On: Mon, 9 Dec 02 Bob Marchant wrote: >> is that assignment of colours to greyscale images something that in >> future will be able to be moderated by profiles? > > I understand that the assignment of colours to the greyscale images is > carried out by the original software/hardware engineers.
Are any of these engineers women? Women have superior colour vision compared to men. > The mosaic of RGB 'tiles' that is over the chip is only made up of weak > RGB filters. In the necessary process of amplifying and interpolating the > colour information , subjective decisions are made as to how to describe > the final output. Presumably, *if* the filters were narrow cut transmission, then the density would be so great that the signal would be drowned by noise. Would much be gained by making the pixels the size of say, film grain - thereby boosting the signal to something useable in terms of 'true' colour? Perhaps I have answered my own question. > In some instances a more 'pleasing' rendition can be chosen at the > expense of accuracy ( in much the same way as Epson inkjets can produce > oversaturated images when not individually profiled ). As in 'Vivid Color' Yep, I've got one of them, and very pleasing it is too at the 400ASA 'grunge' setting. Bit like a mosh pit in a hailstorm. > In theory any preprogrammed innaccuracies can be modified by profiles , > but any of these innaccuracies will obviously not give us the best starting > point to work from. Like polishing fog - no point in breathing on it. > A more linear output from the chip would help if you wanted to make your > own profiles ( however there are still issues on how the film curve > applied to the raw files affects profiles). I am fascinated by this as yet (relatively) untapped area of user creative control. My belief is that digital is at its most useful when a user can program in the way a chip handles light - in a similar way to how music synthesisers modulate sound from a tone bank. Hint: it is common practice with a lot of keyboard players to buy a new synth, wipe the factory preset sound patches and throw away the manual. Only then is it possible to discover what the instrument is really capable of. >> I am finding that I have persistent problem colours (cyans and pinks, >> saturated reds) which in my chosen working space >> (adobe 98) are way off. My working solution is to work in captureshop's >> built in space (a form of srgb?), the reduced gamut pulling the problem >> back. But, I guess the problem is still there - only hidden. > I think that the jury is still out on just how Sinar are managing their > colour at present. And reds are a particularly difficult area on most > cameras ....including film!. Does this include the Foveon chip, I wonder? > Would any lurking camera manufacturers or distributors like to comment ? I second that. best William Curwen =============================================================== GO TO http://www.prodig.org for ~ GUIDELINES ~ un/SUBSCRIBING ~ ITEMS for SALE
