Color can have a powerful physiological effect on us. This should come as no surprise to anyone who’s ever been wowed by a Monet or a Rothko. But color can affect us in ways you never imagined. Recent studies suggest that that the color of a uniform can affect the outcome of an Olympic wrestling match and onscreen colors can influence how much you pay for something on eBay.
US Wrestler Jake Varner (red) on his way to defeating Valerie Andriisteve of Ukraine in the 96-kg freestyle wrestling gold match in London. Credit: The ASSOCIATED PRESS
Similarly, in a Journal of Consumer Research study on the impact of color on consumers who buy items on auction sites like eBay, authors Rajesh Bagchi and Amar Cheema found that “red background color induces aggression through a feeling of arousal and it increases aggression relative to blue or gray backgrounds. This causes individuals to make higher bids in auctions but lower offers in negotiations.”
Why? The exact mechanism remains a mystery but researchers see some evidence that aggressive colors like red may actually cause a spike in testosterone levels.
I find it particularly fascinating that color choice did not specifically correlate to the price someone paid for an item. Instead, the colors drove more or less aggressive behavior, which lead participants to either seek the best deal possible against a salesperson or to beat out competing bids in an auction.
It got me wondering how retailers might be using color to influence purchasing. A quick survey of some popular online shopping destinations yielded potentially interesting results. Since product background is not always in the control of the retailer, I looked at the “add to cart” areas of three popular online retailers: Apple, Amazon and eBay.
All three employ a lot of blue, a calming color, in their ‘add to cart’ areas. Apple uses a shade of green, another calming color, for the “add to cart” button. Amazon lists the price in a dark red, while Apple uses a lighter shade to accentuate free shipping.
Next time you find yourself shopping either online or brick and mortar, take note of the colors around you – you may be surprised by how far your environment is being manipulated to get you to pay more.
One of the most important pieces of equipment on the Curiosity rover is not a spectrometer or a laser but a color calibration chart. Nothing is simple when you’re sending a robot on a 354 million mile journey into space, but NASA and Bill Nye (yes, the “science guy”) came up with an ingenious solution to calibrate the colors of the onboard cameras.
In order for NASA scientists to be sure that we are seeing “The Red Planet“ in the correct shade of red, they attached red, green and blue color chips to a sundial on the surface of the rover. These reference colors will guarantee the amazing photos we are seeing of the Martian landscape are accurate.
Here is an animated gif of the sundial on the surface of Mars and a close-up shot of it before it left Earth:
Over the weekend I saw this interesting tweet about color gamut and the NFL and I had to find out if it was true:
Could it be that something as simple as an NFL jersey is not within the color gamut of modern HDTVs? I mapped the Broncos team colors onto the CIE 1976 color space along with the HDTV color gamut standard, called rec.709. As you can see, the orange is right on the edge and the blue is indeed outside the gamut.
When we think of high color content, we think of action movies and video games, but this exemplifies how color performance affects everything we see on our TVs, even down to the jersey being worn by our favorite sports team. Luckily high color displays are on their way to fix this problem. As you can see, the Bronco’s colors fall nicely within the much wider DCI-P3 color gamut.
For many who are new to the world of display measurement, the prevalence of two distinct, but often-interchanged color spaces can be a source of confusion. Since my recent post about the color performance of Apple’s new iPad, a number of people have asked about this topic, so I thought it would be worth a closer look.
In the world of displays and color images, there exists a variety of separate standards for mapping color, CIE 1931 and CIE 1976 being the most popular among them. Despite its age, CIE 1931, named for the year of its adoption, remains a well-worn and familiar shorthand throughout the display industry. As a marketer of high color gamut display components, I can tell you from firsthand experience that CIE 1931 is the primary language of our customers. When a customer tells me that their current display “can do 72% of NTSC,” they implicitly mean 72% of NTSC 1953 color gamut as mapped against CIE 1931.
“…we strongly encourage people to abandon the use of the 1931 CIE color diagram for determining the color gamut… The 1976 CIE (u’,v’) color diagram should be used instead. Unfortunately, many continue to use the (x,y) chromaticity values and the 1931 diagram for gamut areas.”
So why are there two standards, and why are we trying to declare one of them obsolete? Let me explain.
What is a color space?
First, a little background on color spaces and how they work.
While there are a number of different types of color spaces, we are specifically interested in chromaticity diagrams, which only measure color quality, independent of other factors like luminance. A color space is a uniform representation of visible light. It maps the all of the colors visible to the human eye onto an x-y grid and assigns them measureable values. This allows us to make uniform measurements and comparisons between colors, and offers certainty that images look the same from display to display when used to create color gamut standards.
In 1931, the Commission internationale de l’éclairage or CIE (International Commission on Illumination in English) defined the most commonly used color space. Here’s a look at the anatomy of the CIE 1931 color space:
What makes a good color space?
An effective color space should map with reasonable accuracy and consistancy to the human perception of color. Content creators want to be sure that the color they see on their display is the same color you see on your display.
This is where the CIE 1931 standard falls apart. Based on the work of David MacAdam in the 1940’s, we learn that the variance in percieved color, when mapped in the CIE 1931 color space, is not linear from color to color. In other words, if you show a group of people the same green, then map what they see against the CIE 1931 color space, they will report seeing a wide decprepancy of different hues of green. However, if you show the same group a blue image, there will be much more agreement on what color blue they are seeing. This uneveness creates problems when trying to make uniform measurements with CIE 1931.
The result of MacAdam’s work is visualized by the MacAdam Elipses. Each elipse represents the range of colors respondents reported seeing when shown a single color, which was the dot in the center of each elipse:
A better standard
It was not until 1976 that the CIE was able to settle on a significantly more linear color space. If we reproduce MacAdam’s work using the new standard, variations in percieve color are minimalized and the MacAdam’s Elipses mapped on a 1976 CIE diagram appear much more evenly sized and circular, as opposed to oblong. This makes color comparisons using CIE 1976 significantly more meaningful.
The difference of the CIE 1976 color space, particularly in blue and green, is immediately apparent. As an example, lets look at the color gamut measurements of the iPad 2 and new iPad we used in an earlier article. Both charts do a reasonably good job of conveying the new iPad’s increased gamut coverage at all three primaries. But, the 1976 chart captures the dramatic perceptual difference in blue (from aqua to deep blue) that you actually see when looking at the displays side by side:
The increased gamut of the new iPad is worth testing. Next time you find yourself in an Apple store, grab an iPad 2, hold it alongside a new iPad, Google up a color bar image and see the difference for yourself.
So, why do we still use CIE 1931 at all? The only real answer is that old habits die hard. The industry has relied on CIE 1931 since its inception, and change is coming slowly.
Fortunately, CIE 1931’s grip is loosening over time. The ICDM’s new measurement standard should eventually force all remaining stragglers to switch over to the more accurate 1976 standard. Until then, you can familiarize yourself with a decent color space conversion calculator, such as the handy converter we built just for this purpose:
A new report from DisplaySearch today shows that TV-sized OLED panels remain prohibitively expensive to manufacture. According to their data, AMOLED price premiums over LCDs range from 30% for smartphone-sized panels to an order of magnitude greater for a 55” TV-sized display.
AMOLED TVs make great tradeshow demos but the data continues to prove the technology is more vaporware than a viable consumer product in the TV space. With major quality improvements coming for LCDs like 8K resolution, higher dynamic range and wide color gamut, AMOLED faces an uphill battle in the race to become the display technology of the future.