sRGB profile comparison(ninedegreesbelow.com)
ninedegreesbelow.com
sRGB profile comparison
https://ninedegreesbelow.com/photography/srgb-profile-comparison.html
28 comments
It's perfectly fine for fingerprinting though. Innocuous artifacts in file formats such as custom matrices, digits on the seventh decimal position of a floating point number or millisecond-precision timestamps allow identification and cross-referencing of internet users.
Just last week I noticed that when a reddit user uploads a screenshot taken on MacOS as PNG image to a reddit post, the PNG will still contain uniquely identifying information about the monitor that is attached to the MacOS system and when it was last calibrated. You can deduce type of Macbook they are using from the screen resolution and see when they switched machines once you notice a different monitor calibration timestamp. Just from a single PNG image that was uploaded by the user themselves. If those two pieces of information are not stored in the PNG you know that they must be Windows or Linux user.
It's these small breadcrumbs all over the place which make forensics so interesting.
Just last week I noticed that when a reddit user uploads a screenshot taken on MacOS as PNG image to a reddit post, the PNG will still contain uniquely identifying information about the monitor that is attached to the MacOS system and when it was last calibrated. You can deduce type of Macbook they are using from the screen resolution and see when they switched machines once you notice a different monitor calibration timestamp. Just from a single PNG image that was uploaded by the user themselves. If those two pieces of information are not stored in the PNG you know that they must be Windows or Linux user.
It's these small breadcrumbs all over the place which make forensics so interesting.
If you're using sRGB with 16bit color you already have problems.
It is an 8bit per color hack that worked perfectly well with CRTs and early LCDs.
There were multiple different hacky versions with different vendors that were visually indistinguishable on displays of the day.
Even most modern displays are not really capable of more than 10bit color (RGB miniLED and QD-OLED barely are). Even REC2020 doesn't need 16bit.
sRGB doesn't even have a consistent gamma, and it's not anywhere close to uniformly covering the color volume. Why use it? DCI-P3 works fine.
Even most modern displays are not really capable of more than 10bit color (RGB miniLED and QD-OLED barely are). Even REC2020 doesn't need 16bit.
sRGB doesn't even have a consistent gamma, and it's not anywhere close to uniformly covering the color volume. Why use it? DCI-P3 works fine.
Your eye also doesn’t have a consistent gamma, nor does the camera, now does any viewing technology. If you’re complaining about the slight linear section of many gamma curves, they are very important for avoiding various artifacts.
Well, there's all sort of different problems, but most modern display technologies both in software visual profile and hardware implementation use LUTs. When sRGB was born the monitors were unable to even meet it as a spec so some crazy simplifications were fine. Now we're using those bits to drive HDR monitors over much larger color volumes and dynamic range, but it's hard to move on from the "good enough" legacy of sRGB.
Certainly, eyes don't have a consistent gamma, they don't even match between people, much less outside the foveal field.
Certainly, eyes don't have a consistent gamma, they don't even match between people, much less outside the foveal field.
LUTs don’t magically add color volume, change the possible colors or dynamic range, or add much at all to the physics of a display. They’re usually used to reduce bit depth. They do not add more low or high colors than the screen physics started with.
It is a rabbit hole. I just checked the latest release of GiMP (3.2.4). The "GiMP built-in sRGB" profile is supposed to be a functional match to the ArgyllCMS sRGB color space – the true sRGB profile according to the addendum in the above profile comparison.
But if I embed it in a photo and then open the photo in GraphicConverter, it shows up as "sRGB IEC61966-2.1", which to my understanding is identical to Apple’s sRGB Color Space Profile.icm.
But that's an sRGB v2 profile. Should I download and use a v4 profile instead? Or download the ArgyllCMS sRGB.icm [1] and convert all photos to it? Or just select the Apple default sRGB profile everywhere?
I'm not a pro and don't have a calibrated display, but it annoys me when photos I upload online look vastly different in my browser than they look in my editing software on the same display.
[1] https://argyllcms.com/icclibsrc.html
But if I embed it in a photo and then open the photo in GraphicConverter, it shows up as "sRGB IEC61966-2.1", which to my understanding is identical to Apple’s sRGB Color Space Profile.icm.
But that's an sRGB v2 profile. Should I download and use a v4 profile instead? Or download the ArgyllCMS sRGB.icm [1] and convert all photos to it? Or just select the Apple default sRGB profile everywhere?
I'm not a pro and don't have a calibrated display, but it annoys me when photos I upload online look vastly different in my browser than they look in my editing software on the same display.
[1] https://argyllcms.com/icclibsrc.html
I would have loved to have found this page back when I was adapting some PDF-generating program to conform to PDF/A (which requires a colour profile in some cases). I found several sRGB profiles and could see that they were different, but knowing almost nothing about them I just chose the one that seemed to be from the most authoritative source (I forgot which). This page must have existed then, actually.
From 2012, updated 2015 it says. Would have been interesting with a recent update to compare.
For more hilarity, many people also believe the EOTF (decoding gamma) is supposed to intentionally differ from the OETF (encoding gamma). You can read an entire debate at https://gitlab.freedesktop.org/pq/color-and-hdr/-/work_items...
It is. The EOTF wasn’t an engineered function in 1996, it was the natural response of CRTs. The EOTFs of later technologies like LCDs were developed to approximate this response, not to be an inverse of the encoding gamma.
Sure but modern ICC color-managed workflows (e.g. digital photography, printing) basically don't distinguish between EOTF and OETF. Assuming your source is tagged correctly and all displays have a profile matching their true response, you necessarily need to linearize with the inverse of the encoding gamma. All edits are done directly in the source color space, if the viewer's profile differs from the source it's up the viewer to translate accordingly. You don't edit images "on the assumption" that they'll be decoded with a 2.2 gamma.
For some reason video workflows never adapted to the ICC system (probably because in CRT days you couldn't really adapt your decode gamma on the fly) which is basically where the whole debate in https://gitlab.freedesktop.org/wayland/wayland-protocols/-/m... comes from.
I'm not saying that the people using 2.2 EOTF are wrong, but all this just adds to the absurdity: in the modern day where LUTs are cheap and plentiful, instead of tagging content as an ambiguous sRGB it could simply be tagged as gamma 2.2 if it's actually intended to be decoded at that gamma.
For some reason video workflows never adapted to the ICC system (probably because in CRT days you couldn't really adapt your decode gamma on the fly) which is basically where the whole debate in https://gitlab.freedesktop.org/wayland/wayland-protocols/-/m... comes from.
I'm not saying that the people using 2.2 EOTF are wrong, but all this just adds to the absurdity: in the modern day where LUTs are cheap and plentiful, instead of tagging content as an ambiguous sRGB it could simply be tagged as gamma 2.2 if it's actually intended to be decoded at that gamma.
It depends what you want to apply your linear functions on. If you want to work directly in the source scene light (e.g. photography), then it would make sense to use the inverse OETF. If you are blending graded scenes of emissive light, i.e. a movie, then using the EOTF makes sense. The reason for this is that movies are graded with that EOTF in mind, so by linearizing with that EOTF, you get a resulting linear value as it is intended to be seen by a viewer.
Regardless of what you use for a linearizing function, the more important thing is that you use the correct encoding function afterward, so that you don’t introduce any additional gamma correction. For example, it was common to use a simple squaring function for speed. This gives fairly good results as long as you apply the square root function afterward to restore the original gamma correction. It doesn’t matter if the source is 2.2 or 2.4 gamma encoded or something else, that correction will be preserved. The blending post-linearization will be less accurate, but much better than not linearizing at all.
Regardless of what you use for a linearizing function, the more important thing is that you use the correct encoding function afterward, so that you don’t introduce any additional gamma correction. For example, it was common to use a simple squaring function for speed. This gives fairly good results as long as you apply the square root function afterward to restore the original gamma correction. It doesn’t matter if the source is 2.2 or 2.4 gamma encoded or something else, that correction will be preserved. The blending post-linearization will be less accurate, but much better than not linearizing at all.
>The reason for this is that movies are graded with that EOTF in mind, so by linearizing with that EOTF
I guess this is the part I find anachronistic. Why do we work in the source scene light for photography, but do the opposite for videos? It makes sense if you assume the viewing device is "dumb" (like a television or CRT, especially in the analog days) but by now I assume the workflows are all fully digital, and even the most basic output device can apply LUTs. When digital video container formats were introduced, why didn't they align with what ICC did? It would have saved a lot of headache for everyone, compared to limited NCLC tags and the mess around EOTFs.
I guess this is the part I find anachronistic. Why do we work in the source scene light for photography, but do the opposite for videos? It makes sense if you assume the viewing device is "dumb" (like a television or CRT, especially in the analog days) but by now I assume the workflows are all fully digital, and even the most basic output device can apply LUTs. When digital video container formats were introduced, why didn't they align with what ICC did? It would have saved a lot of headache for everyone, compared to limited NCLC tags and the mess around EOTFs.
It’s because the viewing format has a fairly consistent gamma curve relative to viewing environment ambient light level. In a theater its about 2.6 and this works with no ambient light, and in a living room its about 2.4 with dim lighting, and on a computer screen its about 2.2 with typical office lighting. With controlled lighting, the perception of the output image under these three different gammas will be identical. This gives graders a great deal of precision. They can calibrate their screen and studio to appear exactly as it should to these idealized environments. That a number of people watch content in non-ideal environments is irrelevant (even though its often brought up as a strawman argument against consistent working environment viewing conditions).
With photography, you don’t have that control at all because traditionally photography was about prints. Every printer (regardless of kind) had to be profiled and you needed an explicit ICC conversion process for it to work. If you are solely publishing photographs digitally and have no intention of printing, you actually could adopt a film workflow and it would be just fine.
In short, film production doesn’t actually need the added complexity of ICC profiling. They could adopt it, but it’s not strictly necessary. Trouble comes when people don’t understand the fundamental reason why gamma correction and different primary spaces exist in the first place.
With photography, you don’t have that control at all because traditionally photography was about prints. Every printer (regardless of kind) had to be profiled and you needed an explicit ICC conversion process for it to work. If you are solely publishing photographs digitally and have no intention of printing, you actually could adopt a film workflow and it would be just fine.
In short, film production doesn’t actually need the added complexity of ICC profiling. They could adopt it, but it’s not strictly necessary. Trouble comes when people don’t understand the fundamental reason why gamma correction and different primary spaces exist in the first place.
Wow I'm glad I'm not a graphic designer. My head hurts just trying to understand this. I just pick the colours that look good to me
graphic designers don't really see any of this, either. It's going to be photo junkies or people working on image processing systems (either building them or using them) that have to deal with this.
But for the most part this shouldn't really matter much. A huge amount of things these days are properly color managed, so as long as the thing that wrote the profile actually, you know, wrote what it actually wanted then it'll display just fine regardless of how many different "sRGB" profiles there are floating around. We're largely past the days of just hoping that the image and the display happen to agree on roughly the same colors.
But for the most part this shouldn't really matter much. A huge amount of things these days are properly color managed, so as long as the thing that wrote the profile actually, you know, wrote what it actually wanted then it'll display just fine regardless of how many different "sRGB" profiles there are floating around. We're largely past the days of just hoping that the image and the display happen to agree on roughly the same colors.
The problem, as I described in another comment, is that the average programmer doesn't know enough about colour spaces, and sometimes must choose a colour profile while not knowing nor understanding what they actually want. They can figure out that an "sRGB" profile is probably what they want, but then there should not be such a plethora of different versions of that, as choosing between them is impossible for anyone not in the know.
This is more like the stuff Linux users had to endure in the bad old days of setting up drivers. Concerns of twenty years ago. I remember the days people compared their colorimeters and profiled their own monitors. I'm too old for this.
> I remember the days people compared their colorimeters and profiled their own monitors.
That would be calibration and it's still necessary if you want color accuracy. That's about ensuring that what your monitor thinks it's displaying and what it's actually physically emitting are the same. The main thing that's changed here is that factory calibration has become a lot more common and is often more than good enough for anything short of serious professional work. Even for things that aren't professional displays. Like most flagship or even midrange smartphones are factory calibrated with dE values that would make reference monitors from 20 years ago blush. Right up until the OEM shoves a shitty color curve on it intentionally to make it "pop" or be more "vibrant" (Samsung calls this "Vivid", Pixel calls it "Adaptive", etc.. - but they at least usually have a "natural" option that gets you back to the properly calibrated display)
That would be calibration and it's still necessary if you want color accuracy. That's about ensuring that what your monitor thinks it's displaying and what it's actually physically emitting are the same. The main thing that's changed here is that factory calibration has become a lot more common and is often more than good enough for anything short of serious professional work. Even for things that aren't professional displays. Like most flagship or even midrange smartphones are factory calibrated with dE values that would make reference monitors from 20 years ago blush. Right up until the OEM shoves a shitty color curve on it intentionally to make it "pop" or be more "vibrant" (Samsung calls this "Vivid", Pixel calls it "Adaptive", etc.. - but they at least usually have a "natural" option that gets you back to the properly calibrated display)
> That would be calibration and it's still necessary if you want color accuracy.
Your correction is backwards. Profiling + colour-managed apps gets you accurate colours regardless of source colourspace. Calibration doesn’t, and is not strictly needed either.
https://discuss.pixls.us/t/rip-displaycal/21775/130
Your correction is backwards. Profiling + colour-managed apps gets you accurate colours regardless of source colourspace. Calibration doesn’t, and is not strictly needed either.
https://discuss.pixls.us/t/rip-displaycal/21775/130
No, my correction is correct. Colorimeters are physical measurement devices to adjust the display so that it reports an accurate color profile in the first place for which to color manage to. It's required for the monitor itself to be able to display accurate colors at all.
> Colorimeters are physical measurement devices to adjust the display so that it reports an accurate color profile in the first place for which to color manage to.
No. You can profile an uncalibrated (unadjusted) display and the profile will be correct. There is zero inherent requirement to adjust the display, or for the display itself to report a profile.
> It's required for the monitor itself to be able to display accurate colors at all.
Also no. Once you have profiled the uncalibrated display, you can accurately display colours within its gamut by converting to the profile.
No. You can profile an uncalibrated (unadjusted) display and the profile will be correct. There is zero inherent requirement to adjust the display, or for the display itself to report a profile.
> It's required for the monitor itself to be able to display accurate colors at all.
Also no. Once you have profiled the uncalibrated display, you can accurately display colours within its gamut by converting to the profile.
> We're largely past the days of just hoping that the image and the display happen to agree on roughly the same colors.
<Heath Ledger Joker>Ah haa ha ha haaaa!</Heath Ledger Joker>
We're nowhere near past that point, we haven't even begun to approach that point. That point is something I would like to reach before I die, but since that's maybe just a couple of decades away, it's not looking likely.
In general, Windows and Linux does not color manage, or so badly that it is counter-productive.
Most sub-$500 monitors do not report their native gamut! By default, operating systems assume monitors are sRGB (they're typically not), and send un-calibrated 8-bit RGB as-is.
On Windows and MacOS, enabling HDR mode typically sets the correct gamut, etc... and mostly makes things "just work", but that's at the OS level only.
Almost all applications map wide-gamut images to sRGB even on HDR monitors or simply re-interpret the RGB values as-if they're sRGB without even bothering to color space convert.
Firefox has color management off by default. Microsoft Edge defaults to "crush to sRGB". Apps with embedded web view controls are "who knows?"
In general, widge-gamut, 10 bits per channel, and HDR support are all a total shit show. I'm perpetually surprised if any of it works!
As a random example, my Nikon Z8 DSLR can natively record HDR 10 bit wide gamut HEIF files in-body. Windows can't display those at all. MacOS and iPhones can... sometimes... but then the viewer apps will often "get confused" and the brightness will jump around randomly and non-deterministically as you switch between thumbnail and full screen views. You can't forward such an image to anyone via iMessage, they'll get gibberish on their end, and SMS/MMS is hopeless.
Meanwhile, YouTube HDR generally "just works" on most devices, so I've started sending people my still image photography by converting them to a HDR 4K slideshow in DaVinci Resolve and giving them a YouTube link.
It's sad and pathetic that Meta set $80 billion on fire for the Metaverse and the rest of the industry found a decent chunk of a trillion dollars under the couch cushions to throw at AI slop, but nobody can "afford" to have one or two engineers fix their imaging pipeline.
Upload a HDR or wide-gamut image to Faceobook successfully and then tell me it "just works".
Or send one in an email.
Or do anything with it other than view it on your own device.
<Heath Ledger Joker>Ah haa ha ha haaaa!</Heath Ledger Joker>
We're nowhere near past that point, we haven't even begun to approach that point. That point is something I would like to reach before I die, but since that's maybe just a couple of decades away, it's not looking likely.
In general, Windows and Linux does not color manage, or so badly that it is counter-productive.
Most sub-$500 monitors do not report their native gamut! By default, operating systems assume monitors are sRGB (they're typically not), and send un-calibrated 8-bit RGB as-is.
On Windows and MacOS, enabling HDR mode typically sets the correct gamut, etc... and mostly makes things "just work", but that's at the OS level only.
Almost all applications map wide-gamut images to sRGB even on HDR monitors or simply re-interpret the RGB values as-if they're sRGB without even bothering to color space convert.
Firefox has color management off by default. Microsoft Edge defaults to "crush to sRGB". Apps with embedded web view controls are "who knows?"
In general, widge-gamut, 10 bits per channel, and HDR support are all a total shit show. I'm perpetually surprised if any of it works!
As a random example, my Nikon Z8 DSLR can natively record HDR 10 bit wide gamut HEIF files in-body. Windows can't display those at all. MacOS and iPhones can... sometimes... but then the viewer apps will often "get confused" and the brightness will jump around randomly and non-deterministically as you switch between thumbnail and full screen views. You can't forward such an image to anyone via iMessage, they'll get gibberish on their end, and SMS/MMS is hopeless.
Meanwhile, YouTube HDR generally "just works" on most devices, so I've started sending people my still image photography by converting them to a HDR 4K slideshow in DaVinci Resolve and giving them a YouTube link.
It's sad and pathetic that Meta set $80 billion on fire for the Metaverse and the rest of the industry found a decent chunk of a trillion dollars under the couch cushions to throw at AI slop, but nobody can "afford" to have one or two engineers fix their imaging pipeline.
Upload a HDR or wide-gamut image to Faceobook successfully and then tell me it "just works".
Or send one in an email.
Or do anything with it other than view it on your own device.
HDR has problems that aren't the fault of missing color management. Notably, the fact that HDR of the HLG & PQ variety (so HDR10) do not have specified behavior. The specs are wrong in that they basically just don't exist for half the problem. Which also means most content is badly authored, too, almost certainly including your fancy pants Nikon. This is why gainmap images almost immediately dominated the mobile phone capture space, they are actually properly defined. So both viewers and creators know what they're actually intended to do.
The rest of your rant seems mostly anchored around the fact that most things still produce sRGB, which is true, but they still typically map inputs into sRGB appropriately (that is, they get clipped). Which still is being properly color managed.
The rest of your rant seems mostly anchored around the fact that most things still produce sRGB, which is true, but they still typically map inputs into sRGB appropriately (that is, they get clipped). Which still is being properly color managed.
All of my rant applies identically to 10 bpc images and wide gamut (non-sRGB) for exactly the same underlying reasons. They all have the same fix: frame buffers must be 16 bpc and input images must be color managed.
HDR has one extra minor issue on top, which is that there needs to be an output mapping to the display max brightness capabilities but this isn’t that different to what’s needed to correctly tone map wide gamut to arbitrary displays.
Also: if the spec is so “wrong” why does YouTube HDR just work? Also… Apple TV, NetFlix, etc… on practically all devices?
They got it right!
There is no fundamental color management difference between moving and still images.
If anything, moving images are harder!
HDR has one extra minor issue on top, which is that there needs to be an output mapping to the display max brightness capabilities but this isn’t that different to what’s needed to correctly tone map wide gamut to arbitrary displays.
Also: if the spec is so “wrong” why does YouTube HDR just work? Also… Apple TV, NetFlix, etc… on practically all devices?
They got it right!
There is no fundamental color management difference between moving and still images.
If anything, moving images are harder!
No mention of 601, BT709, BT2020, BT2100 etc. He did mention the P and D profiles. Unorm vs linear.
There is always a historic reason for a colour profile, sadly most software avoids terminology like the plague.
There is always a historic reason for a colour profile, sadly most software avoids terminology like the plague.
No display technology, not even a professional display, has anywhere near the precision for this to matter.
1. The matrix implied by the reference primaries in Table 1: [X; Y; Z] = [506752/1228815, 87098/409605, 7918/409605; 87881/245763, 175762/245763, 87881/737289; 12673/70218, 12673/175545, 1001167/1053270]*[R; G; B].
2. The matrix in section 5.2: [X; Y; Z] = [1031/2500, 447/1250, 361/2000; 1063/5000, 447/625, 361/5000; 193/10000, 149/1250, 1901/2000]*[R; G; B].
3. The inverse of the matrix in section 5.3: [X; Y; Z] = [248898325000/603542646087, 71938950000/201180882029, 36311670000/201180882029; 128304856250/603542646087, 143878592500/201180882029, 14525360000/201180882029; 11646692500/603542646087, 23977515000/201180882029, 191221850000/201180882029]*[R; G; B].
The distinction starts to matter for 16-bit color. The CSS people seem to take the position that the matrix implied by primaries is the true version, but meanwhile, the same document's Annex F (in Amd. 1) seems to suggest that the 5.2 matrix is the true version, and that the 5.3 matrix should be rederived to the increased precision. There's no easy way to decide, as far as I can tell.
Meanwhile, I agree with the author that the ICC's black-point finagling in their published profiles has not helped with the confusion over what exactly sRGB colors are supposed to map to.