Quote:
Originally Posted by Mike Cecil
Note the way the camouflage paints on the Matador at MEE Monegeeta vary with the light intensity - the disruptive colour across the front is much 'whiter' than the sides, yet it is the same colour (whatever that may be).
|
I’m not sure what you’re getting at here Mike. I mean, it seems like a statement of the obvious to me. Objects vary in appearance according to the light intensity falling upon them. Like, the dark side of the moon, and the light side of the moon. You wouldn’t compare objects in bright daylight to objects in the shade. You can only compare objects in the same light. Which is to say, the same plane of light. I mean, that’s obvious, isn’t it? In practice that means flat panels with disruptive pattern across them, so the adjacent colours can be compared under the same lighting conditions. Hence in the Matador example you’d probably choose the driver’s door, because the frontal area is way overexposed. That is, the film has been pushed beyond its ability to register tones, it’s just plain white.
Quote:
Originally Posted by Mike Cecil
This simply reinforces what has been said previously in this thread: that trying to interpret camouflage colours from a monochrome image is just about impossible. There are too many variables in terms of light/shade and how the image was processed.
|
I think we may be talking at cross purposes here. We’re not trying to identify colours in isolation, based on visual appearance only, we’re trying to identify the camo scheme, from a limited number of possibilities, which then tells us the camo colours. We have a lot of information about camo schemes, including date of approval, prescribed patterns, which we bring to bear on the problem. This gets much simpler after 42, because there are so few colours to choose from. Eventually in 44 the problem solves itself, because there are only 3 vehicle paints scheduled, and a 3-tone camo scheme.
Armed with this kind of information we can start to make fine distinctions, like the two semi-trailers pictured. Notice how the scheme as originally intended displays even separation of Light Tone / Medium Tone / Dark Tone, but with KG3 substituted it becomes virtually 2-tone scheme, because KG3 and Vehicle Dark Green are much closer in tone. Indeed, dare I say it, “These colours are useless for disruption as they are much too close in tone and merge at a very short distance.”
