Colour engineering : achieving device independent colour

As colour imaging takes on increasing importance in a range of products and technologies, colour fidelity across different media has become essential.

This book has arisen from the need for a specialist text that brings together key developments in colour management technology and findings from the colour engineering research community.

Edited by highly regarded specialists in colour management systems, Colour Engineering introduces the reader systematically to the art of constistent quality of image reproduction - regardless of the monitor or graphic user interface employed.

Features:

a thorough review of the elements of colour science that apply to colour imaging. a comprehensive analysis of methods for characterizing devices in the colour imaging chain. a review of the key topics in colour management. the different approaches to implementing colour systems at some of the leading exponents in the imaging industry.

This authoritative book depicting the latest developments in colour imaging, written by a group of authors at the forefront of research in this exciting and fast-moving field will appeal to students as well as practitioners of the new discipline of colour engineering.

The Society for Information Display (SID) is an international society, which has the aim of encouraging the development of all aspects of the field of information display. Complementary to the aims of the society, the Wiley-SID series is intended to explain the latest developments in information display technology at a professional level. The broad scope of the series addresses all facets of information displays from technical aspects through systems and prototypes to standards and ergonomics

Author Notes

Phil Green is a member of the Colour Imaging Group at the London College of Printing, and Course Director of the college's postgraduate programme in Digital Colour Imaging.
He worked in the printing industry from 1975, joining the London College of Printing in 1986. He received an MSc in Interactive Systems Analysis from the University of Surrey in 1995, and is currently completing a PhD at the University of Derby. He has authored a number of graphic arts textbooks, including Understanding Digital Color (GATF), and Digital Photography (Pira International). He is active in CIE TC8-03 Gamut Mapping and his current research interests are gamut mapping and colour difference.

Lindsay MacDonald is Professor of Multimedia Imaging at the Colour & Imaging Institute, University of Derby. For 18 years he was with Crosfield Electronics Ltd (now Fujifilm Electronic Imaging), where he designed and wrote the software for the world's first computer-based page composition system in 1977.
Professor MacDonald is a Fellow of the British Computer Society (FBCS), the Institution of Electrical Engineers (FIEE), the Royal Photographic Society (FRPS), and the Royal Society of Arts (FRSA). He is co-author or co-editor of a number of books, including Computer Generated Colour (Wiley), Display Systems: Design and Applications (Wiley), Colour Imaging: Vision and Technology (Wiley) and Colour Image Science: Exploiting Digital Media (Wiley).

Arthur TarrantDanny RichPhil GreenM. Ronnier LuoPeter A. RhodesPhil GreenRoy Berns and Naoya KatohTony JohnsonJack Holm and Ingeborg Tastl and Larry Hanlon and Paul HubelPhil GreenDawn WallnerMarc MahyJan MorovicKevin Spaulding and Edward GiorgianniJames KingWolfgang Lempp and Leonardo NoriegaSabine SusstrunkDavid Q. McDowell

Colour plate captions	p. xv
Contributors	p. xvii
Series Preface	p. xxi
Preface	p. xxiii
1 Light and colour	p. 1
1.1 Luminous Flux	p. 1
1.2 Illuminance	p. 4
1.3 Luminous Intensity	p. 6
1.4 Luminance	p. 7
1.5 Units	p. 8
1.6 Transmission Measurements	p. 9
1.7 Reflection Measurements	p. 12
1.8 Colour Rendering and Metamerism	p. 14
2 Instruments and methods for colour measurement	p. 19
2.1 Introduction	p. 19
2.2 Visual Colorimetry	p. 21
2.3 Analogue Simulation of Visual Colorimetry	p. 27
2.4 Digital Simulation of Visual Colorimetry	p. 32
2.5 Selecting and Using Colorimeters and Spectrocolorimeters	p. 35
2.6 Geometric Requirements for Colour Measurements	p. 40
2.7 Conclusions and Expectations	p. 45
References	p. 46
3 Colorimetry and colour difference	p. 49
3.1 Introduction	p. 49
3.2 Colorimetry	p. 49
3.3 Colour Difference	p. 56
3.4 Overcoming the Limitations of UCS Colour Difference with Advanced Colour Difference Metrics	p. 60
3.5 Advanced Colour Difference Metrics in Colour Imaging	p. 67
3.6 Deriving Colour Difference Tolerances	p. 70
3.7 Conclusion	p. 74
References	p. 75
4 The CIE 1997 colour appearance model: CIECAM97s	p. 79
4.1 Introduction	p. 79
4.2 CIE 1997 Colour Appearance Model: CIECAM97s	p. 81
4.3 Testing Colour Appearance Models Using Colour Appearance Data Sets	p. 89
4.4 Recent Modifications to CIECAM97s	p. 95
4.5 Conclusion	p. 95
References	p. 95
Appendix 1. Computation Procedures for CIECAM97s	p. 97
5 Colour notation systems	p. 105
5.1 Introduction	p. 105
5.2 Colour Fidelity	p. 106
5.3 Colour Notation Systems	p. 106
5.4 Interrelating Multiple Notation Systems	p. 120
5.5 Summary	p. 124
References	p. 125
6 Overview of characterization methods	p. 127
6.1 Introduction	p. 127
6.2 Numerical Models	p. 129
6.3 Look-up Tables with Interpolation	p. 134
6.4 Evaluating Model Accuracy	p. 138
References	p. 140
7 Methods for characterizing displays	p. 143
7.1 Introduction	p. 143
7.2 GOG Model for CRT Displays	p. 143
7.3 The Extended GOGO Model	p. 145
7.4 Calibration, Characterisation, and Gamma	p. 151
7.5 Numerical Example of A Colorimetric Characterization	p. 157
7.6 Conclusions	p. 163
References	p. 163
8 Methods for characterizing colour scanners and digital cameras	p. 165
8.1 Introduction	p. 165
8.2 Use of the ANSI/ISO Scanner Characterization Target	p. 169
8.3 Use of the Target in Scanner Characterization	p. 170
8.4 Characterization Procedures	p. 174
8.5 Summary	p. 177
References	p. 178
9 Color processing for digital photography	p. 179
9.1 Introduction	p. 179
9.2 Background	p. 180
9.3 Open Systems Architecture and Workflow Options	p. 185
9.4 Digital Camera Image Processing Choices: Component Selection, Characterization Methods, and Processing Algorithms	p. 194
References	p. 213
Appendix 1 Terminology	p. 217
10 Characterizing hard copy printers	p. 221
10.1 Introduction	p. 221
10.2 Printer Models	p. 224
10.3 Physical Models	p. 226
10.4 Numerical Models and Look-up Tables	p. 236
10.5 Black Printer	p. 236
10.6 Black Generation Algorithm	p. 238
10.7 The Reverse Model	p. 242
10.8 RGB Printers	p. 242
References	p. 243
11 Color management and transformation through ICC profiles	p. 247
11.1 The Need for Color Management	p. 247
11.2 The PCS	p. 249
11.3 The ICC Profile	p. 250
11.4 The ICC Profile Structure	p. 253
11.5 Profile Use	p. 258
11.6 Conclusion	p. 261
References	p. 261
12 Colour gamut determination	p. 263
12.1 Introduction	p. 263
12.2 Overview of Gamut Calculations	p. 264
12.3 Terminology	p. 265
12.4 A General Printer Model	p. 266
12.5 Gamut Calculations	p. 269
12.6 Gamut Representations	p. 280
12.7 Conclusions	p. 282
References	p. 283
Appendix 1. Neugebauer Equations	p. 285
Appendix 2. Analytical Gamut Calculation: Well-Behaved Neugebauer Model with Linear Ink Limitation	p. 286
13 Colour gamut mapping	p. 297
13.1 Introduction	p. 297
13.2 Terminology	p. 299
13.3 Factors Affecting Gamut Mapping	p. 300
13.4 Parameters of Gamut Mapping	p. 306
13.5 Gamut Mapping and Colour Rendering Intents	p. 307
13.6 Overview of Gamut Mapping Algorithms	p. 309
13.7 Gamut Mapping Algorithms and Colour Management Frameworks	p. 311
13.8 Summary	p. 314
13.9 Acknowledgements	p. 314
References	p. 314
14 Implementation of device-independent color at Kodak	p. 319
14.1 Introduction	p. 319
14.2 Image States	p. 320
14.3 Standard Image State Color Encodings	p. 323
14.4 Image States in a Color-Managed Architecture	p. 335
14.5 Implementation with JPEG 2000	p. 338
References	p. 339
15 Engineering color at Adobe	p. 341
15.1 Introduction	p. 341
15.2 The Early Black and White PostScript Days	p. 341
15.3 A Little Bit about PostScript	p. 343
15.4 PostScript Procedures	p. 345
15.5 Typical Workflow for Making Black and White Film	p. 346
15.6 PostScript Level 2	p. 348
15.7 Handling Black in CMYK Workflows	p. 355
15.8 Destination Profiles in PostScript	p. 357
15.9 Differences Between ICC Processing and PostScript Processing	p. 361
15.10 'The Tail Wagging the Dog'	p. 362
15.11 The Formation of the International Color Consortium	p. 363
15.12 Portable Document Format (PDF)	p. 365
15.13 Color Management in Other Adobe Products	p. 366
15.14 When Things Go Wrong	p. 367
15.15 The Future	p. 368
15.16 Acknowledgements	p. 369
References	p. 369
16 Colour management in digital film post-production	p. 371
16.1 Introduction	p. 371
16.2 Traditional Film Post-production	p. 372
16.3 Digital Visual Effects	p. 374
16.4 The Digital Studio	p. 378
16.5 Digital Cinema	p. 382
16.6 Conclusion	p. 383
References	p. 384
17 Managing color in digital image libraries	p. 385
17.1 Image Representations in Digital Image Libraries	p. 385
17.2 Digital Image Color Workflow	p. 387
17.3 The use of ICC Color Management in Image Libraries	p. 399
17.4 Color Spaces and Color Encodings	p. 401
17.5 Compression and File Formats	p. 412
17.6 Other Issues in Building and Maintaining a Digital Image Library	p. 415
17.7 Summary	p. 416
References	p. 417
18 Standards activities for colour imaging	p. 421
18.1 Introduction	p. 421
18.2 The Initial Graphic Arts Colour Standards	p. 422
18.3 Viewing Standards	p. 428
18.4 Densitometry and Related Metrology Standards	p. 430
18.5 Output Characterization	p. 433
18.6 Test Images	p. 435
18.7 Other Related Standards Work	p. 436
18.8 Where Are We Going?	p. 436
18.9 More Information	p. 437
References	p. 437
Appendix 1. Partial Listing of Colour Imaging Standards	p. 438
Appendix 2. Bibliography	p. 441
Author biographies	p. 443
Index	p. 449

Mevcut:*

Bound With These Titles

On Order

Özet

Özet

Author Notes

Table of Contents