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Global Film Color: The Monopack Revolution at Midcentury explores color filmmaking in a variety of countries and regions including India, China, Japan, and Russia, and across Europe and Africa.Most previous accounts of color film have concentrated on early 20th century color processes and Technicolor.

How to\" books are a dime a dozen. What makes this book special is that it is also a \"Why\" book. Hullfish sits down with world-class colorists and records not only what they do but why they do it. That's where the magic lies. \"How\" is the question to ask if you want to become a craftsman. \"Why\" is the question that creates artists. I bought the first edition for \"How\" and came away with a lot of \"Why.\" This edition has lots more of both, with material from several additional world class colorists. If you want an inside look into the art and craft of the professional colorist there's no better way to do it in book form. Whether you're learning to be a colorist or just want to understand what really happens when you decide something can be \"fixed in post,\" you need to read this book. -Art Adams, cinematographer/educator, ProVideoCoalition.com. This book just keeps getting better with each new edition. Steve Hullfish's approach is designed to teach techniques that transfer to a wide range of popular and accessible color correction tools. The intent is to demystify the process, so readers can learn the concepts and apply them, regardless of whether the software has sliders, wheels or curves. Best of all, Hullfish features extensive tips and tricks from some of the premier colorists in the country, so you can learn from the masters. If you only purchase one book on color correction, this is the essential guide to include in your library. -Oliver Peters, Oliver Peters Peters Post Production Services, LLC A terrific and much-needed book for anybody serious about digital color correction. Starting with the basics, it helps the reader work through a series of specific, well-illustrated examples, covering all the major software applications, and supports the text with insightful comments from prominent working colorists. All in all, it's essential reading for anyone who wants to improve their skills in this rapidly changing field. -Steve Cohen, editor, Emmy and ACE Eddie winner, author of Avid Agility.

Physicist Gabriel Lippmann's (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography's ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.

Deep learning (DL) enables the creation of computational models comprising multiple processing layers that learn data representations at multiple levels of abstraction. In the recent past, the use of deep learning has been proliferating, yielding promising results in applications across a growing number of fields, most notably in image processing, medical image analysis, data analysis, and bioinformatics. DL algorithms have also had a significant positive impact through yielding improvements in screening, recognition, segmentation, prediction, and classification applications across different domains of healthcare, such as those concerning the abdomen, cardiac, pathology, and retina. Given the extensive body of recent scientific contributions in this discipline, a comprehensive review of deep learning developments in the domain of diabetic retinopathy (DR) analysis, viz., screening, segmentation, prediction, classification, and validation, is presented here. A critical analysis of the relevant reported techniques is carried out, and the associated advantages and limitations highlighted, culminating in the identification of research gaps and future challenges that help to inform the research community to develop more efficient, robust, and accurate DL models for the various challenges in the monitoring and diagnosis of DR.

Accurate recording of the colors in cultural heritage is essential, where color data is crucial for various applications, including conservation, restoration, research, analysis, and archiving. Recently, advancements in digital color reproduction techniques have emerged, enabling precise documentation of colors using digital photography and image processing. This approach reproduces colors that closely match those of the cultural heritage object by correcting the image and profiling the camera. Notably, the correction process utilizes the device-independent CIE L*a*b* color space to ensure that the reproduced colors are consistent across different devices. Moreover, digital images consist of pixels, which facilitate data-driven statistical analysis. This study focused on digital color reproduction for Korean modern oil paintings, following a systematic process that included photography, digital color correction, and digital color space configuration. To enhance the reliability of color reproduction, it compared the spectral color measurement results of a color chart with the color differences observed in the reproduced images. The study then plotted the CIE L*a*b* color distribution of the images in a three-dimensional graph, where approximately 30 million pixels were classified using the K-means machine learning algorithm. Based on these classification results, representative colors were extracted, along with various analytical outcomes, such as the number of pixels, representative CIE L*a*b* color coordinates, and the percentage composition of each representative color. This research enabled oil paintings to be documented with accurate colors, and the resultant image data were used to extract representative colors using a machine learning algorithm. This method, wherein representative colors are derived through color reproduction, offers valuable insights into the color usage patterns and chromatic painting techniques of an artist, and even the authenticity of artworks.

The article explores advanced image processing techniques for pigment discrimination in rock art paintings, emphasizing color separation using RGB (red, green, blue) and LHCUv (Luminance, Hue, Chroma) imagery. It highlights the use of dimensionality reduction methods such as Principal Components Analisys PCA and Independent Component Analysis (ICA), with a focus on Gaussian Mixture Models (GMM) for probabilistic classification of image elements. This approach, applied to the Chomache archaeological site on the northernmost coast of the Atacama Desert in Chile, reveals previously undetected motifs and details, offering a nuanced perspective in rock art documentation and analysis. This proposal reinforces the value of rock art panel not only as a finished product but as a process.

A novel method of extracting color information on a pixel-by-pixel basis or by the average of the regions of interest (ROIs) from digital images is proposed and demonstrated using newly developed and customized image-processing/analysis software (PicMan). For quantitative and statistical analyses of color, the newly developed software can be used for digital archive or digital forensic applications in various fields. The color differences between unrelated, similar, or identical scenes and or objects were quantified in various formats of desired color spaces such as RGB, HSV, XYZ, CIE L*a*b*, Munsell color, and hexadecimal color values. The color differences were visualized as images of pixel-by-pixel mapping of the ΔL*, Δa*, Δb*, ΔERGB, ΔEHSV, and ΔE*L*a*b* values and block comparison images of desired block sizes. Various color analyses and color-difference mapping examples using an aged and damaged oil painting before and after restoration were introduced. The effects of the image file format differences between PNG and JPG on color distortion are demonstrated by statistics and pixel-by-pixel color-difference mapping. A portrait of Chuk-ki Yoo (兪拓基, 1691–1767) on silk from the 18th century from Korea was used for further color analysis for whole and selected areas. A collector’s ownership stamp of Chuk-ki Yoo stamped in red ink on the text areas in one of his book collections was extracted using the image-processing software and superimposed on the original image as a visualization enhancement example. Image analysis, processing, modification, enhancement, and highlighting, as well as statistical color analysis of digital images in most formats, can conveniently and efficiently be performed using one piece of dedicated software (PicMan). The pixel-by-pixel color information extraction and color comparison technique can be very effective for a variety of applications in art and cultural heritage objects.

The interior models made by Polish artist Henryk Stażewski circa 1976 are an entryway to exploring the geopolitics of vision in the 1960s and 1970s. Locating the models' function at the intersection of art, psychiatry, and color theory reveals analogies between their formal qualities and a selection of theories that emphasised the role of subjective, embodied perception. Through studying how the artist's understanding of both individual and social functions of vision evolved during the postwar period, I challenge dominant interpretations of Stażewski's late work as a mere continuation of his earlier Constructivist interests, complicating our understanding of the historical avant-garde's legacy.

This study concerns the characterization of the color palette of Michelino da Besozzo, one of the leading painters and illuminators of the Late Gothic period in Northern Italy. The artist’s relationship with the color blue was investigated by considering the recipe for lapis lazuli given by the artist to Giovanni Alcherio in Venice in 1410 and found in the medieval treatise of Jean Lebegue. The paper highlights this important evidence for the study of painting technique in the first half of the 15th century with an analytical and technical study of two paintings: The Mystic Marriage of Saint Catherine (Siena, Pinacoteca Nazionale, inv. 171) and The Madonna of the Rose Garden (Verona, Museo di Castelvecchio, inv. 173-1B359). These two case studies were approached through analyses carried out with non-invasive and portable techniques such as Energy Dispersive X-ray Fluorescence (ED-XRF) spectroscopy and Fiber Optics Reflectance Spectroscopy (FORS). The results show a color palette based on ultramarine, azurite, verdigris or copper resinate; earths, cinnabar or vermillion; and lead white, yellow and red ochre and lac. These preliminary results made it possible to clarify certain aspects of the artist’s style and his painting technique and identify common elements between the two works of art.