ITU-R BT.709-3 I.5 Analogue representation Levels are specified in millivolts (mV) measured across a matched 75 Ω termination. 709 video color space. Range: linear RGB; see ITU-R BT.709-3 for details of black and nominal peak white quantization levels for 8 and 10-bit encodings Bit depth: 8 or 10 Image state: Output-referred display PROFILES. (Note that this closing line is updated only when you start Rec Room.) I have been able to find all other technical settings required for the cinema file specs for the venue but have not been able to get my head around this. However, I’d like to grade for UHD television, and a possible movie theatre screening, too. sRGB is still the standard for computer imaging, most consumer to mid level photo cameras and home printers. You can see your current level on the Profile Menu of the Watch Menu. 709 master file, the color encoding, and information contained in that master file is limited to what can be displayed on a display made to accept a Rec. Rec. ITU-R BT.709-6 7 6 Analogue tri level sync signal The tri level sync signal may be used as a reference signal for synchronization of devices operating on this Recommendation. Spectrum Comparing DCI-P3 and sRGB / Rec.709 Gamuts . considering I work on a Retina display and I would like to export a video that is playable everywhere on the web. However, notably Apple have adopted P3 color across many device displays, and the ability to capture photo and video in the P3 color space since iOS10. However, arguably shooting in rec709 would not only make the workflow easier but also avoid the conversion. Just to add, HDR is another beast entirely and in my opinion (and most colorists) there are still no affordable or consumer displays that are suitable for HDR video reference work. Hi Richard Lackey, there are different type of color space like P3, P3 D55, P3 D61, P3 D65. No, BT.709 is compressed sRGB. For 3D modeling and photo editing, you’ll rely on the output of your desktop display graphics. You are right, its a desktop GUI display so I´ll go with Rec709. Some video cards might use floor instead of round, so 8-bit Rec. This could be a video levels vs data levels issue. Rec. For example If I shot a video with 1 BMPCC4k in RAW and e Canon EosR with Clog and I have an x-rite color checker, when I am on DaVinci Resolve and I go in the color match tab, which are the the correct settings under source gamma, target gamma and target color space? FREE 3D Text Lighting Rig for Fusion guide to building your own color managed and calibrated monitoring pipeline, Cinematic Color, From Your Monitor to the Big Screen, subscribe to my very occasional email updates, https://www.richardlackey.com/low-budget-davinci-resolve-monitoring-video-color-management-lg-oled/, https://community.adobe.com/t5/premiere-pro/exported-video-looks-totally-different-on-youtube-than-in-premiere-or-vlc/td-p/10486551. Hey Richard, thanks for your fast and precise reply! Dear Richard, my question is similar to Peter’s. Cheers, Marcos. However, Rec. Apple using P3 for GUI display for a start is something I’ve never tried to compensate for or deal with. Without a shared color gamut there would be no way to make sure that a given color produced by a projector, say a certain purple, is the same purple transmitted by the media player. How to use. Calibration requirements are different for computer desktop output vs video output. Hi Peter, good question. If you need to export a ProResHQ master, simply set the export parameters as you normally would. Not sure it answers anything though. The ultimate limit that this container needs to be able to accommodate in terms of color information is actually the limit of human color perception itself. There are less colours, black level is poor and colors can not be as vivid or bright. 709 color space. The profile encodes only the electro-optical transfer function (EOTF) of BT.709, with a gamma of 2.4, since the PCS … 709, so nothing changes in the Resolve Deliver page. The Rec. 709 in the first place, then you don’t have anything to gain by transforming that information into an ACES color space and working with, and storing much larger files. In terms of specifics Rec.709 was released in 1990 with a color gamut geared to help define colors for the now dominant high definition television market. For current projectors on the market there are three main color gamut standards used: Rec.709 (also known as BT.709), DCI-P3, and Rec.2020 (also known as BT.2020). But if I understand your article well, I should actually do it in DCIP3 (my monitor in theory is capable to cover it). The next generation Standard Color Gamut will be the impressively large Rec.2020 standard, shown in Figures 2 and 3 below. I understand 4K BDs are mastered using the container ‘REC 2020’ but it really looks a bit washed out, on the other hand, P3 looks better BUT red colour seems a bit over saturated. I would aim for a correct Rec.709 output and just upload that. Still not good enough. 709, all the color correction work and post processing has to be done all over again for a wider gamut deliverable. 709 transfer function, for a signal range … 709 Color Space. The diagram above effectively shows how many more colors DCI-P3 can show compared to Rec. 709 colors) 1920x1080 Overscan and Pixel Crop Patterns The Rec. Rec. Thanks for any help. With a color gamut that is based on high definition standards and our long tradition of research and advancements in color accuracy technology, BenQ projectors are engineered so that the images they project will be brought to life right before the viewers eyes. 709 is the standard camera encoding color space for HDTV with a gamut identical to sRGB. Hi Ilhan, I found some more interesting links. DCI-P3 is a wide gamut video color space introduced by SMPTE for digital cinema projection. You may be able to dabble with HDR grading using a consumer OLED HDR TV, but it’s not a mastering display. Should I grade in .2020 (limited for 709) ACES? For a more in depth look at professional color management the following paper from www.cinematiccolor.com is well worth reading: Cinematic Color, From Your Monitor to the Big Screen. HINTS FOR PROFILE MAKERS. It should detect that the input is HDR and adjust accordingly. Unfortunately I won’t be much help. How your video content will be consumed determines the video color space you need to create in and deliver. If you’re not sure exactly what a video color space is, I explain this in my article What is A Video Color Space? So, I’m going to introduce you to the most common video color spaces you’ll hear about, and the one you’ll use for the web, mobile screens and broadcast television deliverables. It sounds like you’ve got two different use cases here. However, it also depends on your source. As far as color gamut, it covers a large percentage of the full CIE XYZ color space. https://blog.frame.io/2019/10/14/grading-mixed-delivery/, https://jonnyelwyn.co.uk/film-and-video-editing/colour-management-for-video-editors/. More recently ITU-R released their Rec.2020 standards as an update to the previously described Rec.709 specification standards. I have one question and I hope to get the answer on it. What are your options? In this case I should master the shorts/documentaries that I work on in 2 different ways (REC709 for web/Television and DCIP3 for theatrical screening), or is there a more automated method to switch between the 2 color spaces? In such diagrams the bottom-left corner of the triangle represents the “bluest blue” that the given color gamut can display, the bottom right corner is meant to represent the “reddest red”, the top corner represents the “greenest green”, and the area encapsulated by these points encompasses the entire color gamut; in other words all the colors that the device can reproduce. The Rec. Thanks ahead! It is followed by the DCI-P3 color gamut and then the Rec.709 color gamut which has a smaller range than both Rec.2020 and DCI-P3. 709 coding uses SMPTE reference levels (a.k.a. For video color grading, you’ll want to use a separate dedicated video output interface, such as an Ultrastudio interface from Blackmagic Design which will give you an actual BT.709 video output, and ideally you’ll use a display that you can calibrate for video. To pass this level, you must collect 3 hazelnutsand3 cherries in 25 moves or fewer. Good question. Target for your purposes should be Rec.709. However, Rec. 709. sRGB is a display referred color space originally created for CRT computer monitors, but has become standardized for graphics and print. It’s also intended to enable a universal way to archive images with the full extent of their color information, so they can later be repurposed more easily for new display technologies. Hi Vini, thanks for the question. It darkens the shadows to hide noise, and adds contrast and midtone saturation. For professional printing and pre-press purposes Adobe RGB is often used which has an extended gamut that can be reproduced with professional CMYK printing. The standard defines 10-bit or 12-bit color depth. It will do that without any input from you. To ensure that players in the industry are using the same “languages” to define colors, industry groups such as the International Telecommunications Unition Radiocommunication Sector (ITU-R) every so often defines given color gamuts for use by their peers. If this display is a desktop GUI display, then unfortunately you’re pretty limited in how accurately you can monitor in any case, and I would just use Rec.709. Hi Mattia, when using color match, source gamma should match the encoding of your source video for the clip, so you’ll see the Blackmagic options in the dropdown, there is one for Blackmagic Design 4K film, there are also the Canon log options. The SW240 covers 99% Adobe RGB and 95% DCI P3, but it’s only Full HD.. while the PD2700U is 4K and HDR10, but only 70% Adobe RGB/P3 . All HDTVs should be able to 100% of the Rec. It’s based on the same primaries and has the same gamut as Rec. 709, or DCI-P3 for example. Rec.709-A is essentially remapping Rec.709 (1-1-1) correctly to Apple's P3 Gamut - sRGB Gamma 2.2 displays. Thanks for the question. Most computer video players know how to deal with Rec. The advantage of working in an ACES color space, and grading in HDR to Rec. 709 is most likely what you need to work and monitor in. HDR and Wide Color Gamut in Final Cut Pro X December 2019 3 Would you mind offering some quick advice? 6500K is used in rec 709 and most other color spaces, 6300K is DCI white used specifically in DCI P3 target color gamut. Each LUT comes with a BMDFilm Version for HD cameras, a BMDFilm4K version for 4K cameras, and a Rec.709 Version to be used with video gamma or added to existing corrections. My understand is that if you push a wider gamut into a smaller channel depth, you’re going to lose data one way or another – so using BT.2020 (wider) in an 8 bit codec (already slim-ish) is actually not a good choice, rather a smaller colour gamut will give you more accurate colours in the same depth of bits – am I correct in saying this? These are both color spaces limited by the capabilities of the display technology they were created for. It is almost identical to the Rec. The average consumer HDR television does not meet the requirements as a reference display for post production. 709 codes 0 to 6 are mapped to 8-bit sRGB 0 (if rounded to nearest). 709 colors) 1920x1080 4:2:2 Y/C Delay Bars (with Rec. I just want to thank you for all the info that you have post in your website. Then I would just stick to DaVinci YRGB Color science, and a Rec.709 Gamma 2.4 Timeline Color Space, the same for output. DCI-P3 standards, on the other hand, are mainly for use by movie theater projectors or in home-theaters. Are you on Mac or PC? 709 differs slightly in its encoding transfer function, and doesn’t actually specify an inverse transfer function for display. 2020 defines the color specifications for UHD HDR. Rec.709 is a specification standard released by the ITU-R which includes a unique color gamut as part of their wider “list” of specifications. I´ve had issues with films on festivals with bleached and blacks lifted and everything looked just terrible, but the same copy looked just as nice as it should on other screenings. This site uses Akismet to reduce spam. or does it look incorrect on both? You will often see a white point specified along with the color space, such as P3 D55, P3 D61 or P3 D65. Hi Richard, I thought you could help me figure out a Grading setup: I’m about to grade old 16mm film scanned to 5K. Rec. D55 is 5500K, D61 is 6100K, D65 is 6500K, and the DCI standard white point is 6300K. 709 transfer function takes linear-light tristimulus value (here L) to a nonlinear component (here E'), for example, voltage in a video system: The linear segment near black minimizes the effect of sensor noise in practical cameras and scanners. We share information about your use of the site with our advertising partners who may further share it with additional parties. The discussion below will describe the three main color gamut standards: Rec.709, DCI-P3, and Rec.2020. If I have to deliver a DCP (with Davinci Resolve 15 kakadu), I include in the name that it meant to be screened in REC709 color space. So you would calibrate your monitor to Rec.709, with a white point of 6500K as you mention. This means setting up your color grading working environment properly and calibrating all your displays. Thanks for the question. You can earn experience towards the next level … I hope at least some of that makes some sense, and has maybe helped answer your question. When you complete the level… This is LUTCalc with Sony’s LC709 gamma curve and color gamut, which is their extended range Rec 709 look in Cine-EI mode. To be honest I wouldn’t make it any more complicated than it needs to be. 2020 can show even more, but we won’t discuss it here. 709. Also, how is your monitoring set up? I also can’t actually try it as I don’t have the iMac. Rec. 4 Rec. This profile encodes a reference display based on ITU-R BT.709-5: Parameter values for the HDTV standards for production and international programme exchange. Since the gamut you mention, 98% NTSC isn’t any kind of standard, the most important question is how will your video projects be delivered and watched? I finally got some proper answers! I think black level for BT.709 is around what, 15? I’m looking for a monitor, mostly for color grading and 3D modeling (and occasional photo editing). Hello Richard, First of all, what a greatness of helpful content! 709 but specifies a different transfer function. 709 is the Color Space for HDTV 1920x1080 Pixels, for a Total Pixel Count of 2.07 Million Pixels 8-Bit Color Depth What is DCI-P3 Color Gamut? 709 SDR reference monitoring, but should not be used for HDR reference. While a good OLED TV like the popular LG C9 and now the newer CX TV’s can be calibrated perfectly for Rec.709. By definition color gamut is the range of colors within the visible color space (i.e. Hi Miguel, thanks for the questions! Sometimes levels are off and people mistake that for 'color' being off. Item Parameter System Values 60/P 30/P 30/PsF 60/I 50/P 25/P 25/PsF 50/I 24/P 24/PsF 6.1 Nominal level (mV) R G B ,E Y Reference black: 0 Have you tried asking this in the Lift Gamma again forum? It is possible to squeeze a bit more into an 8-bit encoding using a log transfer function, but it comes with problems, especially when combined with aggressive compression. But whereas Rec.709 were standards for high definition TV, Rec.2020 is an update geared for ultra-high definition (4K and 8K) televisions. I use at home a calibrated eizo monitor (threw sdi), and I’m usually mastering in REC709. But with projector specs listing various types of color gamuts, which specific color gamut represents the best choice for the consumer? But the rendered output looks almost 20% de-saturated. Rec. Your monitoring pipeline should be calibrated for the color space of the video standard that you will deliver in. Though strictly speaking Rec.709 is a set of specifications that covers items beyond color gamut, it’s common to be mainly referring to its color gamut when using the term “Rec.709”. For projector use though it is important to note that while Rec.2020 is the agreed upon direction toward which the industry is headed in terms of color, affordable options are still currently out of reach based on the technology available today. This article will help define these commonly used color gamuts as well as recap what a color gamut means, including why the concept is important for projectors. To conclude, I’d expect if you shot content with a LOW or slim dynamic range, you’re actually far better off using Rec.709 as your colour space, or else BT.2020 will map more extreme colours effectively making the “steps” between those colours more prominent. As long as a camera source has an ACES input transform, then image information encoded by that camera can be transformed to an ACES color space. Can one argue that 8 bit and bt.2020 should never be mixed? If you like what you see here, please visit my YouTube channel and subscribe for updates of new videos as they are published. HDR and Wide Color Gamut in Final Cut Pro November 2020 3 Here is a graph of the Rec. Though strictly speaking Rec.709 is a set of specifications that covers items … Rec.709 is a specification standard released by the ITU-R which includes a unique color gamut as part of their wider “list” of specifications. Hello Richard, hope you can help me. Limiting PQ Output Levels 13 Exporting a Wide-Gamut HDR Project 14 Delivery to Multiple Color Spaces 15 Creating HDR and Rec.