By Maureen Stone
Annotation Maureen Stone's box advisor to electronic colour provides a survey of electronic colour with distinctive emphasis on these fields vital for special effects. The e-book offers the basis for knowing colour and its functions, discusses colour media and colour administration and using colour in special effects, together with colour layout and choice. The ebook offers a advisor for a person who wishes to comprehend and follow electronic colour. An annotated bibliography offers in-depth references for extra research on every one topic Read more...
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Additional resources for A field guide to digital color
The Opponent Color Model L + + + A M + - R-G S + + + - Y-B Figure 5. The LMS cone response signals are combined to create the opponent channels. All cones contribute to all opponent channels in proportion to their density in the retina. The perceptual organization of color reflects the first level of processing applied to the cone response signals (LMS) and is called the opponent color model. In this model, the LMS values from the retina are encoded as achromatic brightness (A) plus a red-green (R–G) and a yellow-blue (Y–B) color difference signal, as shown in Figure 5.
All instrumentation needs routine calibration and evaluation to be sure it is working correctly. In addition to following the manufacturer’s recommendations, it is useful to create some standard measurements, and make them routinely to see if the instrument has drifted. Similarly, for any task, it is important to find some “reality check” measurements to ensure you don’t waste time gathering garbage. For example, when measuring a CRT display, the sum of the tristimulus values for red, green, and blue should equal the tristimulus values for white, because white is the sum of red, green, and blue.
33 A Field Guide to Digital Color Adaptation Human vision is very adaptable. We are capable of seeing in both very dim and very bright light, and over six orders of magnitude from the dimmest starlight to full sunlight. When we move from bright to dim lighting, or vice versa, we can feel our visual system adapt. Think of this as a gain control on the visual system. For dim lighting, we turn up the sensitivity. For bright lights, we need to damp it. These phenomena are called dark adaptation and light adaptation, respectively.
A field guide to digital color by Maureen Stone