What every coder should know about Gamma Correction(blog.johnnovak.net) |
What every coder should know about Gamma Correction(blog.johnnovak.net) |
The gradient examples between high-chroma colors of similar luminance are highly misleading in my opinion. In that particular case, linear just happens to do well (and device RGB of course poorly), but in other cases linear is not great. For example, blue to white is especially bad, with hue shifts as well as lightness non-uniformity.
You can experiment with this in the interactive tester in my Oklab review[1].
[1]: https://raphlinus.github.io/color/2021/01/18/oklab-critique....
at the fundamental level, if a surface is illuminated with one lightbulb and we add another light bulb, the difference is exteremely noticeable to the human eye. if we add one more lightbulb to a surface that is already illuminated by a hundred light bulbs, there will be no perceptible difference. the exact response can be modeled with a pretty simple power law (with a modification in the low range, as the article mentions).
that's all there really is to "gamma correction". it's a hack that exploits this quirk of the human visual system in order to more efficiently allocate bits for encoding different "lightness" values.
all of the confusion and bugs stem from one or more of the systems in the chain that forms the final image, making an incorrect assumption about what the others are doing. it's a bit like coordinate spaces in that regard.
I felt the first one looked more even. On the first I could tell the difference between every two adjacent bars. On the second one I couldn't tell any difference between the first 4-5 bars.
Technically, this is not always incorrect, if your working color space is linear and 0 is no light. The problem only comes if you hand that same data to routines or surfaces expecting sRGB or another nonlinear color space (or one where 0 is not no light).
Oh, interesting. What's an example of this? Some sort of log space?
The bevel of a black iPhone is darker than its screen, even when powered off. Similarly, switched off CRT displays aren’t truly black.
The most common 8-bit YUV format (e.g. in MPEG-2) uses a 16-235 range for valid luma values, so black is at 16 and white is at 235.
The reason for leaving this “headroom” and “footroom” had to do both with digitizing analog signals and avoiding clipping during processing.