COLOR

  • HDR and Color

    https://www.soundandvision.com/content/nits-and-bits-hdr-and-color

    In HD we often refer to the range of available colors as a color gamut. Such a color gamut is typically plotted on a two-dimensional diagram, called a CIE chart, as shown in at the top of this blog. Each color is characterized by its x/y coordinates.

    Good enough for government work, perhaps. But for HDR, with its higher luminance levels and wider color, the gamut becomes three-dimensional.

    For HDR the color gamut therefore becomes a characteristic we now call the color volume. It isn’t easy to show color volume on a two-dimensional medium like the printed page or a computer screen, but one method is shown below. As the luminance becomes higher, the picture eventually turns to white. As it becomes darker, it fades to black. The traditional color gamut shown on the CIE chart is simply a slice through this color volume at a selected luminance level, such as 50%.

    Three different color volumes—we still refer to them as color gamuts though their third dimension is important—are currently the most significant. The first is BT.709 (sometimes referred to as Rec.709), the color gamut used for pre-UHD/HDR formats, including standard HD.

    The largest is known as BT.2020; it encompasses (roughly) the range of colors visible to the human eye (though ET might find it insufficient!).

    Between these two is the color gamut used in digital cinema, known as DCI-P3.

    sRGB

    D65

     

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  • The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t See

    www.livescience.com/17948-red-green-blue-yellow-stunning-colors.html

     

     

    While the human eye has red, green, and blue-sensing cones, those cones are cross-wired in the retina to produce a luminance channel plus a red-green and a blue-yellow channel, and it’s data in that color space (known technically as “LAB”) that goes to the brain. That’s why we can’t perceive a reddish-green or a yellowish-blue, whereas such colors can be represented in the RGB color space used by digital cameras.

     

    https://en.rockcontent.com/blog/the-use-of-yellow-in-data-design

    The back of the retina is covered in light-sensitive neurons known as cone cells and rod cells. There are three types of cone cells, each sensitive to different ranges of light. These ranges overlap, but for convenience the cones are referred to as blue (short-wavelength), green (medium-wavelength), and red (long-wavelength). The rod cells are primarily used in low-light situations, so we’ll ignore those for now.

     

    When light enters the eye and hits the cone cells, the cones get excited and send signals to the brain through the visual cortex. Different wavelengths of light excite different combinations of cones to varying levels, which generates our perception of color. You can see that the red cones are most sensitive to light, and the blue cones are least sensitive. The sensitivity of green and red cones overlaps for most of the visible spectrum.

     

    Here’s how your brain takes the signals of light intensity from the cones and turns it into color information. To see red or green, your brain finds the difference between the levels of excitement in your red and green cones. This is the red-green channel.

     

    To get “brightness,” your brain combines the excitement of your red and green cones. This creates the luminance, or black-white, channel. To see yellow or blue, your brain then finds the difference between this luminance signal and the excitement of your blue cones. This is the yellow-blue channel.

     

    From the calculations made in the brain along those three channels, we get four basic colors: blue, green, yellow, and red. Seeing blue is what you experience when low-wavelength light excites the blue cones more than the green and red.

     

    Seeing green happens when light excites the green cones more than the red cones. Seeing red happens when only the red cones are excited by high-wavelength light.

     

    Here’s where it gets interesting. Seeing yellow is what happens when BOTH the green AND red cones are highly excited near their peak sensitivity. This is the biggest collective excitement that your cones ever have, aside from seeing pure white.

     

    Notice that yellow occurs at peak intensity in the graph to the right. Further, the lens and cornea of the eye happen to block shorter wavelengths, reducing sensitivity to blue and violet light.

    Read more: The Forbidden colors – Red-Green & Blue-Yellow: The Stunning Colors You Can’t See
  • Tim Kang – calibrated white light values in sRGB color space

    https://www.linkedin.com/posts/timkang_colorimetry-cinematography-nerdalert-activity-7058330978007584769-9xln

     

    8bit sRGB encoded
    2000K 255 139 22
    2700K 255 172 89
    3000K 255 184 109
    3200K 255 190 122
    4000K 255 211 165
    4300K 255 219 178
    D50 255 235 205
    D55 255 243 224
    D5600 255 244 227
    D6000 255 249 240
    D65 255 255 255
    D10000 202 221 255
    D20000 166 196 255

    8bit Rec709 Gamma 2.4
    2000K 255 145 34
    2700K 255 177 97
    3000K 255 187 117
    3200K 255 193 129
    4000K 255 214 170
    4300K 255 221 182
    D50 255 236 208
    D55 255 243 226
    D5600 255 245 229
    D6000 255 250 241
    D65 255 255 255
    D10000 204 222 255
    D20000 170 199 255

    8bit Display P3 encoded
    2000K 255 154 63
    2700K 255 185 109
    3000K 255 195 127
    3200K 255 201 138
    4000K 255 219 176
    4300K 255 225 187
    D50 255 239 212
    D55 255 245 228
    D5600 255 246 231
    D6000 255 251 242
    D65 255 255 255
    D10000 208 223 255
    D20000 175 199 255

    10bit Rec2020 PQ (100 nits)
    2000K 520 435 273
    2700K 520 466 358
    3000K 520 475 384
    3200K 520 480 399
    4000K 520 495 446
    4300K 520 500 458
    D50 520 510 482
    D55 520 514 497
    D5600 520 514 500
    D6000 520 517 509
    D65 520 520 520
    D10000 479 489 520
    D20000 448 464 520

     

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  • What Is The Resolution and view coverage Of The human Eye. And what distance is TV at best?

    https://www.discovery.com/science/mexapixels-in-human-eye

    About 576 megapixels for the entire field of view.

     

    Consider a view in front of you that is 90 degrees by 90 degrees, like looking through an open window at a scene. The number of pixels would be:
    90 degrees * 60 arc-minutes/degree * 1/0.3 * 90 * 60 * 1/0.3 = 324,000,000 pixels (324 megapixels).

     

    At any one moment, you actually do not perceive that many pixels, but your eye moves around the scene to see all the detail you want. But the human eye really sees a larger field of view, close to 180 degrees. Let’s be conservative and use 120 degrees for the field of view. Then we would see:

    120 * 120 * 60 * 60 / (0.3 * 0.3) = 576 megapixels.

    Or.

    7 megapixels for the 2 degree focus arc… + 1 megapixel for the rest.

    https://clarkvision.com/articles/eye-resolution.html

     

    Details in the post

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LIGHTING