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The first entry in the table is the Lab Gamut. This is the set of Lab color coordinates for which there could possibly be a physical sample. These are the "real colors." Lab color coordinates that lie outside this gamut can never exist in nature, and therefore it is not important that these coordinates be represented in a working space definition. Further information about the Lab Gamut may be found and 3D images of it may be found .
H.P. Lovecraft's "The Colour out of Space"
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These two efficiency metrics are perhaps better understood by looking at an example comparing ProPhoto with sRGB. ProPhoto captures a relatively large portion of the Lab Gamut (91%), but in order to do that, it must sacrifice much of its coding space to waste (13%). By contrast, sRGB captures a smaller portion of the Lab Gamut (35%), but every single RGB triplet represents a real color, so there is no waste. As you can see, these two efficiencies are at odds with each other — as you strive for higher Lab Efficiency, you generally lose in Coding Efficiency.
CIE 1931 color space - Wikipedia
Green strikes the eye in such a way as to require no adjustment whatever and is, therefore, restful. Being in the centre of the spectrum, it is the colour of balance - a more important concept than many people realise. When the world about us contains plenty of green, this indicates the presence of water, and little danger of famine, so we are reassured by green, on a primitive level. Negatively, it can indicate stagnation and, incorrectly used, will be perceived as being too bland.
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We present The Colour Out of Space, the second volume of iLovecraft, the interactive collection dedicated to the master of terror H.P. Lovecraft.
Megan said: What the actual fuck, Lovecraft
Below are views of each of the working space gamuts, as viewed from above in Lab space. The darker blue square represents the limited range of Lab encoding offered by normal integer encoding methods as described above. The red outline is the projection of the Lab Gamut. Each gamut is rendered as its L* value only, so darker shades represent darker colors, as seen especially in the blue region (lower right of each image).
Directed by Patrick Müller
Since the PAL / SECAM television standard existed first, it is logical to assume that the other three derived from it. I have heard the rumor that the green primary for Adobe RGB came about by the accidental use of the NTSC green primary, used incorrectly since NTSC is defined relative to Illuminant C while Adobe RGB is defined relative to D65. After the mistake was discovered, Adobe decided to keep it since their experiences with this accidental reference space were favorable.