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That’s ok, I couldn’t understand what your project was about and frankly still don’t see the point of it. But, this is a shortcoming on my part and I thank you for the additional information in this post.
The last sentence in the OP reads:
"Even if this means producing a blank image.”
That caused me to wonder what a blank image might accomplish for you as an artist. I meant no disrespect with the word ‘doozy’.
I’ll see myself out now.
Your last sentence is a doozy.
Respectfully, I don't understand this comment.
While I understand that I am coming in from the left field somewhat, but I hope that my question comes across as valid within this group.
I am trying to produce an animation which paradoxically contains a wealth of colour information, yet cannot be seen with standard screen technology.
I am working with software developers for a well known 3D render engine to allow for Lab output of animation frames to produce OoG images from the jump.
If this is not possible then I will render in RGB and then undertake exaggerated Lab colour modifications in Photoshop, pushing the chroma values OoG.
I would then like to undertake some kind of boolean operation to separate the data which remains legal and that which is OoG. Rex's suggestion to work with Color Think Pro seems like a good starting point.
With this data I then hope to compile the animated frames as a video, ideally in L*a*b keeping the OoG data, but for the sake of final presentation the file will have to be converted back to sRGB
at which point I would like the OoG information to be more or less invisible on screen.
This may all seem rather silly, but it's a work that is accompanied by a full description of process and I would like to be as truthful to my materials and the Lab colour space as I can be.
Thanks for your time