Channel mixing is a simple technique for remapping colors. The color at a destination pixel is a function of the color at the corresponding source pixel (only). More specifically, each channel's value at the destination pixel is a function of any or all channels' values at the source pixel. In pseudocode, for a BGR image:
dst.b = funcB(src.b, src.g, src.r) dst.g = funcG(src.b, src.g, src.r) dst.r = funcR(src.b, src.g, src.r)
We may define these functions however we please. Potentially, we can map a scene's colors much differently than a camera normally does or our eyes normally do.
One use of channel mixing is to simulate some other, smaller color space inside RGB or BGR. By assigning equal values to any two channels, we can collapse part of the color space and create the impression that our palette is based on just two colors of light (blended additively) or two inks (blended subtractively). This type of effect can offer nostalgic value because early color films and early digital graphics had more limited palettes than digital graphics today.
As examples, let's invent some notional color spaces that are reminiscent of Technicolor movies of the 1920s and CGA graphics of the 1980s. All of these notional color spaces can represent grays but none can represent the full color range of RGB:
- RC (red, cyan): Note that red and cyan can mix to make grays. This color space resembles Technicolor Process 2 and CGA Palette 3.
- RGV (red, green, value): Note that red and green cannot mix to make grays. So we need to specify value or whiteness as well. This color space resembles Technicolor Process 1.
- CMV (cyan, magenta, value): Note that cyan and magenta cannot mix to make grays. So we need to specify value or whiteness as well. This color space resembles CGA Palette 1.
The following is a screenshot from The Toll of the Sea (1922), a movie shot in Technicolor Process 2:
The following image is from Commander Keen: Goodbye Galaxy (1991), a game that supports CGA Palette 1. (For color images, see the electronic edition of this book.):
RC color space is easy to simulate in BGR. Blue and green can mix to make cyan. By averaging the B and G channels and storing the result in both B and G, we effectively collapse these two channels into one, C. To support this effect, let's add the following function to filters.py:
def recolorRC(src, dst):
"""Simulate conversion from BGR to RC (red, cyan).
The source and destination images must both be in BGR format.
Blues and greens are replaced with cyans.
Pseudocode:
dst.b = dst.g = 0.5 * (src.b + src.g)
dst.r = src.r
"""
b, g, r = cv2.split(src)
cv2.addWeighted(b, 0.5, g, 0.5, 0, b)
cv2.merge((b, b, r), dst)Three things are happening in this function:
- Using
split(), we extract our source image's channels as one-dimensional arrays. Having put the data in this format, we can write clear, simple channel mixing code. - Using
addWeighted(), we replace the B channel's values with an average of B and G. The arguments toaddWeighted()are (in order) the first source array, a weight applied to the first source array, the second source array, a weight applied to the second source array, a constant added to the result, and a destination array. - Using
merge(), we replace the values in our destination image with the modified channels. Note that we usebtwice as an argument because we want the destination's B and G channels to be equal.
Similar steps—splitting, modifying, and merging channels—can be applied to our other color space simulations as well.
RGV color space is just slightly more difficult to simulate in BGR. Our intuition might say that we should set all B-channel values to 0 because RGV cannot represent blue. However, this change would be wrong because it would discard the blue component of lightness and, thus, turn grays and pale blues into yellows. Instead, we want grays to remain gray while pale blues become gray. To achieve this result, we should reduce B values to the per-pixel minimum of B, G, and R. Let's implement this effect in filters.py as the following function:
def recolorRGV(src, dst):
"""Simulate conversion from BGR to RGV (red, green, value).
The source and destination images must both be in BGR format.
Blues are desaturated.
Pseudocode:
dst.b = min(src.b, src.g, src.r)
dst.g = src.g
dst.r = src.r
"""
b, g, r = cv2.split(src)
cv2.min(b, g, b)
cv2.min(b, r, b)
cv2.merge((b, g, r), dst)The min() function computes the per-element minimums of the first two arguments and writes them to the third argument.
Simulating CMV color space is quite similar to simulating RGV, except that the desaturated part of the spectrum is yellow instead of blue. To desaturate yellows, we should increase B values to the per-pixel maximum of B, G, and R. Here is an implementation that we can add to filters.py:
def recolorCMV(src, dst):
"""Simulate conversion from BGR to CMV (cyan, magenta, value).
The source and destination images must both be in BGR format.
Yellows are desaturated.
Pseudocode:
dst.b = max(src.b, src.g, src.r)
dst.g = src.g
dst.r = src.r
"""
b, g, r = cv2.split(src)
cv2.max(b, g, b)
cv2.max(b, r, b)
cv2.merge((b, g, r), dst)The max() function computes the per-element maximums of the first two arguments and writes them to the third argument.
By design, the three preceding effects tend to produce major color distortions, especially when the source image is colorful in the first place. If we want to craft subtle effects, channel mixing with arbitrary functions is probably not the best approach.