文件操作 - color-whyimportant.page

文件: /usr/share/help/gl/gnome-help/color-whyimportant.page

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<?xml version="1.0" encoding="utf-8"?>
<page xmlns="http://projectmallard.org/1.0/" xmlns:its="http://www.w3.org/2005/11/its" type="topic" style="question" id="color-whyimportant" xml:lang="gl">

<info>
 <link type="guide" xref="color"/>
 <desc>A xestión de cor é importante para deseñadores, fotógrafos e artistas.</desc>

<credit type="author">
 <name>Richard Hughes</name>
 <email>richard@hughsie.com</email>
 </credit>
 <include xmlns="http://www.w3.org/2001/XInclude" href="legal.xml"/>
 
 <mal:credit xmlns:mal="http://projectmallard.org/1.0/" type="translator copyright">
 <mal:name>Fran Dieguez</mal:name>
 <mal:email>frandieguez@gnome.org</mal:email>
 <mal:years>2011-2018</mal:years>
 </mal:credit>
 </info>

<title>Porque é importante a xestión de cor?</title>
 A xestión de cor é o proceso de capturar un cor usando un dispositivo de entrada, mostrándoo nunha xanela e imprimíndoo á vez que se manteñen exactamente os cores e o rango de cores en cada un dos medios.

A mellor maneira de explicar a necesidade de xestión de cor é cunha fotografía dun páxaro nun frío día de inverno.

<figure>
 <desc>Un páxaro nunha parede xeada tal e como se ve no visor da cámara</desc>
 <media its:translate="no" type="image" mime="image/png" src="figures/color-camera.png"/>
 </figure>

Xeralmente as pantallas sobresatura o canle azul, facendo que as imaxes semellen frías.

<figure>
 <desc>ISto é o que un usuario ve nunha pantalla de portátil de negocios típica</desc>
 <media its:translate="no" type="image" mime="image/png" src="figures/color-display.png"/>
 </figure>

Notice how the white is not “paper white” and the black of the eye
 is now a muddy brown.

<figure>
 <desc>Isto é o que o usuario ve ao imprimir nunha típica impresora de inxección de tinta</desc>
 <media its:translate="no" type="image" mime="image/png" src="figures/color-printer.png"/>
 </figure>

O problema básico é que cada dispositivo é capaz de manexar un rango diferente de cores. así que, aínda que poida tomar unha fotografía en azul eléctrico, a maioría das impresoras non poderán reproducila.
 
 Most image devices capture in RGB (Red, Green, Blue) and have
 to convert to CMYK (Cyan, Magenta, Yellow, and Black) to print.
 Another problem is that you can’t have white ink, and so
 the whiteness can only be as good as the paper color.

Another problem is units. Without specifying the scale on which a
 color is measured, we don’t know if 100% red is near infrared or
 just the deepest red ink in the printer. What is 50% red on one
 display is probably something like 62% on another display.
 It’s like telling a person that you’ve just driven 7 units of
 distance, without the unit you don’t know if that’s 7 kilometers or
 7 meters.

In color, we refer to the units as gamut. Gamut is essentially the
 range of colors that can be reproduced.
 A device like a DSLR camera might have a very large gamut, being able
 to capture all the colors in a sunset, but a projector has a very
 small gamut and all the colors are going to look “washed out”.

In some cases we can correct the device output by altering
 the data we send to it, but in other cases where that’s not
 possible (you can’t print electric blue) we need to show the user
 what the result is going to look like.

For photographs it makes sense to use the full tonal range of a color
 device, to be able to make smooth changes in color.
 For other graphics, you might want to match the color exactly, which
 is important if you’re trying to print a custom mug with the Red Hat
 logo that has to be the exact Red Hat Red.

</page>

文件操作 - color-whyimportant.page

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