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I know I'm very late for the party, but I found this :a gist titled "True Color (16 million colors) support in various terminal applications and terminals", which gives information about which terminals support true colour and related discussions in the corresponding communities.
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I can't find a way to control the output of true color elements using the PDF driver. I want the ability to print greyscale but elements that are true color still print in color. These true color elements are imported from DWG files - merged with our dgn file. In the past I have gone in and changed all the true color elements in each file to one of MS's 0-255 colors. This is obviously not the way I want to work.
Upon further inspection it appears to be related to the specific text strings which there are a few of and they came from a DWG file. See the attached file. I copied the red text string and changed the color to two different true color values. It doesn't matter which print driver I use and it doesn't matter if I have monochrome, greyscale or true color toggled on - the red text always shows up red. The other colors work correctly.... also if you change the color of the red text to anything other than (255,0,0) it works. Then if you change it back to (255,0,0) it works and doesn't print red.
The problem appears to be due to the fact that the level color is specified via RGB instead of index. If you change the element itself to use either an RGB color or an index color, the print color mode is honored. Interestingly, the print color mode is applied correctly if you use a level override color. But the print color mode is not able to affect a ByLevel color specified in RGB. I'm surprised this has not been reported before; it must not be very common.
An LED light source for microscopy should emit white light, but should also be able to match or even surpass the capability of halogen lamp light to show the colors of the sample correctly. How has the halogen lamp light source up until now been able to perform well at this task? It turns out that the key is its mostly even intensity across the visible spectrum, which allows uniform illumination of all the different colors in a sample (figure 1).
Figure 2: Chromaticity Diagram
Color shifts can be shown in an intuitive, visual way in a*b* charts. In this case the compared light source heavily shifts the sample color towards a more blueish hue.
Many LED designs have so far not produced the light quality that is required for reliably distinguishing colors in a specimen. The reason behind this becomes clear when comparing the emission spectra of the two light sources (figure 3).
The effect of such a significantly different illumination spectrum can be clearly seen in a chromaticity diagram. Figure 4a indicates the color shifts when changing illumination from a halogen lamp to a generic LED light source. The overall effect of the different low-intensity regions in the spectrum is a lack of intensity at the red end of the spectrum and therefore a blue shift in the colors produced.
One way to compensate for this unwanted effect is to use a color correction (CC) filter. CC filters can absorb some of the light at wavelengths where the intensity is too high, creating a more balanced spectrum. The effect is shown in figure 4b; the colors with a CC filter are closer to halogen lamp illumination (shown by the shorter arrows), but there is still a considerable difference when compared with halogen lamp illumination.
The practical effect of the color shift caused by a generic LED light source, both with and without a CC filter, is clearly visible when imaging a stained tissue section using the different light sources. Figure 5 shows a tissue section illuminated by the three different light sources mentioned before.
The improved, more uniform spectrum has a considerable impact on the quality of light and this can be verified once again using a chromaticity diagram. Figure 7 shows that there are no significant differences between the color reproduction of halogen lamp and a True Color LED light source.
How does the Olympus True Color LED perform on real-world samples? To test this, the performance of the True Color LED was visually evaluated by direct comparison against other commercially available LED light sources on common histological stains: Hematoxylin and Eosin (H&E) and Azan Trichrome (figure 8).
The color rendering ability of the True Color LED not only closely mimics the reference halogen lamp light source but also stays constant regardless of the light intensity. This allows the operator to adjust the illumination without any distortions to the colors in a specimen.
Figure 8: Comparing LED Light Sources
Both in H&E-stained (a-d) and in Azan-stained tissue sections (e-h) True Color LED illumination shows no discernable color shifts compared to halogen lamp whereas other commercially available LED sources show distinctive yellow shifts (c and g) or blue shifts (d and h).
Figure 9 compares the intensity of different light sources across the field of view of a camera. The images show that as a result of the enhanced design of the True Color LED chip the illumination is greatly improved compared with the other types of illumination. This increased uniformity improves both the quality and the intensity of the colors in a specimen, thereby contributing to confidence in observations.
If you don't have hundreds of those custom colors, you could create a custom command or macro or script for each one, and maybe a custom pull-down menu or toolbar with just those color selection tools. You could make a solid block of each color to use as the icon for that tool, so it would feel similar to using the Properties bar to set color.
But to make Matchprop apply only to Color you have to use the Settings option and select the properties to be matched by mouse clicks on a pop-up dialog. I can't find any other way to change that setting, e.g. by the main Settings dialog or by a variable. If there were a variable, I could save the old value, then set it to color-only, then use Matchprop to transfer color, and then change the variable back to the old value.
I have yearned to use 24-bit colors in the terminal for applications such as Vim. However, xterm is limited to no more than 256 colors, which I have currently been using. I just recently learned that the Konsole terminal actually supports this True Color, but unfortunately I cannot find the correct environment to use these colors. I have only been able to set "konsole-256color" so far. How can I set Konsole to use True Color for Vim and whatnot, is this possible, or are these colors not standard in the Konsole implementation (I was inspired to use this for the new Vim powerline Python implementation)?
The best you can do for now is set TERM=xterm-256color (or similar) and have the escape sequences hardcoded in applications (assuming the app does its own terminal handling, rather than relying on ncurses).
The Variable ND offers True Color that avoids color shift seen in other Variable filters. The NiSi True Color ND-VARIO Pro Nano 1-5stops Variable ND is made from high-definition optical glass for the best resolution and quality. The glass is coated using the NiSi Nano coating providing a waterproof, oil-proof and anti-reflective coating to avoid ghosting and reflections. The filter ring is made from high-quality aluminum creating a very light and strong filter.
This is the best ND filter I own. Absolutely no color degradation. Very high Quality. I would be a 5-star if it had more stops, as it does not work in bright light, only afternoon light. So unless they have ND filters with a broader range, it will not work many times for me.
The full image has a challenging range of features: smoke, haze, water, irrigated fields (both crop-covered and fallow), clearcuts, snow, and barren lava flows, in addition to forest, desert, and clouds. The color adjustments are a compromise, my attempt to make the image as a whole look appealing.
To practice, download a true color TIFF of this Landsat scene [(450 MB) right-click to download, you do not want to open it in your browser] with my levels and curves, or pick your own scene from the USGS Earth Explorer (use my guide if you need help ordering the data).
NASA's Galileo spacecraft acquired its highest resolution images of Jupiter's moon Io on 3 July 1999 during its closest pass to Io since orbit insertion in late 1995. This color mosaic uses the near-infrared, green and violet filters (slightly more than the visible range) of the spacecraft's camera and approximates what the human eye would see. Most of Io's surface has pastel colors, punctuated by black, brown, green, orange, and red units near the active volcanic centers. A false color version of the mosaic has been created to enhance the contrast of the color variations.
The improved resolution reveals small-scale color units which had not been recognized previously and which suggest that the lavas and sulfurous deposits are composed of complex mixtures (Cutout A of false color image). Some of the bright (whitish), high-latitude (near the top and bottom) deposits have an ethereal quality like a transparent covering of frost (Cutout B of false color image). Bright red areas were seen previously only as diffuse deposits. However, they are now seen to exist as both diffuse deposits and sharp linear features like fissures (Cutout C of false color image). Some volcanic centers have bright and colorful flows, perhaps due to flows of sulfur rather than silicate lava (Cutout D of false color image). In this region bright, white material can also be seen to emanate from linear rifts and cliffs.
North is to the top of the picture and the sun illuminates the surface from almost directly behind the spacecraft. This illumination geometry is good for imaging color variations, but poor for imaging topographic shading. However, some topographic shading can be seen here due to the combination of relatively high resolution (1.3 kilometers or 0.8 miles per picture element) and the rugged topography over parts of Io. The image is centered at 0.3 degrees north latitude and 137.5 degrees west longitude. The resolution is 1.3 kilometers (0.8 miles) per picture element. The images were taken on 3 July 1999 at a range of about 130,000 kilometers (81,000 miles) by the Solid State Imaging (SSI) system on NASA's Galileo spacecraft during its twenty-first orbit. 17dc91bb1f
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