On Jul 19, 2014, at 2:34 AM, Chris Lilley <chris@xxxxxx> wrote: > After the first mapping, then keeping stuff in a wide space is > certainly a benefit. I don't see how this can be the case. Presumably, when you're doing any sort of post-processing on an image, you know what you're going to be outputting that image to -- and, in practical terms, it's going to be a _very_ short list: your own display, one or two printers, and sRGB (for the Web) at the absolute most. Except in some extremely unusual circumstances, none of those devices has a gamut (significantly) larger than BetaRGB. So, let's say you've taken some images of some maximally saturated colors -- say, the spectrum reflected off a CD. You might be thinking, "Gee, gotta preserve all that color." For what? You're not going to be able to see it, not even on your wide gamut monitor and _certainly_ not on your printer. Do you really want to be doing all your edits on your monitor to colors it's not even showing you? Maybe you wanted this image to have lots of "punch," and so you bump up the saturation...to what effect? The colors are _already_ maximally saturated, by definition. Maybe you're thinking you want to preserve detail...but most of the detail is in the value, not the saturation. Much better to get it directly into your working space -- and that space should ideally be a good match for all your output devices. That way, you can see the actual colors represented in the file displayed on your monitor, and then you can make an intelligent decision that, yes, this is already as saturated as it's going to get. Unless you're doing really radical edits after RAW conversion, you don't have to worry about posterization or noise or the like -- and, if you _are_ doing those sort of radical edits, better to do them with the RAW converter and re-import the image. And if you're worrying about future-proofing the work for a time when we have multi-spectral displays or what-not...well, that's why you keep the RAW files, right? Because I can guarantee you, whatever edits you _think_ you've made to those out-of-monitor-gamut images, they're not what you _actually_ did, so you're going to have to re-visit all those files regardless. At least if you did your work on in-gamut images, they'll still look the way they originally did on your old-n-busted monitor. Cheers, b&
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