{"product_id":"colour-reproduction-in-electronic-imaging-systems-isbn-9781119021766","title":"Colour Reproduction in Electronic Imaging Systems","description":"With the move of cinema away from film, the adoption of electronic-based production throughout all media is now complete. In order to exploit its advantages, the accurate definition, measurement and reproduction of colour has become more important than ever to achieve the best fidelity of colour reproduction. \u003cp\u003eThis book is concerned with providing readers with all they need to know about colour: how it is perceived and described, how it is measured and generated and how it is reproduced in colour systems. It serves as both a tutorial and a reference book, defining what we mean by colour and providing an explanation of the proper derivation of chromaticity charts and through to the means of ensuring accurate colour management.\u003c\/p\u003e \u003cp\u003eKey Features:\u003c\/p\u003e \u003cul\u003e \u003cli\u003eAddresses important theory and common misconceptions in colour science and reproduction, from the perception and characteristics of colour to the practicalities of its rendering in the fields of television, photography and cinematography\u003c\/li\u003e \u003cli\u003eOffers a clear treatment of the CIE chromaticity charts and their related calculations, supporting discussion on system primaries, their colour gamuts and the derivation of their contingent red, green and blue camera spectral sensitivities\u003c\/li\u003e \u003cli\u003eReviews the next state-of-the-art developments in colour reproduction beyond current solutions, from Ultra-High Definition Television for the 2020s to laser projectors with unprecedented colour range for the digital cinema\u003c\/li\u003e \u003cli\u003eIncludes a companion website hosting a workbook consisting of invaluable macro-enabled data worksheets; JPEG files containing images referred to in the book, including colour bars and grey scale charts to establish perceived contrast range under different environmental conditions; and, guides to both the workbook and JPEG files\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003ePreface xiii\u003c\/p\u003e \u003cp\u003eAcknowledgements xv\u003c\/p\u003e \u003cp\u003eAbout the Companion Website xix\u003c\/p\u003e \u003cp\u003eIntroductions xxi\u003c\/p\u003e \u003cp\u003eThe Book xxi\u003c\/p\u003e \u003cp\u003eThe Colour Reproduction Workbook xxii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart One Colour – Perception, Characteristics and Definition 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e1 The Perception of Colour 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1.1 Introduction 3\u003c\/p\u003e \u003cp\u003e1.2 Setting the Scene 3\u003c\/p\u003e \u003cp\u003e1.3 Characterising the Responses of the Eye to Light 8\u003c\/p\u003e \u003cp\u003e1.4 The Three Characteristics of the Eye Relevant to Reproduction 10\u003c\/p\u003e \u003cp\u003e1.5 The Quantitative Response or Tonal Range of the Eye 10\u003c\/p\u003e \u003cp\u003e1.6 The Qualitative Response of the Eye 13\u003c\/p\u003e \u003cp\u003e\u003cb\u003e2 Mapping, Mixing and Categorising Colours 19\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e2.1 Primary Colours 19\u003c\/p\u003e \u003cp\u003e2.2 Colour Mixing 31\u003c\/p\u003e \u003cp\u003e2.3 Colour in Three Dimensions 34\u003c\/p\u003e \u003cp\u003e2.4 Colour Terminology 37\u003c\/p\u003e \u003cp\u003e2.5 Categorising Colours 38\u003c\/p\u003e \u003cp\u003e2.6 The Effects of Illumination on the Perception of Colour 42\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Two the Measurement and Generation of Colour 43\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e3 A Practical Approach to the Measurement of Colour 45\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e3.1 The Fundamentals of Colour Measurement 45\u003c\/p\u003e \u003cp\u003e3.2 Colour Matching Functions 46\u003c\/p\u003e \u003cp\u003e3.3 Measuring Colour with the CMFs 51\u003c\/p\u003e \u003cp\u003e3.4 Chromaticity Diagrams 52\u003c\/p\u003e \u003cp\u003e\u003cb\u003e4 Colour Measurement Standardisation – The CIE System of Colour Measurement 61\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e4.1 Limitations of the Fundamental Approach to Colour Measurement 61\u003c\/p\u003e \u003cp\u003e4.2 The CIE 61\u003c\/p\u003e \u003cp\u003e4.3 The CIE 1931 Standard Observer 62\u003c\/p\u003e \u003cp\u003e4.4 The CIE 1931 X, Y, Z System of Colour Measurement 64\u003c\/p\u003e \u003cp\u003e4.5 Transforming the CIE X, Y, Z Parameters to Perceptually Related Parameters 72\u003c\/p\u003e \u003cp\u003e4.6 The CIE 1976 UCS Diagram 72\u003c\/p\u003e \u003cp\u003e4.7 The CIE 1976 (L*, u*, v*) Colour Space 76\u003c\/p\u003e \u003cp\u003e4.8 Surface Colours within the LUV Colour Space 84\u003c\/p\u003e \u003cp\u003e4.9 Limitations of the LUV Colour Space as an Accurate Colour Appearance Model 91\u003c\/p\u003e \u003cp\u003e\u003cb\u003e5 Colour Measurement and Perception 97\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e5.1 Chromatic Adaptation 97\u003c\/p\u003e \u003cp\u003e5.2 Metermerism 98\u003c\/p\u003e \u003cp\u003e5.3 Quantifying Chromatic Adaptation 102\u003c\/p\u003e \u003cp\u003e\u003cb\u003e6 Generating Coloured Light 105\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e6.1 Introduction 105\u003c\/p\u003e \u003cp\u003e6.2 The Physics of Light Generation 105\u003c\/p\u003e \u003cp\u003e6.3 Incandescence: Light from Heat – Blackbody or Planckian Radiation 106\u003c\/p\u003e \u003cp\u003e6.4 Colour Temperature 111\u003c\/p\u003e \u003cp\u003e6.5 Luminescence 113\u003c\/p\u003e \u003cp\u003e6.6 Electroluminescence 114\u003c\/p\u003e \u003cp\u003e6.7 Fluorescence 126\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Three The Concepts of Colour Reproduction 131\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e7 Sources of Illumination 133\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e7.1 Overview 133\u003c\/p\u003e \u003cp\u003e7.2 Illuminant Colour Rendering Quality 134\u003c\/p\u003e \u003cp\u003e7.3 Daylight 143\u003c\/p\u003e \u003cp\u003e7.4 Incandescent-based Lamps 148\u003c\/p\u003e \u003cp\u003e7.5 Electrical Discharge-based Lamps 150\u003c\/p\u003e \u003cp\u003e7.6 LED Lamps 155\u003c\/p\u003e \u003cp\u003e7.7 Summary of Sources of Illumination 158\u003c\/p\u003e \u003cp\u003e\u003cb\u003e8 The Essential Elements of Colour Reproduction 161\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e8.1 The Basic Reproduction System 161\u003c\/p\u003e \u003cp\u003e8.2 The Camera 162\u003c\/p\u003e \u003cp\u003e8.3 Display Devices 165\u003c\/p\u003e \u003cp\u003e8.4 Reconciling Minimum Image Resolution with Maximum Perceivable Resolution 171\u003c\/p\u003e \u003cp\u003e\u003cb\u003e9 Colorimetry in Colour Reproduction 175\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e9.1 The Relationship between the Display Primaries and the Camera Spectral Sensitivities 175\u003c\/p\u003e \u003cp\u003e9.2 The Choice of Reproduction Display Primaries 177\u003c\/p\u003e \u003cp\u003e9.3 Derivation of Colour Reproduction System Camera Spectral Sensitivities 181\u003c\/p\u003e \u003cp\u003e\u003cb\u003e10 Appraising the Reproduced Image 185\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e10.1 Introduction 185\u003c\/p\u003e \u003cp\u003e10.2 The Environmental Lighting 186\u003c\/p\u003e \u003cp\u003e10.3 Reflections from the Display 187\u003c\/p\u003e \u003cp\u003e10.4 Image Size 187\u003c\/p\u003e \u003cp\u003e10.5 Managing the Viewing Environment 187\u003c\/p\u003e \u003cp\u003e10.6 System Design Parameters 188\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Four The Fundamentals of Colour Reproduction 189\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e11 System White and White Balance 193\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e11.1 System Reference White 193\u003c\/p\u003e \u003cp\u003e11.2 White Balance 195\u003c\/p\u003e \u003cp\u003e11.3 Adapting to Scenes with Different Illuminant SPDs 200\u003c\/p\u003e \u003cp\u003e\u003cb\u003e12 Colorimetric Processing 203\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e12.1 Introduction 203\u003c\/p\u003e \u003cp\u003e12.2 Manipulating the Colour Space – Chromaticity Gamut Transformation 205\u003c\/p\u003e \u003cp\u003e12.3 Gamut Mapping 213\u003c\/p\u003e \u003cp\u003e12.4 A Colorimetrically Ideal Set of Camera Spectral Sensitivities 216\u003c\/p\u003e \u003cp\u003e12.5 An Ideal Media Neutral Colour Reproduction System 222\u003c\/p\u003e \u003cp\u003e12.6 Using System Primaries or Device-Independent Encoding 223\u003c\/p\u003e \u003cp\u003e\u003cb\u003e13 Preserving Tonal Relationships – Tone Reproduction and Contrast Laws 225\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e13.1 Introduction 225\u003c\/p\u003e \u003cp\u003e13.2 Terms and Definitions 226\u003c\/p\u003e \u003cp\u003e13.3 Contrast Ranges 229\u003c\/p\u003e \u003cp\u003e13.4 Gamma Correction 238\u003c\/p\u003e \u003cp\u003e13.5 Standard or Reference Displays 251\u003c\/p\u003e \u003cp\u003e13.6 Masking Artefacts 252\u003c\/p\u003e \u003cp\u003e13.7 Matching the Contrast Law to the Viewing Environment 257\u003c\/p\u003e \u003cp\u003e13.8 Overall Opto-electro Transfer Characteristics in Actual Reproduction Systems 260\u003c\/p\u003e \u003cp\u003e13.9 Producing a Greyscale Test Chart 261\u003c\/p\u003e \u003cp\u003e\u003cb\u003e14 Storage and Conveyance of Colour Signals – Encoding Colour Signals 271\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e14.1 Introduction 271\u003c\/p\u003e \u003cp\u003e14.2 The Imperatives for Encoding RGB Colour Signals 272\u003c\/p\u003e \u003cp\u003e14.3 System Compatibility and Retention of Colour Balance 275\u003c\/p\u003e \u003cp\u003e14.4 A Simple Constant Luminance Encoding System 280\u003c\/p\u003e \u003cp\u003e14.5 Exploiting the Spatial Characteristics of the Eye 282\u003c\/p\u003e \u003cp\u003e14.6 A Practical Constant Luminance System 283\u003c\/p\u003e \u003cp\u003e14.7 A Non-Constant Luminance System 285\u003c\/p\u003e \u003cp\u003e14.8 The Ramifications of the Failure of Constant Luminance 287\u003c\/p\u003e \u003cp\u003e\u003cb\u003e15 Specifying a Colour Reproduction System 289\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e15.1 Introduction 289\u003c\/p\u003e \u003cp\u003e15.2 Deriving the Specifications 289\u003c\/p\u003e \u003cp\u003e15.3 A Representative Closed Colour Reproduction System Specification 291\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Five The Practicalities of Colour Reproduction – Television, Photography and Cinematography 295\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Five A Colour Reproduction in Television 299\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e16 The Television System and the Image Capture Operation 301\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e16.1 The Television System Workflow 301\u003c\/p\u003e \u003cp\u003e16.2 The Television System Signal Path 303\u003c\/p\u003e \u003cp\u003e16.3 The Television Standards Organisations 304\u003c\/p\u003e \u003cp\u003e\u003cb\u003e17 A Brief History of Colour in Television 307\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e17.1 The Beginnings 307\u003c\/p\u003e \u003cp\u003e17.2 The NTSC, PAL and SECAM Colour Television Systems 309\u003c\/p\u003e \u003cp\u003e17.3 The Introduction of Digital Television 324\u003c\/p\u003e \u003cp\u003e17.4 The Rise of High Definition Television 329\u003c\/p\u003e \u003cp\u003e\u003cb\u003e18 Lighting for Colour Television in the 2010s 331\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e18.1 Background 331\u003c\/p\u003e \u003cp\u003e18.2 The EBU Television Lighting Consistency Index – 2012 332\u003c\/p\u003e \u003cp\u003e18.3 The ColorChecker Chart 332\u003c\/p\u003e \u003cp\u003e18.4 The TLCI Standard Television Reproduction System Model 333\u003c\/p\u003e \u003cp\u003e18.5 Selecting a Colour Metric for the TLCI (EBU Tech 3354) 337\u003c\/p\u003e \u003cp\u003e18.6 Measuring the TLCI of Luminaires (EBU Tech 3355) 338\u003c\/p\u003e \u003cp\u003e\u003cb\u003e19 Colour in Television in the 2010s – The High Definition Colour Television System 341\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e19.1 The High Definition System Specification 341\u003c\/p\u003e \u003cp\u003e19.2 Evaluating the Performance of the HDTV System 348\u003c\/p\u003e \u003cp\u003e19.3 Appraisal of the Rec 709 Recommendation 357\u003c\/p\u003e \u003cp\u003e\u003cb\u003e20 Colour in Television in the 2020s 359\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e20.1 The Potential for Improved Colour Reproduction 359\u003c\/p\u003e \u003cp\u003e20.2 Colour Specification of a Practical Ideal Colour Television System 360\u003c\/p\u003e \u003cp\u003e20.3 Acknowledging the Requirement to Expand the Colour Gamut 371\u003c\/p\u003e \u003cp\u003e20.4 UHDTV – The ITU-R BT.2020 Recommendation 382\u003c\/p\u003e \u003cp\u003e\u003cb\u003e21 Colour Management in Television 389\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e21.1 Introduction 389\u003c\/p\u003e \u003cp\u003e21.2 Scene Illumination 390\u003c\/p\u003e \u003cp\u003e21.3 The Vision Control Operation 391\u003c\/p\u003e \u003cp\u003e21.4 The Vision Control Room Environment 391\u003c\/p\u003e \u003cp\u003e21.5 The Line-up Operation 396\u003c\/p\u003e \u003cp\u003e21.6 Capturing the Scene 399\u003c\/p\u003e \u003cp\u003e21.7 Displaying the Image 401\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Five B Colour Reproduction in Photography 403\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003e22 An Overview of the Photographic System and Its Workflow 405\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e22.1 Introduction 405\u003c\/p\u003e \u003cp\u003e22.2 An Overview of the Workflow 405\u003c\/p\u003e \u003cp\u003e22.3 The Requirement for Technical Standards in Photography 409\u003c\/p\u003e \u003cp\u003e\u003cb\u003e23 The Printing Process 413\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e23.1 Introduction 413\u003c\/p\u003e \u003cp\u003e23.2 Conceptual Considerations in Photographic Printer Design 413\u003c\/p\u003e \u003cp\u003e23.3 Colour Fundamentals in Printing 416\u003c\/p\u003e \u003cp\u003e23.4 Deriving a Model for Colour Half-tone Printing 422\u003c\/p\u003e \u003cp\u003e23.5 Practical Printer Performance 425\u003c\/p\u003e \u003cp\u003e23.6 Conclusions 437\u003c\/p\u003e \u003cp\u003e\u003cb\u003e24 Colour Spaces in Photography 439\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e24.1 Introduction 439\u003c\/p\u003e \u003cp\u003e24.2 Colour Spaces in Image Capture 439\u003c\/p\u003e \u003cp\u003e24.3 Colour Spaces in the Computer 449\u003c\/p\u003e \u003cp\u003e24.4 Colour Spaces in Displays 454\u003c\/p\u003e \u003cp\u003e24.5 Printer Colour Spaces 455\u003c\/p\u003e \u003cp\u003e24.6 Conclusions 456\u003c\/p\u003e \u003cp\u003e\u003cb\u003e25 Component and File Formats 457\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e25.1 Introduction 457\u003c\/p\u003e \u003cp\u003e25.2 A Review of Component Formats 457\u003c\/p\u003e \u003cp\u003e25.3 File Formats 459\u003c\/p\u003e \u003cp\u003e\u003cb\u003e26 Appraising the Rendered Image 467\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e26.1 Introduction 467\u003c\/p\u003e \u003cp\u003e26.2 The Monitor and its Environment 467\u003c\/p\u003e \u003cp\u003e26.3 Reference Conditions 468\u003c\/p\u003e \u003cp\u003e26.4 Conditions for Appraising and Comparing Images – ISO 3664 470\u003c\/p\u003e \u003cp\u003e26.5 Colour Proofing 476\u003c\/p\u003e \u003cp\u003e26.6 Conditions for Displays for Colour Proofing – ISO 12646:2008 476\u003c\/p\u003e \u003cp\u003e26.7 Summary 479\u003c\/p\u003e \u003cp\u003e\u003cb\u003e27 Colour Management in the Workflow Infrastructure 483\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e27.1 Introduction to Colour Management 483\u003c\/p\u003e \u003cp\u003e27.2 Establishing the Requirements of a Colour Management Infrastructure Strategy 485\u003c\/p\u003e \u003cp\u003e27.3 The International Colour Consortium 487\u003c\/p\u003e \u003cp\u003e27.4 The ICC System in Practice 491\u003c\/p\u003e \u003cp\u003e27.5 Summary 493\u003c\/p\u003e \u003cp\u003e\u003cb\u003e28 Colour Management in Equipment and Scene Capture 495\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e28.1 Why there is Sometimes a Failure to Match Scene, Display and Print 495\u003c\/p\u003e \u003cp\u003e28.2 The Exercise of Matching Scene, Display and Print 496\u003c\/p\u003e \u003cp\u003e28.3 The Matching Tests 497\u003c\/p\u003e \u003cp\u003e28.4 Image Capture 504\u003c\/p\u003e \u003cp\u003e\u003cb\u003e29 Colour Management in the Desktop Workflow 507\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e29.1 Introduction 507\u003c\/p\u003e \u003cp\u003e29.2 Establishing the Desktop Working Practice Colour Management Parameters 509\u003c\/p\u003e \u003cp\u003e29.3 Image Preview 522\u003c\/p\u003e \u003cp\u003e29.4 Colour Managing Raw Files 524\u003c\/p\u003e \u003cp\u003e29.5 Matching the Display to the Scene 526\u003c\/p\u003e \u003cp\u003e29.6 Previewing the Soft Proof 539\u003c\/p\u003e \u003cp\u003e29.7 Matching the Print to the Display and the Scene 542\u003c\/p\u003e \u003cp\u003e29.8 Summary of Activities to Assist in Obtaining Good Colour Reproduction 550\u003c\/p\u003e \u003cp\u003e\u003cb\u003e30 Colour Management by Profile Maintenance 551\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e30.1 The Requirement to Incorporate New Profiles 551\u003c\/p\u003e \u003cp\u003e30.2 Preparing to Generate a Profile 552\u003c\/p\u003e \u003cp\u003e30.3 Generating Profiles 553\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart Five C Colour Reproduction in Digital Cinematography 559\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAcronyms 560\u003c\/p\u003e \u003cp\u003e\u003cb\u003e31 The Evolution of Digital Cinema 563\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e31.1 Background 563\u003c\/p\u003e \u003cp\u003e31.2 Workflow at Project Commencement 565\u003c\/p\u003e \u003cp\u003e31.3 Common Goals of the Specifications 566\u003c\/p\u003e \u003cp\u003e31.4 The Digital Cinematographic Systems Specifications 566\u003c\/p\u003e \u003cp\u003e\u003cb\u003e32 Colour in Cinematic Production – The Academy Color Encoding System 569\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e32.1 Introduction 569\u003c\/p\u003e \u003cp\u003e32.2 System Definition 569\u003c\/p\u003e \u003cp\u003e32.3 The ACES Colour Space 572\u003c\/p\u003e \u003cp\u003e32.4 Reference Input Capture Device (RICD) 576\u003c\/p\u003e \u003cp\u003e32.5 The Input Device Transform 578\u003c\/p\u003e \u003cp\u003e32.6 An IIF System Configuration for Viewing the Graded Signals Defined in the ACES Colour Space 579\u003c\/p\u003e \u003cp\u003e32.7 The Reference Rendering Transform 583\u003c\/p\u003e \u003cp\u003e32.8 The Reference Display and Review Room 583\u003c\/p\u003e \u003cp\u003e32.9 The IIF Output Device Transforms (ODT) 585\u003c\/p\u003e \u003cp\u003e32.10 Colour Management in Production and Post 587\u003c\/p\u003e \u003cp\u003e\u003cb\u003e33 Colour in the Cinema – The Digital Cinema System 589\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e33.1 Introduction 589\u003c\/p\u003e \u003cp\u003e33.2 System Requirements 589\u003c\/p\u003e \u003cp\u003e33.3 Image Structure 590\u003c\/p\u003e \u003cp\u003e33.4 The D-Cinema Encoding Colour Space 590\u003c\/p\u003e \u003cp\u003e33.5 DCDM Interfaces 599\u003c\/p\u003e \u003cp\u003e33.6 Distribution 601\u003c\/p\u003e \u003cp\u003e\u003cb\u003e34 Colour in Cinematography in the 2010s 603\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e34.1 Progress in Adopting the Digital Specifications 603\u003c\/p\u003e \u003cp\u003e34.2 The ACES in the 2010s 604\u003c\/p\u003e \u003cp\u003e34.3 Production and Post — System Configuration and Workflows 615\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAppendices 629\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eA Photometric Units 631\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eA.1 The Physical Aspects of Light 631\u003c\/p\u003e \u003cp\u003eA.2 Power in a Three-Dimensional Environment 632\u003c\/p\u003e \u003cp\u003eA.3 A Useful Theoretical Source of White Light 634\u003c\/p\u003e \u003cp\u003eA 4 The Physiological Aspects of Light 634\u003c\/p\u003e \u003cp\u003eA.5 Photometry 636\u003c\/p\u003e \u003cp\u003e\u003cb\u003eB The CIE XYZ Primaries 641\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eB.1 Deriving the Chromaticities of the CIE XYZ Primaries from CIE RGB Primaries 641\u003c\/p\u003e \u003cp\u003eB.2 The XYZ Primaries Located on the CIE RGB Primaries Chromaticity Diagram 644\u003c\/p\u003e \u003cp\u003e\u003cb\u003eC The Bradford Colour Adaptation Transform 645\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eC.1 The Standard Bradford Transform 645\u003c\/p\u003e \u003cp\u003eC.2 The Linear or Simplified Bradford Transform 647\u003c\/p\u003e \u003cp\u003e\u003cb\u003eD The Semiconductor Junction 649\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eE Light Amplification in Lasers 651\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eE.1 Boltzmann Distributions and Thermal Equilibrium 651\u003c\/p\u003e \u003cp\u003eE.2 The Interaction of Light with Matter 652\u003c\/p\u003e \u003cp\u003eE.3 Selection Rules 654\u003c\/p\u003e \u003cp\u003eE.4 Creating a Population Inversion 654\u003c\/p\u003e \u003cp\u003eE.5 Three-Level Lasers 655\u003c\/p\u003e \u003cp\u003eE.6 Four-Level Lasers 656\u003c\/p\u003e \u003cp\u003e\u003cb\u003eF Deriving Camera Spectral Sensitivities 659\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eF.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\u003c\/p\u003e \u003cp\u003e\u003cb\u003eG Chromaticity Gamut Transformation 661\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eG.1 Introduction 661\u003c\/p\u003e \u003cp\u003eG.2 Procedure 661\u003c\/p\u003e \u003cp\u003e\u003cb\u003eH Deriving the Standard Formula for Gamma Correction 667\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eH.1 General 667\u003c\/p\u003e \u003cp\u003eH.2 Establishing the Gamma Correction Parameters for the General Situation 668\u003c\/p\u003e \u003cp\u003eH.3 Calculating the Gamma Correction Parameters for a Particular Situation 670\u003c\/p\u003e \u003cp\u003eH.4 Specifying the Opto-Digital Transfer Characteristic of a Colour Reproduction System 671\u003c\/p\u003e \u003cp\u003eH.5 Practical Calculations 671\u003c\/p\u003e \u003cp\u003e\u003cb\u003eI CIE Colour Matching Functions 673\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eI.1 Values for a 2 Degree Field 673\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJ Guide to the ‘Colour Reproduction Workbook’ 677\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eJ.1 Introduction 677\u003c\/p\u003e \u003cp\u003eJ.2 Structure of the Workbook 677\u003c\/p\u003e \u003cp\u003eJ.3 Some General Guidance on Using the Worksheets 678\u003c\/p\u003e \u003cp\u003eJ.4 The Data Worksheets 679\u003c\/p\u003e \u003cp\u003eJ.5 The Chapter Worksheets 682\u003c\/p\u003e \u003cp\u003eReferences 693\u003c\/p\u003e \u003cp\u003eIndex 697 \u003c\/p\u003e \u003cp\u003e“\u003ci\u003eMichael 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).\u003c\/i\u003e” \u003cb\u003e- Walter Arrighetti, Frame by Frame Italia srl\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e“\u003ci\u003eThe 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.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003eThe 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.\u003c\/i\u003e” \u003cb\u003e- The Imaging Science Journal, 2016 Vol. 64 No. 3\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMichael S. Tooms\u003c\/b\u003e 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.\u003c\/p\u003e With the move of cinema away from film, the adoption of electronic-based production throughout all media is now complete. In order to exploit its advantages, the accurate definition, measurement and reproduction of colour has become more important than ever to achieve the best fidelity of colour reproduction. \u003cp\u003eThis book is concerned with providing readers with all they need to know about colour: how it is perceived and described, how it is measured and generated and how it is reproduced in colour systems. It serves as both a tutorial and a reference book, defining what we mean by colour and providing an explanation of the proper derivation of chromaticity charts and through to the means of ensuring accurate colour management.\u003c\/p\u003e \u003cp\u003eKey Features:\u003c\/p\u003e \u003cul\u003e \u003cli\u003eAddresses important theory and common misconceptions in colour science and reproduction, from the perception and characteristics of colour to the practicalities of its rendering in the fields of television, photography and cinematography\u003c\/li\u003e \u003cli\u003eOffers a clear treatment of the CIE chromaticity charts and their related calculations, supporting discussion on system primaries, their colour gamuts and the derivation of their contingent red, green and blue camera spectral sensitivities\u003c\/li\u003e \u003cli\u003eReviews the next state-of-the-art developments in colour reproduction beyond current solutions, from Ultra-High Definition Television for the 2020s to laser projectors with unprecedented colour range for the digital cinema\u003c\/li\u003e \u003cli\u003eIncludes a companion website hosting a workbook consisting of invaluable macro-enabled data worksheets; JPEG files containing images referred to in the book, including colour bars and grey scale charts to establish perceived contrast range under different environmental conditions; and, guides to both the workbook and JPEG files\u003c\/li\u003e \u003c\/ul\u003e","brand":"Wiley","offers":[{"title":"Default Title","offer_id":47988947878117,"sku":"NP9781119021766","price":130.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119021766.jpg?v=1761782167","url":"https:\/\/k12savings.com\/products\/colour-reproduction-in-electronic-imaging-systems-isbn-9781119021766","provider":"K12savings","version":"1.0","type":"link"}