When she yelled in his face, her nostrils flared, and the little hairs haloing her temples quivered.
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LED TVs can sometimes hit 1,000 nits but don't have nearly as fine control, which leads to haloing around bright objects in a dark scene.
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As both intoned the phrase "I am sorry" at the same time, Ms. Mackenzie's floated soprano appeared like a gentle radiance, haloing the spoken words.
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However, due to the negative lobes on the kernel, it causes overshoot (haloing). This can cause clipping, and is an artifact (see also ringing artifacts), but it increases acutance (apparent sharpness), and can be desirable.
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In 2007 more than 30 of these firs were cut down as part of the "haloing" process for the oldest of Savernake's trees. Haloing means taking out encroaching trees and undergrowth that might rob the old trees of the light and air they need.From Forestry Commission press release 27-6-2007 "Can't see the trees for the wood" Note 3: Assarted woodland: in general, woods were deemed to be assarted if their outline is sufficiently irregular. This is most evident where they are adjoined by assart field systems.
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Artificially added overshoot around the left bar increases acutance. While ringing artifacts are generally considered undesirable, the initial overshoot (haloing) at transitions increases acutance (apparent sharpness) by increasing the derivative across the transition, and thus can be considered as an enhancement.
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The story begins in the mind of Cashril Plus, a twelve-year-old animator and son of graffiti artist Faith47. Through Cashril's eyes, we see his mother paint the streets and forgotten townships haloing Cape Town. Weaving through the lives of Faith47, Warongx (afro-blues), Emile Jansen (hip hop), Sweat.X (glam rap), Blaq Pearl (spoken word) and Mthetho (opera), the film culminates in an intertwined story.
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Courtesy of Wide Screen Museum William Friese-Greene invented another additive color system called Biocolour, which was developed by his son Claude Friese-Greene after William's death in 1921. William sued George Albert Smith, alleging that the Kinemacolor process infringed on the patents for his Bioschemes, Ltd.; as a result, Smith's patent was revoked in 1914. Both Kinemacolor and Biocolour had problems with "fringing" or "haloing" of the image, due to the separate red and green images not fully matching up.
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Initial testing indicated that Clearview was 2 to 8 percent more legible in both day- and night-time viewing than the then-dominant Series E (Modified) on overhead signs, particularly benefiting older drivers, with a 6 percent increase in legibility distance. A design goal of Clearview was the reduction of irradiation effects of retroreflective sign materials. Reduced nighttime overglow or haloing was expected also to improve recognition rates for computer road sign detection. However, these tests also compared new signs in Clearview to existing, weathered signs in the existing Highway Gothic font.
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A street artist illuminating the forgotten townships haloing South Africa's cities, Faith is a subversive activist creating for public art and a mother painting a new world for her twelve-year-old son. Faith uses the 1955 ANC document, "The Freedom Charter," to inspire murals questioning whether South Africa's post-apartheid government kept its central goals after ascending to power. Painting in townships with levels of violence surpassing all of sub-Saharan Africa, Faith infiltrates the culture on a level that allows her to merge seamlessly with the country's impoverished majority. The film views Faith through the eyes of her son, aka Cashril Plus: South Africa's youngest genius.
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Also, the process suffered from "fringing" and "haloing" of the images, an unsolvable problem as long as Kinemacolor remained a successive frame process. Kinemacolor in the U.S. became most notable for its Hollywood studio being taken over by D. W. Griffith, who also took over Kinemacolor's uncompleted project to film Thomas Dixon's The Clansman, which eventually became The Birth of a Nation (1915). The 1 reels shot in Kinemacolor are lost, and the finished film is entirely in black-and-white. The first (additive) version of Prizma Color, developed by William Van Doren Kelley in the U.S. from 1913 to 1917, used some of the same principles as Kinemacolor.
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Compared to back projection, the front projection process used less studio space, and generally produced sharper and more saturated images, as the background plate was not being viewed through a projection screen. The process also had several advantages over bluescreen matte photography, which could suffer from clipping, mismatched mattes, film shrinkage, black or blue haloing, garbage matte artifacts, and image degradation/excessive grain. It could be less time-consuming—and therefore less expensive—than the process of optically separating and combining the background and foreground images using an optical printer. It also allowed the director and/or director of photography to view the combined sequence live, allowing for such effects to be filmed more like a regular sequence, and the performers could be specifically directed to time their actions to action or movement on the projected images.
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