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首页> 外文会议>Conference on Color Imaging: Device-Independent Color, Color Hardcopy, and Graphic Arts Ⅵ Jan 23-26, 2001, San Jose, USA >The gamuts of input and output colour imaging media
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The gamuts of input and output colour imaging media

机译：输入和输出彩色成像介质的色域

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摘要

The colour gamuts of colour imaging media are important parameters in the reproduction of colour images between them and their assumed magnitudes directly influence the degree to which colours are modified. In spite of this, the determination of gamut boundaries is often done in a way that ignores some basic implications that follow from the definition of colour gamuts. This is partly due to the fact that some of these implications are not understood and partly due to the fact that if they are understood their magnitude is underestimated. Hence, the approach that is taken in this paper is to first discuss the theoretical implications of what colour gamuts are and subsequently to illustrate them by experimental means. Firstly, colour imaging media can be divided into two categories which have very different characteristics in terms of colour gamut. The determination of gamuts of input colour imaging media, for example, introduces a number of problems that do not arise for output media as it involves the determination of the range across which they can capture colour information. This results in significant difficulty from a practical point of view as it necessitates the availability of stimuli from a larger gamut than that of the input gamut to be determined. As this latter gamut is to be determined and hence as yet unknown, the former gamut needs to be very large so as to be usable in general. Secondly, the most crucial factor that is commonly ignored is that viewing conditions are intrinsic to colour gamuts - i.e. that one can only talk about the colour gamut of a set of stimuli if the corresponding viewing conditions are specified. The consequences of this will be shown by looking at the gamuts of commonly used output colour imaging media under a range of viewing conditions with the aim of establishing how the resulting gamuts change in terms of colour appearance. Amongst other things, this will show that the gamuts of different media can be affected to different degrees across the range of illumination levels used in this study. The magnitude of changes ranged from virtually no difference for some LCD displays up to a six-fold change for some projected media, Hence it will be shown that instead of a medium having a single gamut, it has a multitude of them. Describing a colour reproduction medium using a single gamut boundary inevitably leads to mismatches between what that gamut boundary suggests and how the gamut of the medium is seen under different conditions. While one solution to the problem is to generate a number of gamut boundaries for each medium - viewing condition combination, this would result in an explosion of gamut boundary descriptors and in some degree of inflexibility. Alternatively and preferably this relationship could be modelled and this would result in the possibility of having a single reference gamut per medium which could then be modified to suit particular viewing conditions. Understanding the nature of colour gamuts is of significant practical as well as theoretical importance as it can often be the source of errors in cross-media colour reproduction applications.
机译：彩色成像介质的色域是它们之间彩色图像再现中的重要参数，它们的假定大小直接影响颜色的修改程度。尽管如此，色域边界的确定通常以一种忽略色域定义的基本含义的方式进行。这部分是由于某些含义未得到理解的事实，部分是由于如果理解了它们的大小，则会被低估。因此，本文采用的方法是首先讨论色域是什么的理论含义，然后通过实验手段对其进行说明。首先，彩色成像介质可以分为两类，在色域方面具有非常不同的特性。例如，确定输入彩色成像介质的色域会引入许多输出介质不会出现的问题，因为这涉及确定它们可以捕获颜色信息的范围。从实际的角度来看，这导致很大的困难，因为它需要从比要确定的输入色域更大的色域中获得刺激。由于要确定后一个色域，因此尚不为人所知，因此前一个色域必须很大，以便通常可用。其次，通常被忽略的最关键因素是观看条件是色域所固有的-即，如果指定了相应的观看条件，则只能谈论一组刺激的色域。通过查看在一系列观看条件下常用的输出彩色成像介质的色域，以建立最终的色域如何在颜色外观方面发生变化，将显示其后果。除其他外，这将表明，在本研究中使用的照明水平范围内，不同媒体的色域可能受到不同程度的影响。变化的幅度范围从某些LCD显示器几乎没有差异到某些投影介质的六倍变化，因此可以看出，它具有多种色域，而不是具有单一色域的介质。使用单个色域边界描述色彩再现介质不可避免地会导致该色域边界暗示什么以及在不同条件下如何看待介质色域之间的失配。解决该问题的一种方法是为每种媒体-观看条件组合生成一定数量的色域边界，但这将导致色域边界描述符的激增和某种程度的灵活性。替代地并且优选地，可以对该关系进行建模，并且这将导致每个介质具有单个参考色域的可能性，然后可以对其进行修改以适合特定的观看条件。理解色域的性质具有重要的实践意义和理论重要性，因为它通常是跨媒体色彩再现应用程序中错误的来源。

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