Manual Information

Contents

Introduction

The section half image logger (SHIL) takes digital images of the flat face of split cores using a line scan camera and generates RGB data. All 'Archive' section halves are imaged on the SHIL. Sediment cores are imaged as soon as possible after splitting and scraping to minimize color changes that occur through oxidation and drying. The SHIL can also be used to image the outside of a whole round hard rock section (see section 360° Imaging Hard Rock for details).

Theory of Operation

The track system is composed of two slaved linear actuators and a linear encoder that provides precise triggering pulses to a gantry-mounted JAI color line scan camera. The line scan interval is 20 lines/mm (50 microns) and the camera height is adjusted so that image pixels will be square. Light is provided by a number of Advanced Illumination high-current focused light emitting diode (LED) line lights adjusted to precise angles relative to the lens axis in order to evenly illuminate an uneven surface. Motion control is performed using Galil software and hardware coupled to the linear actuators.

Line Scan Camera

Unlike a "normal" distal photo sensor with a square sensor array, similar to a postage stamp, a line scan camera's array consists of a single line of pixels. Whereas a normal camera captures frames, the line scan camera sees only a single line at a time and sends this line image to a capture card on a dedicated computer. Line by line, the computer compiles the final image.
In some applications, the photographic subject may move in front of the camera on a conveyor belt at a specific combination of object speed and shutter speed. In the case of the SHIL, the camera moves across the sample via a motorized gantry. The combination of gantry travel speed and camera shutter speed is critical and is explained in the Camera Configuration Advanced User Guide.
The line scan camera images only one line of pixels rather than an area and therefore what happens outside the line of view is of no consequence. The line scan camera effectively masks everything other than the single line of pixels being imaged. This fact is key to the effectiveness of the line lights in providing even illumination at different distances from the lens.
The camera lens on the imaging track, Nikon 60 mm macro, does not have 1/2 or 1/3 stops, only whole F/stops: 5.6, 6.3, 8, 11, 16, 22, and 32. F/16 is the minimum aperture needed to achieve the required depth of field to image the subject at varying heights.

System Operation

SHIL system operation involves a number of processes, some performed only once upon initial installation, some only when lighting or camera equipment is replaced, and some on a routine basis at the beginning of each expedition or at the beginning of each batch of samples. The following procedures are covered in this manual:

• Installing and calibrating light array (see Light Array User Guide).
• Setting black and white saturation gain levels (see Maximum Dynamic Sensor Range).
• Setting color balance Author: Where is this covered?
• Making camera corrections (see Routine Camera Adjustments).
• Setting track velocity (see Track Speed Example).
• Adjusting knee slope, if needed (see Procedure: Iterative Adjustment).
• Performing QA/QC to confirm camera settings (see Quality Assurance/Quality Control).

Apparatus

Hardware

The core imaging track system includes the following hardware components:

• Camera
  • 3CCD (charge-coupled device) line scan camera: JAI model CV107CL
  • Macro lens: AF micro Nikkor 60 mm (1:2.8)
• Light system
  • High-current line lights: Advanced Illumination model LL068
  • Power supply: 24 V/6 A
  • Current source: model CS420-0103 constant (modified)
• Linear encoder: Newall 2 µm/72 in. model SHG-TT
• Motor system
  • Motors: Galil model BLM-N23-50-100
  • PCI controller card: model DMC-1846
  • Motor amplifier: model AMP-19520
  • Breakout board: ICB-90044-M 44-pin
  • Power supply: CPS 56V/12A
  • Connectors for motor extension cords: AMP 4-pin connectors (172167-1 male, 172159-1 female)
• Robot modules: NSK 2-meter model XY-HRS200-F06246
• PC Workstation
  • NI frame grabber card model PCIe-1429
  • NI camera link I/O extension board

Software

Operates with LabVIEW 2017 application.

Maintenance

Before taking images make sure the lights and camera are calibrated properly. See section Light Array Setup and Camera Calibration for instructions on procedures.

Instrument Settings

• DAQ > Image Capture Motion Setup (Figure 1)

Figure 1. Image Scan Setup window

• Instruments > Camera: General Setup (Figure 2)

Figure 2. General Camera Setup window

• Instruments > Camera: JAI Camera Setup (Figure 3)

Figure 3. General Camera Setup fixed Settings

Sample Preparation & Imaging

Sample Preparation and Loading

Sediment

If the surface of the archive half is rough use a flat spatula to provide a "clean" surface for imaging to better reveal layering and structures. Sediment cores should be imaged as soon as possible after splitting and scraping are completed to minimize color change through oxidation and drying.

Hard Rock

Rock pieces should be dry and individually rotated such that the split face is approximately perpendicular to the axis of the camera. The lights and lens aperture are configured to give consistent illumination and focus to effectively image rubble bins.
For 360 Imaging of hard rock cores refer to the section 360 Imaging Hard Rock.

Loading Section

1. Pick up section half and place in the track loading area with the blue end cap forward against the color block. Make sure the section is pushed all the way against the block so the end cap is lined up with 0 cm on the ruler.
2. Bring the endcap for the section to the SHIL workstation for entering sample information.
3. If the section has a whole round sample taken, denoted by a yellow bottom endcap, place a split styrofoam spacer at the end of the section. Cut the styrofoam to same length of the sample taken and write letters on the styrofoam to indicate the type of the sample taken. For example a 5 cm Interstitial Water whole round sample taken. A 5 cm styrofoam spacer with 'IW' written on it would be placed at the bottom. Once a spacer has been made it can be used over the course of the expedition for applicable section halves.

Launch IMS Application

1. First open the IMS Application 'SHIL' on the desktop (Figure 4).

Figure 4. SHIL IMS Desktop icon

2. At launch, the program begins an initialization process:

• Testing instrument communications
• Reloading configuration values
• Homing the pusher arm of the motion control system.

3. After successful initialization, two windows will appear: The IMS Control Panel on the left and the measurement window along the top of the screen (Figure 5)

Figure 5. Main SHIL user interface window

Set Measurement Parameters

Adjust measurement parameters before beginning measurements. Users can adjust the RGB settings and camera speed.

RGB

Users can adjust three RGB parameters: decimate interval, stripe width, and whether to use the mean or midpoint RGB value. For more information regarding how RGB data is calculated please see Appendix A: RGB Calculation.

Adjust RGB Settings

1.Go to Instruments > Camera: General Setup (Figure 6). The JAI Camera Setup Parameters window will appear (Figure 7).

Figure 6. Select JAI Camera Setup Parameters window

2. Adjust values in the 'RGB Data' setting controls.

• Stripe Width: Centered in the middle of the core, this determines the width across the core that will be used to calculate RGB data. This is typically set to 2cm. While the value can be changed higher or lower it is commonly at 2 cm. The advantage is this width provides enough material to not exaggerate small disturbances but rather provides RGB data representative of the bulk lithology.
• Decimate Interval: The interval that sets the recorded offset along the length of the core. This value can be set between 1 - 2.9 cm
• Mean or Midpoint: Can choose how RGB is calculated for the interval. Interval mean calculates the mean RGB values over the interval. Interval Midpoint uses the RGB value at the center of the interval. This is typically set to Interval Mean.

Figure 7. JAI Camera Setup Parameters window

The 'General' and 'Dropped Lines Warning Threshold' should not need to be adjusted. If something needs to be altered talk to the programmers and ALOs.

3. Click 'Accept' to save values. If select 'Cancel' the values will revert back to prior settings and the window will close. 

Camera Speed

Camera Speed is calculated during the calibration procedure. The camera speed set must be lower than the speed determined by the calibration or else the camera will start 'dropping lines'. Dropped lines means the camera is moving too quickly to calculate the RGB and offsets at the bottom of the core will return values of '0'.

Adjust Camera Speed

1.Go to DAQ > Image Capture Motion Setup (Figure 8).

Figure 8. Select Image Scan Setup window

2. The Image Scan Setup window appears. There are four settings in this window:

• Speed: This is the speed in cm/sec the camera moves while measuring the section. This speed must be set lower than the speed determined by the Camera Calibration.
• Acceleration: The rate in cm/sec the camera ramps up to when not measuring a section.
• Deccelaration: The rate in cm/sec the camera will slow down when not measuring a section.
• Start Position: This is the position the imaging begins. Note it will be a negative number. The top of the core starts at 0 cm in order to image the standard gray-scale card in front of the core, that location will be negative.

Start A Measurement

1.Click the green Start button in the IMS Control panel (Figure 9).

2. The SHIL Section Information window will pop up.

Figure 9. Select SHIL Section Information window

3. The area on the left has four fields to define the condition of the sample measurement:

1. 1. Image Type: 'Section Imaging' or '360 Imaging'. For instructions on the 360 imaging refer to 360 Imaging Hard Rock section.
   2. Wet/Dry: Indicates the type of the material being image
   3. Condition: 'Pristine' or 'Sampled-Altered'. Sampled-Altered could include imaging the working half or a highly disturbed section. Most instances should be Pristine.
   4. 360 Imaging: This area is grayed out unless '360 Imaging' Image Type is selected. For instructions on the 360 imaging refer to 360 Imaging Hard Rock section.

        Select the conditions appropriate for the section half.

4. There are three ways to enter sample information into IMS:

• Barcode (most common): Put cursor in the 'Scan' box. Use the bar-code scanner to scan the label on the end-cap. The sample information will parse into the 'Sample ID', 'LIMS ID', and Length fields.
• LIMS Entry: Select the 'LIMS' tab at the top of the window. Navigate through the hierarchy to select the correct, expedition, site, hole, core, and section. Length information will automatically populate when the section is selected. 
• Manual Entry: Select the 'Manual' tab at the top of the window. Click in the box and manually type sample information into the box.

By default the instrument is set for imaging the archive half and will not allow you to scan a working label. If you want to take a picture of a working half you need to go to the MANUAL tab and select W (working) into the Section Half label (Figure 10). Once you have selected W (working), you will not be able to scan an archive half; in order to do that you need to go back into the MANUAL tab and re-select A (archive).

Figure 10. SHIL MANUAL Section Information window

5. Click Take a Picture. The lights will turn on and start moving down the length of the core. In the IMS interface the sample information will go away revealing the measurement windows. The image and RGB data is displayed and updates as the measurement progresses. 

6. When the measurement is complete, the camera lights will turn off and move back to the home position on the track.

7. The Image Crop window (Figure 11) pops up. An image should be cropped to include all material and the inner edge of the end-cap. RGB data will exclude data outside of the Crop area. The green box is the IMS estimation of the crop area. Click and drag the green lines to adjust the cropped area  at the top,  bottom, and sides of the image. Tools in this window include:

• Show Bottom of Image: Takes image down to illustrate the bottom of the image and crop box.
• Show Top of Image: Brings image up to show the top of the image and crop box.
• Crop Image: Crops the image to show only image inside of the green box.                   
• Uncrop Image: Will undo a crop and allow user to re-adjust the green crop box.
• Save Image: Saves the image, RGB data, and writes the upload files
• Discard Image: Does not save the image or RGB data.

The Image crop restricts users to limit adjustments to 2cm or less. The message box will indicate if the crop has exceeded allowable limits and the 'WRND Info' message box indicates if and where any whole round samples were taken from the section. If the image needs to cropped by more than 2cm check the correct section/end cap is being uses, a styrofoam spacer is not missing, and the curated length. Cores can expand so if the curated length is incorrect, talk to the curator on shift to correct the length. Note this will also create a need for the curator to re-calcuate depth of the hole. If the error is in the curated length of the core a user can check the 'override crop restriction' button to crop the image and upload the data.

8. Click Crop Image when satisfied the green box will capture the entire image.

9. If satisfied with the image click Save Image. If the image needs to be re-imaged click 'Discard Image' and re-start the measuring process.

10. The 'Image CROP' window will go away and the 'SHIL Section Information' window will appear again.

Figure 11. Image CROP window

Uploading data

Data Structure

Two files are uploaded to LORE via MegaUploadaTron (MUT):

1. .roi file : Contains callouts to the uncropped TIFF , uncropped JPEG, and cropped JPEG images. The images are linked files in LORE as Images > Core Closeup (LSIMG).
2. .RGB file : Contains the red, green, and blue values calculated for each offset. The information is in LORE under Physical Properties > RGB Channels (RGB).

The files are independent of eachother, both do not need to be present in order to upload, and often appear in MUT at different times.

MUT and .ini file

Be aware uploaded files have a callout for the .ini file. There is only one .ini file and the files will callout the .ini file currently present at the moment of uploading to LORE. If changes are made to settings that will alter the .ini and there are files piled up that have not uploaded to LORE, those files will upload the current .ini file, not the .ini file settings used for measurement. This implies files could have incorrect .ini files if rapid changes are made and users are not being careful.

How to Upload data

1. Open up MUT (Figure 12). Use LIMS Applications password to login. The LIMS Uploader window will open (Figure 13).

Figure 12. Desktop MUT icon

2. Set 'Project' at the bottom of the screen to either the current expedition or '999' if performing tests.

Figure 13. LIMS Uploader window

3. Check 'Automatic Upload' in the lower right hand corner. At the refresh interval the files will upload to LIMS.

4. Files with checkmarks in the right column will upload. A green arrow in the column Status indicates it is in process of upload. A purple question mark indicates the file is not recognized by MUT. This could be due to an incorrect sample name or only one file being in the 'IN' Folder.

5. After files are successfully uploaded they move from 'data > in' to the 'data > archive' folder. When the files move they will not longer appear MUT. If a file was unable to upload it will move from 'data > in' to 'data > error' and two new buttons will appear in MUT saying 'Show Error' and 'Show Error Files'.

MUT Configuration

File Path

The file path MUT should look for files to upload is C: > data > IN. IMS writes upload files to C: > data > IN, so ensure the filepath is set correctly. Note the uploaded files are written directly into the 'IN' folder. Images are not directly uploaded and are written to C: > data > IN > Images

Active Analyses

In MUT the 'active analyses' (Figure 14) should be set to Linescan Image, Processed RGB channels, and Whole-round Linescan. Linescan Image and Processed RGB Channels are for section half measurements. The Whole-Round Linescan Image is for 360 Imaging of hard rock cores. All three analyses should be set in the 'Active Uploaders' Column. Note it is ok for analyses to be in the 'Active Uploaders' even if MUT at that instrument host does not generate those files.

Figure 14. Select Set active analyses on MUT

Auxillary data Produced

The SHIL has the capability to produce two additional file types at the scientist's request:

1. Hi RES RGB
2. VCD-S

These files appear in separate folders in C: > data > in

Hi RES RGB: This file default is turned off and can be turned on in Instruments > Camera: General Setup (Figure 7). The Hi-Res RGB file reports a Red, Green, and Blue value for each line of pixels down the length of the core. 1cm is 200 lines of pixels so a 150cm core will yield approximately 30,000 lines of data depending on the exact crop length. The file is not currently uploaded to the database and is instead copied to data1 at the end of the expedition. The files can be put on the server for scientist access to a convenient, shared location such as UserVol.

VCD-S: The SHIL can preserve a digital copy of the VCD-S that is printed out. If a scientist wants to keep a digital copy of the scratch sheet turn on the feature in Instruments > Camera: VCDS Setup (Figure 15) . Files are then written to C: data > in > VCD-S. These files are not uploaded to LIMS and should be put in data1 at the end of the expedition. The files can be put on the server for scientist access to a convenient, shared location such as Uservol.

Figure 15. Select to preserve a digital copy of VCD-S

360 Imaging Hard Rock

The SHIL can be used to image the external surface of whole round hard rock cores in order to assemble a 360° composite image of the whole round. Oriented rock pieces are imaged after they have been binned and the structural scientist has marked the split lines on the pieces. Using the custom whole round scanning tray, the whole round core surface is imaged four times at the 0°, 90°, 180°, and 270° orientation from the splitting line.  The Imaging Specialist will download the images and assemble a composite image from the four scans and upload the composite separately.

Sample Preparation

1.  Remove the section half scanning tray from the SHIL and replace it with the whole round scanning tray making sure to align the blocks correctly.  Note that the rotating section of the tray has 0°, 90°, 180°, and 270° markings on each end and that the rotating section will click and lock into each orientation.

2.  Place the split liner section with the whole round core on the tray below the SHIL and align the top with the 0 cm on the ruler on the tray (Figure 16).

Figure 16. Whole round core correctly placed on the split liner section.

3. Remove the 0° aluminum strip and another aluminum strip on either side of 0°. Move the dry, oriented pieces into the tray, keeping the pieces at the correct offsets and aligning the split line with the 0° orientation.

4. Attach the not 0° aluminum strip and rotate the tray so that the 0° position is up, facing the camera (Figure 17).

Figure 17. Whole round core correctly placed on the aluminum tray

Take Image

1. Click START and the SHIL Section Information screen will appear (Figure 18).

2. Scan the section barcode from the endcap

3. Select the 360 Imaging on Image Type and the default quadrant will be 0 Degrees. Select Dry-Hard Rock. Click TAKE A PICTURE

Figure 18. SHIL Section Information window for 360 Hard Rock Imaging

4. When the scan is finished, the Image CROP window will open. Crop the image and Save it.

5. The SHIL Section Information window for whole round will open and the rotation angle will default to the next quadrant, in this case 90 Degrees.

6. Replace the aluminum strip and rotate the tray to the next position, remove the aluminum strip facing up.  Ensure that the rotation angle setting in the window is that same as on the tray.  Click TAKE A PICTURE.

7. Continue the cropping, rotating and scanning process until all quadrants are complete.  Once the images are uploaded to the database, the Imaging Specialist will create the 360 composite image and upload it to the database. If an image needs to be discarded, the software returns to the main screen and the user will need to start over, however, the user can select which quadrant to start on.

Maintenance

Instrument Preparation

Preparing the track system for imaging cores requires adjusting the position of the lights and barcode imager for optimal quality and calibrating the system by adjusting camera settings. The position of the lights and barcode imager, once set, should be stable throughout an expedition. The technical staff will calibrate the camera settings (SHIL: Camera Configuration AUG) and light array (SHIL: Light Array AUG) whenever the camera or light sources have been repositioned or changed.

Setting up the Lights (Section for old lighting system)

Initial light installation and fine adjustment procedures are described in the SHIL: Light Array AUG. For routine operation, follow these steps:

1. Rotate the lights to the desired rough angle to the camera (usually ~30° to the camera axis for sediment cores). Fine-tune the light position by observing the camera output using MAX.
2. Manually turn on one line light at a time to full power by pressing the "+" button on the light controller until you reach 100%.
3. Loosen the brackets on both sides of the light mounts and make small position adjustments until the brightest image is achieved.
4. Turn off the light by pressing the "–" button and press Select to enable the other light.
5. Repeat Steps 2–4 for the second light.

Calibration

The laboratory technician calibrates the system when needed by adjusting camera settings and analyzing an imaged MacBeth Color Standard.  These lights obtain nearly uniform illumination intensity from the core’s surface (half or whole round) to the bottom of the liner by a combination of high intensity, overlapping large diameter light source, close coupling to the imaged surface and the “line” image plane.  The bottom edge of the brass led mount should be set between 2 and 4-cm from the image surface.  For uneven hard rock cores the height can be set higher but illumination intensity will drop, exposure times lengthen, f-stop opened and scanning speed reduced.  Note, any height change to the lights requires re-calibration. Heat is removed from the leds and transferred to the surrounding air via the copper heat pipes. While these to get hot they are not a burn hazard.  However they are very delicate and bend at the slightest touch, so use care when working with the camera lens.

*Method based on Instructions sent by Bill Mills. BILL! Please review, correct, and update!

For more detailed information on the theory behind the calibration please refer to the Advanced SHIL Calibration page

Safety Concerns

• These lights get hot and can damage or burn surfaces if left stationary and on for over 20-secs. This is not an issue during normal imaging operations and will not heat the core surface at all.  BUT during calibration process when the lights are stationary you must use the manual power switch to turn the lights on and off.  Do not use the plastic Gray card but use the cardboard instead.
• Never look at the leds directly! Even the reflected light can be painful!  When working under the track make sure that the power is off.
• NOTE: if you are concerned with the heat dissipation, you can use our FLIR cameras to confirm that everything is ok.

Glossary of terms:

Gain: a digital camera setting that controls the amplification of the signal from the camera sensor. It should be noted that this amplifies the whole signal, including any associated background noise.

Gamma: a digital camera setting that controls the grayscale reproduced on the image. An image gamma of unity (Figures 3a - 3b) indicates that the camera sensor is precisely reproducing the object gray scale (linear response). A gamma setting much greater than unity results in a silhouetted image in black and white.

White Balance: a camera setting that adjusts the color balance of light the you’re shooting in so that it appears a neutral white, and it’s used to counteract the orange/yellow color of artificial light.

Before Starting:

• Color Standard values vary based on the standard and the manufacturer of the standard. Verify the values of the MacBeth Color Standard before starting. Check the grayscale card to determine what the percentage of gray. The target calibration values will vary based on the percentage of gray. Target values depend on the percent grayscale card. Max value 255. If using a 50% grayscale card target red and green value is 127, a 25% grayscale card target value is 64, etc.
• Set camera f/stop to 16.

Check Calibration

The first step of calibrating is to see if you actually need to by taking an image of the color standard and comparing the observed RGB values and comparing with the expected RGB values.

Take an Image

1. Grab the calibration standard and remove from liner (Figure 19). Calibration Standard is located in drawer PP-2B.

Figure 19: The calibration standard in its cover.

2. Put the Calibration Standard in the track (Figure 20). The color square must be oriented as pictured below.

Figure 20: Color standard in track in correct orientation.

3. Open IMS and Click Start.

4. Scan the STND Color label on the aluminum track behind the monitor (Figure 21). Check the ColorChecker Standard box. With this box selected no corrections are applied to the image so we are able to assess the raw image quality.

Figure 21: Left, sample information screen with ColorChecker box checked. Right, standard barcode being scanned.

5. Click Take A Picture.

6. When the image has finished click Crop and then Save. We use the uncropped image so the crop here is not important.

7. On the main IMS panel select Instruments and Camera: Image Correction (Figure 22).

Figure 22: Image Correction command selection.

8. Select Open Test Image and select the image you just took (Figure 23). It does not matter if the JPEG or TIFF file is loaded - at this point not tested to confirm it doesn't matter if a jpeg is loaded and used to perform the tiff correction.

Figure 23: Image Correction Window. Steps are indicated in the screen. 1. Open the Scan 2. Draw a box around ColorChecker Squares 3. Click Crop.

9. The image loads into both the Original and Corrected windows. With the rectangular box selected, draw a box loosely around the color checker card as illustrated above, then click Crop. Draw a box around the Color Checker squares again and this time making sure to only have squares in the box. This time white squares will appear inside each square. Adjust the box to get those white squares close to the center of the color squares.

Check TIFF and JPEG Corrections

Here we check and can adjust our TIFF and JPEG Corrections. You may find you only need to slightly tweak the values and the calibration is good. However if the image appears streaky, a physical change has happened to the Camera or lights, the RGB values between corrected and expected are far off, or the graphs of either the tiff or jpeg don't look good, you will need to recalibrate.

1.Check the TIFF Correction (Figure 24). Select TIFF Correction Mode and look at the Uncorrected Image tab. The goal is to have line as straight as possible. Adjust the Red, Green, and Blue polynomial orders to achieve the lowest residual value while still keeping a relatively straight line in the graph.

Figure 24: Steps for Tiff Correction illustrated on image. 1. Redraw box on color squares. 2. Select Tiff Correction Mode. 3. Put graph on Uncorrected Image. 4. Select Tiff Correction to view polynomial order. 5. Adjust polynomial order. 6. Check graph for linear relationship.

2. Check the JPEG Correction (Figure 25). Select the JPEG Correction Mode in the top right of the screen, JPEG Corrections in the bottom right box, and look at the Applied Corrections tab. We want a linear relationship between the measured and given values. Adjust the Brightness, Contrast, and Gamma levels to achieve this. Each setting adjusts the line in different ways and there are many different ways to adjust the values to achieve a linear relationship

Figure 25: Steps for JPEG Correction illustrated on image. 1. Select JPEG Correction Mode. 2. Select Applied Corrections tab on graph. 3. Select JPEG Correction to see Brightness, Contrast, and Gamma Corrections. 4. Adjust Brightness, Contrast, and Gamma corrections. 6. Check graph for Linear Relationship. 7. Check the boxes in the Color Checker and compare to RGB values in corrected image.

3. If the values all look good and there are no streaking issues in the images, you can click Save and no further adjustments are needed. However if you have determined it doesn't look good, click cancel and you can proceed to the following section and calibrate.

Setup the Track and Camera

1.Disable the motor that moves the camera. In the IMS control panel select Motion and then Drive Disable from the dropdown menu (Figure 26). The user can now manually move the camera to the desired spot.

Figure 26. IMS commands to disable the drive

2. Back in the IMS control panel go to Instruments > JAI Camera Settings (Figure 27). The lights turn on automatically when the JAI Camera Setup window opens.

Figure 27. Selecting JAI Camera Setup

3. Confirm the camera f-stop is set to 16. If not, change it to 16.

4. The lights will turn on when the JAI Camera Window opens. Due to the intensity and heat produced by the LEDs it is best to turn off the lights until ready. Turn off the lights in the software window (Figure 28) or with the physical power switch located behind the monitor (Figure 29). Note if the lights are turned off by the hardware switch, the lights cannot then be turned on the software command.

Figure 28: Software commands to turn the Lights On or Off.

Figure 29: Hardware Switch to turn power on or off to the lights located behind monitor.

Color Balance the Camera

Reset Gains and Corrections

1.Select the Gains-Black-Shade-Flat tab (Figure 30).

Figure 30: JAI Camera Setup Window showing the Gains-Black-Shade-Flat tab. The Gains-Black-Shade-Flat tab is outlined in red.

2. Click the Clear All Gains, Clear Black Gains, Remove Pixel Black Correction, Remove Shading Correction, and Remove Pixel Gain Correction (Figure 31). You will notice all values in the Master and Black gains to zero.

Figure 31: The five clear and remove buttons of interest are outlined in red.

3. In Master Black field, enter 40.

Color Balancing the Camera - New Method using QP101 v4

Color Balancing is currently being done using the QP101 v4 gray scale card. The MacBeth Color standard cards on board have all been damaged by the LED lights, changing the RGB values. The MacBeth Method is still retained in a below section. We have a lot of QP Cards on board, they are more heat resistant than the MacBeth card, and much cheaper to replace

Adjust Exposure

The exposure intervals we set relate to how long the camera can pick up values for each color band. Try not to keep the lights on for longer than ~ 20 seconds and then keep them off for ~ a minute. As the lights warm up the RGB values change, particularly the blue value, and change most rapidly in the first minute of the lights warming up. Since the SHIL is often used after being off for a bit, we are trying to calibrate to represent the measuring conditions as best we can. Right now we do not have a defined procedure for keeping the lights on/off during calibration.

1.Select the tab RATES and EXPOSURE (Figure 32).

Figure 32: Rates and Exposure tab with chronological steps on the screen

2. On the Green Lock control select OFF (Figure 32). The other exposures are now adjustable.

3. Set the Line Trigger Interval until the Max Image Scan Speed is 10 for now. Adjust values by clicking in the field and typing values or using the up and down arrow on the keyboard. The Line Trigger Value must be greater than the exposure intervals for red, green, and blue.

4. Move the camera carriage over about where the QP Card is on the track.

5. Click the Start Grab (Figure 32).

6. Turn on lights, but only keep them for ~20 seconds and then turn off for ~ 1 minute. 

7. Move the Camera if necessary to see the QP Card in the image grab window. Draw a green ROI box in the light gray (white) area. Now the Red, Green, and Blue values above the image grab window show the values inside your square. The RGB value of the QP Card v4 is 235. Adjust the Red, Green, and Blue Exposure times until each value is 235. Remember to turn off the lights regularly!

Adjust Gains

1.Select the Gains-Black-Shade-Flat tab.

2. Click Start Grab.

3. Turn the lights on.

4. Draw the green ROI box on the dark square.

5. Adjust the Master Black Value until the RGB values are ~40. Qualitatively this is what's been found to produce a nice image. Please note that the RGB value of the QP Card v4 for this square is 80. Remember to turn off the lights regularly!

6. You can also adjust the RedBlack and BlueBlack values to adjust those specific channels.

7. Adjusting the gain likely changed the RGB values in the light gray card. Draw an ROI box in the light gray (white) square. If the values aren't 235 go back to the Exposure tab and adjust the the values until you hit 235. Check back in the dark gray square and see its still around 40.

8. Keep an eye on the graph on the bottom left corner. We want all the colors to overlay each other pretty closely.

9. When the colors all seem well balanced you can move on to the next step. How long the lights have been will affect the color balance. If the lights have gotten quite warm and everything looks even, then when the lights are 'cold' the blue channel will be lower than the others.

Apply Corrections

We apply three corrections. Only do the corrections after you have finished adjusting the exposure and gain. Find information regarding each correction below:

• Pixel Black Auto Correction: The pixel black level represents extra energy in the camera independent of a light source and is a consistent pattern in the sensor. To correct for this the light source must be turned off, the lens cap put on, and the camera internal correction circuit collects a few lines of data. An average is taken across the line, and pixels are either added to or subtracted from in order for each pixel to have the average value. (Vendor Manual Reference)

• Shading Correction - Flat Method -: Shading effects can come from an uneven distribution of light and along the outer edge of the camera lens. Shading is corrected for by averaging the signal across a group of eight pixels to represent the line.
• Pixel Gain Correction - Flat Method -: Each pixel has a different response to a fixed light source. To correct for this non-uniformity a couple lines of data are calculated (with the lights at no more than 80% of max) and the average response of the pixels are calculated. Then each pixel has a correction factor applied to bring all pixels to the average level. The Pixel Gain Correction also corrects for some shading effects and should be done after the shading correction.

After discussion with JAI we learned the order of corrections should be Pixel Black, Shading, and Pixel Gain. Previously our order was Shading, Pixel Gain, and Pixel Black. The order has been updated here. We were also to told to do all exposure and gain adjustments before doing these three camera corrections. This manual has been updated to reflect those changes.

Black Gain Correction

1.Turn off the lights.

2. Take the lens cap (Figure 33) and place on lens (Figure 34). The lens cap is located in drawer PP-2B.

Figure 33: Lens cap for the camera

Figure 34: Lens Cap being put on camera

3. Click the Pixel Black Auto Correction. The RGB lines in the Profile graph should be uniform (Figure 35). (Note: half the time a separate window window pops up to confirm lens cap is on, then user clicks 'Proceed' to apply correction. Inconsistency reported in Confluence)

Figure 35: Grab and Profile after the Pixel Black Correction applied.

Shading Correction

1. Place the gray silicone mat on the tray make sure that it is level and perpendicular to the camera’s axis.  The mat should be positioned at the height of the core surface.  This is an important step.  If the mat is placed closer to the camera your calibration will be off.
2. Turn on the lights, with the same method used to turn off the lights, and move the camera over the gray mat.
3. Unfocus the lens on the camera just a little bit (Figure 36). Look at the Profile graph and rotate the lens’ focus until the RGB lines are smoother, but still have some variation. de-focus the lens until the RGB line on the Profile graph just become smooth and no more (but still variable) 

Figure 36: The lens being unfocused.

If you haven’t set the camera’s height, now is the time to do so!  See the section Camera Height Adjustment at the end. Believe this should happen before setting the exposure or the gain.

4. Now move the camera over the gray silicon mat (Figure 37).  The RGB lines should appear “bowed” evenly across profile and centered in the image.  If not check the orientation of the gray mat card.  This very important! 

Figure 37: Grayscale card are corresponding RGB Profile visible.

5. Click the Shading Correction - Flat Method button. This can take a few seconds, don’t click anything else until it is done.  The RGB lines should now be flat (Figure 38).

Figure 38: Grab and profile after the Shading Correction has been applied.

Pixel Gain Correction

1.The camera’s lens should still be de-focused and gray silicone mat card flat and illuminated.

2. Click the Pixel Gain Correction - Flat Method button and move the camera very slowly back and forth over the mat. This averages the pixels and helps eliminate streaking in the image. This will take several seconds, don’t click anything else until it is done.  When its done the RGB lines should still be flat and the individual RGB are the same (may not be equal to each other) (Figure 39).

Figure 39: Grab and Profile after the Pixel Gain Correction has been applied.

3. Refocus the lens.

4. Click Save.

Create Correction Curve

Take New Picture

1.Go to Motion > Drive Enable, to re-enable the motor (Figure 40).

Figure 40: Drive enable control highlighted.

2. Go to IMS Main Panel Select DAQ > Image Capture Motion Setup (Figure 41). In this window confirm that speed is set lower than the speed calculated by the Line Trigger Interval

Figure 41: Image Scan Setup Window.

3. Click Start

4. Scan the STND Color label on the aluminum track behind the monitor (Figure 42). Check the ColorChecker Standard box. With this box selected no corrections are applied to the image so we are able to assess the raw image quality.

Figure 42: Left, sample information screen with ColorChecker box checked. Right, standard barcode being scanned.

5. Click Take A Picture.

6. When the image has finished click Crop and then Save. We user the uncropped image so the crop here is not important.

7. On the main IMS panel select Instruments and Camera: Image Correction (Figure 43)

Figure 43: Image Correction command selection.

8. The main window opens. On the right side of the screen select Open Test Image. Open the image just taken (Figure 44). It has been mentioned that it doesn't matter if you load in the jpeg or tiff, not tested yet

Figure 44: Open Test Image Window with all images displayed.

Tiff Correction

The main Image Correction window opens (Figure 45). Note the three main areas in the window:

Figure 45: Image Correction Window.

A. Graph panel: Main graphical viewing area on the left side of the screen. 

Uncorrected Tab: Shows the measured Red, green, and blue values of the gray scale color squares.

Applied Corrections Tab: Applies polynomial fit corrections to the RGB lines.

B. Image Viewing Panels: Area in upper right portion of the screen that displays the original and corrected test image and color checker with RGB values.

Original: Displays the uploaded tiff.

Corrected: Displays the uploaded tiff with corrections applied.

Color Checker: Displays the known values of the MacBeth Color Checker values

C. Correction Panel: Panel in the lower right portion of the screen that allows user to apply corrections to the image

TIFF Correction: Shows tiff red, green, and blue polynomial fit.

JPEG Correction: Shows brightness, contrast, and gamma settings.

Instructions: Shows instructions to follow in this window.

1.Make sure TIFF Correction Mode is selected in the upper right corner and the TIFF Corrections tab is selected in the bottom right corner (Figure 46).

Figure 46: Tiff correction Mode button and Tiff Correction tab both highlighted in red.

2. In the ORIGINAL image control create a selection rectangle (right-click drag) of the MacBeth card and click CROP (Figure 47). Repeat as necessary until the card fills the entire image.

Figure 47: Green crop square drawn around the color squares. 

3. Again create another selection rectangle over the image but do not release the mouse. Move the lower corner of the rectangle until small white boxes appear over the color squares.  Make sure the boxes are in the center of the squares. Release the mouse.  The pixels in the squares will be averaged and used for the RGB values in the calibration (Figure 48). (not quite how it works right now, white squares don't show up until mouse is released, error reported in confluence).

Figure 48: Steps for Tiff Correction illustrated on image. 1. Redraw box on color squares. 2. Select Tiff Correction Mode. 3. Put graph on Uncorrected Image. 4. Select Tiff Correction to view polynomial order. 5. Adjust polynomial order. 6. Check graph for linear relationship.

4. Look in the TIFF Correction tab and set the LUT polynomial order values for the RGB channels. Adjust these values to create the lowest residual error with the smoothest curve in the UNCORRECTED image tab. Should be around 4.  Make sure that the curve does not wave about if it does the order values need to be lowered. Also check the corrected ROI and MacBeth values should be very close.  Make sure that the white does not exceed the MacBeth value.  If you are unable to produce a reasonable correction curve, it may be necessary to redo your white balance correction and start over.

This correction is applied to both the TIFF and JPEG image but for the JPEG image you can also apply a Brightness, Contrast and Gamma correction.  This is done at the photographer’s discretion. With better balanced leds on the new light system I did not use the correction and left the values at their mid-points.

JPEG Correction

Situations may arise where a JPEG correction should be applied. In the instance of very white or very dark cores, the TIFF images may look good but the JPEG images may look washed out or too dark to view details. JPEG corrections do not alter TIFF image settings. To apply a JPEG Correction follow the steps below:

1. Select JPEG Correction Mode (Figure 49). 

Figure 49: Steps for JPEG Correction illustrated on image. 1. Select JPEG Correction Mode. 2. Select Applied Corrections tab on graph. 3. Select JPEG Correction to see Brightness, Contrast, and Gamma Corrections. 4. Adjust Brightness, Contrast, and Gamma corrections. 6. Check graph for Linear Relationship. 7. Check the boxes in the Color Checker and compare to RGB values in corrected image.

2. In the BCG Correction Window, select JPEG Correction. Adjust the Brightness, Contrast, and Gamma Settings. The Corrected color squares will update as the settings are changed. 

3. The Applied Corrections Graph should be a straight line and the ROI Corrected Box should have values near 250. These may change depending on the instance of extreme colors, extremely white or extremely dark cores, in which the settings may have be tweaked more to get a user friendly consumer image.  

Camera Height Adjustment

• Move the camera so it is just on the edge of the grayscale card at the end on the tray. On this card are mm and cm marks on the edge. 
• Click the GRAB button and watch the image as you make slow camera position adjustments until the centimeter lines show up on the image graph as sharp spikes.
• The graph as two cursors, use the mouse and drag one cursor aligning it with the spike. Take the second cursor and do the same with an adjacent spike. Just above the Profile graph there is a control labelled Pixel Delta this value should be between 198 and 202 pixels.  If not, adjust the camera (not lights up and down refocusing after every move until you get within the range.  Warning this can be very tedious!

Check on Calibrated Computer

1.Take, crop, and save another test image now that all corrections have been applied. Use the same procedure to take an image as described in the section: Take an Image

2. Copy the image to a shared network folder to view on a calibrated computer screen in the Imaging Office.

Color Balacing Camera - Old Method MacBeth Color Checker Card

1.Make sure the lens is focused. To focus the camera the lights need to be on and the camera over the section grayscale card or calibration card.

3. Put the Calibration Standard in the track (Figure 33). The color square must be oriented as pictured below.

Figure 33: Color standard in track in correct orientation.

4. Select the tab RATES and EXPOSURE (Figure 34).

Figure 34: Rates and Exposure window, the tab is highlighted in red.

5. On the Green Lock control select OFF (Figure 35). The other exposures are now adjustable.

Figure 35: Green Lock control highlighted in red and set to off.

6. Set the Line Trigger Interval until the Max Image Scan Speed is 8 for now. Adjust values by clicking in the field and typing values. We’ll come back to this value later.

7. Turn on lights.

8. Click the Start Grab (Figure 36).

Figure 36: Start Grab button highlighted in red.

9. Move the camera over the Macbeth color standard until you see the white, dark blue, orange and brown color bars in the image. Place the cursor in the white square, right-click and draw a rectangle by dragging diagonally.  Release the mouse when you have select most of the white bar. The rectangle (marked in green) should only have the white color and nothing else inside (Figure 37).

Figure 37: The grab window is highlighted in red. A green square is drawn in the white color square of the appropriate row.

10. Above the image you will see controls for the average RED, GREEN and BLUE values for all of the pixels within the rectangle. You will also see the ratio values for RED/GREEN and GREEN/BLUE.

11. Adjust the Red Exposure value until the RED value is 245.

12. Adjust the Green Exposure value until the RED/GREEN value is 1.

13. Adjust the Blue Exposure value until the GREEN/BLUE value is 1. Congratulations you just White Balance the upper limit of the camera, but you are not done.

14. Select the tab GAINS-BLACK-SHADE-FLAT and do the following:

15. Move the camera over the Macbeth color standard until you see the black, blue, gold and cyan color bars in the image. Place the cursor in the black square, right-click and draw a rectangle by dragging diagonally.  Release the mouse when you have select most of the black bar.

16. Adjust the Master Black gain until the GREEN value is around 15.

17. Adjust the Red Black gain until the RED/GREEN value is 1.

18. Adjust the Blue Black gain until the GREEN/BLUE value is 1.

Setting the Line Rate

The rules:

• Exposure intervals for the Red, Green and Blue channels is a function of the light intensity of the LEDs.
• Led intensity for the three channels is a function of the LED spectrum. Cold lights 65K are very blue while warm lights 55k are reddish. Neutral light is preferred where RGB are nearly equal but all leds are variable.  Generally red is the lowest intensity and will require the longest exposure time.  That is why in the above procedure we start with red, but you should always start with lowest intensity channel.
• Intensity is also a function of the F-stop. The smallest F-Top is preferred because it gives the greatest depth of focus but also lowers the intensity.
• Intensity is also a function of how closely coupled the lights are to the core surface but for practical reasons we need to keep a minimum clearance for safe operations.
• Don’t forget to check that all of the lights are evenly illuminated or even on. One led can fail without affecting these other.  Don’t ever look at the leds directly!
• Line rate must be greater (20us) than the red, green and blue exposure rates set in the above procedure.
• The shorter the line rates the faster the image can be scanned.
• If you move the track faster than the scan rate you will see dropped lines in your image.

So you must balance all of these setting to obtain the best scanning rate.  That means the above White balance procedure described above may have to be repeated as you adjust light position, f-stop etcetera.

Note: when you adjust the Line Rate interval it will automatically adjust the speed of the track to a scan speed that will not cause dropped lines.  You can override this value in the Motion Control Setup  …be careful.

1.Make sure the lens is focused. To focus the camera the lights need to be on and the camera over the section grayscale card or calibration card.

2. Put the Calibration Standard in the track (Figure 33). The color square must be oriented as pictured below.

Figure 33: Color standard in track in correct orientation.

3. Select the tab RATES and EXPOSURE (Figure 34).

Figure 34: Rates and Exposure window, the tab is highlighted in red.

4. On the Green Lock control select OFF (Figure 35). The other exposures are now adjustable.

Figure 35: Green Lock control highlighted in red and set to off.

5. Set the Line Trigger Interval until the Max Image Scan Speed is 8 for now. Adjust values by clicking in the field and typing values. We’ll come back to this value later.

6. Turn on lights.

7. Click the Start Grab (Figure 36).

Figure 36: Start Grab button highlighted in red.

8. Move the camera over the Macbeth color standard until you see the white, dark blue, orange and brown color bars in the image. Place the cursor in the white square, right-click and draw a rectangle by dragging diagonally.  Release the mouse when you have select most of the white bar. The rectangle (marked in green) should only have the white color and nothing else inside (Figure 37).

Figure 37: The grab window is highlighted in red. A green square is drawn in the white color square of the appropriate row.

9. Above the image you will see controls for the average RED, GREEN and BLUE values for all of the pixels within the rectangle. You will also see the ratio values for RED/GREEN and GREEN/BLUE.

10. Adjust the Red Exposure value until the RED value is 245.

11. Adjust the Green Exposure value until the RED/GREEN value is 1.

12. Adjust the Blue Exposure value until the GREEN/BLUE value is 1. Congratulations you just White Balance the upper limit of the camera, but you are not done.

13. Select the tab GAINS-BLACK-SHADE-FLAT and do the following:

14. Move the camera over the Macbeth color standard until you see the black, blue, gold and cyan color bars in the image. Place the cursor in the black square, right-click and draw a rectangle by dragging diagonally.  Release the mouse when you have select most of the black bar.

15. Adjust the Master Black gain until the GREEN value is around 15.

16. Adjust the Red Black gain until the RED/GREEN value is 1.

17. Adjust the Blue Black gain until the GREEN/BLUE value is 1.

LIMS Integration

Sample and Analysis Components

Troubleshooting

Common problems encountered when using the core imager and their possible causes and solutions:

Scheduled Maintenance

Standard Replacement Parts/Spares

Spares are available for the following parts:

• camera
• camera lens
• frame grabber card
• linear encoder head
• lights power supply

Non-camera-specific items are part of the shared spares pool for all the track systems. See a technician for the location of the shared spares.

Health, Safety, and Environment

Safety

• Avoid staring into the line lights, as they produce 90,000 lux each at full power. This is roughly equivalent to staring directly into the sun.
• Do not put your hands in or near the moving equipment. The actuators will torque out when impeded but injury could occur before that happens. Hardware abort buttons are located at both ends of the system for an emergency stop.
• Take care when working inside the electronics enclosure to avoid shocks from the power supply terminals.

Vendor Information

Galil Motion Control

270 Technology Way Rocklin, CA 95765 800-377-6329 galil@galilmc.com www.galilmc.com

JAI Inc., USA

625 River Oaks Parkway San Jose, CA 95134 800-445-5444 www.pulnix.com

Microscan

800-251-7711 helpdesk@microscan.com www.microscan.com/index.htm

Advanced Illumination, Inc.

24 Peavine Drive Rochester, VT 05767 800-767-3830 info@advancedillumination.com www.advancedillumination.com/

NSK Corporation

4200 Goss Road Ann Arbor, MI 48105 800-521-0605 www.npa.nsk.com/public/enu/1001_102.asp

Newall Electronics, Inc.

1778 Dividend Drive Columbus, OH 43228 800-229-4376 www.newall.com/LEDs/leds.htm

Digi-Key

www.digikey.com is a good source for small quantities of AMP hardware

Related Documentation/Links

The following documents contain more detailed information on the logger system components:

• LabVIEW: NI-IMAQ3_error_codes.xls
• JAI camera: CV-107CL manual.pdf
• Microscan barcode imager: MS4manual.pdf
• Advanced Illumination
  • Controller: AIcontroller.pdf
  • Lights: LL068.pdf
• Galil
• Motors: Blm_n23.pdf
• Software: wsdk.pdf
• Controllers: man19540.pdf
• Amplifiers: man18x-6.pdf
• Newall
  • Linear encoder: Newall_linear_encoder.pdf
  • Wiring diagram: Encoder_Connections.xls
  • ImCheck manual: Imcheck_Guide_V1.pdf

APPENDIX A: RGB Calculation

APPENDIX B: VCD-S Configuration:

"Scratch sheets" are printouts of section half images produced by SHIL. The sheet is a LabVIEW VI with embedded images that can print automatically when a user 'saves' an image. The VI is scaled to print SHIL images correctly on 11x17" paper in portrait orientation. The scratch sheet can be customized to include various columns to capture descriptions or drawings on paper. The goal of this guide is to instruct how to use and customize scratch sheets.

Data Structure

Each scratch sheet template is it's own VI. Each VI has to have the same root name "VCDS_SHLF". You may add any additional naming after this root name as long as the root remains unmodified.

• Files must be located in C: > IMS10 > RESOURCES > VCD-S_TEMPLATE on the SHIL computer. Do not alter this file path, it is currently hard-coded in the software.
• To temporarily temporarily disable a scratch sheet version, simply put some characters in front of the root name. These files can be moved to C: > IMS10 > Resources > Templates Old

IMS Configuration

1.To access the scratch sheet configuration options, click the Instruments button and follow the menu down to Camera: VCDS Setup. The parameter screen will then display (Figure 19).

Figure 19. Select VCDS Setup

Several configurable options appear:

1. • Format: Choose between Side by Side or Section Half scratch pages.
   • Expedition ID: Enter the name of the Current Expedition. This prints on the scratch sheet.
   • SHLF Form Folder: Currently hard-coded to C:\IMS10\RESOURCES\VCD-S_TEMPLATE.
   • Print VCDS: Enables or disables automatic printing of the scratch sheet. When the button says 'enable auto print' scratch sheets will automatically print when an image is saved.
   • Archive File: Button enables disables saving scratch pages to the hard drive. All files are saved in .PNG format. If button says 'Do not save file to archive' files will not be saved.
   • Section ID: Insert your expeditions name here which will appear in the top right corner of every scratch sheet along with the Text ID of the section half.
   • Test Image and Test Print: Allows prints of images already on the computer or in the database to see the scratch sheet. Use the folder icon to the right of 'Test Image' to browse to a section half image of your choice. This image will be embedded into your chosen scratch page mode. Click the 'Test Print' button to send it to the printer.
   • Accept: Saves any modifications to parameters.

   • Cancel: Does not save parameter modifications and reverts back to prior settings.

Editing Scratch Sheet in LabVIEW

1. Navigate to C: > IMS-10 > Resources > Templates and double-click a VI to open it in LabVIEW.
2. The front panel will open. Edits can be made to the objects on the white space. Editing the white or gray areas could affect scaling of the image, ruler, or print layout
   • The main layout consists of an outermost borderless white box that indicates the printable area that is available.
   • The leftmost gray column is a control for the section-half image and the ruler; do not make alterations in this area. There are two additional controls that feed the scratch page titles on the top left and right sides. These are not immediately visible when editing the layout on the front panel though. If you are not very familiar with LabVIEW please see a developer for help. The title controls can be moved, but it is up to you to remember where you put them!

3. All other column widths and headers are available for editing/resizing. If you need more columns simply select one, then copy/paste as you would in any standard graphics program and resize things to fit within the outermost white box. Maintain the vertical scaling of all columns to match that of the ruler/image column on the left. Header blocks are just boxes that can be copied and resized as well.

How to Make Edits

1. Navigate to the 'View' button on the toolbar. Select the 'Tools Palette' Option (Figure 20).

   
   

   

Figure 20. Select Tools Palette on LabVIEW

2. The Tools Palette window will appear (Figure 21). This allows you to select objects.

Figure 21. Tools Palette window

Communication and Control Setup

Data communication and control is USB based and managed via National Instrument’s Measurement & Automation Explorer (NI-MAX). When you open NI-MAX and expand the Device and Interface section.  The correct communications setup can be found at IMS Hardware Communications Setup.

Archive Versions