y] );// componente B
    }

Can hel me please!!!

Transcoding JPEG_RTP to RGB

Similar Messages

Maybe you are looking for