Display White Point Is Specification by Color Temperature Sufficient?
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Color Theory for Painting Video: Color Perception
Color Theory For Painting Video: Color Perception • http://www.ted.com/talks/lang/eng/beau_lotto_optical_illusions_show_how_we_see.html • Experiment • http://www.youtube.com/watch?v=y8U0YPHxiFQ Intro to color theory • http://www.youtube.com/watch?v=059-0wrJpAU&feature=relmfu Color Theory Principles • The Color Wheel • Color context • Color Schemes • Color Applications and Effects The Color Wheel The Color Wheel • A circular diagram displaying the spectrum of visible colors. The Color Wheel: Primary Colors • Primary Colors: Red, yellow and blue • In traditional color theory, primary colors can not be mixed or formed by any combination of other colors. • All other colors are derived from these 3 hues. The Color Wheel: Secondary Colors • Secondary Colors: Green, orange and purple • These are the colors formed by mixing the primary colors. The Color Wheel: Tertiary Colors • Tertiary Colors: Yellow- orange, red-orange, red-purple, blue-purple, blue-green & yellow-green • • These are the colors formed by mixing a primary and a secondary color. • Often have a two-word name, such as blue-green, red-violet, and yellow-orange. Color Context • How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square. Color Context • Does your impression od the center square change based on the surround? Color Context Additive colors • Additive: Mixing colored Light Subtractive Colors • Subtractive Colors: Mixing colored pigments Color Schemes Color Schemes • Formulas for creating visual unity [often called color harmony] using colors on the color wheel Basic Schemes • Analogous • Complementary • Triadic • Split complement Analogous Color formula used to create color harmony through the selection of three related colors which are next to one another on the color wheel. -
Download User Guide
SpyderX User’s Guide 1 Table of Contents INTRODUCTION 4 WHAT’S IN THE BOX 5 SYSTEM REQUIREMENTS 5 SPYDERX COMPARISON CHART 6 SERIALIZATION AND ACTIVATION 7 SOFTWARE LAYOUT 11 SPYDERX PRO 12 WELCOME SCREEN 12 SELECT DISPLAY 13 DISPLAY TYPE 14 MAKE AND MODEL 15 IDENTIFY CONTROLS 16 DISPLAY TECHNOLOGY 17 CALIBRATION SETTINGS 18 MEASURING ROOM LIGHT 19 CALIBRATION 20 SAVE PROFILE 23 RECAL 24 1-CLICK CALIBRATION 24 CHECKCAL 25 SPYDERPROOF 26 PROFILE OVERVIEW 27 SHORTCUTS 28 DISPLAY ANALYSIS 29 PROFILE MANAGEMENT TOOL 30 SPYDERX ELITE 31 WORKFLOW 31 WELCOME SCREEN 32 SELECT DISPLAY 33 DISPLAY TYPE 34 MAKE AND MODEL 35 IDENTIFY CONTROLS 36 DISPLAY TECHNOLOGY 37 SELECT WORKFLOW 38 STEP-BY-STEP ASSISTANT 39 STUDIOMATCH 41 EXPERT CONSOLE 45 MEASURING ROOM LIGHT 46 CALIBRATION 47 SAVE PROFILE 50 2 RECAL 51 1-CLICK CALIBRATION 51 CHECKCAL 52 SPYDERPROOF 53 SPYDERTUNE 54 PROFILE OVERVIEW 56 SHORTCUTS 57 DISPLAY ANALYSIS 58 SOFTPROOFING/DEVICE SIMULATION 59 PROFILE MANAGEMENT TOOL 60 GLOSSARY OF TERMS 61 FAQ’S 63 INSTRUMENT SPECIFICATIONS 66 Main Company Office: Manufacturing Facility: Datacolor, Inc. Datacolor Suzhou 5 Princess Road 288 Shengpu Road Lawrenceville, NJ 08648 Suzhou, Jiangsu P.R. China 215021 3 Introduction Thank you for purchasing your new SpyderX monitor calibrator. This document will offer a step-by-step guide for using your SpyderX calibrator to get the most accurate color from your laptop and/or desktop display(s). 4 What’s in the Box • SpyderX Sensor • Serial Number • Welcome Card with Welcome page details • Link to download the -
Cielab Color Space
Gernot Hoffmann CIELab Color Space Contents . Introduction 2 2. Formulas 4 3. Primaries and Matrices 0 4. Gamut Restrictions and Tests 5. Inverse Gamma Correction 2 6. CIE L*=50 3 7. NTSC L*=50 4 8. sRGB L*=/0/.../90/99 5 9. AdobeRGB L*=0/.../90 26 0. ProPhotoRGB L*=0/.../90 35 . 3D Views 44 2. Linear and Standard Nonlinear CIELab 47 3. Human Gamut in CIELab 48 4. Low Chromaticity 49 5. sRGB L*=50 with RGB Numbers 50 6. PostScript Kernels 5 7. Mapping CIELab to xyY 56 8. Number of Different Colors 59 9. HLS-Hue for sRGB in CIELab 60 20. References 62 1.1 Introduction CIE XYZ is an absolute color space (not device dependent). Each visible color has non-negative coordinates X,Y,Z. CIE xyY, the horseshoe diagram as shown below, is a perspective projection of XYZ coordinates onto a plane xy. The luminance is missing. CIELab is a nonlinear transformation of XYZ into coordinates L*,a*,b*. The gamut for any RGB color system is a triangle in the CIE xyY chromaticity diagram, here shown for the CIE primaries, the NTSC primaries, the Rec.709 primaries (which are also valid for sRGB and therefore for many PC monitors) and the non-physical working space ProPhotoRGB. The white points are individually defined for the color spaces. The CIELab color space was intended for equal perceptual differences for equal chan- ges in the coordinates L*,a* and b*. Color differences deltaE are defined as Euclidian distances in CIELab. This document shows color charts in CIELab for several RGB color spaces. -
Preparing Images for Delivery
TECHNICAL PAPER Preparing Images for Delivery TABLE OF CONTENTS So, you’ve done a great job for your client. You’ve created a nice image that you both 2 How to prepare RGB files for CMYK agree meets the requirements of the layout. Now what do you do? You deliver it (so you 4 Soft proofing and gamut warning can bill it!). But, in this digital age, how you prepare an image for delivery can make or 13 Final image sizing break the final reproduction. Guess who will get the blame if the image’s reproduction is less than satisfactory? Do you even need to guess? 15 Image sharpening 19 Converting to CMYK What should photographers do to ensure that their images reproduce well in print? 21 What about providing RGB files? Take some precautions and learn the lingo so you can communicate, because a lack of crystal-clear communication is at the root of most every problem on press. 24 The proof 26 Marking your territory It should be no surprise that knowing what the client needs is a requirement of pro- 27 File formats for delivery fessional photographers. But does that mean a photographer in the digital age must become a prepress expert? Kind of—if only to know exactly what to supply your clients. 32 Check list for file delivery 32 Additional resources There are two perfectly legitimate approaches to the problem of supplying digital files for reproduction. One approach is to supply RGB files, and the other is to take responsibility for supplying CMYK files. Either approach is valid, each with positives and negatives. -
Digital Refocusing with Incoherent Holography
Digital Refocusing with Incoherent Holography Oliver Cossairt Nathan Matsuda Northwestern University Northwestern University Evanston, IL Evanston, IL [email protected] [email protected] Mohit Gupta Columbia University New York, NY [email protected] Abstract ‘adding’ and ‘subtracting’ blur to the point spread functions (PSF) of different scene points, depending on their depth. In Light field cameras allow us to digitally refocus a pho- a conventional 2D image, while it is possible to add blur to tograph after the time of capture. However, recording a a scene point’s PSF, it is not possible to subtract or remove light field requires either a significant loss in spatial res- blur without introducing artifacts in the image. This is be- olution [10, 20, 9] or a large number of images to be cap- cause 2D imaging is an inherently lossy process; the angular tured [11]. In this paper, we propose incoherent hologra- information in the 4D light field is lost in a 2D image. Thus, phy for digital refocusing without loss of spatial resolution typically, if digital refocusing is desired, 4D light fields are from only 3 captured images. The main idea is to cap- captured. Unfortunately, light field cameras sacrifice spa- ture 2D coherent holograms of the scene instead of the 4D tial resolution in order to capture the angular information. light fields. The key properties of coherent light propagation The loss in resolution can be significant, up to 1-2 orders are that the coherent spread function (hologram of a single of magnitude. While there have been attempts to improve point source) encodes scene depths and has a broadband resolution by using compressive sensing techniques [14], spatial frequency response. -
Dalmatian's Definitions
T H E B L A C K & W H I T E P A P E R S D A L M A T I A N ’ S D E F I N I T I O N S 8 BIT A bit is the possible number of colors or tones assigned to each pixel. In 8 bit files, 1 of 256 tones is assigned to each pixel. 8-bit Jpeg is the default setting for most cameras; whenever possible set the camera to RAW capture for the best image capture possible. 16 BIT A bit is the possible number of colors or tones assigned to each pixel. In 16 bit files, 1 of 65,536 tones are assigned to each pixel. 16 bit files have the greatest range of tonalities and a more realistic interpretation of continuous tone. Note the increase in tonalities from 8 bit to 16 bit. If your aim is the quality of the image, then 16 bit is a must. ADOBE 1998 COLOR SPACE Adobe ‘98 is the preferred RGB color space that places the captured and therefore printable colors within larger parameters, rendering approximately 50% the visible color space of the human eye. Whenever possible, change the camera’s default sRGB setting to Adobe 1998 in order to increase available color capture. Whenever possible change this setting to Adobe 1998 in order to increase available color capture. When an image is captured in sRGB, it is best to leave the color space unchanged so color rendering is unaffected. ARCHIVAL Archival materials are those with a neutral pH balance that will not degrade over time and are resistant to UV fading. -
Specification of Srgb
How to interpret the sRGB color space (specified in IEC 61966-2-1) for ICC profiles A. Key sRGB color space specifications (see IEC 61966-2-1 https://webstore.iec.ch/publication/6168 for more information). 1. Chromaticity co-ordinates of primaries: R: x = 0.64, y = 0.33, z = 0.03; G: x = 0.30, y = 0.60, z = 0.10; B: x = 0.15, y = 0.06, z = 0.79. Note: These are defined in ITU-R BT.709 (the television standard for HDTV capture). 2. Reference display‘Gamma’: Approximately 2.2 (see precise specification of color component transfer function below). 3. Reference display white point chromaticity: x = 0.3127, y = 0.3290, z = 0.3583 (equivalent to the chromaticity of CIE Illuminant D65). 4. Reference display white point luminance: 80 cd/m2 (includes veiling glare). Note: The reference display white point tristimulus values are: Xabs = 76.04, Yabs = 80, Zabs = 87.12. 5. Reference veiling glare luminance: 0.2 cd/m2 (this is the reference viewer-observed black point luminance). Note: The reference viewer-observed black point tristimulus values are assumed to be: Xabs = 0.1901, Yabs = 0.2, Zabs = 0.2178. These values are not specified in IEC 61966-2-1, and are an additional interpretation provided in this document. 6. Tristimulus value normalization: The CIE 1931 XYZ values are scaled from 0.0 to 1.0. Note: The following scaling equations can be used. These equations are not provided in IEC 61966-2-1, and are an additional interpretation provided in this document. 76.04 X abs 0.1901 XN = = 0.0125313 (Xabs – 0.1901) 80 76.04 0.1901 Yabs 0.2 YN = = 0.0125313 (Yabs – 0.2) 80 0.2 87.12 Zabs 0.2178 ZN = = 0.0125313 (Zabs – 0.2178) 80 87.12 0.2178 7. -
Computational RYB Color Model and Its Applications
IIEEJ Transactions on Image Electronics and Visual Computing Vol.5 No.2 (2017) -- Special Issue on Application-Based Image Processing Technologies -- Computational RYB Color Model and its Applications Junichi SUGITA† (Member), Tokiichiro TAKAHASHI†† (Member) †Tokyo Healthcare University, ††Tokyo Denki University/UEI Research <Summary> The red-yellow-blue (RYB) color model is a subtractive model based on pigment color mixing and is widely used in art education. In the RYB color model, red, yellow, and blue are defined as the primary colors. In this study, we apply this model to computers by formulating a conversion between the red-green-blue (RGB) and RYB color spaces. In addition, we present a class of compositing methods in the RYB color space. Moreover, we prescribe the appropriate uses of these compo- siting methods in different situations. By using RYB color compositing, paint-like compositing can be easily achieved. We also verified the effectiveness of our proposed method by using several experiments and demonstrated its application on the basis of RYB color compositing. Keywords: RYB, RGB, CMY(K), color model, color space, color compositing man perception system and computer displays, most com- 1. Introduction puter applications use the red-green-blue (RGB) color mod- Most people have had the experience of creating an arbi- el3); however, this model is not comprehensible for many trary color by mixing different color pigments on a palette or people who not trained in the RGB color model because of a canvas. The red-yellow-blue (RYB) color model proposed its use of additive color mixing. As shown in Fig. -
Thanks for Downloading the Sample Chapters
Thanks for Downloading the Sample Chapters Here are the chapters included. The Quick Start chapter, the first in the book, which identifies five quick ways to up the video and audio quality of your webinars and videoconferences. Chapter 5: Simple Lighting Techniques. The easiest way to significantly improve the quality of video produced by webcams and smartphones is to add lighting. You don’t have to spend a fortune; in fact, my go-to setup cost $30. You can read about this and more in this chapter. Chapter 9: Working With Audio on Android Devices. How to add and control a microphone on Android devices. Chapter 14: Working with Onstream Webinars. Audio and video adjustment controls available in Onstream Webinars. After the chapters, I’ve inserted the introduction to the book, and then the table of contents, so you can see what else is covered in the book. Thanks for having a look. Quick Start: Do This, Don’t Do That Figure a. Check your upload speed well in advance; don’t just pray for the best. This chapter contains highlights from various chapters in the book, both as a quick-start reference and as an introduction to the materials covered in the book. As you can see in Figure a, it’s better to check your outbound bandwidth with a tool called Speedtest than to simply pray that your bandwidth is sufficient. Chapter 1 has tables detailing the recommended bitrate for various conferencing and webinar applications, and other, related tips. Note that Speedtest is available as an app for both iOS and Android platforms, so you can check there as well. -
Calculation of CCT and Duv and Practical Conversion Formulae
CORM 2011 Conference, Gaithersburg, MD, May 3-5, 2011 Calculation of CCT and Duv and Practical Conversion Formulae Yoshi Ohno Group Leader, NIST Fellow Optical Technology Division National Institute of Standards and Technology Gaithersburg, Maryland USA CORM 2011 1 White Light Chromaticity Duv CCT CORM 2011 2 Duv often missing Lighting Facts Label CCT and CRI do not tell the whole story of color quality CORM 2011 3 CCT and CRI do not tell the whole story Triphosphor FL simulation Not acceptable Not preferred Neodymium (Duv=-0.005) Duv is another important dimension of chromaticity. CORM 2011 4 Duv defined in ANSI standard Closest distance from the Planckian locus on the (u', 2/3 v') diagram, with + sign for above and - sign for below the Planckian locus. (ANSI C78.377-2008) Symbol: Duv CCT and Duv can specify + Duv the chromaticity of light sources just like (x, y). - Duv The two numbers (CCT, Duv) provides color information intuitively. (x, y) does not. Duv needs to be defined by CIE. CORM 2011 5 ANSI C78.377-2008 Specifications for the chromaticity of SSL products CORM 2011 6 CCT- Duv chart 5000 K 3000 K 4000 K 6500 K 2700 K 3500 K 4500 K 5700 K ANSI 7-step MacAdam C78.377 ellipses quadrangles (CCT in log scale) CORM 2011 7 Correlated Color Temperature (CCT) Temperature [K] of a Planckian radiator whose chromaticity is closest to that of a given stimulus on the CIE (u’,2/3 v’) coordinate. (CIE 15:2004) CCT is based on the CIE 1960 (u, v) diagram, which is now obsolete. -
HD-SDI, HDMI, and Tempus Fugit
TECHNICALL Y SPEAKING... By Steve Somers, Vice President of Engineering HD-SDI, HDMI, and Tempus Fugit D-SDI (high definition serial digital interface) and HDMI (high definition multimedia interface) Hversion 1.3 are receiving considerable attention these days. “These days” really moved ahead rapidly now that I recall writing in this column on HD-SDI just one year ago. And, exactly two years ago the topic was DVI and HDMI. To be predictably trite, it seems like just yesterday. As with all things digital, there is much change and much to talk about. HD-SDI Redux difference channels suffice with one-half 372M spreads out the image information The HD-SDI is the 1.5 Gbps backbone the sample rate at 37.125 MHz, the ‘2s’ between the two channels to distribute of uncompressed high definition video in 4:2:2. This format is sufficient for high the data payload. Odd-numbered lines conveyance within the professional HD definition television. But, its robustness map to link A and even-numbered lines production environment. It’s been around and simplicity is pressing it into the higher map to link B. Table 1 indicates the since about 1996 and is quite literally the bandwidth demands of digital cinema and organization of 4:2:2, 4:4:4, and 4:4:4:4 savior of high definition interfacing and other uses like 12-bit, 4096 level signal data with respect to the available frame delivery at modest cost over medium-haul formats, refresh rates above 30 frames per rates. distances using RG-6 style video coax. -
Analysis of White Point and Phosphor Set Differences of CRT Displays
Peter G. Engeldrum Imcotek, Inc. P.O. Box 66 Bloomfield, CT 06002 John L. lngraham Billerica, MA 01821 Analysis of White Point and Phosphor Set Differences of CRT Displays There are a variety of CRT phosphor sets used to display the CRT screen; so called WYSIWYG (what you see is color information. In addition, the white point, achieved what you get) color. To attain this result we require an when the red, green, and blue phosphors are excited by unambiguous description of color on the CRT. The CIE beam currents corresponding to the maximum digital count system of calorimetry provides for this description in terms for each primary, is not standardized. Displaying a file of CIE tristimulus values X, Y, Z. containing RGB digital values on unlike monitors, with dif- For calorimetry to be useful, there are additional quan- ferent phosphors andlor white points, would produce dif- tities that need to be specified. First we need to know the ferent colors. Computer stimulations were conducted to “white point”; that is the tristimulus values of the white on compute the colors for CRTs with di#erent phosphor sets the screen when the luminance output of the three phosphors and constant white points and for d@erent white points with are at their maximum values. The other requirement is the constantphosphor sets. Test results demonstrated that CIE- tristimulus values of the primaries; the red, green, and blue LAB color differences were larger when the phosphor sets phosphors. When the above quantities are known, the CIE were different. Smaller color dt#erences resulted from dtf- tristimulus values X, Y, Z can readily be determined from ferences in white point, assuming a constant phosphor set.