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p.1 #6 · p.1 #6 · What does Diffraction Correction do, exactly? | |
AJSJones wrote:
Indeed, the full set of (hopefully) convergent deconvolution iterations takes a lot of processor power. There are, however, approximations that claim to produce much of the possible benefit without quite such involved processsing. Some software uses such things (proprietary I suppose) Focus Magic, Topaz InFocus (now part of Sharpen AI, IIRC) and an early form is discussed in this threadRaw Therapee (Apparently Hubble images are processed with it). Whether it's the point spread funcction from the AA filter or diffraction from the aperture (or both), since it's a global effect on all pixels it can, in principle, be "reversed" - in contrast to local softening due to off-axis aberrations and optical flaws, etc.. which are increasingly dealt with by other aspects of "computationl photography"...Show more →
The article I linked to above reminded me that Adobe reportedly incorporates this into their products, too, via the "details" slider.
Dan
An aside: I'm reminded of something that happened decades ago when I was taking a computer music workshop up at the old Stanford Artificial Intelligence Lab. (I'm not a Stanford grad — just took the workshop there.) This was back when digital (music) synthesis, which I was studying, was not widely known at all. At that point it was all about analog synthesis and tape manipulation and similar.
One morning we were all gathered in the room that housed the multi-track tape (!) recording system used to capture the playback of computer-performed compositions. The faculty member, Dr. Leland Smith, went into a bit of a tangent concerning speculation that the evolving capabilities of computers would eventually allow something like this with music. His example was to take old Louis Armstrong vinyl recordings and to apply everything we could know about the recording process of the era, the acoustics of the space in which the recording took place, the characteristics of the instruments, and so forth... to analyze the recording to create separate tracks of each instrument that could be recombined into a very high quality stereo recording.
Decades later, we can do a few things that are sort of like this, and the power of computers in the production of music is undeniable. But the most sophisticated aspects of it are still beyond us.
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