A visit with a long-lost cousin might arouse emotions that run the gamut of joy, regret, sorrow, and excitement. A gamut is a full or complete range. COME RIDE WITH US. 2017 #gamfam. WORLDS FINEST ULTRA-THIN PEDAL I WANT. Define gamut. Gamut synonyms, gamut pronunciation, gamut translation, English dictionary definition of gamut. A complete range or extent: a face that expressed.
Contents • • • • • • • • English [ ] Etymology [ ] 1520s, original sense “lowest note of musical scale”, from, from ( “ (Greek letter, corresponding to the musical note G) ” ) + ( “ first solfège syllable, now replaced by ” ). In modern terms, “G do” – the first note of the G scale. Meaning later extended to mean all the notes of a scale, and then more generally any complete range. Pronunciation [ ] • (): /ˈɡæm.ət/ Noun [ ] gamut ( plural ) • A (normally). • 19??,, review of in the Broadway play She delivered a striking performance that ran the gamut of emotions, from A to B.
Typical CRT gamut The grayed-out horseshoe shape is the entire range of possible, displayed in the format (see below). The colored triangle is the gamut available to the color space typically used in computer monitors; it does not cover the entire space. The corners of the triangle are the for this gamut; in the case of a, they depend on the colors of the phosphors of the monitor. At each point, the brightest possible RGB color of that chromaticity is shown, resulting in the bright stripes corresponding to the edges of the RGB color cube.
In color reproduction, including and, the gamut, or color gamut, is a certain complete subset of. The most common usage refers to the subset of colors which can be accurately represented in a given circumstance, such as within a given or by a certain. Another sense, less frequently used but not less correct, refers to the complete set of colors found within an image at a given time.
In this context, digitizing a photograph, converting a digitized image to a different color space, or outputting it to a given medium using a certain output device generally alters its gamut, in the sense that some of the colors in the original are lost in the process. Contents • • • • • • • • • Introduction [ ] The term gamut was adopted from the field of music, where it means the set of pitches of which musical melodies are composed; 's use of the term in is sometimes attributed to the author/musician. In the 1850s, the term was applied to a range of colors or hue, for example by, who wrote ', I have heard, runs through as large a gamut of hues as marble.' In, the gamut of a device or process is that portion of the that can be represented, or reproduced.
Generally, the color gamut is specified in the – plane, as a system can usually produce colors over a wide range within its color gamut; for a subtractive color system (such as used in ), the range of intensity available in the system is for the most part meaningless without considering system-specific properties (such as the of the ink). When certain colors cannot be expressed within a particular color model, those colors are said to be out of gamut. For example, while pure can be expressed in the color space, it cannot be expressed in the color space; pure red is out of gamut in the color space. A device that can reproduce the entire visible color space is an unrealized goal within the of and printing processes. Modern techniques allow increasingly good approximations, but the complexity of these systems often makes them impractical.
While processing a digital image, the most convenient color model used is the RGB model. Printing the image requires transforming the image from the original RGB color space to the printer's CMYK color space.
During this process, the colors from the RGB which are out of gamut must be somehow converted to approximate values within the CMYK space gamut. Simply trimming only the colors which are out of gamut to the closest colors in the destination space would the image. There are several algorithms approximating this transformation, but none of them can be truly perfect, since those colors are simply out of the target device's capabilities. This is why identifying the colors in an image which are out of gamut in the target color space as soon as possible during processing is critical for the quality of the final product. Representation of gamuts [ ].
Gamut of natural colors Gamuts are commonly represented as areas in the as shown at right, with the curved edge representing the (single-wavelength). The accessible gamut depends on the brightness; a full gamut must therefore be represented in 3D space, as below: The pictures at left show the gamuts of RGB color space (top), such as on computer monitors, and of reflective colors in nature (bottom). The cone drawn in grey corresponds roughly to the CIE diagram at right, with the added dimension of brightness. The axes in these diagrams are the responses of the short-wavelength ( S), middle-wavelength ( M), and long-wavelength ( L) cones in the.
The other letters indicate black ( Blk), red ( R), green ( G), blue ( B), cyan ( C), magenta ( M), yellow ( Y), and white colors ( W). (Note: These pictures are not exactly to scale.) The top left diagram shows that the shape of the RGB gamut is a triangle between red, green, and blue at lower luminosities; a triangle between cyan, magenta, and yellow at higher luminosities, and a single white point at maximum luminosity. The exact positions of the apexes depends on the emission spectra of the in the computer monitor, and on the ratio between the maximum luminosities of the three phosphors (i.e., the color balance).
The gamut of the CMYK color space is, ideally, approximately the same as that for RGB, with slightly different apexes, depending on both the exact properties of the dyes and the light source. In practice, due to the way raster-printed colors interact with each other and the paper and due to their non-ideal absorption spectra, the gamut is smaller and has rounded corners.
The gamut of reflective colors in nature has a similar, though more rounded, shape. An object that reflects only a narrow band of wavelengths will have a color close to the edge of the CIE diagram, but it will have a very low luminosity at the same time. At higher luminosities, the accessible area in the CIE diagram becomes smaller and smaller, up to a single point of white, where all wavelengths are reflected exactly 100 per cent; the exact coordinates of white are determined by the color of the light source. Limitations of color representation [ ] Surfaces [ ]. MacAdam limits for illuminant in CIE xyY. In the beginning of the 20th century, industrial demands for a controllable way to describe colors and the new possibility to measure light spectra initiated intense research on mathematical descriptions of colors.
The idea of optimal colors was introduced by the Baltic German Chemist. Showed in his 1919 article Theorie der Pigmente von größter Leuchtkraft (Theory of Pigments with Highest Luminosity) that the most-saturated colors that can be created with a given total reflectivity are generated by surfaces having either zero or full reflectance at any given wavelength, and the reflectivity spectrum must have at most two transitions between zero and full. Thus two types of 'optimal color' spectra are possible: Either the transition goes from zero at both ends of the spectrum to one in the middle, as shown in the image at right, or it goes from one at the ends to zero in the middle. The first type produces colors that are similar to the spectral colors and follow roughly the horseshoe-shaped portion of the, but are generally less saturated. The second type produces colors that are similar to (but generally less saturated than) the colors on the straight line in the, leading to magenta-like colors. Schrödinger's work was further developed by and. MacAdam was the first person to calculate precise coordinates of selected points on the boundary of the optimal color solid in the CIE 1931 color space for lightness levels from Y = 10 to 95 in steps of 10 units.
This enabled him to draw the optimal color solid at an acceptable degree of precision. Because of his achievement, the boundary of the optimal color solid is called the MacAdam limit. On modern computers, it is possible to calculate an optimal color solid with great precision in seconds or minutes.
The MacAdam limit, on which the most saturated (or 'optimal') colors reside, shows that colors that are near monochromatic colors can only be achieved at very low luminance levels, except for yellows, because a mixture of the wavelengths from the long straight-line portion of the spectral locus between green and red will combine to make a color very close to a monochromatic yellow. Light sources [ ] Light sources used as primaries in an additive color reproduction system need to be bright, so they are generally not close to monochromatic. That is, the color gamut of most variable-color light sources can be understood as a result of difficulties producing pure (single ) light. The best technological source of monochromatic light is the, which can be rather expensive and impractical for many systems. However, as technology matures, single-longitudinal-mode diode lasers are becoming less expensive, and many applications can already profit from this; such as Raman spectroscopy, holography, biomedical research, fluorescence, reprographics, interferometry, semiconductor inspection, remote detection, optical data storage, image recording, spectral analysis, printing, point-to-point free-space communications, and fiber optic communications. Systems that use additive color processes usually have a color gamut which is roughly a in the hue-saturation plane.
The vertices of the polygon are the most saturated colors the system can produce. In subtractive color systems, the color gamut is more often an irregular region. Comparison of various systems [ ]. The gamut ( left) and visible gamut under D65 illumination ( right) projected into the CIExyY color space. X and y are the horizontal axes; Y is the vertical axis.
Following is a list of representative color systems more-or-less ordered from large to small color gamut: • uses 3 lasers to produce the broadest gamut available in practical display equipment today, derived from the fact that lasers produce truly monochromatic primaries. The systems work either by scanning the entire picture a dot at a time and modulating the laser directly at high frequency, much like the electron beams in a, or by optically spreading and then modulating the laser and scanning a line at a time, the line itself being modulated in much the same way as in a projector. Lasers can also be used as a light source for a DLP projector. More than 3 lasers can be combined to increase the gamut range, a technique sometimes used in. • or DLP technology is a trademarked technology from Texas Instruments.
The DLP chip contains a rectangular array of up to 2 million hinge-mounted microscopic mirrors. Each of the micromirrors measures less than one-fifth the width of a human hair. A DLP chip's micromirror tilts either toward the light source in a DLP projection system (ON) or away from it (OFF). This creates a light or dark pixel on the projection surface.
Current DLP projectors use a quickly rotating wheel with transparent colored 'pie slices' to present each color frame successively. One rotation shows the complete image. • can reproduce a larger color gamut than typical television, computer, or systems. • and similar video displays have a roughly triangular color gamut which covers a significant portion of the visible color space. In CRTs, the limitations are due to the phosphors in the screen which produce red, green, and blue light.
• (LCD) screens filter the light emitted by a. The gamut of an LCD screen is therefore limited to the emitted spectrum of the backlight.
Typical LCD screens use cold-cathode fluorescent bulbs () for backlights. LCD Screens with certain or wide-gamut CCFL backlights yield a more comprehensive gamut than CRTs.
However, some LCD technologies vary the color presented by viewing angle. Or screens have a wider span of colors than. • normally uses a CRT, LCD or display, but does not take full advantage of its color display properties, due to the limitations of. Is less restrictive [ ], but still somewhat less than, for example, computer displays using the same display technology. • mixing, both artistic and for commercial applications, achieves a reasonably large color gamut by starting with a larger palette than the red, green, and blue of CRTs or cyan, magenta, and yellow of printing.
Paint may reproduce some highly saturated colors that cannot be reproduced well by CRTs (particularly violet), but overall the color gamut is smaller. [ ] • typically uses the color space (cyan, magenta, yellow, and black).
Very few printing processes do not include black; however, those processes (with the exception of ) are poor at representing low saturation, low intensity colors. Efforts have been made to expand the gamut of the printing process by adding inks of non-primary colors; these are typically orange and green (see ) or light cyan and light magenta (see ).
Inks of a very specific color are also sometimes used. • A display's color gamut is a one-dimensional curve in color space. Wide color gamut [ ] The defines wide color gamut (WCG) as a color gamut that is wider than. WCG would include and. References [ ].
Long (January 1950).. • Thomas De Quincey (1854)..
• Schrödinger, Erwin (1919). 'Theorie der Pigmente größter Leuchtkraft'.
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• Lee, Hsien-Che (2005). '18.7: Theoretical color gamut'... Retrieved 26 February 2013. Retrieved 26 February 2013. Retrieved 26 February 2013.
Retrieved 26 February 2013. Retrieved 2010-02-14. Retrieved 2007-04-26. • Velho, Luiz; Frery, Alejandro C.; Gomes, Jonas (2009-04-29)..
Springer Science & Business Media.. Ultra HD Forum. Retrieved 2016-07-29. External links [ ] Look up in Wiktionary, the free dictionary. • by Bruce Lindbloom. • book by Jan Morovic.
• by William D. Kappele • Stanford University CS 178 explaining color gamut mapping.
To get the lowdown on gamut, we have to dive to the bottom of a musical scale developed by 11th-century musician and monk Guido of Arezzo. Guido called the first line of his bass staff gamma and the first note in his scale ut, which meant that gamma ut was the term for a note written on the first staff line. In time, gamma ut underwent a shortening to gamut but climbed the scale of meaning. It expanded to cover all the notes of Guido's scale, then all the notes in the range of an instrument, and, eventually, an entire range of any sort. ,,, mean the extent that lies within the powers of something (as to cover or control).
Is a general term indicating the extent of one's perception or the extent of powers, capacities, or possibilities. • • the entire range of human experience suggests a graduated series running from one possible extreme to another. • • a performance that ran the gamut of emotions implies a sometimes limited extent of perception, knowledge, or activity.
• • your concerns lie beyond the narrow compass of this study suggests extent, often circular or arc-shaped, of motion or activity. • • the book covers the entire sweep of criminal activity is applicable to an area of activity, predetermined and limited, but somewhat flexible. • • as time went on, the scope of the investigation widened suggests an often circumscribed range of activity or influence within which forces work toward accommodation. • • within that restricted orbit they tried to effect social change.