By JÃ¡n MoroviÄ
Gamut mapping algorithms, carried out by way of colour administration structures, are an essential component of the colour copy method. through adjusting the colours with acceptable algorithms, gamut mapping allows unique shades to ‘fit’ inside of in a different way formed colour gamuts and authentically transfers photographs throughout a variety of media. This e-book illustrates the variety of attainable gamut mapping innovations for cross-media colour replica, evaluates the functionality of varied thoughts and advises on designing new, more advantageous ideas. beginning with overviews of colour technological know-how, replica and administration, the textual content includes: a precise survey of ninety+ gamut mapping algorithms protecting color-by-color relief and growth, spatial relief, spectral relief and gamut mapping for area of interest applications;a step by step instance of a color’s trip from unique to copy, through a electronic workflow;a distinctive research of colour gamut computation, together with a comparability of different concepts and a demonstration of the gamuts of salient colour units and media;a presentation of either measurement-based and psychovisual evaluate of person colour reproductions;an review of other techniques to gamut mapping proposed via the ISO and the CIE together with an research of the construction blocks of gamut mapping algorithms and the standards affecting their performance.Color Gamut Mapping is a finished source for practising colour and imaging engineers, scientists and researchers operating within the improvement of imaging units, software program and solutions. it's also a worthy reference for college students of colour and imaging technology, in addition to photographers, picture designers and artists.
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Additional info for Color Gamut Mapping (The Wiley-IS&T Series in Imaging Science and Technology)
E. always growing) relationship would be expected between brightnesses reported for patches with increasing luminance. 15b). Another way of looking at the magnitude estimates is to say that, within a single scene, stimuli with luminances of <1, around 10, around 100 as well as several hundred candelas per square meter can result in the same perceived brightness of 50 units. These results are also consistent with Land's (1964) Retinex theory that places particular emphasis at local luminance ratios.
However, it turns out that CIE XYZ is highly nonuniform and, in the case of our example, the green pair would look much more similar than the red one, even though their distances in XYZ would be the same (MacAdam, 1942). Such nonuniformity means that distances between the XYZs of colors do not express their perceived differences. Therefore, XYZ cannot be used for determining whether two stimuli can be distinguished or for setting thresholds below which differences are acceptable. In addition to nonuniformity, the CIE XYZ space also has the limitation that its dimensions do not predict how color experiences are described.
Thinking about the corresponding differences among our experiences, we can see, though, that a white surface in bright sunlight does not look 500 times brighter than when seen in a typically lit living room. The reason for this is that our visual system has a dynamic response and adapts to the level of illumination by adjusting its sensitivity (involving changes in pupil size, change of photoreceptor pigment concentration and higher level processes in the visual pathway, such as opponency). An example of trying to predict adaptation can be found already in the CIELAB color space, which takes the ratio of the tristimulus values of a stimulus and the tristimulus values of a similarly lit white surface (the reference white) as its basis rather than only the XYZs of the stimulus alone.