I think we have the same meaning. When I say “spectral” I just mean a whole bunch of colorants (CIE xy coordinates). If I pick a “real world” blue paint, ignoring a lot of other factors I think I’m really just picking a whole bunch of colorants at various intensities (xyYs). In RGB I just have my three colorants at specific xy coordinates. I’m starting to think RGB exists as just three colorants for no other reason than because it was (barely) good enough and saved on bandwidth and cpu, etc.
Doesn’t that only apply for non-color managed applications? That is, HS"X" Hue 0 means the same exact perceived Red in sRGB as it does in any other color space. Without CM we’re totally lost no matter what
This is pretty neat. I wonder if the same could be achieved by always using the humongous ACES colorspace. As long as you always convert everything to ACES, your HS"X" values would always be on the same scale, no? The problem would be you’d always be using a tiny portion of your interface, but “10% chroma” would have an unchanging meaning. I do find it a bit odd to use color selectors that show you such a huge gamut though. In my example earlier with my tiny slice of pie, I really wanted a way to “zoom in” on that pie slice to make it easier to use. I’m playing around with the GIMP LCH gui, is there a way to just “chop off” or zoom in, or somehow limit the scale to your selected colorspace?
Very true, but I think each “flavor” is trying to serve a different purpose. The way LCH and HCY (tries to ) keep luma constant seems pretty useful, but maybe HSL or HSV is more useful for some other purpose.
I still don’t really see the problem, as long as you exchange the color space information along with the HSV numbers. When you say “5,20,100” it doesn’t mean anything, even with LCH, unless you also say “those numbers are LCH numbers” Having the values scale with your current color space (likely your display) is probably pretty useful, honestly. You would know 50% is right in the middle of what you can work with, and leave some headroom and bottom end. An absolute number is also useful, but I’m starting to think having 3 or 4 color dialogs open at once might be best, maybe HCY, RGB, and LCH.
Interesting! Thanks for using my image, actually, feel free to use the actual picture if you’d like. Full size is over here: https://flic.kr/p/Xqa4vZ
I think it’d be cool if we could take that limited gamut shape, whatever it may be, and map that to a new color wheel. Makes sense right? The RGB triangle is mapped to a wheel, why not any arbitrary colorants?
That is funny. It’s hard to know what’s real, what’s in the mind, or what is an effect from the camera, etc. So frustrating. I recall trying to study the gradient in the sky just after the sun set. So I knew the sky would get darker as I looked higher and higher, but what I didn’t expect was that for every few degrees I tilted my head back, my vision “reset” and re-calibrated to the new gradient. So, it barely seemed to get any darker!
I think as long as you included the background in the painting, the effect would remain more or less on the blue wall, but if you cut the figure out of the painting I’m sure that would destroy the effect. The yellow wall… I think that would enhance the effect, maybe. Another fun thing to try would be to create a synthetic ICC profile using the gamut mask or the plot you generated, and set the white point to the center of that triangle. Then load it in gimp w/ that profile assigned and see what happens when you convert it to sRGB. I really have no idea. It’d be interested to adjust saturation, etc, and then convert back to the synthetic profile. I have no idea if that is even a coherent thought