A Tour up the Gray Scale Vector of the RGB Color Cube: How Computer Graphics Color Spaces Relate to Digital Video Color Difference Space

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE J
Volume: 111, No. 6-7, pp. 330–342
Abstract: In the RGB color space, where color is defined by relative intensities of red (R), green (G), and blue (B), the gray vector (V) is defined by the RGB color cube diagonal where R, G, and B are all equal. This paper takes the reader on a tour up the gray vector within the RGB color cube, starting from black (R = G = B = 0) and moving to white (R = G = B = 1). Along the way, we stop and examine special color planes perpendicular to the gray vector. At a point one-third of the way up the gray vector, the plane has vertices defined by the pure red, green, and blue primary colors of the RGB color space. Continuing to halfway up the gray vector, each edge of the color plane intersects one of six sides of the RGB cube, each intersection at a midpoint. This “halfway” plane forms an equilateral hexagon and is used to describe how RGB space and HSV (or HLS) space are related. At two-thirds the way up the vector the plane has vertices defined by the complementary colors to pure red, green, and blue; these are the pure magenta, yellow, and cyan points in the RGB color cube. Then, using the definition of Rec. 601 for standard color difference space Y, B-Y, R-Y (or YCBCR) within a digital video signal, we show geometrically how this relates to both the standard RGB cube and the HSV color space in 3-D and in various 2-D color plates. These relationships lead to insights and knowledge of YCBCR color space and how computer graphics color space differs from digital video color space. The formulations and color plates generated in this paper will provide the reader with a more intuitive and analytical understanding of how computer graphics color spaces and video color difference space relate. This should prove useful in the development of computer-generated color graphics for video production and helpful to individuals developing color-processing algorithms such as color correction, color enhancement, and color for streaming video content.
Publication Date: 2002-07-01
DOI: 10.5594/J15331
ISSN: Print: 0036-1682
Link: https://doi.org/10.5594/J15331
Author(s): Leonard J. RederArete Associates, Sherman Oaks, CA
bio
Leonard Reder is currently with the Jet Propulsion Laboratory California Institute of Technology helping to implement astronomical interferometers. In addition, he is also a consultant to Arete Associates assisting them in determining new strategic directions and new technology development. His interests include realtime image and DSP processing for scientific instrumentation, video and film post-production technologies, and software development techniques. Reder has developed infrastructure applications for integrating nonlinear editing systems, film recorders, and a screening room into the production process for Warner Bros. Feature Animation. He served as a member of the SMPTE working group on editorial procedures and practices. Reder earned an MSEE degree from the University of Southern California and a B.S. in electronic engineering from Cal Poly University at San Luis Obispo.
Michael FarrisAdvanced technologies for Arete Associates, Sherman Oaks, CA
bio
Michael Farris serves as a technical marketing manager for High-Speed Tools at Innoveda, Inc. He has previously served as director of business development for Elanix, Inc., and manager of the advanced technologies department at Arete Associates. His interests include artificial intelligence, pattern recognition, digital signal processing, and software engineering. Farris has been involved in a wide variety of technical areas. He has directed software development efforts for automatic identification and tracking of objects in video data, developed advanced software simulation capabilities and initiated development of automated object tracking and camera control capabilities for use with Panavision motion picture cameras. He earned M.S. and Ph.D. degrees in geophysics and space physics from the University of California, Los Angeles and a B.S. in physics from the University of Wisconsin, Oshkosh.
Copyright: © 2002 Society of Motion Picture and Television Engineers, Inc.

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Leonard J. Reder and Michael Farris; A Tour up the Gray Scale Vector of the RGB Color Cube: How Computer Graphics Color Spaces Relate to Digital Video Color Difference Space, SMPTE Journal ( Volume: 111, Issue: 6-7, 2002); SMPTE, 2002. Available at https://doi.org/10.5594/J15331

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Leonard J. Reder and Michael Farris; A Tour up the Gray Scale Vector of the RGB Color Cube: How Computer Graphics Color Spaces Relate to Digital Video Color Difference Space, SMPTE Journal ( Volume: 111, Issue: 6-7, 2002); SMPTE, 2002. Available at https://doi.org/10.5594/J15331

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<span class="citation">Leonard J. Reder and Michael Farris; <cite>A Tour up the Gray Scale Vector of the RGB Color Cube: How Computer Graphics Color Spaces Relate to Digital Video Color Difference Space</cite>, SMPTE Journal ( Volume: 111, Issue: 6-7, 2002); SMPTE, 2002. Available at <a href="https://doi.org/10.5594/J15331" target="_blank" rel="noopener">https://doi.org/10.5594/J15331</a></span>

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Leonard J. Reder and Michael Farris; <cite id="bib-10-5594-j15331">A Tour up the Gray Scale Vector of the RGB Color Cube: How Computer Graphics Color Spaces Relate to Digital Video Color Difference Space</cite>, SMPTE Journal ( Volume: 111, Issue: 6-7, 2002); SMPTE, 2002
<span class="doi">10.5594/J15331</span>
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