Theme

The thread: Outside the gamut — page 3

Most colours a human can see cannot be shown on this page. The usual response is to clip them silently and print the picture anyway. The response here is to mark them and say how far out they are.

The same highlight, clipped in two places. A ramp running from inside the sensor's range to 1.6 times over it, clipped at the sensor and clipped after the matrix. Below the ceiling the two are identical to the floating-point floor. Above it they part, reaching 21.0 colour differences and 78 degrees of hue. Clipping late keeps a highlight neutral and clipping early keeps its hue, and converters do both.

What a camera does

Two converters and one highlight

The clip is the only step in a raw pipeline that destroys information rather than moving it, and it is the step whose position varies most between converters. Below the sensor's ceiling its position changes nothing at all, exactly. Above it, clipping at the sensor and clipping after the matrix land twenty-one colour differences and seventy-eight degrees of hue apart, and which hues are affected is a property of the camera's own dyes.

Where a stated appearance has no stimulus under it. The chroma the inverse can still return a light for, at lightness 50, all the way round the hue circle. Below the curve a stated appearance corresponds to a stimulus; above it the formula still returns three numbers and one of them is negative. Over a lattice of 10488 appearances spanning the whole space a specification is written in, 10.8 per cent are of that kind, and only 44 per cent are colours a display could show.

What the brain does

An appearance is not always a stimulus

CIECAM16's inverse is a closed form that returns three numbers for every lightness, chroma and hue it is handed. Whether those three numbers are a light it does not ask, and over a lattice spanning the space a specification is written in, 10.8 per cent of them are not — one tristimulus value negative, or a relative luminance above the white's. Only 43.8 per cent are colours a display could show at all.

The same colour, delivered from two documents. A ramp of chroma, mapped into a press's gamut under the perceptual intent from two source solids: the whole of sRGB, and the same solid with its chroma limited, which is what a document containing only muted colours amounts to. Under a colorimetric intent the two answers are identical to the floating-point floor. Under the perceptual one they are 0.69 apart at the mean and 2.64 at the worst, on colours the destination could hold either way.

What it takes to deliver it

An intent is not a function of the colour

A rendering intent is chosen per job and applied per pixel, which suggests it is a function of the colour. The colorimetric ones are, exactly — the same colour from two documents comes out identical to the floating-point floor. The perceptual one is not — it compresses the whole source solid into the destination, so the same colour delivered from a wide document and from a muted one lands 2.6 colour differences apart, on colours the destination could hold either way.

Out to the device and back, once and again. Each intent applied 3 times in succession to the same ramp. The upper bar is what the first pass moves and the lower is what the second moves. relative-colorimetric is idempotent — the second pass moves nothing, to the floating-point floor — and the other two are not: perceptual moves another 2.73 and saturation moves another 3.09. A file converted twice is not a file converted once.

What it takes to deliver it

A second conversion is not a repeat

A colour converted to a device and back is described as lossy where the device cannot hold it and exact where it can, which suggests that a colour surviving one round trip survives any number. One of the four intents is idempotent to the floating-point floor. The other two are not — a perceptual conversion moves a ramp 3.70 colour differences on its first pass and another 2.73 on its second, and after three passes it is still moving by 2.42.

Which appearances a surface can have, lightness by lightness. The same lattice of lightness, chroma and hue a specification is written in, 10488 points, inverted under daylight with the observer adapted to it. Each row is one lightness, split into three shares: appearances a reflecting surface can have, appearances that are a light but that no surface can return, and appearances with no light under them at all. Over the whole lattice the first is 66 per cent, the second 23 and the third 11. At J 90 a surface can have 38 per cent of the row.

What the brain does

A third of the appearance box is no surface

An appearance specification is written as a lightness, a chroma and a hue, and the model's inverse turns any such triple into three numbers. A tenth of the space turns into something that is not a light at all. A further quarter turns into a light no reflecting surface can return, because a surface cannot give back more than all the light at any wavelength. So a third of the space a paint, a print or a dye is specified in cannot be made from paint, print or dye, and at lightness 90 nearly two thirds cannot.

Four ways to fill in a clipped highlight: a glossy surface with a reflection of the lamp, under tungsten. Twenty-four chart surfaces under tungsten, as a glossy surface with a reflection of the lamp, taken up a ramp until their raw channels reach the sensor's ceiling. Each line is the mean colour difference, at equal lightness, between the true colour and what one response to the clipped reading makes of it: clipping to white, carrying the clipped values through, filling the clipped channel from the surface's own ratio, and filling it from the surface's colour plus the lamp's. At 0.4, where most surfaces have one channel clipped, the four leave 5.87, 4.37, 5.56, 0.00; at 2, 2.90, 26.97, 8.18, 8.18.

What a camera does

Filling in a highlight is a claim about the surface

A converter that rebuilds a clipped channel has to say what the highlight was. A matt surface over-exposed keeps its own colour, and filling the lost channel from that colour is exact. A glossy highlight is the surface's colour plus a reflection of the lamp, and the same fill leaves it 7.6 colour differences too colourful — while a fill that solves for surface and lamp is exact. Neither works once two channels are clipped, and a tungsten lamp keeps a highlight in the one-channel band more than twice as long as daylight does.

What a gamut charges a gradient, against what the relaxation's noise is. For each gradient, how much longer the best path that stays inside sRGB is than the free shortest path, as a percentage of the free one. The shaded band is the relaxation's own noise, measured by relaxing the same free path from two different starting points: 0.42 per cent at its worst. Every excess is inside it. So holding a gradient inside a display's gamut costs nothing measurable in the metric's own units, on any of these pairs — including the ones whose free path is outside at most of its points.

Matching and measuring

A gamut charges a gradient nothing

On red to green the shortest path happened to stay inside sRGB where the straight line did not, and that was called a coincidence of mechanism. Made into a measurement it is not a coincidence: constraining a path to stay inside the gamut costs less of the metric's own length than the relaxation's own noise, on every gradient tested — including the ones whose free shortest path is outside at fifteen of its twenty-one steps. The gamut's boundary and the metric's cheap region point the same way, and the price of the constraint is nothing.

55 essays on this thread, page 3 of 3 · all threads · all essays