A Field Guide to Digital Color by Maureen Stone

By Maureen Stone

Maureen Stone's box consultant to electronic colour provides a survey of electronic colour with particular emphasis on these fields very important for special effects. The ebook presents the basis 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 booklet presents a advisor for a person who desires to comprehend and practice electronic colour. An annotated bibliography offers in-depth references for extra learn on each one subject.

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Furthermore, such tristimulus values do not follow the additive principles described above. What does it mean to blend two object colors? The potential for confusion hardly seems to compensate for the possible convenience. Color Measurement Instrumentation for tristimulus-based color measurement comes in two forms: instruments that sample spectra and compute tristimulus values based on the samples, and instruments that use filters to approximate the color-matching functions. The first usually have “spectro-” in their name, and are either spectroradiometers (which measure light directly and absolutely) or spectrophotometers (which measure relative reflectance, and often contain their own light source).

It peaks in the yellowgreen part of the spectrum at a wavelength of 555 nanometers, and tapers to zero at both ends. Take any spectrum, multiply it by this curve, and integrate to get the luminance, which is a measure of the perceived intensity. To better understand the difference between intensity and luminance, consider two lights of equal intensity but of different colors, one green and one blue. The green light will have a higher luminance than the blue one; it will appear brighter for the same intensity because the eye is more sensitive to its wavelengths.

These colors range from yellowish-red to blue-white. 14 1 Color Vision Figure 15. CIE 1976 chromaticity diagram showing the spectrum locus, the purple line, and the black-body curve. The transformation from CIE XYZ is shown in the equations. 5 x One major concern with the 1931 chromaticity diagram is that distances are not proportional to perceptual differences in color. 1 units of each other in the reddish (lower right) part of the chart will be perceptually more different than two colors the same distance away in the greenish (upper left) part of the chart.

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