På Mon, 05 Nov 2012 05:43:49 +0100, skrev Monty Montgomery
<xiphm...@gmail.com>:
The real rub in all of this, and the impetus for getting me thinking
to start with, is filter operations using colorspaces with
singularities at black (like HSV). When you don't know where black
is, any HSV operations are wrong at best and useless at worst. Gamma
manipulation is also completely wrong when you don't know your black
and white points.
... and presenting 0.0 as black and 1.0 as white internally is
totally out of the question? With your proposed studio swing
mapping most compositing and filtering operations have to scale
and bias to work right. E.g. black + black + black will be a
shade of gray, unless a bias is subtracted.
I don't do any film at all, so that's part of why I was asking :-)
Given that it sounds like digital cinema has all gone to log curves,
if I'm going to use an assumed pipeline space, it sounds like it has
to be linear light :-( ...how do log colorspaces handle color mixing?
I suppose it is always converted to 16 bit linear,
or linear float first.
2) Also making the pipeline a single assumed internal colorspace. It
could be linear, log, gamma, whatever; we're in float, they're all
equivalent. The rub here would be conversions; in some ways choosing
linear is the most extreme choice because it means lots of
reconversion (lossless reconversion, but burned CPU nonetheless).
How much is a lot? One conversion entering the pipeline, and another
exiting the pipeline?
Perhaps the better idea is to be able to choose the pipeline working
colorspace, the way we currently choose the pipeline pixelformat.
The dilemmas just won't end, will they? :-/
--
Herman Robak
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