A shift in white point would be noticeable, but these two spaces have the same white point (for Display P3). I’m holding to what I said about white points. For green, it shows (r,g,b) = (0,255,0) for P3 and = (116,250,75) for sRGB in P3 coordinates for green. #Save to web monitor color potosohp mac#For red, the mac Digital Color Meter shows (r,g,b) = (255,0,0) for P3 and = (230,50,35) for sRGB in P3 coordinates, for both the original TIFF and the PNG. I only did red and green as blue is the same for both color spaces. If you have a P3 monitor, you can see a difference. On Mac, I open them in Preview (the Mac viewer) simultaneously and switch between the P3 and sRGB images. This time the sRGB colors were correctly transformed into P3 coordinates correctly. This site won’t let me upload TIFF files – so I converted them directly to PNGs with Display P3 profiles attached below. There is a difference, but Mike is still mostly right. Somehow, when I stacked the two gradients in Affinity it converted the colors … probably user error. Then there is always the possibility that I screwed up the comparison. If we can’t see the difference – why bother? Why did they bother going to P3 displays? P3 has a nearly monochromatic red, which must be more difficult for manufacturing. (ProPhoto has a D50 white point, so it must be color managed for display.) It appears that Apple created Display-P3 specifically so that it could be rendered as sRGB with little difference in appearance. D65 is the most common white point for display purposes (not for print). (The original P3 white point is a bit greener than D65.) If the two color spaces had different white points, then I think we would see the color shift. Display-P3 is a variant of P3 created by Apple that has the original P3 primary colors with D65 white pt, and the sRGB TRC. One thing about this comparison is that both sRGB and Display P3 have the same white point and TRC (tone reproduction curve). The P3 values were pure primaries, while the sRGB values did deviate from pure primary RGB, but only a very small amount. I checked the results with the Mac “Digital Color Meter,” which read out the RGB values as you mouse over the screen. I then exported the combined images to the png files below using the Display P3 color space, with the embedded ICC profile. The Affinity working color space is ProPhoto (which encompasses both sRGB and P3). I then imported into Affinity where I combined the sRGB and P3 versions as layers. Both the sRGB and P3 versions contain the same RGB data – the only difference is the ICC profile embedded in the TIFF file. #Save to web monitor color potosohp full#The RGB values at full scale are the same for both sRGB and P3: red = (255,0,0), … Each gradient was generated as a 16 bit TIFF. These files show stops gradients with a 6 stop range for sRGB and Display P3. I have to admit – it is hard to see a difference.
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