Camilla Simoncelli, Philippe Gréa, Maria Kihlstedt
There has been long running debate about the interaction of language and perception. In this context, bilingual people have often shown benefits, due to their double‐active linguistic system, in cognitive functions, like inhibition, attention, and memory, which are central for visual perception. Color naming and categorization are domains for studying cross‐linguistic effects, which arise from conceptual and perceptual variations across speakers of different languages. In this study, we compared the ‘blue’ lexicon of highly proficient French‐Italian bilinguals to monolingual speakers of the corresponding languages. Prior studies have shown that Italian has two basic color terms for the blue area of color space: one denotes light blue hues (azzurro) and the other dark blue hues (blu), whilst French, with only one basic term bleu, lacks this distinction. We used a Stroop test to probe differences in perception and categorization of blue in bi‐ and monolingual speakers. We found that Italian monolinguals name the ink color more accurately and more rapidly when the word blu is rendered in dark blue ink (corresponding to the word blu) than when it is printed in light blue ink (corresponding to azzurro), since the latter represents an incongruent condition for them. This ‘category effect’ does not exist for French monolingual speakers. Our bilinguals' results demonstrate that, despite the emergence of a specific in‐between perceptual behavior, bilinguals generally performed like Italian monolinguals. These outcomes confirm the hypothesis that their second language categories (Italian) dominate their native language (French), attesting that lexical distinctions influence perceptual faculties in general. However, the ratio of the interference effect (longer reaction times for incongruent stimuli compared to control stimuli) and the facilitation effect (shorter reaction times for congruent stimuli compared to control stimuli) is not the same for bilinguals and monolinguals. The highest magnitude in the facilitation effect was revealed for bilinguals, whereas the highest magnitude in the interference effect was revealed for Italian monolingual speakers. This phenomenon adds evidence to the existence of enhanced bilingual cognitive control abilities.
{"title":"From color naming to color perception: Cross‐linguistic differences of the chromatic information processing in monolingual and bilingual speakers","authors":"Camilla Simoncelli, Philippe Gréa, Maria Kihlstedt","doi":"10.1002/col.22955","DOIUrl":"https://doi.org/10.1002/col.22955","url":null,"abstract":"There has been long running debate about the interaction of language and perception. In this context, bilingual people have often shown benefits, due to their double‐active linguistic system, in cognitive functions, like inhibition, attention, and memory, which are central for visual perception. Color naming and categorization are domains for studying cross‐linguistic effects, which arise from conceptual and perceptual variations across speakers of different languages. In this study, we compared the ‘blue’ lexicon of highly proficient French‐Italian bilinguals to monolingual speakers of the corresponding languages. Prior studies have shown that Italian has two basic color terms for the blue area of color space: one denotes light blue hues (<jats:italic>azzurro</jats:italic>) and the other dark blue hues (<jats:italic>blu</jats:italic>), whilst French, with only one basic term <jats:italic>bleu</jats:italic>, lacks this distinction. We used a Stroop test to probe differences in perception and categorization of blue in bi‐ and monolingual speakers. We found that Italian monolinguals name the ink color more accurately and more rapidly when the word <jats:italic>blu</jats:italic> is rendered in dark blue ink (corresponding to the word <jats:italic>blu</jats:italic>) than when it is printed in light blue ink (corresponding to <jats:italic>azzurro</jats:italic>), since the latter represents an incongruent condition for them. This ‘category effect’ does not exist for French monolingual speakers. Our bilinguals' results demonstrate that, despite the emergence of a specific in‐between perceptual behavior, bilinguals generally performed like Italian monolinguals. These outcomes confirm the hypothesis that their second language categories (Italian) dominate their native language (French), attesting that lexical distinctions influence perceptual faculties in general. However, the ratio of the interference effect (longer reaction times for incongruent stimuli compared to control stimuli) and the facilitation effect (shorter reaction times for congruent stimuli compared to control stimuli) is not the same for bilinguals and monolinguals. The highest magnitude in the facilitation effect was revealed for bilinguals, whereas the highest magnitude in the interference effect was revealed for Italian monolingual speakers. This phenomenon adds evidence to the existence of enhanced bilingual cognitive control abilities.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142192867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Color has become an essential element in our communication and our judgment on products. In textile, the formulation of any color is an essential process to ensure color continuity from the master standard to all subsequent production batches. Indeed, the objective is to normalize its reproduction all along the color reproduction procedure. In the literature, researches concerning textile color formulation are important, so this review focuses on these different techniques and methods of color matching for dye mixtures and precolored fiber blends. This step involves determining the dyes or fibers to use (alone or in mixtures) and their appropriate proportions to reproduce the wanted colors. The main techniques used for dye mixtures are based on colorimetric, spectrophotometric, and artificial intelligence techniques. While for precolored fiber mixtures the used techniques are dived into theoretical and experimental models. In addition to the review of these different techniques, a quantitative analysis was carried out.
{"title":"Textile color formulation methods: A literature review","authors":"Sabrine Chaouch, Ali Moussa, Neji Ladhari","doi":"10.1002/col.22953","DOIUrl":"https://doi.org/10.1002/col.22953","url":null,"abstract":"Color has become an essential element in our communication and our judgment on products. In textile, the formulation of any color is an essential process to ensure color continuity from the master standard to all subsequent production batches. Indeed, the objective is to normalize its reproduction all along the color reproduction procedure. In the literature, researches concerning textile color formulation are important, so this review focuses on these different techniques and methods of color matching for dye mixtures and precolored fiber blends. This step involves determining the dyes or fibers to use (alone or in mixtures) and their appropriate proportions to reproduce the wanted colors. The main techniques used for dye mixtures are based on colorimetric, spectrophotometric, and artificial intelligence techniques. While for precolored fiber mixtures the used techniques are dived into theoretical and experimental models. In addition to the review of these different techniques, a quantitative analysis was carried out.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142192868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andrea Avendano Martinez, Jake Zuena, Jaclyn Pytlarz
Reproducing near‐gamut colors on an emissive display often causes them to appear brighter than an achromatic color of the same luminance. This phenomenon can be explained by the Helmholtz–Kohlrausch (H–K) effect, which describes an increase in perceived brightness when increasing the chroma of a stimulus. Although recent studies have attempted to incorporate the H–K effect into their modeling, none of these studies have directly explored how the perception of chromatic stimuli changes with background luminance. In this article, we present results from a psychophysical brightness‐matching experiment conducted across different levels of background luminance. The experimental results show the magnitude of the H–K effect upon simultaneous lightness contrast for high chroma colors. We, then, compare our results to CAM16 and other published models that propose modifications to CAM16 to account for the H–K effect. The findings reveal that CAM16 overestimates the perceived rate of lightness change by more than double for highly saturated, low luminance colors with increasing background luminance levels. Despite the progress made in incorporating the H–K effect into models, our study indicates the need for further data to establish a more accurate and robust modeling of this phenomenon.
{"title":"Evaluating the perceived brightness of chromatic stimuli with backgrounds of varying luminance","authors":"Andrea Avendano Martinez, Jake Zuena, Jaclyn Pytlarz","doi":"10.1002/col.22949","DOIUrl":"https://doi.org/10.1002/col.22949","url":null,"abstract":"Reproducing near‐gamut colors on an emissive display often causes them to appear brighter than an achromatic color of the same luminance. This phenomenon can be explained by the Helmholtz–Kohlrausch (H–K) effect, which describes an increase in perceived brightness when increasing the chroma of a stimulus. Although recent studies have attempted to incorporate the H–K effect into their modeling, none of these studies have directly explored how the perception of chromatic stimuli changes with background luminance. In this article, we present results from a psychophysical brightness‐matching experiment conducted across different levels of background luminance. The experimental results show the magnitude of the H–K effect upon simultaneous lightness contrast for high chroma colors. We, then, compare our results to CAM16 and other published models that propose modifications to CAM16 to account for the H–K effect. The findings reveal that CAM16 overestimates the perceived rate of lightness change by more than double for highly saturated, low luminance colors with increasing background luminance levels. Despite the progress made in incorporating the H–K effect into models, our study indicates the need for further data to establish a more accurate and robust modeling of this phenomenon.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142192869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Research suggested that color vision evolved for the purpose of seeing skin color modulations signaling emotion or mood. Hence people want to find the connection of the cone sensitivities with the skin spectral reflectance. In this article the W and V shapes based on skin spectral reflectance measured at different positions and from different ethnic groups (Kurdish, Caucasian, Thai, Chinese) were investigated. First, it was found that the measured skin spectral reflectance from all body positions and ethnic groups have a V shape between 400 and 450 nm and a W shape between 520 and 610 nm. The W and V shapes from the measured skin spectral reflectance are clearly different from those from the spectral reflectance generated from the physical model. The V shape and W shape do not exist with spectral reflectances measured from artificial skin color. Second, it was found that the wavelengths where the left trough assumes for the W shape are different from the wavelength where the M cone peaks, and the wavelengths where the central peak of the W shape assumes are different from the wavelength where the L cone peaks, which are different from the results from literature. Third, it was found that the skin spectral reflectance varies with body positions and ethnic groups. The W shapes turn to be a “U” shape for the spectral reflectance measured at back of the hand and inner forearm positions. The spectral reflectance measured from Kurdish starts decreasing for each body positions for wavelength greater than 700 nm, which is clearly different from the spectral reflectance measured from the Chinese and Caucasian ethnic groups. The findings of this paper are valuable for improving the physical model for generating skin spectral reflectance, reconstructing skin spectral reflectance based on image, identifying human skin color from spectral imaging and rendering of human skin color in computer graphics.
研究表明，色觉的进化是为了看到皮肤颜色的变化，从而传递情绪或心情的信号。因此，人们希望找到锥体敏感度与皮肤光谱反射率之间的联系。本文研究了在不同位置和不同种族（库尔德人、高加索人、泰国人、中国人）测量到的基于皮肤光谱反射率的 W 形和 V 形。首先，研究发现所有体位和不同种族测量到的皮肤光谱反射率在 400 至 450 纳米之间呈 V 形，在 520 至 610 纳米之间呈 W 形。测量到的皮肤光谱反射率的 W 形和 V 形与物理模型生成的光谱反射率明显不同。根据人造皮肤颜色测量的光谱反射率不存在 V 形和 W 形。其次，研究发现 W 形的左槽所在波长与 M 锥峰所在波长不同，W 形的中心峰所在波长与 L 锥峰所在波长不同，这与文献结果不同。第三，研究发现，皮肤光谱反射率随体位和种族群体的不同而变化。在手背和前臂内侧测量到的光谱反射率的 W 形变成了 "U "形。在波长大于 700 纳米时，库尔德人的光谱反射率在每个体位都开始下降，这与中国人和高加索人的光谱反射率明显不同。本文的研究结果对于改进生成皮肤光谱反射率的物理模型、根据图像重建皮肤光谱反射率、从光谱成像中识别人体肤色以及在计算机图形中呈现人体肤色都很有价值。
{"title":"W and V shape features based on measured skin spectral reflectance","authors":"Meng Sun, Cheng Gao, Changjun Li","doi":"10.1002/col.22951","DOIUrl":"https://doi.org/10.1002/col.22951","url":null,"abstract":"Research suggested that color vision evolved for the purpose of seeing skin color modulations signaling emotion or mood. Hence people want to find the connection of the cone sensitivities with the skin spectral reflectance. In this article the W and V shapes based on skin spectral reflectance measured at different positions and from different ethnic groups (Kurdish, Caucasian, Thai, Chinese) were investigated. First, it was found that the measured skin spectral reflectance from all body positions and ethnic groups have a V shape between 400 and 450 nm and a W shape between 520 and 610 nm. The W and V shapes from the measured skin spectral reflectance are clearly different from those from the spectral reflectance generated from the physical model. The V shape and W shape do not exist with spectral reflectances measured from artificial skin color. Second, it was found that the wavelengths where the left trough assumes for the W shape are different from the wavelength where the M cone peaks, and the wavelengths where the central peak of the W shape assumes are different from the wavelength where the L cone peaks, which are different from the results from literature. Third, it was found that the skin spectral reflectance varies with body positions and ethnic groups. The W shapes turn to be a “U” shape for the spectral reflectance measured at back of the hand and inner forearm positions. The spectral reflectance measured from Kurdish starts decreasing for each body positions for wavelength greater than 700 nm, which is clearly different from the spectral reflectance measured from the Chinese and Caucasian ethnic groups. The findings of this paper are valuable for improving the physical model for generating skin spectral reflectance, reconstructing skin spectral reflectance based on image, identifying human skin color from spectral imaging and rendering of human skin color in computer graphics.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141934690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When we enter a dark place, such as a tunnel, from a bright exterior, our visual sensitivities take some time to adapt to lower light levels. However, there have been few reports on how quickly luminance and chromaticity discrimination sensitivities recover in this situation. This study aims to quantify the time course of discrimination sensitivity for luminance and chromaticity directions after an abrupt decrease in background luminance. In each trial, the background luminance was decreased from 100 to 1 cd/m2. Subsequently, one target and three reference stimuli of different colors were presented under four stimulus‐onset asynchrony (SOA) conditions. The participants discriminated the target stimulus from reference stimuli. The results showed that discrimination sensitivity was the lowest right after the background luminance changed and gradually improved with SOAs. The sensitivity decreases differed across color directions, with the greatest decrease in luminance, a moderate decrease in S−(L + M), and a negligible change in L−M. However, statistically significant differences were observed only between luminance and L−M, suggesting that the sensitivity decrease after the abrupt decrease in background luminance did not significantly differ between the chromaticity directions. We speculate that these results stem from the interaction between chromatic perception and luminance adaptation, and possibly from rod intrusions.
{"title":"Luminance and chromaticity discrimination sensitivities right after an abrupt decrease in background luminance","authors":"Minwoo Son, Takehiro Nagai","doi":"10.1002/col.22950","DOIUrl":"https://doi.org/10.1002/col.22950","url":null,"abstract":"When we enter a dark place, such as a tunnel, from a bright exterior, our visual sensitivities take some time to adapt to lower light levels. However, there have been few reports on how quickly luminance and chromaticity discrimination sensitivities recover in this situation. This study aims to quantify the time course of discrimination sensitivity for luminance and chromaticity directions after an abrupt decrease in background luminance. In each trial, the background luminance was decreased from 100 to 1 cd/m<jats:sup>2</jats:sup>. Subsequently, one target and three reference stimuli of different colors were presented under four stimulus‐onset asynchrony (SOA) conditions. The participants discriminated the target stimulus from reference stimuli. The results showed that discrimination sensitivity was the lowest right after the background luminance changed and gradually improved with SOAs. The sensitivity decreases differed across color directions, with the greatest decrease in luminance, a moderate decrease in S−(L + M), and a negligible change in L−M. However, statistically significant differences were observed only between luminance and L−M, suggesting that the sensitivity decrease after the abrupt decrease in background luminance did not significantly differ between the chromaticity directions. We speculate that these results stem from the interaction between chromatic perception and luminance adaptation, and possibly from rod intrusions.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141868797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study aims to identify the color preferences of ancient Egyptian paintings and their cultural and historical reasons through color analysis, and consequently introduce a color collection of ancient Egyptian painting colors for color matching of modern digital images. A total of 134 original and 168 replica/repair painting samples were selected from the digital repositories of various authoritative museum collections, focusing on painting patterns formed on object surfaces using coloring agents. The collected samples, spanning from the Ancient Kingdom of Egypt to the Greco‐Roman period, encompass distinct types of ancient Egyptian paintings. The diversity and chronological distribution of these samples suggest that the color use in ancient Egyptian paintings is closely linked to the burial culture, coffin decoration, religious beliefs, and policy changes. Color analysis of the collected samples using the natural color system revealed that the predominant colors in ancient Egyptian paintings tend to be in the red and yellow spectrum, while the blue, green, and purple spectrum is relatively less prominent. This can be attributed to the historical development of colors, the scarcity of mineral resources, and the symbolic significance of colors in ancient Egyptian culture. Finally, a collection of ancient Egyptian painting colors was selected from extracted colors based on color differences to reflect the color characteristics of ancient Egyptian paintings. Furthermore, the construction method of color palettes with different thematic images and the practical application of these palettes in digital patterns using the proposed color collection were demonstrated to offer a reference for designers.
{"title":"Color analysis of ancient Egyptian paintings and its applications in modern digital visualization","authors":"Qiaoling Zeng","doi":"10.1002/col.22948","DOIUrl":"https://doi.org/10.1002/col.22948","url":null,"abstract":"This study aims to identify the color preferences of ancient Egyptian paintings and their cultural and historical reasons through color analysis, and consequently introduce a color collection of ancient Egyptian painting colors for color matching of modern digital images. A total of 134 original and 168 replica/repair painting samples were selected from the digital repositories of various authoritative museum collections, focusing on painting patterns formed on object surfaces using coloring agents. The collected samples, spanning from the Ancient Kingdom of Egypt to the Greco‐Roman period, encompass distinct types of ancient Egyptian paintings. The diversity and chronological distribution of these samples suggest that the color use in ancient Egyptian paintings is closely linked to the burial culture, coffin decoration, religious beliefs, and policy changes. Color analysis of the collected samples using the natural color system revealed that the predominant colors in ancient Egyptian paintings tend to be in the red and yellow spectrum, while the blue, green, and purple spectrum is relatively less prominent. This can be attributed to the historical development of colors, the scarcity of mineral resources, and the symbolic significance of colors in ancient Egyptian culture. Finally, a collection of ancient Egyptian painting colors was selected from extracted colors based on color differences to reflect the color characteristics of ancient Egyptian paintings. Furthermore, the construction method of color palettes with different thematic images and the practical application of these palettes in digital patterns using the proposed color collection were demonstrated to offer a reference for designers.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141739150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research delves into the development of the Urban Color Plan for Ledro Valley, in Italy. Urban color, encompassing both natural and built elements, plays a crucial role in spatial perception, impacting an individual's cognitive and sensory experiences. This study aims to address the complexity of color planning by an operational method grounded in scientific research. Through the analysis of existing color plans and the study of this specific case, the paper proposes a methodology which emphasizes scientific scrutiny by encompassing factors like historical context, social aspects, environmental influences and a chromatic and material facade survey. The research outlines the multifaceted scales of intervention, ranging from urban mapping to material quality considerations. The Ledro Valley case study exemplifies the application of this methodology, revealing the challenge in harmonizing the diverse historical‐political realities of this Valley. The results showcase a flexible color plan that unifies the territory while still preserving the distinct identities of individual previous municipalities, demonstrating the plan's adaptability and potential for enhancing the overall urban environment.
{"title":"Urban Color Plan: The case study of the Ledro Valley (Italy)","authors":"Katia Gasparini","doi":"10.1002/col.22947","DOIUrl":"https://doi.org/10.1002/col.22947","url":null,"abstract":"This research delves into the development of the Urban Color Plan for Ledro Valley, in Italy. Urban color, encompassing both natural and built elements, plays a crucial role in spatial perception, impacting an individual's cognitive and sensory experiences. This study aims to address the complexity of color planning by an operational method grounded in scientific research. Through the analysis of existing color plans and the study of this specific case, the paper proposes a methodology which emphasizes scientific scrutiny by encompassing factors like historical context, social aspects, environmental influences and a chromatic and material facade survey. The research outlines the multifaceted scales of intervention, ranging from urban mapping to material quality considerations. The Ledro Valley case study exemplifies the application of this methodology, revealing the challenge in harmonizing the diverse historical‐political realities of this Valley. The results showcase a flexible color plan that unifies the territory while still preserving the distinct identities of individual previous municipalities, demonstrating the plan's adaptability and potential for enhancing the overall urban environment.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141739149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Digitizing motion picture films is a crucial aspect of archival practices. Nevertheless, the primary purpose of this process is to convert analog film into a digital signal suitable for recording back onto film. Thus, the most popular color film system encoding, such as Cineon or Academy Density Exchange (ADX), may present some limits for the preservation and restoration practices. In this paper, Cineon and ADX systems are summarized and analyzed, and an experimental application conducted on modern cinematographic film scanners has been made to evaluate the integration of these encoding systems into these devices. Results have been examined and discussed to underline the constraints and possibilities of these color encoding systems for archival purposes.
电影胶片数字化是档案工作的一个重要方面。然而，这一过程的主要目的是将模拟胶片转换成适合录制回胶片的数字信号。因此，最流行的彩色胶片编码系统，如 Cineon 或 Academy Density Exchange (ADX)，可能会给保存和修复工作带来一些限制。本文对 Cineon 和 ADX 系统进行了总结和分析，并在现代电影胶片扫描仪上进行了实验性应 用，以评估这些编码系统与这些设备的整合情况。对结果进行了研究和讨论，以强调这些彩色编码系统在存档方面的局限性和可能性。
{"title":"Color systems for motion picture film digitization: A critical review","authors":"Alice Plutino","doi":"10.1002/col.22946","DOIUrl":"https://doi.org/10.1002/col.22946","url":null,"abstract":"Digitizing motion picture films is a crucial aspect of archival practices. Nevertheless, the primary purpose of this process is to convert analog film into a digital signal suitable for recording back onto film. Thus, the most popular color film system encoding, such as Cineon or Academy Density Exchange (ADX), may present some limits for the preservation and restoration practices. In this paper, Cineon and ADX systems are summarized and analyzed, and an experimental application conducted on modern cinematographic film scanners has been made to evaluate the integration of these encoding systems into these devices. Results have been examined and discussed to underline the constraints and possibilities of these color encoding systems for archival purposes.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141613666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Yuetong Shen, Min Huang, Xinyuan Gao, Minchen Wei, Xuping Gong, Dan Wang
The performance of color matching functions (CMFs) is important to color specification and calibration. In comparison to the great number of studies focusing on the effect of primary set, few studies focused on how observer age and field of view (FOV) jointly affected the performance of CMFs. In this study, a color matching experiment with three different primary sets, which were carefully selected based on our previous study, was carried out by two observer age groups under four FOVs (i.e., 2°, 4°, 8°, and 13°). The results suggested that the observer age had a more significant effect than the FOV, and the change of the FOV did not introduce a systematic trend to the color matching results. Neither the CIE 1931 2° nor 1964 10° CMFs were found to accurately characterize the color matches. The CIE 2006 CMFs with the FOV set to the experiment setup also did not have good performance. On average, the CIE 2006 2° CMFs were found to have the best performance, without considering the effects of the observer age and FOV.
{"title":"Effect of observer age and stimulus size on the color matching performance","authors":"Yuetong Shen, Min Huang, Xinyuan Gao, Minchen Wei, Xuping Gong, Dan Wang","doi":"10.1002/col.22945","DOIUrl":"https://doi.org/10.1002/col.22945","url":null,"abstract":"The performance of color matching functions (CMFs) is important to color specification and calibration. In comparison to the great number of studies focusing on the effect of primary set, few studies focused on how observer age and field of view (FOV) jointly affected the performance of CMFs. In this study, a color matching experiment with three different primary sets, which were carefully selected based on our previous study, was carried out by two observer age groups under four FOVs (i.e., 2°, 4°, 8°, and 13°). The results suggested that the observer age had a more significant effect than the FOV, and the change of the FOV did not introduce a systematic trend to the color matching results. Neither the CIE 1931 2° nor 1964 10° CMFs were found to accurately characterize the color matches. The CIE 2006 CMFs with the FOV set to the experiment setup also did not have good performance. On average, the CIE 2006 2° CMFs were found to have the best performance, without considering the effects of the observer age and FOV.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141613667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Our previous work revealed that the vision‐based color representation of congenitally color‐deficient observers (CDOs) was mostly C‐shaped bending at yellow and blue that differed from circular shape of the observers with no color vision deficiencies called CNOs in the study. In this study, the color‐name‐based internal color representation was investigated for the same observers and its relation to the vision‐based color representation was examined. First, psychological difference of all combinations of 10 color names corresponding to the Munsell basic hues was rated using a 5‐point scale. The distances of all pairs of CNOs and the CDOs agreed well with each other, in contrast to the distinctive differences in the vision‐based color representation. Second, color‐naming was conducted to the 10 color chips for each of high and medium chroma to link the vision‐based and color‐name‐based representations through the test stimuli. For the high chroma chips, color naming property of the CDOs was similar to that of the CNOs. In contrast, CDOs showed distinctively larger intra‐ and inter‐observer variabilities than CNOs for the medium chroma chips. The difference between two color chips was estimated using the results of the color naming and extended color‐name difference ratings which is called “color‐naming difference.” No systematic relationship was observed among the color‐chip difference, color‐name difference, and color naming difference in individual comparisons. It indicated that the color‐naming difference is greater for the pairs including YR/Y/GY versus G/B, and vice versa for the pairs consisting of BG, B, PB, P, and RP. These suggest the followings; first, CDOs seem to utilize lightness difference strategically in the visual assessment, second, psychological differences among “blue,” “green,” “purple,” or “gray” are distinct for CDOs although the color chips given those names in our experiment appear close.
{"title":"Color representations of normals and congenital red–green color deficiencies based on differential scaling of color‐names and color‐naming experiments","authors":"Minoru Ohkoba, Tomoharu Ishikawa, Kota Kanari, Shoko Hira, Sakuichi Ohtsuka, Miyoshi Ayama","doi":"10.1002/col.22944","DOIUrl":"https://doi.org/10.1002/col.22944","url":null,"abstract":"Our previous work revealed that the vision‐based color representation of congenitally color‐deficient observers (CDOs) was mostly C‐shaped bending at yellow and blue that differed from circular shape of the observers with no color vision deficiencies called CNOs in the study. In this study, the color‐name‐based internal color representation was investigated for the same observers and its relation to the vision‐based color representation was examined. First, psychological difference of all combinations of 10 color names corresponding to the Munsell basic hues was rated using a 5‐point scale. The distances of all pairs of CNOs and the CDOs agreed well with each other, in contrast to the distinctive differences in the vision‐based color representation. Second, color‐naming was conducted to the 10 color chips for each of high and medium chroma to link the vision‐based and color‐name‐based representations through the test stimuli. For the high chroma chips, color naming property of the CDOs was similar to that of the CNOs. In contrast, CDOs showed distinctively larger intra‐ and inter‐observer variabilities than CNOs for the medium chroma chips. The difference between two color chips was estimated using the results of the color naming and extended color‐name difference ratings which is called “color‐naming difference.” No systematic relationship was observed among the color‐chip difference, color‐name difference, and color naming difference in individual comparisons. It indicated that the color‐naming difference is greater for the pairs including YR/Y/GY versus G/B, and vice versa for the pairs consisting of BG, B, PB, P, and RP. These suggest the followings; first, CDOs seem to utilize lightness difference strategically in the visual assessment, second, psychological differences among “blue,” “green,” “purple,” or “gray” are distinct for CDOs although the color chips given those names in our experiment appear close.","PeriodicalId":10459,"journal":{"name":"Color Research and Application","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2024-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141504417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"工程技术","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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