SUMMARY / RELATED TOPICS

Colorfulness

Colorfulness and saturation are attributes of perceived color relating to chromatic intensity. As defined formally by the International Commission on Illumination they describe three different aspects of chromatic intensity, but the terms are used loosely and interchangeably in contexts where these aspects are not distinguished; the precise meanings of the terms vary. Colorfulness is the "attribute of a visual perception according to which the perceived color of an area appears to be more or less chromatic"; the colorfulness evoked by an object depends not only on its spectral reflectance but on the strength of the illumination, increases with the latter unless the brightness is high. Chroma is the "colorfulness of an area judged as a proportion of the brightness of a illuminated area that appears white or transmitting"; as a result, Chroma is only dependent on the spectral properties, as such is seen to describe the object color. It is. Saturation is the "colorfulness of an area judged in proportion to its brightness", which in effect is the perceived freedom from whitishness of the light coming from the area.

An object with a given spectral reflectance exhibits constant saturation for all levels of illumination, unless the brightness is high. As colorfulness and saturation are defined as attributes of perception they can not be physically measured as such, but they can be quantified in relation to psychometric scales intended to be perceptually for example the chroma scales of the Munsell system. While the chroma and lightness of an object are its colorfulness and brightness judged in proportion to the same thing, the saturation of the light coming from that object is in effect the chroma of the object judged in proportion to its lightness. On a Munsell hue page, lines of uniform saturation thus tend to radiate from near the black point, while lines of uniform chroma are vertical; the naïve definition of saturation does not specify its response function. In the CIE XYZ and RGB color spaces, the saturation is defined in terms of additive color mixing, has the property of being proportional to any scaling centered at white or the white point illuminant.

However, both color spaces are nonlinear in terms of psychovisually perceived color differences. It is possible—and sometimes desirable—to define a saturation-like quantity, linearized in term of the psychovisual perception. In the CIE 1976 LAB and LUV color spaces, the unnormalized chroma is the radial component of the cylindrical coordinate CIE LCh representation of the LAB and LUV color spaces denoted as CIE LCh or CIE LCh for short, CIE LCh; the transformation of to is given by: C a b ∗ = a ∗ 2 + b ∗ 2 h a b = atan2 ⁡ and analogously for CIE LCh. The chroma in the CIE LCh and CIE LCh coordinates has the advantage of being more psychovisually linear, yet they are non-linear in terms of linear component color mixing, and therefore, chroma in CIE 1976 Lab and LUV color spaces is much different from the traditional sense of "saturation". Another, psychovisually more accurate, but more complex method to obtain or specify the saturation is to use a color appearance model like CIECAM02. Here, the chroma color appearance parameter might be intertwined with e.g. the physical brightness of the illumination or the characteristics of the emitting/reflecting surface, more sensible psychovisually.

The CIECAM02 chroma C, for example, is computed from a lightness J in addition to a naively-evaluted color-magnitude t. In addition, a colorfulness M parameter exists alongside the chroma C, it is defined as M = CFL0.25. The saturation of a color is determined by a combination of light intensity and how much it is distributed across the spectrum of different wavelengths; the purest color is achieved by using just one wavelength at a high intensity, such as in laser light. If the intensity drops as a result the saturation drops. To desaturate a color of given intensity in a subtractive system, one can add white, gray, or the hue's complement. Various correlates of saturation follow. In CIELUV, saturation is equal to the chroma normalized by the lightness: s u v = C u v ∗ L ∗ = 13 2 + 2 where is the chromaticity of the white point, chroma is defined below. By analogy, in CIELAB this would yield: s a b =

Neel Dutt

Neel Dutt is an Indian music composer and singer from Kolkata, West Bengal. He received the National Award from the Govt. of India, for ‘Best Music Direction’ in 2012 for the soundtrack of the Bengali film Ranjana Ami Ar Ashbona.. Dutt is the third Bengali to win the National Award for Best Music Direction from Bengal, he is arguably the first music director in India to rearrange a Rabindranath Tagore composition with modern electronic music. Neel Dutt was born on 7 March 1979, in Kolkata, his parents are Chanda Dutt. Anjan, an actor and filmmaker, is a prolific musician from the 1990s scene of modern Bengali music. Chanda is a retired English teacher at Kolkata; as an infant, Dutt's first school was Mr. Pires Private School, he moved to middle school at Seventh Day Adventist School, Kolkata. Following his high school education at St. Augustine's Day School, he studied English literature at Asutosh College, Kolkata, he completed his Masters in English Literature from the University of Calcutta in 2002.

Dutt was still in middle school when his father started writing songs in Bengali in 1993. That was; the two went on to become the first father-son musician duo in modern Bengali music. Playing the guitar professionally with his father from the age of 13 was his first experience in live music as well as studio sessions. From the end of 1993, the duo started performing live and they toured extensively, he received his first Gold Disc from HMV for their first album, Shuntey Ki chao, which released in 1995. While studying for his post graduation, Dutt composed for his first feature film, titled Bow Barracks Forever, a film made in English, he composed the whole soundtrack including the songs. A four-year long delay in the film's release made it the second released feature film with Dutt as the music director, it was showcased in various film festivals all over the world and has been a recipient of awards and accolades. The feature film that became his first musical release is The Bong Connection, a bilingual film made in English and in Bengali.

The soundtrack was the highest selling album in 2007. The film was screened at the Museum of Modern Arts in New York in 2007. Dutt grew up listening to a lot of sixties and seventies British and American musicians, whose influence seeped into every aspect of his musical performance, he started playing the guitar from the age of twelve. It began with picking up a few chords from his seniors in school and developed into quite a love affair with the instrument, he began to take private lessons from one of the most prominent guitar players in the country, Amyt Datta, whom Rolling Stone magazine announced to be one of the country's true live guitar gods. The guitar became an inseparable part of his life. In 2007 Dutt joined his friend and vocalist Arko Mukherjee, a fellow guitar player Rajkumar Sengupta and drummer Deboprotim Baksi to form Friends of Fusion, a contemporary fusion project, they started experimenting with Hindustani classical and folk traditions. The band released its self-titled debut album in 2009 from Saregama India, considered to be a failure amongst the fans.

FOF toured for three years and released its second album, titled 4/, in 2012. The band split shortly after Dutt moved on with his career in films; when Byomkesh Bakshi released in 2010, it brought Dutt's abilities and his fondness for background scoring to the forefront. Dutt received the Etv Sangeet Puroshkar for the Best Background Score in 2013 for the film Dutta Vs Dutta. With the success of subsequent Byomkesh Bakshi films, Abar Byomkesh, Byomkesh Phire Elo and the new revamped Byomkesh Bakshi starring Jisshu Sengupta, the Byomkesh theme has become quite synonymous to the legendary truth seeker's appearance on the big screen as well as on television. Dutt's subsequent scoring for Anjan Dutt's Shesh Boley Kichu Nei and Srijit Mukherjee's Nirbaak received accolades from critics. In 2014, Neel composing for filmmaker Aparna Sen's experimental Hindi film Saari Raat. There on he composed for Sen's next two films Gharey O Baire. In 2016, Neel rejoined Srijit Mukherjee for his film Uma, he on going projects are Anjan Dutt’s Saheber Cutlet.

This is a musical in the authentic way. For the first time in an Indian film the entire cast sang the songs themselves after rigorous training sessions with Neel. No playback singers have been used. Bow Barracks Forever Ek Mutho Chabi The Bong Connection Chalo Let's Go Brake Fail Chowrasta Crossroads of Love Madly Bangalee Cross Connection Byomkesh Bakshi Rong Melanti Jaani Dyakha Hawbe Ranjana Ami Ar Ashbona Abar Byomkesh Dutta Vs Dutta Maach Mishti & More Ammi R Aamar Girlfriends Ganesh Talkies Biye Notout Shesh Boley Kichu Nei Khola Hawa Byomkesh Phirey Elo Nirbaak Cross Connection 2 Byomkesh Bakshi Hemanta Byomkesh O Chiriyakhana Saari Raat Sonata Byomkesh O Agnibaan Aami Ashbo Phirey Uma Ahare Mon Shonar Pahar ’’Finally Bhalobasha’’ ’’Gharey O Baire’’ The Bong Connection Neel Dutt on IMDb

Ormond Castle

Ormond Castle known as Avoch Castle, was a powerful stronghold, overlooking the village of Avoch, on the Black Isle, in the former county of Ross and Cromarty, now part of Highland, Scotland. It controlled a prominent position overlooking the Moray Firth and critical to the sea access to Inverness; the castle dates from the late 12th century and was rebuilt as a strong rectangular fortress with square corner towers between 1200 and 1214 by William the Lion as a royal fortress. By the thirteenth century, the castle was in the hands of the de Moravias of Petty and was where they ruled their vast tracts of land across Moray. Andrew de Moravia mustered the men of Moray to join King John Baliol at Ormond Castle following his dishonour in front of Edward I of England, at the outset of Wars of Scottish Independence. Sir Andrew Murray died here in 1338; the heiress to the de Moravias of Petty was Joanna of Bothwell, in 1362 she married Archibald the Grim, Lord of Galloway and 3rd Earl of Douglas who claimed her estates and titles de jure uxoris.

Ormond Castle was the caput of the Barony of Ormonde, was created into an Earldom in 1445 for Hugh Douglas, Earl of Ormonde, third son of James Douglas, 7th Earl of Douglas. Following the fall of the Black Douglases after the Battle of Arkinholm in 1455 and the execution of the earl, his properties, like those of his brothers, was forfeit. Ormond Castle was regranted to George Douglas, 4th Earl of Angus. Angus, the "Red Douglas", was a kinsman and enemy of the Black Douglases, became the new power from that mighty house; the title of Earl of Ormonde was recreated for the elder son of the 1st Marquess of Douglas in 1651, but became extinct upon the death of Archibald Douglas, 3rd Earl of Ormonde in 1715, who died of wounds following the Battle of Sheriffmuir. From 1560 to 1568 the castle was owned by David Chalmers, Lord Ormond, but his support of Mary Queen of Scots forced him into exile in 1568 and he was forced to sell the castle and the adjacent estates of Suddie and Avoch. In 1568 Ormond Castle and the lands of Suddie in Avoch were acquired under feu from the Earls of Angus and Ormonde, by Andrew Munro, 5th of Milntown known as Andrew Munro of Newmore during his father's lifetime.

Ormond Castle was destroyed in the 1650s by Oliver Cromwell, in order for him to build his fortress at Inverness. Only ruins of the castle remain today. Earl of Ormonde avoch.org walkhighlands.co.uk