By Maureen Stone
Annotation Maureen Stone's box consultant to electronic colour provides a survey of electronic colour with certain emphasis on these fields vital for special effects. The ebook presents the root for realizing colour and its purposes, discusses colour media and colour administration and using colour in special effects, together with colour layout and choice. The e-book offers a advisor for a person who wishes to comprehend and follow electronic colour. An annotated bibliography offers in-depth references for additional learn on every one topic Read more...
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Extra info for A field guide to digital color
L* This process is easy to implement, and people are quite consistent about which values they pick. Another consistency is that they normally pick around 100 patches for the completed scale. 0 0 1 Normalized Luminance This is how the Munsell value scale was defined, for example, using a set of painted samples. The quantity L*, which is the lightness axis of both the CIELAB and CIELUV color spaces, is a function of relative luminance that closely matches the Munsell value scale. Its mathematics were given in Figure 4, and comprise a cube root function plus a linear portion, scaled and translated to fit smoothly together.
Figure 14(c) shows the same tint applied only to the shirt, which now appears distinctly pink or peach, but not at all the same yellow as in Figure 14(b), even though the color is exactly the same. This illustration was inspired by a classic example created by Robert Hunt that involved applying cyan filters to a picture of a woman with a yellow pillow. The cone response physically adapt to the color of the light source. This general concept was first proposed by von Kries in 1902, with the admonition that it was probably too simple to be correct.
The same gray ramp is displayed on three different backgrounds, which changes the apparent spacing of the colors. A Field Guide to Digital Color The lightness of objects is described in terms of their reflectance or transmittance, which indicates the amount of incident light reflected from or transmitted through the object. These quantities are most precisely described as spectral distributions, but it can be useful to describe the total reflectance or transmittance as a percentage, especially when comparing object colors with similar spectral characteristics.