{"name":"color-space","version":"3.1.0","count":162,"spaces":{"rgb":{"channels":[{"symbol":"R","min":0,"max":255,"name":"Red"},{"symbol":"G","min":0,"max":255,"name":"Green"},{"symbol":"B","min":0,"max":255,"name":"Blue"}],"range":[[0,255],[0,255],[0,255]],"refs":["https://www.w3.org/TR/css-color-4/#numeric-srgb"],"wiki":"https://en.wikipedia.org/wiki/SRGB","year":1996,"by":"HP & Microsoft","use":"Default RGB space of the web and untagged images (sRGB); current, dominant consumer-display standard.","illuminant":"D65","method":"transfer","encoding":"gamma","gamut":"srgb","primaries":{"r":[0.64,0.33],"g":[0.3,0.6],"b":[0.15,0.06]},"white":"D65","referred":"display","dynamic":"sdr","description":"sRGB — the standard RGB color space created by HP and Microsoft in 1996 and later standardized as IEC 61966-2-1. It defines a D65 white point and a piecewise gamma-like transfer curve tuned to typical display response. It became the default color space of the web and of untagged digital images, and remains the assumed gamut for ordinary displays, browsers and image formats today.","neighbors":["xyz","hsl","hsv","hsi","hwb","cmyk","cmy","yiq","yuv","ydbdr","ycgco","ypbpr","ycbcr","xvycc","jpeg","lab","hcg","hcy","tsl","yes","hsp","hsm","lrgb","oklab","oklch","okhsl","okhsv","gray","rg","hcl","xyb","ohta","ryb","lalphabeta"]},"xyz":{"channels":[{"symbol":"X","min":0,"max":95.05,"name":"X"},{"symbol":"Y","min":0,"max":100,"name":"Y"},{"symbol":"Z","min":0,"max":108.91,"name":"Z"}],"range":[[0,95.05],[0,100],[0,108.91]],"refs":["https://www.w3.org/TR/css-color-4/#cie-xyz"],"wiki":"https://en.wikipedia.org/wiki/CIE_1931_color_space#CIE_XYZ_color_space","year":1931,"by":"CIE","use":"Foundational device-independent color space underlying all colorimetry; current universal reference.","illuminant":"D65","observer":"2","method":"matrix","encoding":"linear","referred":"display","dynamic":"sdr","description":"CIE XYZ — the foundation of modern colorimetry, defined by the CIE in 1931 from the color-matching functions of the standard observer. X, Y and Z are not themselves perceptual attributes; they're engineered so Y alone carries luminance while X and Z carry chromaticity, letting any visible color be written as a weighted sum of three fixed imaginary primaries. It serves as the device-independent reference that RGB, Lab and other working spaces are ultimately defined against.","neighbors":["rgb","xyy","xvycc","ucs","uvw","lab","labh","lms","luv","lchuv","coloroid","osaucs","lrgb","oklab","jzazbz","p3","p3-linear","rec2020","rec2020-linear","rec2100-pq","rec2100-hlg","a98rgb","a98rgb-linear","prophoto","prophoto-linear","acescg","acescc","ictcp","cam16","hct","xyz-d50","xyz-abs-d65","lab-d65","logc4","slog3","vlog","log3g10","clog2","dci-p3","smpte-c","ipt","din99d","ciecam02","uv","anlab","cie-rgb","ntsc","apple-rgb","pal","smpte-240m","rimm","logc3","slog2","clog","clog3","bmdfilm","prolab","dlog","sucs","hellwig2022","izazbz","zcam","macboyn","kelvin","cct-duv","wavelength","icacb","hdr-ipt","hdr-cie-lab","srlab2","dkl","rlab","davinci","tlog","dcdm","yrg","igpgtg","slog","redlog","redlogfilm","log3g12","protune","llab","nayatani95","hunt","ostwald","atd95","sgamut3cine"]},"hsl":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"L","min":0,"max":100,"name":"Lightness percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://www.w3.org/TR/css-color-4/#the-hsl-notation"],"wiki":"https://en.wikipedia.org/wiki/HSL_and_HSV","year":1978,"by":"Alvy Ray Smith","use":"Intuitive hue/saturation/lightness color picking; current, standardized as CSS's hsl().","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HSL — Hue, Saturation, Lightness, a cylindrical remapping of RGB devised by Alvy Ray Smith in 1978. Hue is the angle around a color wheel, saturation measures colorfulness relative to gray at that lightness, and lightness runs from black through the pure hue up to white. It offers a far more intuitive way to pick and adjust colors than raw RGB, and underlies the `hsl()` notation in CSS and countless color-picker interfaces.","neighbors":["rgb","hsv","hwb","hcg"]},"hsv":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"V","min":0,"max":100,"name":"Value percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://alvyray.com/Papers/CG/color78.pdf","https://doi.org/10.1145/800248.807361"],"wiki":"https://en.wikipedia.org/wiki/HSL_and_HSV","year":1978,"by":"Alvy Ray Smith","use":"Hue/saturation/value color picking with pure hues at full brightness; current, the standard 'wheel plus square' picker model.","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HSV — Hue, Saturation, Value (also called HSB, for Brightness), another cylindrical remapping of RGB from Alvy Ray Smith's 1978 paper. It shares HSL's hue angle but replaces lightness with value, the brightness of the most intense color channel, so pure hues stay fully saturated across the whole brightness range instead of washing out toward white. It is the model behind most color-picker \"wheel plus square\" interfaces.","neighbors":["rgb","hsl","hwb","hcg"]},"hsi":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"I","min":0,"max":100,"name":"Intensity percentage"}],"range":[[0,360],[0,100],[0,100]],"wiki":"https://en.wikipedia.org/wiki/HSL_and_HSV","year":1976,"by":"John R. Kender","use":"Image-processing / computer-vision hue-saturation-intensity model; still used in segmentation and remote sensing.","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HSI — Hue, Saturation, Intensity, a cylindrical color model popular in image processing and computer vision. Intensity is simply the average of the red, green and blue channels, which decouples brightness from color information more cleanly than HSV or HSL for tasks like segmentation and feature extraction, at the cost of a more involved saturation calculation than its cousins.","neighbors":["rgb"]},"hwb":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"W","min":0,"max":100,"name":"Whiteness percentage"},{"symbol":"B","min":0,"max":100,"name":"Blackness percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://www.w3.org/TR/css-color-4/#the-hwb-notation"],"wiki":"https://en.wikipedia.org/wiki/HWB_color_model","year":1996,"by":"Alvy Ray Smith","use":"Intuitive tint/shade color picking; current, standardized as CSS Color 4's hwb().","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HWB — Hue, Whiteness, Blackness, devised by Alvy Ray Smith in 1996 as an even more intuitive alternative to HSV for humans mixing colors by hand. Instead of saturation and value, it describes a color as a pure hue diluted with some amount of white and some amount of black, mirroring how painters think about tinting and shading a pigment. It is standardized in CSS Color 4 as the `hwb()` notation.","neighbors":["rgb","hsl","hsv","hcg"]},"cmyk":{"channels":[{"symbol":"C","min":0,"max":100,"name":"Cyan percentage"},{"symbol":"M","min":0,"max":100,"name":"Magenta percentage"},{"symbol":"Y","min":0,"max":100,"name":"Yellow percentage"},{"symbol":"K","min":0,"max":100,"name":"Black percentage"}],"range":[[0,100],[0,100],[0,100],[0,100]],"refs":["https://www.w3.org/TR/css-color-4/#device-cmyk"],"wiki":"https://en.wikipedia.org/wiki/CMYK_color_model","year":1906,"by":"four-colour process (Eagle Printing Ink Co.)","use":"Subtractive four-ink model for offset / digital printing; the current prepress standard.","method":"matrix","encoding":"gamma","loss":"projective","lossNote":"The naive device equation: many CMYK values map to one RGB (max-K convention on the way back).","referred":"display","dynamic":"sdr","description":"CMYK is the subtractive color model used throughout offset and digital printing, built from cyan, magenta and yellow inks plus a separate black channel (K, for \"key\"). Mixing cyan, magenta and yellow absorbs light rather than emitting it, the opposite of how RGB displays add colored light, so in principle their combination alone produces black — but real inks are impure, so a dedicated black channel keeps dark tones neutral, saves ink, and gives text and fine detail a cleaner edge. It remains the standard color model for prepress and printed output across the industry.","neighbors":["rgb"]},"cmy":{"channels":[{"symbol":"C","min":0,"max":100,"name":"Cyan percentage"},{"symbol":"M","min":0,"max":100,"name":"Magenta percentage"},{"symbol":"Y","min":0,"max":100,"name":"Yellow percentage"}],"range":[[0,100],[0,100],[0,100]],"refs":["https://doi.org/10.1002/col.20135"],"wiki":"https://en.wikipedia.org/wiki/CMYK_color_model#Comparison_to_CMY","year":1868,"by":"Louis Ducos du Hauron","use":"Three-ink subtractive counterpart to RGB and the arithmetic base of CMYK; superseded by CMYK in print.","method":"matrix","encoding":"gamma","referred":"display","dynamic":"sdr","description":"CMY is the subtractive color model built from cyan, magenta and yellow alone, without CMYK's separate black channel. Each channel represents how much ink is applied to absorb its complementary portion of white light, so mixing all three at full strength approximates black — though in practice impure inks produce a muddy dark brown rather than a true black, which is exactly why CMYK adds a dedicated key channel. CMY remains useful as the direct three-ink subtractive counterpart to RGB, and underlies the arithmetic CMYK is built on.","neighbors":["rgb"]},"xyy":{"channels":[{"symbol":"x","min":0,"max":1,"name":"Red chromaticity"},{"symbol":"y","min":0,"max":1,"name":"Green chromaticity"},{"symbol":"Y","min":0,"max":100,"name":"Luminance"}],"range":[[0,1],[0,1],[0,100]],"refs":["http://www.brucelindbloom.com/index.html?Eqn_XYZ_to_xyY.html"],"wiki":"https://en.wikipedia.org/wiki/CIE_1931_color_space#CIE_xyY_color_space","year":1931,"by":"CIE","use":"Chromaticity reformulation of CIE XYZ for visualizing gamuts and white points; current standard tool.","illuminant":"D65","observer":"2","method":"chromaticity","encoding":"chromaticity","referred":"display","dynamic":"sdr","description":"xyY — a reformulation of CIE XYZ that separates a color's chromaticity (x, y) from its luminance (Y), so hue and saturation can be studied independently of brightness. Plotting x against y produces the familiar horseshoe-shaped chromaticity diagram used to visualize gamuts, specify white points, and compare how much of the visible spectrum a display or printer can reproduce.","neighbors":["xyz","coloroid","dsh","munsell"]},"yiq":{"channels":[{"symbol":"Y","min":0,"max":1,"name":"Luma"},{"symbol":"I","min":-0.5957,"max":0.5957,"name":"In-phase"},{"symbol":"Q","min":-0.5226,"max":0.5226,"name":"Quadrature"}],"range":[[0,1],[-0.5957,0.5957],[-0.5226,0.5226]],"refs":["https://www.govinfo.gov/content/pkg/CFR-2000-title47-vol4/pdf/CFR-2000-title47-vol4-sec73-682.pdf"],"wiki":"https://en.wikipedia.org/wiki/YIQ","year":1953,"by":"NTSC","use":"Original NTSC analog color-TV luma/chroma encoding (US); legacy/historical, replaced operationally by digital YCbCr.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"YIQ is the luma/chroma encoding adopted for NTSC color television in the United States in 1953, engineered to add color broadcasts without breaking the millions of monochrome sets already in homes. The luma channel Y alone reproduces the original black-and-white picture, while I (in-phase) and Q (quadrature) carry the chrominance, named for how they modulate the phase of the color subcarrier. I and Q are rotated relative to the simpler blue-difference/red-difference axes of YUV specifically to exploit the eye's greater sensitivity along the orange-cyan direction than the green-purple direction, letting Q carry less bandwidth.","neighbors":["rgb"]},"yuv":{"channels":[{"symbol":"Y","min":0,"max":1,"name":"Luma"},{"symbol":"U","min":-0.436,"max":0.436,"name":"Chrominance blue component"},{"symbol":"V","min":-0.615,"max":0.615,"name":"Chrominance red component"}],"range":[[0,1],[-0.436,0.436],[-0.615,0.615]],"refs":["https://www.itu.int/rec/R-REC-BT.470"],"wiki":"https://en.wikipedia.org/wiki/YUV","year":1967,"by":"Walter Bruch / Telefunken","use":"Legacy analog PAL television luma/chroma encoding; historical, though 'YUV' now used loosely for digital video too.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"YUV is the analog color-encoding scheme developed for PAL television broadcasting, and lives on loosely today as a general term for luma/chroma video encoding. It let color signals ride alongside existing black-and-white broadcasts without breaking compatibility with monochrome receivers — the luma channel Y alone carries the brightness signal, while U and V add scaled blue-difference and red-difference chrominance on top. Splitting luma from chroma this way let broadcasters spend less bandwidth on color than on brightness, exploiting the eye's lower sensitivity to chrominance detail.","neighbors":["rgb","ydbdr"]},"ydbdr":{"channels":[{"symbol":"Y","min":0,"max":1,"name":"Luma"},{"symbol":"Db","min":-1.333,"max":1.333,"name":"Blue difference"},{"symbol":"Dr","min":-1.333,"max":1.333,"name":"Red difference"}],"range":[[0,1],[-1.333,1.333],[-1.333,1.333]],"refs":["https://www.itu.int/rec/R-REC-BT.470"],"wiki":"https://en.wikipedia.org/wiki/YDbDr","year":1967,"by":"Henri de France","use":"Legacy analog SECAM television luma/chroma encoding (France, E. Europe, ex-USSR); historical.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"YDbDr is the luma/chrominance encoding used by SECAM (\"Séquentiel Couleur à Mémoire\"), the analog color television standard developed in France and adopted across parts of Eastern Europe, the former Soviet Union, and Africa. Like YUV (its PAL counterpart) and YIQ (NTSC), it keeps a luma channel Y for backward compatibility with monochrome broadcasts, pairing it with two scaled color-difference channels, Db and Dr, derived from blue-minus-luma and red-minus-luma respectively.","neighbors":["rgb","yuv"]},"ycgco":{"channels":[{"symbol":"Y","min":0,"max":1,"name":"Luma"},{"symbol":"Cg","min":-0.5,"max":0.5,"name":"Green-magenta chroma"},{"symbol":"Co","min":-0.5,"max":0.5,"name":"Orange-blue chroma"}],"range":[[0,1],[-0.5,0.5],[-0.5,0.5]],"refs":["https://www.itu.int/rec/T-REC-H.273"],"wiki":"https://en.wikipedia.org/wiki/YCgCo","year":2003,"by":"Malvar & Sullivan (Microsoft)","use":"Low-complexity reversible luma/chroma transform used in H.264/AVC and HEVC coding; current, specific coding modes.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"YCgCo, introduced by Malvar and Sullivan in 2003, is a luma/chroma color transform designed to be cheap to compute and simple to invert. Y carries luma, while Cg and Co are green-difference and orange-difference chroma, each built from the RGB components with lighter arithmetic than the coefficients YCbCr uses. It was adopted into video coding standards including H.264/AVC and HEVC, valued there for combining low computational cost with an exact, easily reversible RGB transform.","neighbors":["rgb"]},"ypbpr":{"channels":[{"symbol":"Y","min":0,"max":1,"name":"Luma"},{"symbol":"Pb","min":-0.5,"max":0.5,"name":"Blue chroma"},{"symbol":"Pr","min":-0.5,"max":0.5,"name":"Red chroma"}],"range":[[0,1],[-0.5,0.5],[-0.5,0.5]],"refs":["https://www.itu.int/rec/R-REC-BT.709"],"wiki":"https://en.wikipedia.org/wiki/YPbPr","year":1982,"by":"ITU-R","use":"Analog component-video color-difference signal for DVD players/consoles/HDTVs pre-HDMI; legacy, displaced by digital.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"YPbPr is the analog component-video counterpart to digital YCbCr, carrying the same luma-plus-color-difference structure over three separate analog cables instead of a digital bitstream. Y is the luma signal, alone sufficient for a grayscale picture, while Pb and Pr carry blue-difference and red-difference chroma scaled to a standard analog range. Defined alongside ITU-R BT.709 for high-definition and BT.601 for standard-definition, it was the standard connector-and-signal format for higher-quality analog video on DVD players, game consoles, and HDTVs before digital HDMI became universal.","neighbors":["rgb","ycbcr","xvycc"]},"ycbcr":{"channels":[{"symbol":"Y","min":16,"max":235,"name":"Luma"},{"symbol":"Cb","min":16,"max":240,"name":"Blue chroma"},{"symbol":"Cr","min":16,"max":240,"name":"Red chroma"}],"range":[[16,235],[16,240],[16,240]],"refs":["https://www.itu.int/rec/R-REC-BT.709"],"wiki":"https://en.wikipedia.org/wiki/YCbCr","year":1982,"by":"ITU-R (CCIR)","use":"Digital luma/chroma format behind broadcast and compressed video (BT.601/709); current, ubiquitous in DVD/H.264/HEVC.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"YCbCr is the digital luma/chroma color format behind almost all broadcast and compressed video, standardized by the ITU-R as BT.601 for standard-definition and BT.709 for high-definition. It carries forward the idea behind its analog ancestors YUV and YPbPr — a luma channel Y that alone reproduces a usable grayscale image, paired with blue-difference and red-difference chroma channels Cb and Cr — but in a digital, studio (\"limited\") range that reserves headroom and footroom at the extremes for signal-processing overshoot. It is the color format carried inside everything from DVDs and broadcast television to H.264 and HEVC video compression.","neighbors":["rgb","ypbpr"]},"ycbcr-bt601-525":{"channels":[{"symbol":"Y","min":16,"max":235,"name":"Luma code value"},{"symbol":"Cb","min":16,"max":240,"name":"Blue-difference chroma code value"},{"symbol":"Cr","min":16,"max":240,"name":"Red-difference chroma code value"}],"range":[[16,235],[16,240],[16,240]],"refs":["https://www.itu.int/rec/R-REC-BT.601"],"wiki":"https://en.wikipedia.org/wiki/YCbCr","year":1982,"by":"ITU-R (CCIR)","use":"Unambiguous 525-line/NTSC-family BT.601 limited-range Y′CbCr for SD video.","illuminant":"D65","observer":"2","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"ITU-R BT.601 Y′CbCr for 525-line systems — the studio-range digital component encoding used by NTSC-derived standard-definition video. It combines the BT.601 luma coefficients Kr=0.299 and Kb=0.114 with SMPTE-C primaries and 8-bit legal code ranges (Y′ 16–235, Cb/Cr 16–240).","neighbors":["smpte-c"]},"ycbcr-bt601-625":{"channels":[{"symbol":"Y","min":16,"max":235,"name":"Luma code value"},{"symbol":"Cb","min":16,"max":240,"name":"Blue-difference chroma code value"},{"symbol":"Cr","min":16,"max":240,"name":"Red-difference chroma code value"}],"range":[[16,235],[16,240],[16,240]],"refs":["https://www.itu.int/rec/R-REC-BT.601"],"wiki":"https://en.wikipedia.org/wiki/YCbCr","year":1982,"by":"ITU-R (CCIR)","use":"Unambiguous 625-line/PAL-family BT.601 limited-range Y′CbCr for SD video.","illuminant":"D65","observer":"2","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"ITU-R BT.601 Y′CbCr for 625-line systems — the studio-range digital component encoding used by PAL/SECAM-derived standard-definition video. It combines the BT.601 luma coefficients Kr=0.299 and Kb=0.114 with EBU/PAL primaries and 8-bit legal code ranges (Y′ 16–235, Cb/Cr 16–240).","neighbors":["pal"]},"ycbcr-bt709":{"channels":[{"symbol":"Y","min":16,"max":235,"name":"Luma code value"},{"symbol":"Cb","min":16,"max":240,"name":"Blue-difference chroma code value"},{"symbol":"Cr","min":16,"max":240,"name":"Red-difference chroma code value"}],"range":[[16,235],[16,240],[16,240]],"refs":["https://www.itu.int/rec/R-REC-BT.709"],"wiki":"https://en.wikipedia.org/wiki/YCbCr","year":1990,"by":"ITU-R","use":"Unambiguous BT.709 limited-range Y′CbCr for HDTV production, broadcast, and codecs.","illuminant":"D65","observer":"2","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"ITU-R BT.709 Y′CbCr — the explicit studio-range digital component encoding for HDTV. Unlike the legacy parameterised `ycbcr` node, this space fixes the standard: BT.709 primaries/OETF, Kr=0.2126, Kb=0.0722, and 8-bit legal ranges Y′ 16–235, Cb/Cr 16–240.","neighbors":["rec709"]},"ycbcr-bt2020":{"channels":[{"symbol":"Y","min":16,"max":235,"name":"Luma code value"},{"symbol":"Cb","min":16,"max":240,"name":"Blue-difference chroma code value"},{"symbol":"Cr","min":16,"max":240,"name":"Red-difference chroma code value"}],"range":[[16,235],[16,240],[16,240]],"refs":["https://www.itu.int/rec/R-REC-BT.2020"],"wiki":"https://en.wikipedia.org/wiki/Rec._2020","year":2012,"by":"ITU-R","use":"Unambiguous BT.2020 non-constant-luminance limited-range Y′CbCr for UHDTV and wide-gamut codecs.","illuminant":"D65","observer":"2","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"ITU-R BT.2020 non-constant-luminance Y′CbCr — the explicit studio-range digital component encoding for UHDTV. It uses Rec.2020 primaries/OETF, Kr=0.2627, Kb=0.0593, and 8-bit legal ranges Y′ 16–235, Cb/Cr 16–240. This is the common non-constant-luminance form, distinct from the library's `yccbccrc` constant- luminance representation.","neighbors":["rec2020"]},"xvycc":{"channels":[{"symbol":"Y","min":0,"max":255,"name":"Luma"},{"symbol":"Cb","min":0,"max":255,"name":"Blue-difference chroma"},{"symbol":"Cr","min":0,"max":255,"name":"Red-difference chroma"}],"range":[[0,255],[0,255],[0,255]],"refs":["https://webstore.iec.ch/publication/6168"],"wiki":"https://en.wikipedia.org/wiki/XvYCC","year":2006,"by":"Sony / IEC","use":"Extended-gamut YCbCr for consumer TVs/camcorders/Blu-ray beyond BT.709 (x.v.Color); niche, mostly superseded by HDR formats.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"xvYCC (extended-gamut YCC), standardized by Sony as IEC 61966-2-4 and marketed as x.v.Color, extends traditional YCbCr to encode colors lying outside the conventional BT.601/BT.709 gamut triangle. Where legal-range YCbCr clips any signal exceeding the primaries it was built around, xvYCC keeps the same luma/chroma structure but permits values beyond that limited range, letting cameras and displays capture and reproduce more saturated colors than standard- or high-definition video normally allows. It has shipped in consumer camcorders, televisions, and Blu-ray players seeking a wider color gamut without abandoning the familiar YCbCr pipeline.","neighbors":["rgb","xyz","ypbpr"]},"yccbccrc":{"channels":[{"symbol":"Yc","min":0,"max":1,"name":"Constant-luminance luma"},{"symbol":"Cbc","min":-0.5,"max":0.5,"name":"Blue-difference chroma"},{"symbol":"Crc","min":-0.5,"max":0.5,"name":"Red-difference chroma"}],"range":[[0,1],[-0.5,0.5],[-0.5,0.5]],"refs":["https://www.itu.int/rec/R-REC-BT.2020/en"],"year":2012,"by":"ITU-R","use":"Constant-luminance luma/chroma encoding for UHDTV/HDR wide-gamut video (BT.2020/2100); current, less common than non-constant-luminance Y'CbCr.","illuminant":"D65","observer":"2","method":"luma-chroma","encoding":"linear","referred":"display","dynamic":"sdr","description":"YcCbcCrc is the constant-luminance encoding defined alongside ITU-R BT.2020 and BT.2100 for ultra-high-definition and HDR/wide-gamut video. Ordinary Y'CbCr derives luma from RGB values that have already been gamma-encoded, which lets highly saturated colors leak into the luma channel and distort perceived brightness — a problem that grows more visible with the wider gamuts and higher dynamic range BT.2020 and BT.2100 target. YcCbcCrc avoids this by deriving luma from linear light before applying the transfer curve, keeping brightness and chroma cleanly separated even for the most saturated colors UHDTV and HDR can reproduce.","neighbors":["rec2020-linear"]},"ucs":{"channels":[{"symbol":"U","min":0,"max":64,"name":"U coordinate"},{"symbol":"V","min":0,"max":100,"name":"V coordinate"},{"symbol":"W","min":0,"max":160,"name":"W"}],"range":[[0,64],[0,100],[0,160]],"refs":["https://doi.org/10.1364/JOSA.27.000294"],"wiki":"https://en.wikipedia.org/wiki/CIE_1960_color_space","year":1960,"by":"David MacAdam / CIE","use":"Historical uniform chromaticity diagram, basis for correlated-color-temperature calculations; superseded by CIE 1976 u'v'.","illuminant":"D65","observer":"2","method":"matrix","encoding":"linear","referred":"display","dynamic":"sdr","description":"CIE 1960 UCS is a uniform chromaticity space devised by MacAdam, an early attempt to make equal distances on a chromaticity diagram correspond to equal perceived color differences. It was extended into CIE 1964 U*V*W* by adding a lightness dimension, then superseded outright by CIELUV in 1976. Its underlying (u, v) chromaticity coordinates are still the basis for correlated-color-temperature calculations today, which makes it more a piece of color-science history than a working color space.","neighbors":["xyz"]},"uvw":{"channels":[{"symbol":"U","min":-85,"max":175,"name":"U* chrominance"},{"symbol":"V","min":-90,"max":75,"name":"V* chrominance"},{"symbol":"W","min":-17,"max":100,"name":"W* lightness"}],"range":[[-85,175],[-90,75],[-17,100]],"refs":["https://doi.org/10.1364/JOSA.53.001318"],"wiki":"https://en.wikipedia.org/wiki/CIE_1964_color_space","year":1964,"by":"Günther Wyszecki / CIE","use":"3-D extension of CIE 1960 UCS; superseded by CIELUV in 1976, now historical only.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"CIE 1964 U*V*W* is Wyszecki's extension of the CIE 1960 UCS chromaticity diagram into a full three-dimensional color space, adding a cube-root lightness dimension on top of the earlier system's uniform chromaticity coordinates. It was one of several perceptual color spaces proposed during the 1960s, all trying to make Euclidean distance track perceived color difference better than raw XYZ did. CIELUV superseded it outright in 1976, so today it's mainly of historical interest, marking the transition between the 1960 chromaticity diagram and the modern CIE 1976 spaces.","neighbors":["xyz"]},"jpeg":{"channels":[{"symbol":"Y","min":0,"max":255,"name":"Luma"},{"symbol":"Cb","min":0,"max":255,"name":"Blue-difference chroma"},{"symbol":"Cr","min":0,"max":255,"name":"Red-difference chroma"}],"range":[[0,255],[0,255],[0,255]],"refs":["https://www.itu.int/rec/T-REC-T.871"],"wiki":"https://en.wikipedia.org/wiki/YCbCr#JPEG_conversion","year":1992,"by":"Eric Hamilton / C-Cube Microsystems (JFIF)","use":"Full-range YCbCr for JPEG/JFIF still-image storage; current, ubiquitous (later formalized as ITU-T T.871).","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"The full-range YCbCr color space defined for JPEG still-image compression (ITU-T T.871 / JFIF), also called PC-range or full-swing YCbCr. Unlike broadcast YCbCr — which reserves the extremes of its 8-bit range as headroom and footroom for analog signal overshoot — JPEG YCbCr uses the full 0-255 range on all three channels, matching how still images are stored and displayed on computers. Y carries luma while Cb and Cr are blue-difference and red-difference chroma, using the same BT.601-derived coefficients as standard-definition video.","neighbors":["rgb"]},"lab":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-125,"max":125,"name":"Green-Red axis"},{"symbol":"b","min":-125,"max":125,"name":"Blue-Yellow axis"}],"range":[[0,100],[-125,125],[-125,125]],"refs":["https://www.w3.org/TR/css-color-4/#lab-colors"],"wiki":"https://en.wikipedia.org/wiki/CIELAB_color_space","year":1976,"by":"CIE","use":"Device-independent perceptual color specification; current ICC profile connection space and CSS Color 4's lab().","illuminant":"D50","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"CIELAB is the CIE's 1976 perceptual color space, the first widely adopted attempt to make Euclidean distance between coordinates track perceived color difference. It splits color into lightness and two opponent axes — red versus green and yellow versus blue — echoing how the visual system encodes color beyond the retina. Color-managed workflows conventionally anchor Lab to the D50 illuminant, which is why it serves as the ICC profile connection space and the reference form of CSS Color 4's lab() function, rather than tying it to any particular display's white point.","neighbors":["rgb","xyz","lchab","ral-design"]},"labh":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-75,"max":115,"name":"Green-Red axis"},{"symbol":"b","min":-210,"max":60,"name":"Blue-Yellow axis"}],"range":[[0,100],[-75,115],[-210,60]],"refs":["https://www.hunterlab.com/media/documents/duplicate-of-an-1005-hunterlab-vs-cie-lab.pdf"],"wiki":"https://en.wikipedia.org/wiki/Hunter_Lab","year":1948,"by":"Richard S. Hunter","use":"Industrial surface-color quality control (paints, plastics, textiles, food); legacy but still specified in some industry standards.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"Hunter Lab is Richard Hunter's 1948 opponent-color space, developed years before CIELAB as one of the first practical attempts at a perceptually meaningful, roughly uniform coordinate system for measuring surface color. Like Lab it separates lightness from a red-green and a yellow-blue axis, but reaches them through a simpler transform tied to Hunter's own reflectance instruments rather than CIELAB's cube root. It's less perceptually uniform than CIELAB, but its head start left it entrenched in industrial color-quality work — paints, plastics, textiles and food — where legacy specifications still report in Hunter Lab units.","neighbors":["xyz"]},"lms":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Long"},{"symbol":"M","min":0,"max":105,"name":"Medium"},{"symbol":"S","min":0,"max":110,"name":"Short"}],"range":[[0,100],[0,105],[0,110]],"refs":["https://cie.co.at/publications/colour-appearance-model-colour-management-systems-ciecam02"],"wiki":"https://en.wikipedia.org/wiki/LMS_color_space","year":1979,"by":"Estévez, Hunt & Pointer","use":"Cone-response space for chromatic adaptation (von Kries / Bradford / CAT16); basis of the CIECAM / CAM16 appearance models.","method":"matrix","encoding":"linear","referred":"display","dynamic":"sdr","description":"LMS — the cone-response space of human vision, where L, M and S are the long-, medium- and short-wavelength-sensitive cones of the retina. Describing color the way the eye's own photoreceptors respond makes LMS the natural space for chromatic adaptation: predicting how a color must shift to look unchanged under a different light source. Several competing cone-fundamental and adaptation matrices are in use — von Kries, Bradford, CAT02, CAT16 among them — each modeling that adaptation differently.","neighbors":["xyz","maxwell"]},"maxwell":{"channels":[{"symbol":"x","min":-0.7071067811865476,"max":0.7071067811865476,"name":"Horizontal opponent coordinate"},{"symbol":"y","min":-0.4082482904638631,"max":0.8164965809277261,"name":"Vertical opponent coordinate"}],"range":[[-0.7071067811865476,0.7071067811865476],[-0.4082482904638631,0.8164965809277261]],"refs":["https://doi.org/10.1017/S1464793102005985","https://github.com/rmaia/pavo/blob/master/R/trispace.R"],"wiki":"https://en.wikipedia.org/wiki/Maxwell_disc#Maxwell_color_triangle","year":1860,"by":"James Clerk Maxwell","use":"Trichromatic receptor-catch chromaticity for comparative and biological vision; human-LMS form in the universal graph.","observer":"2","method":"chromaticity","encoding":"chromaticity","loss":"projective","lossNote":"Receptor magnitude is discarded; the inverse reconstructs LMS catches with sum=100.","referred":"display","dynamic":"sdr","description":"Maxwell triangle — the barycentric chromaticity diagram for a trichromatic observer. Three receptor catches are normalized to sum to one, then placed at the vertices of an equilateral triangle. It is used across comparative vision: human LMS catches, bee UV/blue/green catches, or any other trichromatic visual phenotype share the same geometry once their observer-specific catches exist. This graph node is anchored to the library's fixed human LMS cone space; species-relative spectral receptor models require external context and are out of scope.","neighbors":["lms"]},"lchab":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"C","min":0,"max":150,"name":"Chroma"},{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"}],"range":[[0,100],[0,150],[0,360]],"refs":["https://www.w3.org/TR/css-color-4/#cie-lab"],"wiki":"https://en.wikipedia.org/wiki/CIELAB_color_space#Cylindrical_model","year":1976,"by":"CIE","use":"Intuitive saturation/hue adjustment; current, underlies CSS Color 4's lch().","illuminant":"D50","observer":"2","method":"cylindrical","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"LCh(ab) is the cylindrical form of CIELAB, the CIE's 1976 perceptual space, converting its rectangular a/b axes into chroma and hue so color can be adjusted the way people actually think about it — how saturated, and what hue — rather than as red-green and yellow-blue offsets. Lightness carries over unchanged from Lab, so the two share the same perceptual uniformity; only the color-axis representation differs. It underlies CSS Color 4's lch() function and is a common choice for building perceptually even saturation or hue controls.","neighbors":["lab"]},"luv":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"U","min":-215,"max":215,"name":"U chrominance"},{"symbol":"V","min":-215,"max":215,"name":"V chrominance"}],"range":[[0,100],[-215,215],[-215,215]],"refs":["https://cie.co.at/publications/colorimetry-4th-edition"],"wiki":"https://en.wikipedia.org/wiki/CIELUV","year":1976,"by":"CIE","use":"Additive-mixture-accurate perceptual space for displays and stage lighting; still used, less common than CIELAB.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"CIE L*u*v* (CIELUV) is the CIE's 1976 companion to CIELAB, an alternative attempt at perceptual uniformity built from a projected version of the CIE chromaticity diagram rather than Lab's opponent differencing. Its defining property is additivity: the position of a mixture of two lights falls on the straight line between the two lights' own coordinates, something Lab cannot do. That has made LUV the traditional choice for additive-color contexts like displays and stage lighting, while Lab remains dominant for reflective and print color.","neighbors":["xyz","lchuv"]},"lchuv":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"C","min":0,"max":220,"name":"Chroma"},{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"}],"range":[[0,100],[0,220],[0,360]],"refs":["https://cie.co.at/publications/colorimetry-4th-edition"],"wiki":"https://en.wikipedia.org/wiki/CIELUV#Cylindrical_representation_(CIELCh)","year":1976,"by":"CIE","use":"Saturation/hue adjustment in additive-mixture contexts; current, basis for HSLuv/HPLuv.","illuminant":"D65","observer":"2","method":"cylindrical","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"LCh(uv) is the cylindrical form of CIELUV, the CIE's 1976 companion to CIELAB, converting its rectangular u/v axes into chroma and hue much as LCh(ab) does for Lab. It inherits LUV's defining additivity — mixtures of lights move predictably through the space — while giving a more intuitive saturation-and-hue handle for adjusting or comparing colors. It's also the basis for HSLuv and HPLuv, which rescale its chroma to fit the sRGB gamut.","neighbors":["xyz","luv","hsluv","hpluv"]},"hsluv":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"L","min":0,"max":100,"name":"Lightness percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://www.hsluv.org/","https://github.com/hsluv/hsluv"],"wiki":"https://en.wikipedia.org/wiki/HSLuv","year":2012,"by":"Alexei Boronine","use":"Perceptually even saturation across hues for design/palette tools; current, actively maintained (renamed from HUSL in 2018).","illuminant":"D65","observer":"2","method":"cylindrical","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"HSLuv is Alexei Boronine's human-friendly cylindrical form of CIELUV, built to fix a longstanding frustration with HSL: at full saturation, different hues reach wildly different actual vividness, so pure yellow at S=100 looks nothing like pure blue at S=100. HSLuv rescales chroma per hue and lightness so that S=100 always lands exactly on the sRGB gamut boundary, giving a saturation slider that behaves consistently across every hue. Lightness and hue pass through unchanged from LCHuv, and the result is popular in design tools and palette generators that want HSL's familiar interface without its uneven color behavior.","neighbors":["lchuv"]},"hpluv":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"L","min":0,"max":100,"name":"Lightness percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://www.hsluv.org/","https://github.com/hsluv/hsluv"],"year":2012,"by":"Alexei Boronine","use":"Guaranteed-in-gamut pastel companion to HSLuv for palette tools; current, maintained alongside HSLuv.","illuminant":"D65","observer":"2","method":"cylindrical","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"HPLuv is the pastel counterpart to HSLuv, from the same project by Alexei Boronine. Instead of fitting saturation to the sRGB gamut boundary at each individual hue, it uses the single largest circle that fits inside the gamut at a given lightness, so every hue stays reachable across the full saturation range — at the cost of never reaching fully vivid colors, since S=100 only means as saturated as the least colorful hue at that lightness allows. Lightness and hue pass through unchanged from LCHuv, just as in HSLuv; only the chroma mapping differs.","neighbors":["lchuv"]},"coloroid":{"channels":[{"symbol":"A","min":10,"max":76,"name":"Hue grade"},{"symbol":"T","min":0,"max":100,"name":"Saturation"},{"symbol":"V","min":0,"max":100,"name":"Luminosity"}],"range":[[10,76],[0,100],[0,100]],"refs":["https://onlinelibrary.wiley.com/doi/10.1002/col.5080050214"],"wiki":"https://en.wikipedia.org/wiki/Coloroid_color_system","year":1980,"by":"Antal Nemcsics","use":"Architectural and urban color-planning system; still used in Hungarian design practice, standardized as MSZ 7300.","illuminant":"D65","observer":"2","method":"system","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"Coloroid — the Hungarian architectural color-order system, developed by Antal Nemcsics at the Budapest University of Technology and standardized as MSZ 7300. Grown from large-scale aesthetic experiments, it arranges hue (A), saturation (T) and luminosity (V) in steps that feel evenly spaced when composing whole environments — its home turf is architecture and urban color planning.","neighbors":["xyz","xyy"]},"hcg":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"C","min":0,"max":100,"name":"Chroma percentage"},{"symbol":"G","min":0,"max":100,"name":"Gray component percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://github.com/Qix-/color-convert"],"year":2011,"by":"community convention","use":"Cylindrical RGB model (absolute chroma + gray) for colour-picker UIs; niche, mainly in JS colour libraries.","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HCG — Hue, Chroma, Gray, a cylindrical RGB model that separates a color into its pure hue, the chroma (colorfulness) mixed into it, and the amount of gray added to dilute it. Unlike HSL or HSV, chroma here is an absolute measure of colorfulness rather than one relative to lightness or value, making it a natural fit for additive hue-and-gray color mixing.","neighbors":["rgb","hsl","hsv","hwb"]},"hcy":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"C","min":0,"max":100,"name":"Chroma percentage"},{"symbol":"Y","min":0,"max":100,"name":"Luma percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["http://chilliant.blogspot.com/2012/08/rgbhcy-in-hlsl.html"],"year":2012,"by":"Kuzma Shapran (popularized by Chilliant)","use":"Luma-consistent hue model for real-time shader color grading; niche, used in HLSL/GLSL graphics code.","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HCY — Hue, Chroma, Luma, a cylindrical color model devised by Kuzma Shapran and popularized by Chilliant for real-time shader use. Unlike HSI or HSL, its Y channel is the color's actual Rec. 601 luma rather than an average or extremum of the RGB channels, and chroma is normalized against the maximum luma the current hue can carry. The result is that two colors with equal Y always read as equally bright, a property neither HSL nor HSV guarantees.","neighbors":["rgb"]},"tsl":{"channels":[{"symbol":"T","min":0,"max":360,"name":"Tint angle"},{"symbol":"S","min":0,"max":1,"name":"Saturation"},{"symbol":"L","min":0,"max":255,"name":"Lightness"}],"range":[[0,360],[0,1],[0,255]],"refs":["https://doi.org/10.1109/AFGR.2000.840612"],"year":2000,"by":"Terrillon & Akamatsu","use":"Skin-tone segmentation color space for face/gesture detection in computer vision; niche, still referenced.","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"TSL (Tint, Saturation, Lightness) is a cylindrical re-encoding of RGB introduced by Terrillon and Akamatsu in 2000 for detecting human skin tones in images. By separating chromaticity (tint and saturation) from lightness, it groups skin-colored pixels into a tighter, more separable cluster than RGB does, making thresholding for face and gesture detection more reliable. It remains a reference color space in computer-vision work on skin segmentation, alongside spaces like YCbCr and HSV.","neighbors":["rgb"]},"yes":{"channels":[{"symbol":"Y","min":0,"max":1,"name":"Luminance"},{"symbol":"E","min":-0.5,"max":0.5,"name":"E-factor"},{"symbol":"S","min":-0.5,"max":0.5,"name":"S-factor"}],"range":[[0,1],[-0.5,0.5],[-0.5,0.5]],"refs":["https://hbfs.wordpress.com/2018/05/01/xerox-yes-colorspaces-iv/"],"year":1989,"by":"Xerox","use":"Xerox Color Encoding Standard luminance/chrominance encoding; historical, niche in imaging literature.","method":"luma-chroma","encoding":"gamma","referred":"display","dynamic":"sdr","description":"YES is a luminance/chrominance color encoding in the same family as YIQ and YUV: Y carries luminance, while E (green-red) and S (blue-yellow) carry chrominance as simple linear combinations of the red, green and blue primaries. Defined in Xerox's Color Encoding Standard (XNSS 289005, 1989), its coordinates are cheap to compute directly from RGB, which is the model's main appeal, but unlike CIELAB or CIELUV they are not perceptually uniform — equal steps in E or S do not correspond to equal-looking color differences. It appears in the color-imaging literature as one of several such encodings used for image analysis and compression.","neighbors":["rgb"]},"osaucs":{"channels":[{"symbol":"L","min":-10,"max":10,"name":"Lightness"},{"symbol":"j","min":-20,"max":20,"name":"Yellow-Blue axis"},{"symbol":"g","min":-20,"max":20,"name":"Red-Green axis"}],"range":[[-10,10],[-20,20],[-20,20]],"refs":["https://doi.org/10.1364/JOSA.64.001691"],"wiki":"https://en.wikipedia.org/wiki/OSA-UCS","year":1974,"by":"OSA committee (David MacAdam)","use":"Large-step perceptual uniformity for industrial/scientific color-difference work; legacy, niche next to CIELAB/CIELUV.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"OSA-UCS (Uniform Color Scale) is a color space developed by an Optical Society of America committee and published in 1974, closely associated with David MacAdam's work on the project. It set out to solve a problem CIELAB and CIELUV don't fully address: making equal numerical distances correspond to equal perceived differences not just for small steps, but across large jumps anywhere in the space. Rather than a simple rectangular grid, its coordinates sit on a cubic close-packed lattice, matching how the committee's extensive visual-scaling experiments found colors to actually cluster perceptually. It has found its main use in industrial and scientific color-difference work that values this large-scale uniformity over the convenience of more common spaces.","neighbors":["xyz"]},"hsp":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"P","min":0,"max":100,"name":"Perceived brightness percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://alienryderflex.com/hsp.html"],"year":2006,"by":"Darel Rex Finley","use":"Perceived-brightness color picker alternative to HSL/HSV; niche hobbyist and creative-coding use.","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HSP — Hue, Saturation, Perceived brightness, a cylindrical color model designed to fix a known flaw in HSL and HSV, where lightness and value don't match how bright colors actually look to the human eye. Perceived brightness is instead computed from a weighted mix of the red, green and blue channels that reflects the eye's differing sensitivity to each, so two colors with the same P value look equally bright regardless of hue.","neighbors":["rgb"]},"hsm":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue"},{"symbol":"S","min":0,"max":100,"name":"Saturation"},{"symbol":"M","min":0,"max":100,"name":"Mixture"}],"range":[[0,360],[0,100],[0,100]],"refs":["http://seer.ufrgs.br/rita/article/viewFile/rita_v16_n2_p141/7428"],"year":2009,"by":"Bianconi et al.","use":"Skin-color detection in image processing; academic, niche.","method":"cylindrical","encoding":"gamma","referred":"display","dynamic":"sdr","description":"HSM — Hue, Saturation, Mixture, developed by Bianconi et al. (2009) for robust skin-color detection in image processing. Mixture is a luminance-weighted average of the red, green and blue channels standing in for brightness, while saturation measures how far a color sits from that gray mixture relative to the farthest a color at the same mixture level can reach, keeping saturation properly bounded across the whole range of mixture values.","neighbors":["rgb"]},"lrgb":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://www.w3.org/TR/css-color-4/#predefined-sRGB-linear"],"year":1996,"by":"HP & Microsoft (sRGB)","use":"Physically linear intermediate for color mixing, blending, and colorimetric conversion; current, foundational in color-managed rendering.","method":"transfer","encoding":"linear","gamut":"srgb","primaries":{"r":[0.64,0.33],"g":[0.3,0.6],"b":[0.15,0.06]},"white":"D65","referred":"display","dynamic":"sdr","description":"Linear-light sRGB — the same D65 white point and primaries as sRGB, but with the gamma-like transfer curve removed so that channel values sit directly proportional to light intensity. It is not a space displays use directly; instead it is the physically meaningful intermediate for color math such as mixing, blending and colorimetric conversions, where operating on gamma-encoded values would give wrong results.","neighbors":["rgb","xyz","rec709","scrgb","photoycc","cineon","panalog","viperlog","filmicpro"]},"oklab":{"channels":[{"symbol":"L","min":0,"max":1,"name":"Lightness"},{"symbol":"a","min":-0.4,"max":0.4,"name":"Green-Red axis"},{"symbol":"b","min":-0.4,"max":0.4,"name":"Blue-Yellow axis"}],"range":[[0,1],[-0.4,0.4],[-0.4,0.4]],"refs":["https://bottosson.github.io/posts/oklab/"],"wiki":"https://en.wikipedia.org/wiki/Oklab_color_space","year":2020,"by":"Björn Ottosson","use":"Perceptual color space for gradients and design tooling; current, underlies CSS Color 4's oklab()/oklch().","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"Oklab is Björn Ottosson's 2020 perceptual color space, created as a practical replacement for CIELAB in graphics and design work. It models color starting from how the eye's cone cells respond to light, then reshapes that signal so equal numeric steps correspond to equal perceived change in lightness, hue and chroma. That uniformity avoids the hue drift and desaturation that CIELAB and HSL produce when interpolating between colors, which is why Oklab now underlies CSS Color 4's oklab() and oklch() functions and much of the tooling built for gradients and palette generation.","neighbors":["rgb","xyz","oklch","okhsl","okhsv","oklrab"]},"oklch":{"channels":[{"symbol":"L","min":0,"max":1,"name":"Lightness"},{"symbol":"C","min":0,"max":0.4,"name":"Chroma"},{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"}],"range":[[0,1],[0,0.4],[0,360]],"refs":["https://www.w3.org/TR/css-color-4/#ok-lab"],"wiki":"https://en.wikipedia.org/wiki/Oklab_color_space","year":2020,"by":"Björn Ottosson","use":"Design-token palettes and modern CSS color authoring; current, the recommended CSS form.","illuminant":"D65","observer":"2","method":"cylindrical","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"OKLCH is the cylindrical form of Björn Ottosson's 2020 OKLab, with perceptual lightness, chroma and hue. Designed so equal numeric steps look equal to the eye, it fixes CIELAB's blue-shift and is now the workhorse of modern CSS: `oklch()` is the recommended way to define design-token palettes on the web.","neighbors":["rgb","oklab"]},"okhsl":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"L","min":0,"max":100,"name":"Lightness percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://bottosson.github.io/posts/colorpicker/#okhsl"],"year":2021,"by":"Björn Ottosson","use":"Perceptually even HSL-style color picker bounded to the sRGB gamut; current, used in modern design tools.","illuminant":"D65","observer":"2","method":"cylindrical","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"OkHSL is Björn Ottosson's 2021 hue-saturation-lightness remapping of Oklab, built for use in ordinary color-picker interfaces. Saturation is rescaled per hue and lightness so that 100% always lands exactly on the sRGB gamut boundary, giving sliders that stay in gamut and feel evenly spaced across their whole range — a guarantee plain HSL, built on gamma-encoded RGB, never offered. It pairs with OkHSV and OkHWB as a family of perceptually even color pickers derived from Oklab.","neighbors":["rgb","oklab"]},"okhsv":{"channels":[{"symbol":"H","min":0,"max":360,"name":"Hue angle in degrees"},{"symbol":"S","min":0,"max":100,"name":"Saturation percentage"},{"symbol":"V","min":0,"max":100,"name":"Value percentage"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://bottosson.github.io/posts/colorpicker/#okhsv"],"year":2021,"by":"Björn Ottosson","use":"Perceptually even HSV-style color picker bounded to the sRGB gamut; current, used in modern design tools.","illuminant":"D65","observer":"2","method":"cylindrical","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"OkHSV is Björn Ottosson's 2021 hue-saturation-value counterpart to OkHSL, built on Oklab using the value-based model of traditional HSV rather than lightness. Saturation and value are shaped so the space forms a cone that fits exactly inside the sRGB gamut, keeping HSV's familiar layout — pure hues at full saturation and value — while giving perceptually even lightness and chroma underneath. It suits color pickers and palette tools built around an HSV-style saturation/value grid.","neighbors":["rgb","oklab","okhwb"]},"oklrab":{"channels":[{"symbol":"L","min":0,"max":1,"name":"Lightness"},{"symbol":"a","min":-0.4,"max":0.4,"name":"Green-Red axis"},{"symbol":"b","min":-0.4,"max":0.4,"name":"Blue-Yellow axis"}],"range":[[0,1],[-0.4,0.4],[-0.4,0.4]],"refs":["https://bottosson.github.io/posts/colorpicker/"],"year":2021,"by":"Björn Ottosson","use":"Toe-corrected Oklab lightness for accurate dark-tone gamut mapping; current, niche/technical tooling use.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"OkLrab is Björn Ottosson's 2021 adjustment to Oklab's lightness channel, applying a toe curve that compresses near-black values closer to how the eye actually perceives them. Plain Oklab's lightness diverges from CIELAB at the dark end, making blacks read as lighter than they should; the toe mapping corrects this while leaving the a and b axes untouched. 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It's the transfer function behind HDR10 and most HDR video streaming and mastering pipelines.","neighbors":["xyz"]},"rec2100-hlg":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://www.itu.int/rec/R-REC-BT.2100"],"wiki":"https://en.wikipedia.org/wiki/Hybrid_log-gamma","year":2016,"by":"BBC & NHK / ITU-R","use":"Backward-compatible scene-referred HDR transfer function for live broadcast; current standard.","illuminant":"D65","observer":"2","method":"transfer","encoding":"hlg","gamut":"rec2020","primaries":{"r":[0.708,0.292],"g":[0.17,0.797],"b":[0.131,0.046]},"white":"D65","referred":"display","dynamic":"hdr","description":"Rec. 2100 HLG — ITU-R BT.2100's other HDR transfer function, Hybrid Log-Gamma, developed jointly by the BBC and NHK for broadcast. 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It's the standard render and composite space in VFX and animation pipelines built around ACES.","neighbors":["xyz","aces2065-1","acescct","acesproxy"]},"acescc":{"channels":[{"symbol":"R","min":-0.35828683,"max":1.4679963120447153,"name":"Red"},{"symbol":"G","min":-0.35828683,"max":1.4679963120447153,"name":"Green"},{"symbol":"B","min":-0.35828683,"max":1.4679963120447153,"name":"Blue"}],"range":[[-0.35828683,1.4679963120447153],[-0.35828683,1.4679963120447153],[-0.35828683,1.4679963120447153]],"refs":["https://docs.acescentral.com/encodings/acescc/"],"wiki":"https://en.wikipedia.org/wiki/Academy_Color_Encoding_System#ACEScc_&_ACEScct","year":2014,"by":"Academy (AMPAS)","use":"Log2 color-grading working space in ACES post-production; current, though largely superseded by ACEScct on legacy grading control surfaces.","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"ACEScc — the Academy Color Encoding System's logarithmic grading space, sharing the AP1 primaries with ACEScg but applying a pure log2 curve so exposure stops map to code values the way film-trained colorists expect. 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Its structure is otherwise identical to standard CIELAB: perceptually even lightness paired with red-green and yellow-blue opponent axes.","neighbors":["xyz","din99o-lab","lch-d65"]},"gray":{"channels":[{"symbol":"Y","min":0,"max":1,"name":"Relative luminance"}],"range":[[0,1]],"refs":["https://www.w3.org/TR/css-color-4/#grays"],"wiki":"https://en.wikipedia.org/wiki/Grayscale","year":1931,"by":"CIE","use":"Relative-luminance channel derived from linear RGB; current basis for WCAG contrast-ratio calculations.","method":"matrix","encoding":"linear","loss":"projective","lossNote":"Keeps luminance only; chromaticity is discarded.","referred":"display","dynamic":"sdr","description":"Gray — a single-channel relative luminance value, the Y of CIE XYZ, computed from linear-light RGB rather than gamma-encoded values. 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Relative luminance is the quantity behind contrast-ratio calculations such as the WCAG accessibility guidelines.","neighbors":["rgb"]},"rg":{"channels":[{"symbol":"r","min":0,"max":1,"name":"Red chromaticity coordinate"},{"symbol":"g","min":0,"max":1,"name":"Green chromaticity coordinate"}],"range":[[0,1],[0,1]],"refs":["https://doi.org/10.1098/rstl.1860.0005"],"wiki":"https://en.wikipedia.org/wiki/Rg_chromaticity","year":1860,"by":"James Clerk Maxwell","use":"Chromaticity with intensity divided out, for colour matching and illumination-robust vision.","method":"chromaticity","encoding":"chromaticity","loss":"projective","lossNote":"Chromaticity only — overall intensity is discarded.","referred":"display","dynamic":"sdr","description":"rg chromaticity — the RGB analog of CIE xy: red, green and blue are normalized by their sum, discarding overall intensity and leaving only the relative color proportions. 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This let photofinishing labs scan a roll of film once and derive prints, monitor previews, and digital copies from a single scene-referred master.","neighbors":["lrgb"]},"dsh":{"channels":[{"symbol":"d","min":-700,"max":700,"name":"Dominant wavelength"},{"symbol":"s","min":0,"max":1,"name":"Excitation purity"},{"symbol":"Y","min":0,"max":100,"name":"Luminance"}],"range":[[-700,700],[0,1],[0,100]],"refs":["https://cie.co.at/publications/colorimetry-4th-edition"],"wiki":"https://en.wikipedia.org/wiki/Dominant_wavelength","year":1860,"by":"Hermann von Helmholtz","use":"Classical dominant-wavelength / purity / hue (Helmholtz) coordinates for CIE 1931 chromaticity.","illuminant":"D65","observer":"2","method":"chromaticity","encoding":"chromaticity","referred":"display","dynamic":"sdr","description":"CIE DSH — dominant wavelength, saturation (excitation purity) and hue, the classical Helmholtz coordinates for CIE 1931 chromaticity. 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The system was later refined through extensive visual experiments into the 1943 Munsell Renotation, the dataset still used today as its authoritative reference. It remains a standard for perceptually meaningful color specification in fields such as soil science, geology, and paint and pigment matching.","neighbors":["xyy"]},"uv":{"channels":[{"symbol":"u","min":0,"max":0.7,"name":"u' chromaticity"},{"symbol":"v","min":0,"max":0.6,"name":"v' chromaticity"},{"symbol":"Y","min":0,"max":100,"name":"Luminance"}],"range":[[0,0.7],[0,0.6],[0,100]],"refs":["https://cie.co.at/publications/colorimetry-4th-edition"],"wiki":"https://en.wikipedia.org/wiki/CIELUV","year":1976,"by":"CIE","use":"Modern uniform chromaticity diagram for LED binning, white-point tolerancing, and CCT; current standard.","illuminant":"D65","observer":"2","method":"chromaticity","encoding":"chromaticity","referred":"display","dynamic":"sdr","description":"CIE 1976 UCS (u', v') — the modern, more perceptually uniform successor to the 1960 chromaticity diagram, standardized in CIE 15:2004. 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It shares the Cinema Gamut primaries with Canon Log and Canon Log 2, and has become Canon's most widely used cinema log curve.","neighbors":["xyz"]},"bmdfilm":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://github.com/colour-science/colour/blob/develop/colour/models/rgb/transfer_functions/blackmagic_design.py"],"year":2020,"by":"Blackmagic Design","use":"Log curve for Blackmagic cinema cameras shooting BRAW; current on URSA Mini Pro/Pocket Cinema Gen 5 color-science bodies.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"Blackmagic Film — Blackmagic Design's log curve for its Generation 5 color science, which debuted on the URSA Mini Pro 12K and rolled out across the Pocket Cinema Camera line. 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It combines a linear toe in the shadows with a logarithmic highlight rolloff to extend recordable dynamic range ahead of grading. It's defined over F-Gamut, Fujifilm's color space whose primaries match ITU-R BT.2020, and remains the standard flat profile on Fujifilm bodies that lack the newer, wider-range F-Log2.","neighbors":["rec2020-linear"]},"flog2":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://dl.fujifilm-x.com/support/lut/F-Log2_DataSheet_E_Ver.1.0.pdf"],"year":2022,"by":"Fujifilm","use":"Wider-dynamic-range log profile for Fujifilm X-series/GFX video; current flagship log curve on newer bodies.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"F-Log2 — Fujifilm's second-generation log curve, introduced on the X-H2S to capture roughly 14 stops of dynamic range, more than the original F-Log. Its curve is shallower than F-Log's, spreading those extra stops across the code-value range at the cost of needing more careful grading. It shares the F-Gamut primaries, matching ITU-R BT.2020, with F-Log.","neighbors":["rec2020-linear"]},"nlog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://download.nikonimglib.com/archive3/hDCmK00m9JDI03RPruD74xpoU905/N-Log_Specification_(En)01.pdf"],"wiki":"https://en.wikipedia.org/wiki/Log_profile","year":2018,"by":"Nikon","use":"Log video capture for Nikon Z-series mirrorless cameras; current, defined over N-Gamut (BT.2020 primaries).","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"N-Log — Nikon's log curve, introduced with the Z6 and Z7 mirrorless cameras in 2018 to preserve highlight and shadow detail for later grading, and carried forward across the rest of the Z-series. Its curve pairs a cube-root shadow toe with a natural-log highlight region, rather than the log10 curves common elsewhere. It's defined over N-Gamut, whose primaries match ITU-R BT.2020.","neighbors":["rec2020-linear"]},"applelog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://github.com/colour-science/colour/blob/develop/colour/models/rgb/transfer_functions/apple_log_profile.py"],"year":2023,"by":"Apple","use":"Cinema-oriented log capture on iPhone Pro for ProRes Log workflows; current native encoding since the iPhone 15 Pro.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"Apple Log — Apple's log profile, introduced with the iPhone 15 Pro in 2023 for ProRes Log recording aimed at professional and cinematic video workflows, with tight integration into Final Cut Pro's color tools. Its curve opens with a quadratic toe near black before switching to a log2 highlight region, extending recordable dynamic range well beyond the phone's standard video profiles. It's defined over BT.2020 primaries, matching the wide-gamut sensors across the iPhone Pro line.","neighbors":["rec2020-linear"]},"cam02-lcd":{"channels":[{"symbol":"J","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-50,"max":50,"name":"Red-Green"},{"symbol":"b","min":-50,"max":50,"name":"Yellow-Blue"}],"range":[[0,100],[-50,50],[-50,50]],"refs":["https://doi.org/10.1002/col.20227"],"year":2006,"by":"Luo, Cui & Li","use":"Uniform space for large color-difference/gamut-mapping work; largely superseded by CAM16-LCD.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"CAM02-LCD is a variant of the CAM02-UCS uniform color space that Luo, Cui & Li tuned in 2006 specifically for LARGE color differences, rather than the small, fine-grained differences most difference formulas target. Like CAM02-UCS, it reprojects CIECAM02's lightness and colorfulness into a near-Euclidean, Cartesian layout, but with scaling calibrated against large-difference visual data. CAM16-LCD later carried the same large-difference calibration over to CAM16.","neighbors":["ciecam02"]},"cam02-scd":{"channels":[{"symbol":"J","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-50,"max":50,"name":"Red-Green"},{"symbol":"b","min":-50,"max":50,"name":"Yellow-Blue"}],"range":[[0,100],[-50,50],[-50,50]],"refs":["https://doi.org/10.1002/col.20227"],"year":2006,"by":"Luo, Cui & Li","use":"Uniform space for small color-difference tolerance/QC judgments; largely superseded by CAM16-SCD.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"CAM02-SCD is a variant of the CAM02-UCS uniform color space that Luo, Cui & Li tuned in 2006 specifically for SMALL color differences, such as those relevant to tolerance and quality-control judgments. Like CAM02-UCS, it reprojects CIECAM02's lightness and colorfulness into a near-Euclidean, Cartesian layout, but with scaling calibrated against small, near-threshold visual differences. CAM16-SCD later carried the same small-difference calibration over to CAM16.","neighbors":["ciecam02"]},"cam16-lcd":{"channels":[{"symbol":"J","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-50,"max":50,"name":"Red-Green"},{"symbol":"b","min":-50,"max":50,"name":"Yellow-Blue"}],"range":[[0,100],[-50,50],[-50,50]],"refs":["https://doi.org/10.1002/col.22131"],"year":2017,"by":"Li et al.","use":"Uniform space for large color-difference/gamut-mapping comparisons; current default for that role.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"CAM16-LCD is a variant of the CAM16-UCS uniform color space that Li et al. tuned in 2017 specifically for LARGE color differences, carrying over compression coefficients from Luo, Cui & Li's 2006 work on perceptually uniform CIECAM spaces. Like CAM16-UCS it reprojects CAM16's lightness and colorfulness into a near-Euclidean, Cartesian layout, but its scaling is calibrated against large-difference visual data rather than the small, fine-grained differences most color-difference formulas target — making it the CAM16 counterpart to CAM02-LCD.","neighbors":["cam16"]},"cam16-scd":{"channels":[{"symbol":"J","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-50,"max":50,"name":"Red-Green"},{"symbol":"b","min":-50,"max":50,"name":"Yellow-Blue"}],"range":[[0,100],[-50,50],[-50,50]],"refs":["https://doi.org/10.1002/col.22131"],"year":2017,"by":"Li et al.","use":"Uniform space for small color-difference tolerance/QC comparisons; current default for that role.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"CAM16-SCD is a variant of the CAM16-UCS uniform color space that Li et al. tuned in 2017 specifically for SMALL color differences, carrying over compression coefficients from Luo, Cui & Li's 2006 work on perceptually uniform CIECAM spaces. Like CAM16-UCS it reprojects CAM16's lightness and colorfulness into a near-Euclidean, Cartesian layout, but its scaling is calibrated against small, near-threshold visual differences rather than the coarser comparisons CAM16-LCD targets — making it the CAM16 counterpart to CAM02-SCD.","neighbors":["cam16"]},"prolab":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-125,"max":125,"name":"Red-Green"},{"symbol":"b","min":-125,"max":125,"name":"Yellow-Blue"}],"range":[[0,100],[-125,125],[-125,125]],"refs":["https://arxiv.org/abs/2012.07653"],"year":2021,"by":"Konovalenko et al.","use":"Projective, linear-mixture-preserving perceptual space for image processing; emerging, niche.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"proLab is a projective perceptual color space proposed by Konovalenko and colleagues in 2021. Where CIELAB reshapes XYZ with an independent cube root on each channel, proLab applies a single projective transformation, so that straight-line mixtures of light — additive color mixing — stay straight lines in proLab coordinates while distances still track human discrimination thresholds the way CIELAB's do. That combination suits image-processing and color-difference work that depends on linear blending staying linear after the color transform.","neighbors":["xyz"]},"dlog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://dl.djicdn.com/downloads/zenmuse+x7/20171010/D-Log_D-Gamut_Whitepaper.pdf"],"wiki":"https://en.wikipedia.org/wiki/Log_profile","year":2017,"by":"DJI","use":"Log curve for DJI cinema-oriented drone/gimbal cameras; current on Zenmuse/Ronin cinema product lines.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"D-Log — DJI's log curve for its cinema-oriented cameras, including the Zenmuse X7 and Ronin 4D, designed to preserve dynamic range for grading rather than direct viewing. It pairs a linear toe near black with a log10 highlight curve, mapped to the D-Gamut primaries built for those cameras' sensors. It's distinct from D-Log M, the separate curve DJI uses on its consumer drones.","neighbors":["xyz"]},"sucs":{"channels":[{"symbol":"I","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-50,"max":50,"name":"Red-Green"},{"symbol":"b","min":-50,"max":50,"name":"Yellow-Blue"}],"range":[[0,100],[-50,50],[-50,50]],"refs":["https://doi.org/10.1364/OE.510196"],"year":2024,"by":"Li & Luo","use":"Lightweight uniform color space alternative to CAM16-UCS/Oklab for color-difference tasks; new/emerging.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"sUCS is the uniform color space built from sCAM, a \"simple\" color-appearance model published by Li and Luo in 2024. It aims to match the perceptual uniformity of CAM16-UCS — equal numeric distances corresponding to equal perceived differences — through a far lighter calculation pipeline than a full appearance model like CAM16 requires. It's meant as a fast, lower-complexity substitute for CAM16-UCS or Oklab in tasks such as color-difference measurement that don't need viewing-condition parameters.","neighbors":["xyz"]},"hellwig2022":{"channels":[{"symbol":"J","min":0,"max":100,"name":"Lightness"},{"symbol":"M","min":0,"max":60,"name":"Colourfulness"},{"symbol":"h","min":0,"max":360,"name":"Hue angle"}],"range":[[0,100],[0,60],[0,360]],"refs":["https://doi.org/10.1002/col.22792"],"year":2022,"by":"Luke Hellwig & Mark Fairchild","use":"CIE-recommended color-appearance model succeeding CAM16; current mathematical basis of CIECAM16 (CIE 248:2022).","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"The Hellwig-Fairchild model, published in 2022, is the CIE-recommended refinement of CAM16 and the mathematical basis of CIECAM16 (CIE 248:2022). It keeps CAM16's chromatic-adaptation transform, opponent-color dimensions, and lightness correlate largely intact, but revises the achromatic response and brightness equations for more consistent behavior across the model's full range. Like CAM16 it reports lightness, colorfulness, and hue as its core correlates, making it a close drop-in successor wherever a CIE-endorsed appearance model is called for.","neighbors":["xyz"]},"izazbz":{"channels":[{"symbol":"Iz","min":0,"max":1,"name":"Achromatic"},{"symbol":"az","min":-0.5,"max":0.5,"name":"Red-Green"},{"symbol":"bz","min":-0.5,"max":0.5,"name":"Yellow-Blue"}],"range":[[0,1],[-0.5,0.5],[-0.5,0.5]],"refs":["https://doi.org/10.1364/OE.25.015131"],"year":2017,"by":"Safdar et al.","use":"Intermediate opponent stage of the Jzazbz HDR derivation; research/internal use, foundation of the ZCAM appearance model.","illuminant":"D65","observer":"2","method":"opponent","encoding":"pq","referred":"display","dynamic":"hdr","description":"IzAzBz — the opponent-color stage inside Safdar et al.'s 2017 derivation of Jzazbz, taken before the final hyperbolic lightness compression that turns Iz into Jz. Iz is the raw, uncompressed achromatic response from the PQ-encoded LMS signal, while az and bz carry the same red-green and yellow-blue chroma as Jzazbz. It went on to become the structural foundation of the ZCAM color appearance model.","neighbors":["xyz"]},"zcam":{"channels":[{"symbol":"J","min":0,"max":100,"name":"Lightness"},{"symbol":"M","min":0,"max":100,"name":"Colourfulness"},{"symbol":"h","min":0,"max":360,"name":"Hue angle"}],"range":[[0,100],[0,100],[0,360]],"refs":["https://doi.org/10.1364/OE.413659"],"year":2021,"by":"Safdar, Hardeberg & Luo","use":"HDR/wide-gamut color appearance model for HDR display calibration and gamut mapping; current, active in research/tools.","illuminant":"D65","observer":"2","method":"appearance","encoding":"pq","referred":"display","dynamic":"hdr","description":"ZCAM is the color appearance model Safdar, Hardeberg and Luo introduced in 2021, designed from the outset for high-dynamic-range and wide-gamut imagery rather than adapted to it after the fact. It plays the same role as CAM16 — predicting lightness, colorfulness and hue as a color will actually appear under given viewing conditions — but builds on the absolute Izazbz color space instead of CIE XYZ, so it can work natively with the absolute luminance levels HDR content requires instead of the relative 0-100 scale older appearance models assume. The full model also reports brightness, vividness, blackness and whiteness, suiting it to HDR display calibration and gamut mapping where standard appearance models run out of range.","neighbors":["xyz"]},"macboyn":{"channels":[{"symbol":"l","min":0.4,"max":1,"name":"Red-green chromaticity"},{"symbol":"s","min":0,"max":1,"name":"Tritan chromaticity"},{"symbol":"Y","min":0,"max":100,"name":"Luminance"}],"range":[[0.4,1],[0,1],[0,100]],"refs":["https://doi.org/10.1364/JOSA.69.001183","http://www.cvrl.org/database/text/ccs/spmb.htm"],"year":1979,"by":"Donald MacLeod & Robert Boynton","use":"Cone-excitation chromaticity diagram for chromatic-discrimination vision research; academic, foundation of the DKL space.","illuminant":"D65","observer":"2","method":"chromaticity","encoding":"chromaticity","referred":"display","dynamic":"sdr","description":"MacLeod-Boynton (MB) chromaticity — the cone-excitation diagram MacLeod & Boynton introduced in 1979, plotting color as relative long- and short-wavelength cone excitation on a constant-luminance plane. Isolating chromaticity at the level of the cones themselves, rather than at the tristimulus values a display uses, made it the foundation of the DKL cardinal-axis space and a staple of chromatic-discrimination research in vision science.","neighbors":["xyz"]},"kelvin":{"channels":[{"symbol":"T","min":1000,"max":25000,"name":"Temperature"}],"range":[[1000,25000]],"refs":["https://doi.org/10.1002/col.5080100109"],"wiki":"https://en.wikipedia.org/wiki/Planckian_locus","year":1931,"by":"Raymond Davis; CIE (Judd)","use":"White-balance / CCT axis for photography, lighting and display calibration via the Planckian locus.","illuminant":"D65","observer":"2","method":"spectral","encoding":"chromaticity","loss":"projective","lossNote":"Any color projects to its nearest Planckian-locus CCT; only on-locus colors round-trip.","referred":"display","dynamic":"sdr","description":"Kelvin — correlated color temperature (CCT), the familiar scale for describing a light source's warmth or coolness by comparing it to an ideal black-body radiator: roughly 2700 K for a warm incandescent candle-like glow, up to 6500 K and beyond for cool daylight. It's the white-balance axis used throughout photography, lighting design and display calibration, mapping a single temperature value to a point on the Planckian locus.","neighbors":["xyz"]},"cct-duv":{"channels":[{"symbol":"T","min":1000,"max":25000,"name":"Correlated colour temperature in kelvin"},{"symbol":"Duv","min":-0.05,"max":0.05,"name":"Signed distance from the Planckian locus in CIE 1960 uv"}],"range":[[1000,25000],[-0.05,0.05]],"refs":["https://doi.org/10.1080/15502724.2014.839020","https://www.energy.gov/sites/default/files/2023-09/ssl-smet-etal-2023_method-cct-duv-light-source.pdf"],"wiki":"https://en.wikipedia.org/wiki/Color_temperature#Correlated_color_temperature","year":2014,"by":"Yoshi Ohno / ANSI","use":"Lighting specification and LED binning: CCT says warm–cool, Duv says green–pink; current companion coordinates for white-light chromaticity.","observer":"2","method":"chromaticity","encoding":"chromaticity","loss":"projective","lossNote":"Chromaticity only: luminance is discarded; the inverse reconstructs XYZ at Y=100.","referred":"display","dynamic":"sdr","description":"CCT + Duv — the lighting industry's two-coordinate description of near-white chromaticity. Correlated colour temperature locates the nearest point on the Planckian locus; Duv is the signed perpendicular distance from that locus in the CIE 1960 uv diagram (positive above the locus, conventionally greener; negative below it, conventionally pinker). Unlike CCT alone, the pair preserves both dimensions of chromaticity around the white-light region.","neighbors":["xyz"]},"wavelength":{"channels":[{"symbol":"wl","min":380,"max":700,"name":"Wavelength"}],"range":[[380,700]],"refs":["https://cie.co.at/datatable/cie-1931-colour-matching-functions-2-degree-observer"],"wiki":"https://en.wikipedia.org/wiki/Spectral_color","year":1931,"by":"CIE","use":"Monochromatic-light-to-XYZ mapping via the CIE 1931 standard observer; current colorimetry reference.","illuminant":"E","observer":"2","method":"spectral","encoding":"chromaticity","loss":"projective","lossNote":"Any color projects to its nearest spectral-locus hue; purples have no wavelength.","referred":"display","dynamic":"sdr","description":"Wavelength — the color of monochromatic light, a single point on the visible spectrum's \"rainbow\" of pure spectral hues, from deep violet near 380 nm to deep red near 700 nm. Converting a wavelength to CIE XYZ uses the color-matching functions of the CIE 1931 standard observer, the same experimentally-derived functions underlying all of modern colorimetry. Going the other direction recovers the nearest spectral wavelength of any color — the dominant wavelength that gives CIE DSH its hue, projected into the 380–700 nm domain.","neighbors":["xyz"]},"icacb":{"channels":[{"symbol":"I","min":0,"max":1,"name":"Intensity"},{"symbol":"Ca","min":-0.5,"max":0.5,"name":"Red-Green"},{"symbol":"Cb","min":-0.5,"max":0.5,"name":"Yellow-Blue"}],"range":[[0,1],[-0.5,0.5],[-0.5,0.5]],"refs":["https://github.com/colour-science/colour/blob/develop/colour/models/icacb.py"],"year":2017,"by":"Julian Fröhlich","use":"HDR/wide-gamut opponent space re-optimized for JND uniformity versus ICtCp; research use, not broadly adopted industrially.","illuminant":"D65","observer":"2","method":"opponent","encoding":"pq","referred":"display","dynamic":"hdr","description":"ICaCb — an HDR opponent space designed by Fröhlich in 2017, built in the same mold as ICtCp but re-optimized for just-noticeable-difference uniformity and straighter hue lines. XYZ passes through a dedicated cone matrix and the PQ (ST 2084) non-linearity before the opponent mix, giving I as intensity and Ca/Cb as red-green and yellow-blue chroma.","neighbors":["xyz"]},"hdr-ipt":{"channels":[{"symbol":"I","min":0,"max":100,"name":"Lightness"},{"symbol":"P","min":-100,"max":100,"name":"Red-Green"},{"symbol":"T","min":-100,"max":100,"name":"Yellow-Blue"}],"range":[[0,100],[-100,100],[-100,100]],"refs":["https://library.imaging.org/cic/articles/18/1/art00057"],"year":2010,"by":"Mark Fairchild & Garrett Wyble","use":"HDR-adapted IPT for hue-linear appearance modeling across wide luminance range; academic, not industrially deployed.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"hdr","description":"hdr-IPT — Fairchild & Wyble's 2010/2011 extension of IPT to high-dynamic-range imagery. IPT's fixed power-law lightness response only holds over a narrow luminance range, so hdr-IPT replaces it with a Michaelis-Menten response whose exponent adapts to the scene's own luminance, echoing how the eye itself adapts. It keeps IPT's I/P/T lightness, red-green and yellow-blue structure while extending its hue-linear behavior across HDR's much larger dynamic range.","neighbors":["xyz"]},"hdr-cie-lab":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-100,"max":100,"name":"Red-Green"},{"symbol":"b","min":-100,"max":100,"name":"Yellow-Blue"}],"range":[[0,100],[-100,100],[-100,100]],"refs":["https://library.imaging.org/cic/articles/18/1/art00057"],"year":2010,"by":"Mark Fairchild & Garrett Wyble","use":"HDR-adapted CIELAB for wide-luminance-range image-difference work; academic, superseded in practice by ICtCp/Jzazbz.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"hdr","description":"hdr-CIELAB — Fairchild & Wyble's 2010/2011 extension of CIELAB to high-dynamic-range imagery. CIELAB's cube-root lightness response was fit to ordinary display luminance and breaks down across HDR's wider range, so hdr-CIELAB substitutes a Michaelis-Menten response whose exponent adapts to scene luminance, in the spirit of human visual adaptation. It keeps CIELAB's familiar L*, a* and b* lightness and red-green/yellow-blue structure while extending it to HDR content.","neighbors":["xyz"]},"srlab2":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-125,"max":125,"name":"Red-Green"},{"symbol":"b","min":-125,"max":125,"name":"Yellow-Blue"}],"range":[[0,100],[-125,125],[-125,125]],"refs":["https://www.magnetkern.de/srlab2.html"],"year":2009,"by":"Jan Behrens","use":"CIELAB/CIECAM02 hybrid for more perceptually-uniform color-difference work; niche open alternative to Lab.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"SRLAB2 is Jan Behrens' attempt to combine the best of CIELAB and CIECAM02. It runs color through CIECAM02's CAT02 chromatic adaptation and then finishes with a CIELAB-style cube-root opponent stage, rather than CIELAB's simpler and less accurate adaptation step. The result is noticeably more perceptually uniform than plain CIELAB, especially for saturated colors, while staying as easy to compute and invert as Lab itself, without CIECAM02's full viewing-condition machinery.","neighbors":["xyz"]},"dkl":{"channels":[{"symbol":"Ach","min":-100,"max":0,"name":"Achromatic"},{"symbol":"RG","min":-31,"max":0,"name":"Red-Green"},{"symbol":"YV","min":0,"max":99,"name":"Tritan"}],"range":[[-100,0],[-31,0],[0,99]],"refs":["https://doi.org/10.1113/jphysiol.1984.sp015499"],"year":1984,"by":"Derrington, Krauskopf & Lennie","use":"Vision-science stimulus design isolating cardinal color mechanisms; current standard framework in that research field.","illuminant":"D65","observer":"2","method":"opponent","encoding":"linear","referred":"display","dynamic":"sdr","description":"DKL — the cardinal-axis space of human color vision, proposed by Derrington, Krauskopf & Lennie in 1984 from recordings of neurons in the macaque lateral geniculate nucleus. Rather than an arbitrary opponent model, its three axes are the actual directions early visual neurons respond along: an achromatic luminance axis, an isoluminant red-green axis, and a tritan blue-yellow axis, all measured relative to an adapting white. It remains a standard framework in vision science for designing stimuli that isolate one cardinal mechanism at a time.","neighbors":["xyz"]},"rlab":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"a","min":-125,"max":125,"name":"Red-Green"},{"symbol":"b","min":-125,"max":125,"name":"Yellow-Blue"}],"range":[[0,100],[-125,125],[-125,125]],"refs":["https://doi.org/10.1002/(SICI)1520-6378(199610)21:5<338::AID-COL3>3.0.CO;2-Z"],"wiki":"https://en.wikipedia.org/wiki/Color_appearance_model#RLAB","year":1996,"by":"Mark Fairchild","use":"Cross-media color appearance model for print/display reproduction matching; historical/academic, superseded by CIECAM02/CAM16.","illuminant":"A","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"RLAB is the color appearance model Mark Fairchild published in 1996, developed for predicting how colors reproduce across different media and viewing conditions — for example, matching a printed image's appearance to how it looked on a display. It adapts the cone responses, via a von Kries-style transform through Hunt-Pointer-Estévez cone fundamentals, to the reference viewing condition, then maps the result into a CIELAB-like lightness and opponent-color space, giving it CIELAB's familiar structure while accounting for surround and adaptation effects that plain CIELAB ignores. It was among the earliest appearance models built specifically for cross-media color reproduction workflows.","neighbors":["xyz"]},"ryb":{"channels":[{"symbol":"R","min":0,"max":255,"name":"Red pigment"},{"symbol":"Y","min":0,"max":255,"name":"Yellow pigment"},{"symbol":"B","min":0,"max":255,"name":"Blue pigment"}],"range":[[0,255],[0,255],[0,255]],"refs":["https://github.com/meodai/rybitten"],"wiki":"https://en.wikipedia.org/wiki/RYB_color_model","year":1961,"by":"Johannes Itten","use":"Traditional painters' RYB color wheel per Itten's Bauhaus color theory; current standard in art/design education.","method":"system","encoding":"gamma","referred":"display","dynamic":"sdr","description":"RYB is the traditional artists' color wheel built on red, yellow and blue as primaries, the model taught in painting and design education long before RGB or CMYK existed. It captures how pigments actually mix on a palette rather than how light combines — blue and yellow mixed as paint make green, not the grey that additive red and green light would produce — matching painters' lived experience of color instead of colorimetric physics. The version implemented here follows Johannes Itten's chromatic color wheel from his Bauhaus color theory, still a standard reference for teaching color harmony in art and design.","neighbors":["rgb"]},"davinci":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://documents.blackmagicdesign.com/InformationNotes/DaVinci_Resolve_17_Wide_Gamut_Intermediate.pdf"],"year":2020,"by":"Blackmagic Design","use":"Camera-agnostic grading intermediate and log curve; current default working space in DaVinci Resolve's color-managed pipeline.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"DaVinci Wide Gamut — Blackmagic's own wide color space and log curve, introduced in 2020 with DaVinci Resolve 17 as the default working space for Resolve's color-managed pipeline. Rather than targeting one camera, it's built as a camera-agnostic intermediate that footage from any brand can be converted into and graded consistently, similar in purpose to ACES but native to Resolve. Its DaVinci Intermediate log curve preserves highlight and shadow detail from any source camera ahead of the creative grade.","neighbors":["xyz"]},"tlog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://github.com/colour-science/colour/blob/develop/colour/models/rgb/transfer_functions/filmlight_t_log.py"],"year":2013,"by":"FilmLight","use":"FilmLight’s Cineon-derived log on E-Gamut; Baselight’s camera-agnostic grading working space.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"T-Log — FilmLight's log curve for its Baselight color-grading systems, paired with the wide E-Gamut primaries as a camera-agnostic working space that footage from almost any camera can be converted into for grading. Its curve is a near-pure log function with a linear extension below zero, avoiding the harsh clipping a pure log would give to noise and sub-black signal. Baselight facilities use T-Log/E-Gamut much the way ACES or DaVinci Wide Gamut are used elsewhere — as a common space for mixing footage from multiple camera sources.","neighbors":["xyz"]},"dcdm":{"channels":[{"symbol":"X","min":0,"max":1,"name":"X′"},{"symbol":"Y","min":0,"max":1,"name":"Y′"},{"symbol":"Z","min":0,"max":1,"name":"Z′"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://ieeexplore.ieee.org/document/7290729"],"year":2006,"by":"SMPTE/DCI","use":"DCP deliverable encoding for theatrical projection; current mandatory format for theatrical DCP mastering (SMPTE ST 428-1).","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"display","dynamic":"sdr","description":"DCDM — the Digital Cinema Distribution Master encoding embedded in every DCP (Digital Cinema Package) shipped to theatres, standardized by SMPTE under the DCI digital cinema specification. It encodes CIE XYZ directly through a 2.6 power-law gamma rather than an RGB transfer curve, tying relative white to the DCI reference projector's calibrated brightness. It's a display-referred, deliverable-only format — content is mastered into DCDM as the last step before packaging for theatrical release.","neighbors":["xyz"]},"lalphabeta":{"channels":[{"symbol":"l","min":-6,"max":0,"name":"log-luminance"},{"symbol":"alpha","min":-1,"max":0.9,"name":"Yellow-Blue"},{"symbol":"beta","min":-0.21,"max":0.21,"name":"Red-Green"}],"range":[[-6,0],[-1,0.9],[-0.21,0.21]],"refs":["https://doi.org/10.1109/38.946629"],"year":1998,"by":"Ruderman, Cronin & Chiao","use":"Natural-image color-statistics decorrelation for color transfer between photographs; still used in image-processing research (popularized by Reinhard et al. 2001).","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"The lαβ color space was introduced by Ruderman, Cronin and Chiao in 1998 to decorrelate natural-scene color statistics, and became widely known as the working space behind Reinhard et al.'s 2001 color-transfer technique. It converts RGB into LMS cone responses, takes their logarithm to compress the eye's wide dynamic range the way the visual system itself does, and then rotates the result into three near-uncorrelated axes: l for achromatic lightness, α for the yellow-blue axis, and β for the red-green axis. Because natural images tend to vary almost independently along these three axes, shifting one image's per-channel mean and spread to match another's — entirely in lαβ — transfers the color mood of one photograph onto another with minimal cross-channel artifacts.","neighbors":["rgb"]},"yrg":{"channels":[{"symbol":"Y","min":0,"max":1.06,"name":"Luminance"},{"symbol":"r","min":0.02,"max":0.64,"name":"Red chromaticity"},{"symbol":"g","min":0.21,"max":0.78,"name":"Green chromaticity"}],"range":[[0,1.06],[0.02,0.64],[0.21,0.78]],"refs":["https://doi.org/10.2352/issn.2169-2629.2019.27.38"],"year":2019,"by":"Richard Kirk","use":"Luminance/chromaticity space for color grading, basis of darktable's color-balance module; current, niche.","illuminant":"D65","observer":"2","method":"chromaticity","encoding":"linear","referred":"display","dynamic":"sdr","description":"Yrg — Richard Kirk's 2019 luminance/chromaticity space, built at FilmLight on CIE 2006 cone fundamentals and tuned so that hues land at even spacing around the wheel, matching the classical Munsell color order. Y carries cone-weighted luminance while r and g are chromaticity coordinates derived affinely from the cone responses, separating \"how bright\" from \"what hue and how saturated\" in a way suited to color grading. It's the chromaticity basis of darktable's color-balance module.","neighbors":["xyz"]},"igpgtg":{"channels":[{"symbol":"Ig","min":0,"max":1,"name":"Intensity"},{"symbol":"Pg","min":-1,"max":1,"name":"Protan"},{"symbol":"Tg","min":-1,"max":1,"name":"Tritan"}],"range":[[0,1],[-1,1],[-1,1]],"refs":["https://doi.org/10.2352/issn.2169-2629.2020.28.13"],"year":2020,"by":"Hensley & Fairchild","use":"Lightweight hue-uniform alternative to CAM16-UCS for color-difference work; academic, not widely deployed.","illuminant":"D65","observer":"2","method":"opponent","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"IgPgTg is a color space proposed by Hensley and Fairchild in 2020 as a lighter-weight alternative to CAM16-UCS for hue-uniform color-difference work. Structurally it follows IPT, deriving a lightness signal from LMS cone responses and pairing it with two opponent channels — named Ig, Pg and Tg for intensity, protan and tritan, after the color-vision deficiencies their axes roughly align with. The authors report hue uniformity competitive with CAM16-UCS at a fraction of the computational cost.","neighbors":["xyz"]},"slog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_SLog.html"],"wiki":"https://en.wikipedia.org/wiki/Log_profile","year":2008,"by":"Sony","use":"Sony's first cinema log curve (F35/F3 cameras); legacy, kept for archival-footage compatibility.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"S-Log — Sony's first logarithmic gamma curve, introduced on the F35 and F3 cameras to capture more dynamic range than conventional video gammas allowed. Paired with the S-Gamut primaries, it was designed for scene-referred acquisition ahead of color grading, but its tonal placement was quickly refined by S-Log2 and then S-Log3. It survives mainly for compatibility with archival footage shot in that era.","neighbors":["xyz"]},"acesproxy":{"channels":[{"symbol":"R","min":0.0626,"max":0.9189,"name":"Red"},{"symbol":"G","min":0.0626,"max":0.9189,"name":"Green"},{"symbol":"B","min":0.0626,"max":0.9189,"name":"Blue"}],"range":[[0.0626,0.9189],[0.0626,0.9189],[0.0626,0.9189]],"refs":["https://docs.acescentral.com/encodings/acesproxy/"],"wiki":"https://en.wikipedia.org/wiki/Academy_Color_Encoding_System","year":2013,"by":"Academy (AMPAS)","use":"On-set monitoring and dailies preview encoding over SDI video; current but narrow-purpose, not used for storage or final grading.","illuminant":"D60","observer":"2","method":"transfer","encoding":"log","loss":"quantized","lossNote":"Integral SDI code values by design; decode-encode snaps to the 10-bit lattice.","referred":"scene","dynamic":"hdr","description":"ACESproxy — the Academy's on-set monitoring and preview encoding, built to carry AP1 linear-light images as 10-bit legal-range code values over standard SDI video cables during production. It's a coarse, quantized encoding meant for on-set color decisions, dailies, and viewfinder-style preview — not for storage, compositing, or final grading, where ACEScc or ACEScct take over once footage reaches post.","neighbors":["acescg"]},"redlog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_REDLog.html"],"year":2007,"by":"RED Digital Cinema","use":"Original log curve of the RED ONE digital cinema camera; legacy, superseded by REDLogFilm/Log3G10.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"REDLog — RED Digital Cinema's original log curve, dating to the RED ONE, the company's first digital cinema camera, released in 2007. It pairs with the REDcolor primaries, RED's earliest color gamut, and was RED's default acquisition log before being superseded first by REDLogFilm and later by the Log3G10/REDWideGamutRGB pairing used on modern RED cameras.","neighbors":["xyz"]},"redlogfilm":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_REDLogFilm.html"],"wiki":"https://en.wikipedia.org/wiki/Log_profile","year":2008,"by":"RED Digital Cinema","use":"RED’s Cineon-matching log for film-style pipelines; superseded by Log3G10 / REDWideGamutRGB.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"REDLogFilm — RED Digital Cinema's second log curve, built to match Kodak's Cineon printing-density curve exactly so RED footage could drop into existing film-style, Cineon-based color pipelines. It shares the REDcolor primaries with the original REDLog, sitting between it and the Log3G10/REDWideGamutRGB pairing used on today's RED cameras.","neighbors":["xyz"]},"log3g12":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_Log3G12.html"],"year":2016,"by":"RED Digital Cinema (Graeme Nattress)","use":"Earlier RED cinema log curve superseded by Log3G10; legacy, still decodable but no longer recommended.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"Log3G12 — an earlier RED Digital Cinema log curve, predating Log3G10 but sharing the same REDWideGamutRGB primaries. It allocates 12 stops of range above middle grey rather than Log3G10's 10, and its curve is sign-symmetric, encoding negative scene-linear values continuously instead of clipping them. RED has since moved to Log3G10 as its recommended acquisition curve.","neighbors":["xyz"]},"panalog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_Panalog.html"],"year":2005,"by":"Panavision / Sony","use":"Log curve for the Panavision Genesis digital cinema camera; legacy/historical.","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"Panalog — the log curve for the Panavision Genesis, a digital cinema camera developed jointly with Sony and released in 2005. Modeled on Kodak's Cineon printing-density curve with its own black and white reference points, it let Genesis footage slot into film-style, Cineon-based post pipelines, much like RED's REDLogFilm did later for RED footage. Panavision never published a native color gamut for the format, so it's handled here as a curve over linear RGB rather than a distinct primaries set.","neighbors":["lrgb"]},"viperlog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_ViperLog.html"],"year":2002,"by":"Thomson Grass Valley","use":"Log curve for the Thomson Viper FilmStream, one of the earliest digital cinema cameras; legacy/historical.","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"ViperLog — the log curve for the Thomson Viper FilmStream, one of the earliest digital cinema cameras, announced in 2002, well before the tapeless RED and ARRI ALEXA workflows that came to dominate the format. Its curve is a pure log10 function with no black offset, a simplicity that later curves from other manufacturers deliberately corrected to avoid crushing near-black detail. It's applied over linear-light RGB without a published native gamut of its own.","neighbors":["lrgb"]},"llog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://leica-camera.com/sites/default/files/pm-118912-L-Log_Reference_Manual_V1.6.pdf"],"year":2020,"by":"Leica","use":"Log video capture for Leica SL-series mirrorless cameras; current native encoding on SL2-S, SL2 and SL.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"L-Log — Leica's log curve, introduced with the SL2-S and later brought to the SL and SL2 by firmware update, for grading on Leica's video-capable mirrorless cameras. Its curve opens with a short linear toe in deep shadow before switching to a logarithmic response, preserving highlight and shadow detail the way other manufacturers' log curves do. It's recorded in a BT.2020 color container, the same gamut Nikon's N-Log uses.","neighbors":["rec2020-linear"]},"protune":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_Protune.html"],"year":2012,"by":"GoPro","use":"Flat log color profile for GoPro Hero action cameras; current, still used on modern Hero output.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"Protune — GoPro's flat color profile for its Hero action camera line, designed to minimize in-camera sharpening, saturation, and contrast so footage keeps more headroom for color correction afterward. It applies a single natural-log curve across the tonal range — simpler than the multi-segment curves cinema cameras use — over the Protune Native primaries.","neighbors":["xyz"]},"milog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_MiLog.html"],"year":2024,"by":"Xiaomi","use":"Log video profile for Xiaomi 14 Ultra/15 Ultra smartphone cameras; current flagship-camera grading feature.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"Mi-Log — Xiaomi's log profile for the 14 Ultra and 15 Ultra smartphones, giving their cameras a flatter image with more grading latitude than the phones' standard color modes. Its curve follows the same quadratic-toe-plus-log2 shape as Apple Log, tuned with Xiaomi's own constants, and is recorded in a BT.2020 color container like other smartphone log formats.","neighbors":["rec2020-linear"]},"olog":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://colour.readthedocs.io/en/develop/generated/colour.models.log_encoding_OPPOOLog.html"],"year":2025,"by":"OPPO","use":"Log video profile for OPPO Find X8 Ultra-era smartphones; current flagship-camera grading feature.","illuminant":"D65","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"O-Log — OPPO's log profile for its Find X8 Ultra-era smartphones, giving the camera a flat, grading-ready image in the same spirit as Apple Log and Xiaomi's Mi-Log. Unlike those two-piece curves, O-Log applies a single, pure natural-log function across the whole tonal range, with no separate toe segment near black. It's recorded in a BT.2020 color container.","neighbors":["rec2020-linear"]},"filmicpro":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://github.com/colour-science/colour/blob/develop/colour/models/rgb/transfer_functions/filmic_pro.py"],"year":2017,"by":"FiLMiC Inc.","use":"Third-party iOS cinema-camera log capture; still available in FiLMiC Pro, overshadowed since native Apple Log arrived in 2023.","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"Filmic Pro 6 Log — the log curve from Filmic Pro, a third-party iOS cinema camera app that gave iPhone footage a flat, grading-ready image years before Apple Log existed natively. Its curve blends a square-root term and a natural-log term into one mixed law, built so a full-scale input maps back to a full-scale output. Like the smartphone-maker log formats that followed it, it has no published native color gamut and is treated as a curve over linear RGB.","neighbors":["lrgb"]},"erimm":{"channels":[{"symbol":"R","min":0,"max":1,"name":"Red"},{"symbol":"G","min":0,"max":1,"name":"Green"},{"symbol":"B","min":0,"max":1,"name":"Blue"}],"range":[[0,1],[0,1],[0,1]],"refs":["https://www.iso.org/standard/58005.html"],"year":2000,"by":"Kodak (Spaulding, Woolfe & Giorgianni)","use":"Archival log scene-referred encoding for raw HDR scene data; niche/historical, part of the Kodak ROMM/RIMM family.","illuminant":"D50","observer":"2","method":"transfer","encoding":"log","referred":"scene","dynamic":"hdr","description":"ERIMM RGB — Kodak's Extended Reference Input Medium Metric RGB, a log-encoded, scene-referred format standardized in ISO 22028-3 as the extended-range member of the ROMM/RIMM family. It shares the wide ROMM (ProPhoto) primaries and D50 white point with ProPhoto RGB, but its logarithmic curve lets it hold a much larger range of scene exposures — well beyond diffuse white — than a linear or gamma-encoded format could, making it suited to archiving raw, high-dynamic-range scene data.","neighbors":["prophoto-linear"]},"llab":{"channels":[{"symbol":"L","min":-10,"max":100,"name":"Lightness"},{"symbol":"A","min":-80,"max":100,"name":"Red-Green"},{"symbol":"B","min":-90,"max":90,"name":"Yellow-Blue"}],"range":[[-10,100],[-80,100],[-90,90]],"refs":["https://doi.org/10.1002/(SICI)1520-6378(199612)21:6<412::AID-COL4>3.0.CO;2-Z"],"year":1996,"by":"Luo, Lo & Kuo","use":"Historical CIELAB successor candidate for cross-media reproduction; superseded by CIECAM97s/CIECAM02.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"LLAB — Luo, Lo & Kuo's 1996 colour appearance model, developed as a candidate successor to CIELAB for cross-media image reproduction. It keeps CIELAB's opponent skeleton but swaps in a BFD chromatic-adaptation transform, a surround-dependent lightness exponent, and a logarithmic chroma compression that better tracks perceived colourfulness. CIECAM97s absorbed its ideas the following year, ending its short life as a standalone model.","neighbors":["xyz"]},"nayatani95":{"channels":[{"symbol":"L","min":0,"max":100,"name":"Lightness"},{"symbol":"C","min":0,"max":190,"name":"Chroma"},{"symbol":"h","min":0,"max":360,"name":"Hue"}],"range":[[0,100],[0,190],[0,360]],"refs":["https://doi.org/10.1002/col.5080200305"],"year":1995,"by":"Yoshinobu Nayatani","use":"Historical appearance model of illuminant-level (Hunt/Stevens) effects; folded into the CIECAM97s lineage.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"Nayatani95 — Yoshinobu Nayatani's 1995 colour appearance model, the culmination of a line of research focused on illuminant-level effects: how the Hunt effect (colourfulness grows with luminance) and the Stevens effect (lightness contrast grows with luminance) reshape colour as adapting illuminance changes. Built on a von Kries cone stage with logarithmic opponent responses, it predicts brightness, lightness, chroma, colourfulness and saturation for related colours. Alongside Hunt's model it fed the CIE effort that became CIECAM97s.","neighbors":["xyz"]},"hunt":{"channels":[{"symbol":"J","min":0,"max":100,"name":"Lightness"},{"symbol":"C","min":0,"max":120,"name":"Chroma"},{"symbol":"h","min":0,"max":360,"name":"Hue"}],"range":[[0,100],[0,120],[0,360]],"refs":["https://doi.org/10.1002/col.5080190504"],"year":1994,"by":"Robert W. G. Hunt","use":"Historical flagship appearance model (Kodak); the direct ancestor of CIECAM97s/CIECAM02; kept for study.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"Hunt — Robert Hunt's colour appearance model (1982-1995), the most ambitious of the classical CAMs: developed over decades at Kodak, it models cone AND rod responses, luminance-level adaptation, surround induction, and predicts the full set of appearance correlates for related and unrelated colours from dim starlight to bright daylight. Its complexity is legendary — and directly ancestral: CIECAM97s and CIECAM02 are, in Fairchild's phrase, Hunt models simplified for practice.","neighbors":["xyz"]},"ostwald":{"channels":[{"symbol":"h","min":0,"max":360,"name":"Hue"},{"symbol":"W","min":0,"max":100,"name":"White content"},{"symbol":"B","min":0,"max":100,"name":"Black content"}],"range":[[0,360],[0,100],[0,100]],"refs":["https://doi.org/10.1364/JOSA.34.000361"],"wiki":"https://en.wikipedia.org/wiki/Ostwald_color_system","year":1917,"by":"Wilhelm Ostwald","use":"Historical colour-order system (double cone of white/black/full-colour content); the ideal semichrome construction, kept for study.","illuminant":"C","observer":"2","method":"system","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"Ostwald — Wilhelm Ostwald's colour system (Die Farbenlehre, 1917-1923), the Nobel laureate chemist's ordering of colour as mixtures of exactly three sensations: white, black, and a \"full colour\" (Vollfarbe). His full colours are ideal semichromes — optimal colours reflecting 100% over the half-spectrum bounded by a complementary wavelength pair and 0% elsewhere — the most saturated object colours physically possible for their hue. Every colour is then w·White + b·Black + f·FullColour with w+b+f=1, arranged as the famous double cone. The physical atlas died with its licensing, but the ideal system is pure mathematics over the CIE observer, and that is what ships here.","neighbors":["xyz"]},"atd95":{"channels":[{"symbol":"A","min":0,"max":0.05,"name":"Achromatic"},{"symbol":"T","min":-0.01,"max":0.08,"name":"Tritan"},{"symbol":"D","min":-0.03,"max":0.06,"name":"Deutan"}],"range":[[0,0.05],[-0.01,0.08],[-0.03,0.06]],"refs":["https://doi.org/10.1117/12.206546"],"year":1995,"by":"Sherman Lee Guth","use":"Historical vision-science opponent model (discrimination, not appearance); kept for study.","illuminant":"D65","observer":"2","method":"appearance","encoding":"perceptual","referred":"display","dynamic":"sdr","description":"ATD95 — Sherman Lee Guth's final ATD model (1995), a vision-science account of the opponent pathways: retinal illuminance drives gain-controlled cone responses into two sequential opponent stages — A (achromatic), T (tritan, red-green) and D (deutan, yellow-blue) — modelling discrimination and adaptation data rather than appearance scales. 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