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[Sil_liS]

Originally Posted by mac

Sorry Sil_liS, I want to say that in jetbook color the red colors are like brown colors, and cyan colors are blue-grey.

That comes from the inability to obtain true white. Imagine printing red or cyan on gray paper.

[pdurrant]

Originally Posted by Sil_liS

In the RGB system you need bandpass filters which are easy to make. But how do you suppose the filters for the CMY system should be?

I take the point about the closeness of the 'red' and 'green' cone sensitivity, but I don't think it's actually a problem.

We want the cyan (& and yellow and the magenta) to pass as much light as possible. So we just take the ranges passed by RGB filters, and make filters that pass combined spectrums.

Say that Blue passes 400 to 490, and Green passes 490 to 560 and red passes 560 to 700.

Cyan would pass 400 to 560, Yellow would pass 490 to 700 and Magenta would pass 400 to 490 and 560 to 700.

Would it work? I don't know - I haven't tried it! But it seems plausible.

[Sil_liS]

Originally Posted by pdurrant

Cyan would pass 400 to 560, Yellow would pass 490 to 700 and Magenta would pass 400 to 490 and 560 to 700.

Would it work? I don't know - I haven't tried it! But it seems plausible.

Think about it for a moment. All the colors from yellow to red correspond to photons that are detected only by the red and green cones, no blue. All your proposed filters let pass wavelengths that are detected by the blue cones. How do you propose to show the color red?

[pdurrant]

Originally Posted by Sil_liS

Think about it for a moment. All the colors from yellow to red correspond to photons that are detected only by the red and green cones, no blue. All your proposed filters let pass wavelengths that are detected by the blue cones. How do you propose to show the color red?

It is the proportions of wavelengths that make the colour. To get red you'd use the Yellow and Magenta pixels. That would give you red, green and blue light, but twice as much red as anything else. The result should be red.

[Sil_liS]

Originally Posted by pdurrant

It is the proportions of wavelengths that make the colour. To get red you'd use the Yellow and Magenta pixels. That would give you red, green and blue light, but twice as much red as anything else. The result should be red.

Do you think that one part blue, one part green and one part red get canceled out and you are left with red?

[rkomar]

Originally Posted by Sil_liS

Do you think that one part blue, one part green and one part red get canceled out and you are left with red?

You are left with a washed out looking red (red on top of white). It's not obvious to me that it would look worse than the current triton output. It would probably produce better contrast because it reflects more light back.

[Sil_liS]

Originally Posted by rkomar

You are left with a washed out looking red (red on top of white). It's not obvious to me that it would look worse than the current triton output. It would probably produce better contrast because it reflects more light back.

Actually it would be red on top of gray. A lighter gray than in the case of RGB filters, but not white.

I think that it would be easier to get a better contrast by using a higher output reading light.

[mac]

Even with direct sunlight the colors are not good, so add light it`s not the best solution for colors definition (and drain the battery).

[Sil_liS]

Originally Posted by mac

Even with direct sunlight the colors are not good, so add light it`s not the best solution for colors definition (and drain the battery).

Do you see a difference in the color between reading inside and reading in direct sunlight?

[mac]

Yes, but the main difference is with the artificial lights, for me the best for the jetbook are cold ligths.

[Sil_liS]

Originally Posted by mac

Yes, but the main difference is with the artificial lights, for me the best for the jetbook are cold ligths.

I'm not surprised. Warm lights don't give much blue light.



You don't have this problem with paper because:

Colorless fluorescent dyes that emit blue light under UV are added as optical brighteners to a number of white-colored products, from white paper to white fabrics and other textiles as textile finishing agents. These ubiquitous dyes are the reason for the bright blue fluorescence of many papers and fabrics under UV. The extra blue light emitted by these agents counteracts yellow tints that may be present, and causes the colors and whites to appear whiter or (if colored) more brightly and purely colored.