How to" books are a dime a dozen. What makes this book special is that it is also a "Why" book. Hullfish sits down with world-class colorists and records not only what they do but why they do it. ...That's where the magic lies.
"How" is the question to ask if you want to become a craftsman. "Why" is the question that creates artists. I bought the first edition for "How" and came away with a lot of "Why." This edition has lots more of both, with material from several additional world class colorists.
If you want an inside look into the art and craft of the professional colorist there's no better way to do it in book form. Whether you're learning to be a colorist or just want to understand what really happens when you decide something can be "fixed in post," you need to read this book. -Art Adams, cinematographer/educator, ProVideoCoalition.com. This book just keeps getting better with each new edition. Steve Hullfish's approach is designed to teach techniques that transfer to a wide range of popular and accessible color correction tools. The intent is to demystify the process, so readers can learn the concepts and apply them, regardless of whether the software has sliders, wheels or curves. Best of all, Hullfish features extensive tips and tricks from some of the premier colorists in the country, so you can learn from the masters. If you only purchase one book on color correction, this is the essential guide to include in your library. -Oliver Peters, Oliver Peters Peters Post Production Services, LLC A terrific and much-needed book for anybody serious about digital color correction. Starting with the basics, it helps the reader work through a series of specific, well-illustrated examples, covering all the major software applications, and supports the text with insightful comments from prominent working colorists. All in all, it's essential reading for anyone who wants to improve their skills in this rapidly changing field. -Steve Cohen, editor, Emmy and ACE Eddie winner, author of Avid Agility.
Images captured in the sand–dust weather often suffer from serious colour cast and poor contrast, and this has serious implications for outdoor computer vision systems. To address these problems, a ...normalised gamma transformation-based contrast-limited adaptive histogram equalisation (CLAHE) with colour correction in Lab colour space for sand–dust image enhancement is proposed in this study. This method consists of image contrast enhancement and image colour correction. To avoid producing new colour deviation, the input sand–dust images are first transformed from red, green, and blue colour space into Lab colour space. Then, the contrast of the lightness component (L channel) of the sand–dust image is enhanced using CLAHE. To avoid unbalanced contrast, as well as to reduce the overincreased brightness caused by CLAHE, a normalised gamma correction function is introduced to CLAHE. After that, the a and b chromatic components are recovered by a grey-world-based colour correction method. Experiments on real sand–dust images demonstrate that the proposed method can obtain the highest percentage of new visible edges for all testing images. The contrast restoration exhibits good colour fidelity and proper brightness.
Colour categories are acquired through learning, but the nature of this process is not fully understood. Some category distinctions are defined by hue (e.g. red/purple) but other by lightness ...(red/pink). The aim of this study was to investigate if the acquisition of key information for making accurate cross-boundary discriminations poses different challenges for hue-defined as opposed to lightness-defined boundaries. To answer this question, hue- and lightness-learners were trained on a novel category boundary within the GREEN region of colour space. After training, hue- and lightness-learners as well as untrained controls performed delayed same-different discrimination for lightness and hue pairs. In addition to discrimination data, errors during learning and category-labelling strategies were examined. Errors during learning distributed non-uniformly and in accordance with the Bezold-Brücke effect, which accounts for darker colours at the green-blue boundary appearing greener and lighter colours appearing bluer. Only hue-learners showed discrimination improvements due to category boundary acquisition. Thus, acquisition is more efficient for hue-category compared to lightness-category boundaries. Almost all learners reported using category-labelling strategies, with hue-learners almost exclusively using 'green'/'blue' and lightness learners using a wider range of labels, most often 'light'/'dark'. Thus, labels play an important role in colour category learning and such labelling does not conform to everyday naming: here, the label 'blue' is used for exemplars that would normally be named 'green'. In conclusion, labelling serves the purpose of highlighting key information that differentiates exemplars across the category boundary, and basic colour terms may be particularly effective in facilitating such attentional guidance.
Many animals use the spectral distribution of light to guide behaviour, but whether they have colour vision has been debated for over a century. Our strong subjective experience of colour and the ...fact that human vision is the paradigm for colour science inevitably raises the question of how we compare with other species. This article outlines four grades of ‘colour vision’ that can be related to the behavioural uses of spectral information, and perhaps to the underlying mechanisms. In the first, even without an (image-forming) eye, simple organisms can compare photoreceptor signals to locate a desired light environment. At the next grade, chromatic mechanisms along with spatial vision guide innate preferences for objects such as food or mates; this is sometimes described as wavelength-specific behaviour. Here, we compare the capabilities of di- and trichromatic vision, and ask why some animals have more than three spectral types of receptors. Behaviours guided by innate preferences are then distinguished from a grade that allows learning, in part because the ability to learn an arbitrary colour is evidence for a neural representation of colour. The fourth grade concerns colour appearance rather than colour difference: for instance, the distinction between hue and saturation, and colour categorization. These higher-level phenomena are essential to human colour perception but poorly known in animals, and we suggest how they can be studied. Finally, we observe that awareness of colour and colour qualia cannot be easily tested in animals.
This article discusses the impact of cheaper colour film stocks introduced in the 1950s on the global film market. After a contextual overview the cases of India and China are briefly considered ...before a more detailed examination of conditions in Japan, and how the world’s attention was drawn to the achievements of Jigokumon/Gate of Hell (Kinugasa Teinosuke, 1953) as an exemplary colour film that was influenced by both Japanese culture and Hollywood melodrama, particularly The Mississippi Gambler (Rudolph Maté, 1953), an American film that was notable for its display of different colours, fabrics and silken textures illuminated by lighting. The history of colour filmmaking in the sound period is detailed, as well as how Japanese technicians visited Hollywood in the early 1950s to study colour. Following a textual analysis of Jigokumon, the article considers its reception by Japanese and British critics. Shifting attention away from the more prevalent analyses of colour in American, British and European cinema, the article highlights the need for transnational approaches to more fully understand a critical period in the history of global cinema. The contemporary context of film restoration is also referenced as of prime importance in recovering the chromatic qualities of films shot in Eastmancolor that were subject to deterioration. Conceptualising global colour as an expansive, fluid phenomenon that has been largely formed by transnational exchange constitutes an important step towards bringing colour more centrally into the frame of transnational studies as well as informing our understanding of colour’s relevance to the development of national cinemas.
Multispectral lidar has become a promising technology with the rise in capability of 3-D spectral imaging. However, the precise acquisition of spectral information is interfered by measurement ...geometry, namely, incidence angle and detection distance. These issues may cause discrepancy within the spectral information, thus limiting the classification capabilities of multispectral lidar. To fill this gap, a hue-saturation-intensity (HSI) color space-based method for multispectral lidar classification is proposed in this study. The proposed scheme does not require radiometric calibration, as the HSI color space is robust to spectral intensity variations within a single target. In this method, spectral data are transformed from red-green-blue (RGB) color space to HSI color space. The three components of the HSI color space are inputted for the classification. Then, a reference target-based radiometric calibration is conducted for comparison. The complex indoor scene and the random forest classifier are used for the validation. The classification results of using raw RGB data, raw HSI data, calibrated RGB data, and calibrated HSI data are compared. Results show that the raw HSI data outperform the raw RGB data in terms of classification accuracy. In particular, the raw HSI data can correct the classification error caused by the measurement geometry more effectively than the calibrated RGB data. The improvement resulting from using the HSI color space is demonstrated by both the three-wavelength multispectral lidar and the 32-channel multispectral lidar. That indicates that HSI color space is a promising tool for enhancing the classification capability of multispectral lidar.
Bees play a vital role as pollinators worldwide and have influenced how flower colour signals have evolved. The Western honey bee,
Apis mellifera
(Apini), and the Buff-tailed bumble bee,
Bombus ...terrestris
(Bombini) are well-studied model species with regard to their sensory physiology and pollination capacity, although currently far less is known about stingless bees (Meliponini) that are common in pantropical regions. We conducted comparative experiments with two highly eusocial bee species, the Western honey bee,
A. mellifera
, and the Australian stingless bee,
Tetragonula carbonaria
, to understand their colour preferences considering fine-scaled stimuli specifically designed for testing bee colour vision. We employed stimuli made of pigment powders to allow manipulation of single colour parameters including spectral purity (saturation) or colour intensity (brightness) of a blue colour (hue) for which both species have previously shown innate preferences. Both
A. mellifera
and
T. carbonaria
demonstrated a significant preference for spectrally purer colour stimuli, although this preference is more pronounced in honey bees than in stingless bees. When all other colour cues were tightly controlled, honey bees receiving absolute conditioning demonstrated a capacity to learn a high-intensity stimulus significant from chance expectation demonstrating some capacity of plasticity for this dimension of colour perception. However, honey bees failed to learn low-intensity stimuli, and
T. carbonaria
was insensitive to stimulus intensity as a cue. These comparative findings suggest that there may be some common roots underpinning colour perception in bee pollinators and how they interact with flowers, although species-specific differences do exist.
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