Going Beyond the Limit of an LCD's Color Gamut
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An Evaluation of Color Differences Across Different Devices Craitishia Lewis Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 12-2013 What You See Isn't Always What You Get: An Evaluation of Color Differences Across Different Devices Craitishia Lewis Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Communication Commons Recommended Citation Lewis, Craitishia, "What You See Isn't Always What You Get: An Evaluation of Color Differences Across Different Devices" (2013). All Theses. 1808. https://tigerprints.clemson.edu/all_theses/1808 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. What You See Isn’t Always What You Get: An Evaluation of Color Differences Across Different Devices A Thesis Presented to The Graduate School of Clemson University In Partial Fulfillment Of the Requirements for the Degree Master of Science Graphic Communications By Craitishia Lewis December 2013 Accepted by: Dr. Samuel Ingram, Committee Chair Kern Cox Dr. Eric Weisenmiller Dr. Russell Purvis ABSTRACT The objective of this thesis was to examine color differences between different digital devices such as, phones, tablets, and monitors. New technology has always been the catalyst for growth and change within the printing industry. With gadgets like the iPhone and the iPad becoming increasingly more popular in the recent years, printers have yet another technological advancement to consider. Soft proofing strategies use color management technology that allows the client to view their proof on a monitor as a duplication of how the finished product will appear on a printed piece of paper. -
Package 'Colorscience'
Package ‘colorscience’ October 29, 2019 Type Package Title Color Science Methods and Data Version 1.0.8 Encoding UTF-8 Date 2019-10-29 Maintainer Glenn Davis <[email protected]> Description Methods and data for color science - color conversions by observer, illuminant, and gamma. Color matching functions and chromaticity diagrams. Color indices, color differences, and spectral data conversion/analysis. License GPL (>= 3) Depends R (>= 2.10), Hmisc, pracma, sp Enhances png LazyData yes Author Jose Gama [aut], Glenn Davis [aut, cre] Repository CRAN NeedsCompilation no Date/Publication 2019-10-29 18:40:02 UTC R topics documented: ASTM.D1925.YellownessIndex . .5 ASTM.E313.Whiteness . .6 ASTM.E313.YellownessIndex . .7 Berger59.Whiteness . .7 BVR2XYZ . .8 cccie31 . .9 cccie64 . 10 CCT2XYZ . 11 CentralsISCCNBS . 11 CheckColorLookup . 12 1 2 R topics documented: ChromaticAdaptation . 13 chromaticity.diagram . 14 chromaticity.diagram.color . 14 CIE.Whiteness . 15 CIE1931xy2CIE1960uv . 16 CIE1931xy2CIE1976uv . 17 CIE1931XYZ2CIE1931xyz . 18 CIE1931XYZ2CIE1960uv . 19 CIE1931XYZ2CIE1976uv . 20 CIE1960UCS2CIE1964 . 21 CIE1960UCS2xy . 22 CIE1976chroma . 23 CIE1976hueangle . 23 CIE1976uv2CIE1931xy . 24 CIE1976uv2CIE1960uv . 25 CIE1976uvSaturation . 26 CIELabtoDIN99 . 27 CIEluminanceY2NCSblackness . 28 CIETint . 28 ciexyz31 . 29 ciexyz64 . 30 CMY2CMYK . 31 CMY2RGB . 32 CMYK2CMY . 32 ColorBlockFromMunsell . 33 compuphaseDifferenceRGB . 34 conversionIlluminance . 35 conversionLuminance . 36 createIsoTempLinesTable . 37 daylightcomponents . 38 deltaE1976 -
Photometric Modelling for Efficient Lighting and Display Technologies
Sinan G Sinan ENÇ PHOTOMETRIC MODELLING FOR PHOTOMETRIC MODELLING FOR EFFICIENT LIGHTING LIGHTING EFFICIENT FOR MODELLING PHOTOMETRIC EFFICIENT LIGHTING AND DISPLAY TECHNOLOGIES AND DISPLAY TECHNOLOGIES DISPLAY AND A MASTER’S THESIS By Sinan GENÇ December 2016 AGU 2016 ABDULLAH GÜL UNIVERSITY PHOTOMETRIC MODELLING FOR EFFICIENT LIGHTING AND DISPLAY TECHNOLOGIES A THESIS SUBMITTED TO THE DEPARTMENT OF ELECTRICAL AND COMPUTER ENGINEERING AND THE GRADUATE SCHOOL OF ENGINEERING AND SCIENCE OF ABDULLAH GÜL UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE By Sinan GENÇ December 2016 i SCIENTIFIC ETHICS COMPLIANCE I hereby declare that all information in this document has been obtained in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all materials and results that are not original to this work. Sinan GENÇ ii REGULATORY COMPLIANCE M.Sc. thesis titled “PHOTOMETRIC MODELLING FOR EFFICIENT LIGHTING AND DISPLAY TECHNOLOGIES” has been prepared in accordance with the Thesis Writing Guidelines of the Abdullah Gül University, Graduate School of Engineering & Science. Prepared By Advisor Sinan GENÇ Asst. Prof. Evren MUTLUGÜN Head of the Electrical and Computer Engineering Program Assoc. Prof. Vehbi Çağrı GÜNGÖR iii ACCEPTANCE AND APPROVAL M.Sc. thesis titled “PHOTOMETRIC MODELLING FOR EFFICIENT LIGHTING AND DISPLAY TECHNOLOGIES” and prepared by Sinan GENÇ has been accepted by the jury in the Electrical and Computer Engineering Graduate Program at Abdullah Gül University, Graduate School of Engineering & Science. 26/12/2016 (26/12/2016) JURY: Prof. Bülent YILMAZ :………………………………. Assoc. Prof. M. Serdar ÖNSES :……………………………… Asst. -
Expanded Gamut Shoot-Out: Real Systems, Real Results
Expanded Gamut Shoot-Out: Real Systems, Real Results Abhay Sharma Click toRyerson edit Master University, subtitle Toronto style Advisors Roger Breton, Marc Levine, John Seymour, Bill Pope Comprehensive Report – 450+ downloads tinyurl.com/ExpandedGamut Agenda – Expanded Gamut § Why do we need Expanded Gamut? § What is Expanded Gamut? (CMYK-OGV) § Use cases – Spot Colors vs Images PANTONE 109 C § Printing Spot Colors with Kodak Spotless (KSS) § Increased Accuracy § Using only 3 inks § Print all spot colors, without spot color inks § How do I implement EG? § Issues with Adobe and Pantone § Flexo testing in 2020 Vendors and Participants Software Solutions 1. Alwan – Toolbox, ColorHub 2. CGS ORIS – X GAMUT 3. ColorLogic – ColorAnt, CoPrA, ZePrA 4. GMG Color – OpenColor, ColorServer 5. Heidelberg – Prinect ColorToolbox 6. Kodak – Kodak Spotless Software, Prinergy PDF Editor § Hybrid Software - PACKZ (pronounced “packs”) RIP/DFE § efi Fiery XF (Command WorkStation) – Epson P9000 § SmartStream Production Pro – HP Indigo 7900 Color Management Solutions § X-Rite i1Profiler Expanded Gamut Tools § PANTONE Color Manager, Adobe Acrobat Pro, Adobe Photoshop Why do we need Expanded Gamut? - because imaging systems are imperfect Printing inks and dyes CMYK color gamut is small Color negative film What are the Use Cases for Expanded Gamut? ✓ 1. Spot Colors 2. Images PANTONE 301 C PANTONE 109 C Expanded gamut is most urgently needed in spot color reproduction for labels and package printing. Orange, Green, Violet - expands the colorspace Y G O C+Y M+Y -
NEC Multisync® PA311D Wide Gamut Color Critical Display Designed for Photography and Video Production
NEC MultiSync® PA311D Wide gamut color critical display designed for photography and video production 1419058943 High resolution and incredible, predictable color accuracy. The 31” MultiSync PA311D is the ultimate desktop display for applications where precise color is essential. The innovative wide-gamut LED backlight provides 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3, enabling more accurate colors to be displayed on screen. Utilizing a high performance IPS LCD panel and backed by a 4 year warranty with Advanced Exchange, the MultiSync PA311D delivers high quality, accurate images simply and beautifully. Impeccable Image Performance The wide-gamut LED LCD backlight combined with NEC’s exclusive SpectraView Engine deliver precise color in every environment. • True 4K resolution (4096 x 2160) offers a high pixel density • Up to 100% coverage of Adobe RGB color space and 98% coverage of DCI-P3 • 10-bit HDMI and DisplayPort inputs display up to 1.07 billion colors out of a palette of 4.3 trillion colors Ultimate Color Management The sophisticated SpectraView Engine provides extensive, intuitive control over color settings. • MultiProfiler software and on-screen controls provide access to thousands of color gamut, gamma, white point, brightness and contrast combinations • Internal 14-bit 3D lookup tables (LUTs) work with optional SpectraViewII color calibration solution for unparalleled color accuracy A Perfect Fit for Your Workspace A Better Workflow Future-proof connectivity, great ergonomics, and VESA mount Exclusive, -
Accurately Reproducing Pantone Colors on Digital Presses
Accurately Reproducing Pantone Colors on Digital Presses By Anne Howard Graphic Communication Department College of Liberal Arts California Polytechnic State University June 2012 Abstract Anne Howard Graphic Communication Department, June 2012 Advisor: Dr. Xiaoying Rong The purpose of this study was to find out how accurately digital presses reproduce Pantone spot colors. The Pantone Matching System is a printing industry standard for spot colors. Because digital printing is becoming more popular, this study was intended to help designers decide on whether they should print Pantone colors on digital presses and expect to see similar colors on paper as they do on a computer monitor. This study investigated how a Xerox DocuColor 2060, Ricoh Pro C900s, and a Konica Minolta bizhub Press C8000 with default settings could print 45 Pantone colors from the Uncoated Solid color book with only the use of cyan, magenta, yellow and black toner. After creating a profile with a GRACoL target sheet, the 45 colors were printed again, measured and compared to the original Pantone Swatch book. Results from this study showed that the profile helped correct the DocuColor color output, however, the Konica Minolta and Ricoh color outputs generally produced the same as they did without the profile. The Konica Minolta and Ricoh have much newer versions of the EFI Fiery RIPs than the DocuColor so they are more likely to interpret Pantone colors the same way as when a profile is used. If printers are using newer presses, they should expect to see consistent color output of Pantone colors with or without profiles when using default settings. -
The Printer's Guide to Expanded Gamut
DISTRIBUTED BY TECHKON USA February 2017 THE PRINTER’S GUIDE TO EXPANDED GAMUT Understanding the technology landscape and implementation approach By Ron Ellis Printer’s Guide to Expanded Gamut Page | 1 Printer’s Guide to Expanded Gamut Whitepaper By Ron Ellis Table of Contents What is Expanded Gamut ............................................................................................................... 4 ......................................................................................................................................................... 5 Why Expanded Gamut .................................................................................................................... 6 The Current Expanded Gamut Landscape ...................................................................................... 9 Standardization and Expanded Gamut ......................................................................................... 10 Methods of Producing Expanded Gamut...................................................................................... 11 Techkon and Expanded Gamut ..................................................................................................... 11 CMYK expanded gamut ................................................................................................................. 12 The CMYK Expanded Gamut Workflow ........................................................................................ 16 Conversion from source to CMYK Expanded gamut .................................................................... -
Monitor Color Gamut What Does “Percent of NTSC” Mean?
Technical white paper Monitor color gamut What does “percent of NTSC” mean? What is color gamut? With rare exceptions, all LCD monitors operate by presenting just three primary colors to the eye: red, green and blue. All the colors you can see on the monitor are actually different blends of the three primaries. This works because of the way the human eye works. The complete set of colors that a monitor can present is called the “native color gamut”, and is determined by the exact colors of the three primaries. Different monitors have slight (or not so slight) differences in the three primaries. These differences are a consequence of the technologies used in the LCD panel and the backlight, and sometimes of the age of the unit. There are two diagrams commonly used for representing how color gamuts relate to the set of all colors visible to the human eye. These are called “chromaticity” diagrams. The first (left), which is commonly used, is the “CIE 1931” diagram, which uses the coordinates x and y. The second diagram (right), which is newer (and, actually, a better representation of how we perceive color) is the “CIE 1976 UCS” diagram, which uses the coordinates u’ and v’ (called “u prime” and “v prime”). Any three-primary color gamut for a monitor can be plotted on these diagrams as a triangle of which the vertices are the exact colors of the red, green and blue primaries. The NTSC color space There are many standard three-primary color spaces used in the industry. The NTSC color space, defined in 1953, is, however, not commonly used, as no displays at the time had primaries which matched it. -
Comparing Measures of Gamut Area
Comparing Measures of Gamut Area Michael P Royer1 1Pacific Northwest National Laboratory 620 SW 5th Avenue, Suite 810 Portland, OR 97204 [email protected] This is an archival copy of an article published in LEUKOS. Please cite as: Royer MP. 2018. Comparing Measures of Gamut Area. LEUKOS. Online Before Print. DOI: 10.1080/15502724.2018.1500485. PNNL-SA-132222 ▪ November 2018 COMPARING MEASURES OF GAMUT AREA Abstract This article examines how the color sample set, color space, and other calculation elements influence the quantification of gamut area. The IES TM-30-18 Gamut Index (Rg) serves as a baseline, with comparisons made to several other measures documented in scientific literature and 12 new measures formulated for this analysis using various components of existing measures. The results demonstrate that changes in the color sample set, color space, and calculation procedure can all lead to substantial differences in light source performance characterizations. It is impossible to determine the relative “accuracy” of any given measure outright, because gamut area is not directly correlated with any subjective quality of an illuminated environment. However, the utility of different approaches was considered based on the merits of individual components of the gamut area calculation and based on the ability of a measure to provide useful information within a complete system for evaluating color rendition. For gamut area measures, it is important to have a reasonably uniform distribution of color samples (or averaged coordinates) across hue angle—avoiding exclusive use of high-chroma samples—with sufficient quantity to ensure robustness but enough difference to avoid incidents of the hue-angle order of the samples varying between the test and reference conditions. -
Gamut Analysis XCMYK
Gamut Analysis XCMYK Kiran Deshpande Multi Packaging Solutions, UK Outline • Background • Gamut metrics for analysis • XCMYK vs. GRACoL2013 CRPC6 • XCMYK vs. FOGRA51 • XCMYK vs. Proofer (Epson9900) • XCMYK vs. 7-color CMYKOGV • Summary Background • XCMYK – new expanded gamut 4-color printing process • Standard ISO 12647-2 compliant CMYK inks can be used • with higher ink film thickness • non-traditional screening e.g. FM • XCMYK dataset and ICC profile – Idealliance1 Gamut Metrics – relative coverage • We often need to compare two or more color gamuts • The absolute difference in gamut volumes alone is a poor indicator • It can't tell if the gamuts intersect sufficiently to meet the reproduction aims • Two gamuts having the same volume may not coincide • Metric needs to include both relative volume and intersection Gamut Comparison Index (GCI) • GCI2 – objective metric to quantify the difference between two gamuts • GCI between two gamuts shows how closely they match – similar to DE V V i i GCI = Vx Vy Vx : gamut volume of the medium x Vy : gamut volume of the medium y Vi : volume of intersection of the two gamuts (Vx ∩ Vy) Gamut Metrics – relative coverage • [Vi / Vx]: how much of gamut x is covered by gamut y • [Vi / Vy]: how much of gamut y is covered by gamut x • [(Vx – Vi ) / Vx]: how much of gamut x is outside the gamut y • [(Vy – Vi ) / Vy]: how much of gamut y is outside the gamut x • [Vx / Vy]: ratio of gamut x to gamut y Gamut Metrics2 Datasets and method • Reference gamut – XCMYK2017IT8 • GRACoL2013_CRPC63 • FOGRA514 • Proofer gamut – example Epson9900 • 7c Expanded Gamut CMYKOGV – Press1 & Press2 • Gamut volume calculation method – Alpha-shapes XCMYK vs. -
Análise Sensorial (Sensory Analysis) 29-02-2012 by Goreti Botelho 1
Análise Sensorial (Sensory analysis) 29-02-2012 INSTITUTO POLITÉCNICO DE COIMBRA INSTITUTO POLITÉCNICO DE COIMBRA ESCOLA SUPERIOR AGRÁRIA ESCOLA SUPERIOR AGRÁRIA LEAL LEAL Análise Sensorial Sensory analysis AULA T/P Nº 3 Lesson T/P Nº 3 SUMÁRIO: Summary Parte expositiva: Sistemas de medição de cor: diagrama de cromaticidade CIE, sistema de Theoretical part: Hunter e sistema de Munsell. Color Measurement Systems: CIE chromaticity diagram, Hunter system Parte prática: and Munsell system. Determinação de cores problema utilizando o diagrama de cromaticidade Practical part: CIE. Determination of a color problem by using the CIE chromaticity diagram. Utilização do colorímetro de refletância para determinação da cor de frutos. Use of the reflectance colorimeter to determine the color of fruits. Prova sensorial de dois sumos para compreensão da cor de um produto na Sensory taste of two juices to understand the color effect of a product in percepção sensorial. sensory perception. Goreti Botelho 1 Goreti Botelho 2 Why do we need devices to replace the human vision in the food industry? Limitações do olho humano • a) não é reprodutível – o mesmo alimento apresentado a vários provadores ou ao mesmo provador em momentos diferentes pode merecer qualificações diferentes. Este último fenómeno deve-se ao facto de que, em oposição à grande capacidade humana de apreciar diferenças, o homem não tem uma boa “memória da cor”, ou seja, é difícil recordar uma cor quando não a está a ver. • b) a nomenclatura é pouco concreta e até confusa. As expressões “verde muito claro” ou “amarelo intenso” não são suficientes para definir uma cor e muito menos para a reproduzir ou compará-la com outras quando não se dispõe do objecto que tem essa cor. -
AMSA Meat Color Measurement Guidelines
AMSA Meat Color Measurement Guidelines Revised December 2012 American Meat Science Association http://www.m eatscience.org AMSA Meat Color Measurement Guidelines Revised December 2012 American Meat Science Association 201 West Springfi eld Avenue, Suite 1202 Champaign, Illinois USA 61820 800-517-2672 [email protected] http://www.m eatscience.org iii CONTENTS Technical Writing Committee .................................................................................................................... v Preface ..............................................................................................................................................................vi Section I: Introduction ................................................................................................................................. 1 Section II: Myoglobin Chemistry ............................................................................................................... 3 A. Fundamental Myoglobin Chemistry ................................................................................................................ 3 B. Dynamics of Myoglobin Redox Form Interconversions ........................................................................... 3 C. Visual, Practical Meat Color Versus Actual Pigment Chemistry ........................................................... 5 D. Factors Affecting Meat Color ............................................................................................................................... 6 E. Muscle