Preface xiii
Acknowledgements xv
About the Companion Website xix
Introductions xxi
The Book xxi
The Colour Reproduction Workbook xxii
Part One Colour – Perception, Characteristics and Definition 1
1 The Perception of Colour 3
1.1 Introduction 3
1.2 Setting the Scene 3
1.3 Characterising the Responses of the Eye to Light 8
1.4 The Three Characteristics of the Eye Relevant to Reproduction 10
1.5 The Quantitative Response or Tonal Range of the Eye 10
1.6 The Qualitative Response of the Eye 13
2 Mapping, Mixing and Categorising Colours 19
2.1 Primary Colours 19
2.2 Colour Mixing 31
2.3 Colour in Three Dimensions 34
2.4 Colour Terminology 37
2.5 Categorising Colours 38
2.6 The Effects of Illumination on the Perception of Colour 42
Part Two the Measurement and Generation of Colour 43
3 A Practical Approach to the Measurement of Colour 45
3.1 The Fundamentals of Colour Measurement 45
3.2 Colour Matching Functions 46
3.3 Measuring Colour with the CMFs 51
3.4 Chromaticity Diagrams 52
4 Colour Measurement Standardisation – The CIE System of Colour Measurement 61
4.1 Limitations of the Fundamental Approach to Colour Measurement 61
4.2 The CIE 61
4.3 The CIE 1931 Standard Observer 62
4.4 The CIE 1931 X, Y, Z System of Colour Measurement 64
4.5 Transforming the CIE X, Y, Z Parameters to Perceptually Related Parameters 72
4.6 The CIE 1976 UCS Diagram 72
4.7 The CIE 1976 (L*, u*, v*) Colour Space 76
4.8 Surface Colours within the LUV Colour Space 84
4.9 Limitations of the LUV Colour Space as an Accurate Colour Appearance Model 91
5 Colour Measurement and Perception 97
5.1 Chromatic Adaptation 97
5.2 Metermerism 98
5.3 Quantifying Chromatic Adaptation 102
6 Generating Coloured Light 105
6.1 Introduction 105
6.2 The Physics of Light Generation 105
6.3 Incandescence: Light from Heat – Blackbody or Planckian Radiation 106
6.4 Colour Temperature 111
6.5 Luminescence 113
6.6 Electroluminescence 114
6.7 Fluorescence 126
Part Three The Concepts of Colour Reproduction 131
7 Sources of Illumination 133
7.1 Overview 133
7.2 Illuminant Colour Rendering Quality 134
7.3 Daylight 143
7.4 Incandescent-based Lamps 148
7.5 Electrical Discharge-based Lamps 150
7.6 LED Lamps 155
7.7 Summary of Sources of Illumination 158
8 The Essential Elements of Colour Reproduction 161
8.1 The Basic Reproduction System 161
8.2 The Camera 162
8.3 Display Devices 165
8.4 Reconciling Minimum Image Resolution with Maximum Perceivable Resolution 171
9 Colorimetry in Colour Reproduction 175
9.1 The Relationship between the Display Primaries and the Camera Spectral Sensitivities 175
9.2 The Choice of Reproduction Display Primaries 177
9.3 Derivation of Colour Reproduction System Camera Spectral Sensitivities 181
10 Appraising the Reproduced Image 185
10.1 Introduction 185
10.2 The Environmental Lighting 186
10.3 Reflections from the Display 187
10.4 Image Size 187
10.5 Managing the Viewing Environment 187
10.6 System Design Parameters 188
Part Four The Fundamentals of Colour Reproduction 189
11 System White and White Balance 193
11.1 System Reference White 193
11.2 White Balance 195
11.3 Adapting to Scenes with Different Illuminant SPDs 200
12 Colorimetric Processing 203
12.1 Introduction 203
12.2 Manipulating the Colour Space – Chromaticity Gamut Transformation 205
12.3 Gamut Mapping 213
12.4 A Colorimetrically Ideal Set of Camera Spectral Sensitivities 216
12.5 An Ideal Media Neutral Colour Reproduction System 222
12.6 Using System Primaries or Device-Independent Encoding 223
13 Preserving Tonal Relationships – Tone Reproduction and Contrast Laws 225
13.1 Introduction 225
13.2 Terms and Definitions 226
13.3 Contrast Ranges 229
13.4 Gamma Correction 238
13.5 Standard or Reference Displays 251
13.6 Masking Artefacts 252
13.7 Matching the Contrast Law to the Viewing Environment 257
13.8 Overall Opto-electro Transfer Characteristics in Actual Reproduction Systems 260
13.9 Producing a Greyscale Test Chart 261
14 Storage and Conveyance of Colour Signals – Encoding Colour Signals 271
14.1 Introduction 271
14.2 The Imperatives for Encoding RGB Colour Signals 272
14.3 System Compatibility and Retention of Colour Balance 275
14.4 A Simple Constant Luminance Encoding System 280
14.5 Exploiting the Spatial Characteristics of the Eye 282
14.6 A Practical Constant Luminance System 283
14.7 A Non-Constant Luminance System 285
14.8 The Ramifications of the Failure of Constant Luminance 287
15 Specifying a Colour Reproduction System 289
15.1 Introduction 289
15.2 Deriving the Specifications 289
15.3 A Representative Closed Colour Reproduction System Specification 291
Part Five The Practicalities of Colour Reproduction – Television, Photography and Cinematography 295
Part Five A Colour Reproduction in Television 299
16 The Television System and the Image Capture Operation 301
16.1 The Television System Workflow 301
16.2 The Television System Signal Path 303
16.3 The Television Standards Organisations 304
17 A Brief History of Colour in Television 307
17.1 The Beginnings 307
17.2 The NTSC, PAL and SECAM Colour Television Systems 309
17.3 The Introduction of Digital Television 324
17.4 The Rise of High Definition Television 329
18 Lighting for Colour Television in the 2010s 331
18.1 Background 331
18.2 The EBU Television Lighting Consistency Index – 2012 332
18.3 The ColorChecker Chart 332
18.4 The TLCI Standard Television Reproduction System Model 333
18.5 Selecting a Colour Metric for the TLCI (EBU Tech 3354) 337
18.6 Measuring the TLCI of Luminaires (EBU Tech 3355) 338
19 Colour in Television in the 2010s – The High Definition Colour Television System 341
19.1 The High Definition System Specification 341
19.2 Evaluating the Performance of the HDTV System 348
19.3 Appraisal of the Rec 709 Recommendation 357
20 Colour in Television in the 2020s 359
20.1 The Potential for Improved Colour Reproduction 359
20.2 Colour Specification of a Practical Ideal Colour Television System 360
20.3 Acknowledging the Requirement to Expand the Colour Gamut 371
20.4 UHDTV – The ITU-R BT.2020 Recommendation 382
21 Colour Management in Television 389
21.1 Introduction 389
21.2 Scene Illumination 390
21.3 The Vision Control Operation 391
21.4 The Vision Control Room Environment 391
21.5 The Line-up Operation 396
21.6 Capturing the Scene 399
21.7 Displaying the Image 401
Part Five B Colour Reproduction in Photography 403
22 An Overview of the Photographic System and Its Workflow 405
22.1 Introduction 405
22.2 An Overview of the Workflow 405
22.3 The Requirement for Technical Standards in Photography 409
23 The Printing Process 413
23.1 Introduction 413
23.2 Conceptual Considerations in Photographic Printer Design 413
23.3 Colour Fundamentals in Printing 416
23.4 Deriving a Model for Colour Half-tone Printing 422
23.5 Practical Printer Performance 425
23.6 Conclusions 437
24 Colour Spaces in Photography 439
24.1 Introduction 439
24.2 Colour Spaces in Image Capture 439
24.3 Colour Spaces in the Computer 449
24.4 Colour Spaces in Displays 454
24.5 Printer Colour Spaces 455
24.6 Conclusions 456
25 Component and File Formats 457
25.1 Introduction 457
25.2 A Review of Component Formats 457
25.3 File Formats 459
26 Appraising the Rendered Image 467
26.1 Introduction 467
26.2 The Monitor and its Environment 467
26.3 Reference Conditions 468
26.4 Conditions for Appraising and Comparing Images – ISO 3664 470
26.5 Colour Proofing 476
26.6 Conditions for Displays for Colour Proofing – ISO 12646:2008 476
26.7 Summary 479
27 Colour Management in the Workflow Infrastructure 483
27.1 Introduction to Colour Management 483
27.2 Establishing the Requirements of a Colour Management Infrastructure Strategy 485
27.3 The International Colour Consortium 487
27.4 The ICC System in Practice 491
27.5 Summary 493
28 Colour Management in Equipment and Scene Capture 495
28.1 Why there is Sometimes a Failure to Match Scene, Display and Print 495
28.2 The Exercise of Matching Scene, Display and Print 496
28.3 The Matching Tests 497
28.4 Image Capture 504
29 Colour Management in the Desktop Workflow 507
29.1 Introduction 507
29.2 Establishing the Desktop Working Practice Colour Management Parameters 509
29.3 Image Preview 522
29.4 Colour Managing Raw Files 524
29.5 Matching the Display to the Scene 526
29.6 Previewing the Soft Proof 539
29.7 Matching the Print to the Display and the Scene 542
29.8 Summary of Activities to Assist in Obtaining Good Colour Reproduction 550
30 Colour Management by Profile Maintenance 551
30.1 The Requirement to Incorporate New Profiles 551
30.2 Preparing to Generate a Profile 552
30.3 Generating Profiles 553
Part Five C Colour Reproduction in Digital Cinematography 559
Acronyms 560
31 The Evolution of Digital Cinema 563
31.1 Background 563
31.2 Workflow at Project Commencement 565
31.3 Common Goals of the Specifications 566
31.4 The Digital Cinematographic Systems Specifications 566
32 Colour in Cinematic Production – The Academy Color Encoding System 569
32.1 Introduction 569
32.2 System Definition 569
32.3 The ACES Colour Space 572
32.4 Reference Input Capture Device (RICD) 576
32.5 The Input Device Transform 578
32.6 An IIF System Configuration for Viewing the Graded Signals Defined in the ACES Colour Space 579
32.7 The Reference Rendering Transform 583
32.8 The Reference Display and Review Room 583
32.9 The IIF Output Device Transforms (ODT) 585
32.10 Colour Management in Production and Post 587
33 Colour in the Cinema – The Digital Cinema System 589
33.1 Introduction 589
33.2 System Requirements 589
33.3 Image Structure 590
33.4 The D-Cinema Encoding Colour Space 590
33.5 DCDM Interfaces 599
33.6 Distribution 601
34 Colour in Cinematography in the 2010s 603
34.1 Progress in Adopting the Digital Specifications 603
34.2 The ACES in the 2010s 604
34.3 Production and Post — System Configuration and Workflows 615
Appendices 629
A Photometric Units 631
A.1 The Physical Aspects of Light 631
A.2 Power in a Three-Dimensional Environment 632
A.3 A Useful Theoretical Source of White Light 634
A 4 The Physiological Aspects of Light 634
A.5 Photometry 636
B The CIE XYZ Primaries 641
B.1 Deriving the Chromaticities of the CIE XYZ Primaries from CIE RGB Primaries 641
B.2 The XYZ Primaries Located on the CIE RGB Primaries Chromaticity Diagram 644
C The Bradford Colour Adaptation Transform 645
C.1 The Standard Bradford Transform 645
C.2 The Linear or Simplified Bradford Transform 647
D The Semiconductor Junction 649
E Light Amplification in Lasers 651
E.1 Boltzmann Distributions and Thermal Equilibrium 651
E.2 The Interaction of Light with Matter 652
E.3 Selection Rules 654
E.4 Creating a Population Inversion 654
E.5 Three-Level Lasers 655
E.6 Four-Level Lasers 656
F Deriving Camera Spectral Sensitivities 659
F.1 General Solution for Deriving the Camera Spectral Sensitivities from the Chromaticity Coordinates of the Display Primaries in Terms of the CIE Colour Matching Functions 659
G Chromaticity Gamut Transformation 661
G.1 Introduction 661
G.2 Procedure 661
H Deriving the Standard Formula for Gamma Correction 667
H.1 General 667
H.2 Establishing the Gamma Correction Parameters for the General Situation 668
H.3 Calculating the Gamma Correction Parameters for a Particular Situation 670
H.4 Specifying the Opto-Digital Transfer Characteristic of a Colour Reproduction System 671
H.5 Practical Calculations 671
I CIE Colour Matching Functions 673
I.1 Values for a 2 Degree Field 673
J Guide to the ‘Colour Reproduction Workbook’ 677
J.1 Introduction 677
J.2 Structure of the Workbook 677
J.3 Some General Guidance on Using the Worksheets 678
J.4 The Data Worksheets 679
J.5 The Chapter Worksheets 682
References 693
Index 697
Michael S. Tooms has had a career in the television industry spanning 45 years, from operations and design to senior and project management roles. He was responsible for the conception, outline, design and project management of a number of multi-million pound television centre projects, most notably working for Granada Television, TV3 Scansat, ITV, Wharf Cable, BT and Spectrum Consultants/Siemens among others. He has served on industry standards committees responsible for developing new television system specifications and lectured on colour reproduction for the Royal Television Society, the Royal Photographic Society and the British Kinematograph Sound and Television Society. He represented ITV on the EBU Colour Primaries committee and was a founding member of the UK Independent Broadcast Authority’s Quality Control Section, a body that was concerned with classifying and regulating colour reproduction standards in broadcasting.
“Michael Toom's book is the technical manual about colour that
every colour scientist or engineer working in professional digital
imaging has ever dreamt of reading. Not only it does cover and
elegantly narrates the generic aspects of the discipline and the
pragmatic reasons behind many technical and/or historical choices.
It's also a fundamental compendium of detailed formulae, hard to
find at all (if ever, well organized, in one piecework).” - Walter
Arrighetti, Frame by Frame Italia srl
“The author’s approach in developing the subjects from a
fundamental level will be of great benefit to those who want a
thorough grasp of colour reproduction, and should avoid some of the
misconceptions that can arise where the fundamentals are only given
a cursory treatment. The book deserves to be regarded as a ‘go to’
resource for those working in the field of colour reproduction, or
those who have a strong interest in colour reproduction. It is a
book well suited to the needs of engineers and scientists.” - The
Imaging Science Journal, 2016 Vol. 64 No. 3
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