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Battle of the Color Spaces

Right about now, many of you are looking around to see which window to throw this book out of. You have been working with digital images since before I could spell RGB and have done perfectly fine working with unconverted video, thank you very much.

Truly, much great work has already been created by artists working in nonlinear color spaces, some even in log space. But the color space you work in is going to affect the final image, so you must pick the one that helps you accomplish what you've set out to do, which is to simulate how the world is photographed by a camera. When you brighten a scene, you want to mimic the addition of another on-set floodlight or an expanding camera aperture. An image is blurred to imitate light from out-of-focus objects spreading out across the film gate. To do this properly, you need the compositing math to mimic light in the real world.


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