DCI-P3 is a color space defined in 2005 as part of the Digital Cinema Initiative , for use in theatrical digital motion picture distribution (DCDM). Display P3 is a variant developed by Apple Inc. for wide-gamut displays.
41-617: In 2005, Digital Cinema Initiatives, LLC in Hollywood , California released the Digital Cinema System Specification version 1.0 , which defined the colorimetry of what would become known as the DCI-P3 color space. According to section 8.3.4 in the specification, the blue primary color is the same as Rec. 709 , sRGB , and Adobe RGB , with a dominant wavelength of 464.2 nm . The red primary
82-542: A correlated color temperature (CCT) of ~6300 K. It is incorrect to refer to this as "D63" as this white point is not a CIE standard illuminant, and is not on the Planckian locus . Instead, the white point is slightly greener. This resulted from optimizing for best light output with the xenon arc lamp projectors commonly used in theaters. When mastering content utilizing a display or projector in P3 color space, users have
123-566: A Y a Z a tristimulus values as follows: where X K Y K Z K and X W Y W Z W are reference display black and white points in the table above. The conversion between normalized XYZ to and from Adobe RGB tristimulus values can be done as follows: As was later defined in the IEC standard opYCC uses BT.601 matrix for conversion to YCbCr, that can be full range matrix and limited range matrix. Display can signal YCC quantization range support and sink can send either one. An image in
164-456: A complex workflow in order to utilize its full range. Otherwise, the produced colors would be squeezed into a smaller range (making them appear duller) in order to match sRGB's more widely used gamut. Although the Adobe RGB (1998) working space clearly provides more colors to utilize, another factor to consider when choosing between color spaces is how each space influences the distribution of
205-478: A dominant wavelength of 544.2 nm. Adobe RGB's green primary is more blueish with a dominant wavelength of 534.7 nm. sRGB's green primary is more yellowish at 549.1 nm. DCI-P3 covers 45.5% of the CIE 1931 chromaticity diagram (see inset image), which describes the color gamut of daylight human vision ( Photopic vision ) as determined experimentally in the 1920s. In that study, participants visually matched
246-509: A mixture of red, green, and blue "primary" lights to specific, pure monochromatic colored lights. This defined the spectral locus, which is the outer rim of the diagram, and the maximum extent of human color vision. A smaller, practical gamut for comparison is the Pointer's gamut , which consists of diffusely reflecting surface colors. DCI-P3 covers 86.9% of Pointer's gamut, while in comparison, Rec. 709/sRGB only covers 69.4%. While DCI-P3
287-408: A monitor, the exact chromaticities of the reference white point [1,1,1], the reference black point [0,0,0], and the primaries ([1,0,0], [0,1,0], and [0,0,1]) are specified. To meet the color appearance requirements of the color space, the luminance of the monitor must be 160.00 cd /m at the white point, and 0.5557 cd/m at the black point, which implies a contrast ratio of 287.9. Moreover,
328-459: A uniform and high level of technical performance, reliability and quality. By establishing a common set of content requirements, distributors , studios , exhibitors , d-cinema manufacturers and vendors can be assured of interoperability and compatibility. Because of the relationship of DCI to many of Hollywood 's key studios, conformance to DCI's specifications is considered a requirement by software developers or equipment manufacturers targeting
369-482: Is a color space developed by Adobe Inc. in 1998. It was designed to encompass most of the colors achievable on CMYK color printers , but by using RGB primary colors on a device such as a computer display . The Adobe RGB (1998) color space encompasses roughly 30% of the visible colors specified by the CIELAB color space – improving upon the gamut of the sRGB color space, primarily in cyan-green hues . It
410-532: Is a consortium of major motion picture studios, formed to establish specifications for a common systems architecture for digital cinema systems. The organization was formed in March 2002 by Metro-Goldwyn-Mayer , Paramount Pictures , Sony Pictures , 20th Century Studios , Universal Studios , Walt Disney Studios and Warner Bros. The primary purpose of DCI is to establish and document specifications for an open architecture for digital cinema that ensures
451-421: Is a deeper red than sRGB and Adobe RGB, as it emits a longer dominant wavelength at 614.9 nm. The red primary is also farther from the white point (in terms of CIE spaces such as Lsh uv ) implying it is more saturated than the red-orange primary of sRGB. The most significant difference is the green primary, which is much closer to the spectral locus than either sRGB or Adobe RGB. DCI-P3's green primary has
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#1732786772684492-487: Is a significant difference between gamut ranges in the CIE xy chromaticity diagram, if the coordinates were to be transformed to fit on the CIE u′v′ chromaticity diagram , which illustrates the eye's perceived variance in hue more closely, the difference in the green region is far less exaggerated. Also, although Adobe RGB (1998) can theoretically represent a wider gamut of colors, the color space requires special software and
533-947: Is an RGB color space proposed by HP and Microsoft in 1996 to approximate the color gamut of the (then) most common computer display devices (CRTs). Since sRGB serves as a "best guess" metric for how another person's monitor produces color, it has become the standard color space for displaying images on the Internet. sRGB's color gamut encompasses just 35% of the visible colors specified by CIE, whereas Adobe RGB (1998) encompasses slightly more than 50% of all visible colors. Adobe RGB (1998) extends into richer cyans and greens than does sRGB – for all levels of luminance. The two gamuts are often compared in mid-tone values (~50% luminance), but clear differences are evident in shadows (~25% luminance) and highlights (~75% luminance) as well. In fact, Adobe RGB (1998) expands its advantages to areas of intense orange, yellow, and magenta regions. Although there
574-555: Is required, the DCI Specification does not include specific information about how data within a distribution package is to be formatted. Formatting of this information is defined by the Society of Motion Picture and Television Engineers (SMPTE) digital cinema standards and related documents. DCI has additionally published a document outlining recommended practice for High Frame Rate digital cinema. This document discloses
615-611: The ICC Profile Connection Space (PCS) is encoded in 24-bit Adobe RGB (1998) color image encoding . Through the application of the 3x3 matrix below (derived from the inversion of the color space chromaticity coordinates and a chromatic adaptation to CIE Standard Illuminant D50 using the Bradford transformation matrix), the input image's normalized XYZ tristimulus values are transformed into RGB tristimulus values. The component values would be clipped to
656-830: The 23 errata that had been issued to DCI Specification Version 1.4. For the convenience of users, DCI also created an online HTML version of DCI Specification, Version 1.4.1. Due to the HTML conversion process, the footnotes in the DCSS now appear as endnotes. The PDF version contains pagination and page numbers whereas the HTML version does not. DCI Specification Version 1.4.2, dated June 15, 2022, includes revisions and refinements respecting Object-Based Audio Essence (OBAE), also known as Immersive Audio Bitstream (IAB). Version 1.4.2 also implements post-show log record collection utilizing SMPTE 430-17 SMS-OMB Communications Protocol Specification. Additionally, Version 1.4.2 incorporated two prior addenda:
697-674: The DCI Specification explains the route to create an entire Digital Cinema Package (DCP) from a raw collection of files known as the Digital Cinema Distribution Master (DCDM), as well as the specifics of its content protection, encryption , and forensic marking . The DCI Specification also establishes standards for the decoder requirements and the presentation environment itself, such as ambient light levels, pixel aspect and shape, image luminance , white point chromaticity , and those tolerances to be kept. Even though it specifies what kind of information
738-646: The Digital Cinema Object-Based Audio Addendum, dated October 1, 2018 and the Stereoscopic Digital Cinema Addendum, Version 1.0, dated July 11, 2007. Users using Version 1.4.2 no longer need to refer to the separate addenda. Previous DCSS versions are archived on the DCI web site. Based on many SMPTE and ISO standards, such as JPEG 2000 -compressed image and "broadcast wave" PCM / WAV sound,
779-454: The black point shall have the same chromaticity as the white point, yet with a luminance equal to 0.34731% of the white point luminance. The ambient illumination level at the monitor faceplate when the monitor is turned off must be 32 lx . As with sRGB, the RGB component values in Adobe RGB (1998) are not proportional to the luminances. Rather, a gamma of approximately 2.2 is assumed, without
820-478: The colorspace of the theatrical viewing environment during the production and post production process. Created by the Digital Cinema Initiative, DCI-P3 is designed for viewing in a fully darkened theater environment. The projection system uses a simple 2.6 gamma curve, the nominal white luminance is 48 cd/m (14 ftL ), and the white point is based on a projector with a xenon bulb, for
861-431: The current leadership term expires at the end of September." Subsequently, between August 27, 2007, and February 1, 2008, DCI issued 100 errata to Version 1.1. So, DCI released Version 1.2 of the DCI Specification on March 7, 2008, again incorporating the previous 100 errata into the specification document. An additional 96 errata were issued by August 30, 2012, so a revised Version 1.2 incorporating those additional errata
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#1732786772684902-423: The digital cinema market. On July 20, 2005, DCI released Version 1.0 of its "Digital Cinema System Specification", commonly referred to as the "DCI Specification". The document describes overall system requirements and specifications for digital cinema. Between March 28, 2006, and March 21, 2007, DCI issued 148 errata to Version 1.0. DCI released Version 1.1 of the DCI Specification on April 12, 2007, incorporating
943-515: The documentation for the SMPTE 240M standard, the precursor to Rec. 709 (but not in primaries: 240M also defined EOTF and thus was display referred, sRGB was created by connecting BT.470 PAL and SMPTE C). SMPTE 240M's gamut is wider than that of the BT.709 gamut and the same as BT.470 NTSC (System B, G). However, with the release of Photoshop 5.0 nearing, Adobe made the decision to include the profile within
984-460: The following proposed frame rates: 60, 96, and 120 frames per second for 2D at 2K resolution; 48 and 60 for stereoscopic 3D at 2K resolution; 48 and 60 for 2D at 4K resolution. The maximum compressed bit rate for support of all proposed frame rates should be 500 Mbit/s. The idea for DCI was originally mooted in late 1999 by Tom McGrath , then COO of Paramount Pictures , who applied to the U.S. Department of Justice for anti-trust waivers to allow
1025-476: The image's bit depth . Color spaces with larger gamuts "stretch" the bits over a broader region of colors, whereas smaller gamuts concentrate these bits within a narrow region. A similar, yet not as dramatic concentration of bit depth occurs with Adobe RGB (1998) versus sRGB, except in three dimensions rather than one. The Adobe RGB (1998) color space occupies roughly 40% more volume than the sRGB color space, which concludes that one would only be exploiting 70% of
1066-564: The joint cooperation of all seven major motion picture studios. Universal Pictures made one of the first feature-length DCPs created to DCI specifications, using their film Serenity . Although it was not distributed theatrically, it had one public screening on November 7, 2005, at the USC Entertainment Technology Center's Digital Cinema Laboratory in the Pacific Theatre, Hollywood. Inside Man
1107-620: The linear segment near zero that is present in sRGB. The precise gamma value is 563/256, or 2.19921875. In coverage of the CIE 1931 color space the Adobe RGB (1998) color space covers 52.1%. The chromaticities of the primary colors and the white point, both of which correspond to the CIE Standard Illuminant D65, are as follows: The corresponding absolute XYZ tristimulus values for the reference display white and black points are as follows: Normalized XYZ tristimulus values can be obtained from absolute luminance X
1148-510: The option of using an output transform to DCI-P3 D60-sim which matches the nominal white point of the ACES color spaces . Apple Inc developed displays using the P3 primaries, and the corresponding Display P3 color space. While it uses standard P3 RGB primaries, the white point is D65 instead of the DCI ~6300 K white point. The D65 white point is the existing standard for common sRGB and devices ( Adobe RGB also uses D65). Display P3 uses
1189-427: The previous 148 errata into the DCI Specification. On April 15, 2007, at the annual NAB Digital Cinema Summit, DCI announced the new version, as well as some future plans. They released the "Stereoscopic Digital Cinema Addendum" to begin to establish 3-D technical specifications in response to the popularity of 3-D stereoscopic films . It was also announced "which studios would take over the leadership roles in DCI after
1230-436: The primaries and is thus pointless), yet all of the adjustments made CMYK conversion worse than before. In the end, Adobe decided to keep the "incorrect" profile, but changed the name to Adobe RGB (1998) in order to avoid a trademark search or infringement . In Adobe RGB (1998), colors are specified as [ R , G , B ] triplets, where each of the R , G , and B components have values ranging between 0 and 1. When displayed on
1271-454: The range [0, 1]. The RGB tristimulus values are then converted to Adobe RGB R'G'B' component values through the use of the following component transfer functions: The resulting component values would be then represented in floating point or integer encodings. If it is necessary to encode values from the PCS back to the input device space, the following matrix can be implemented: sRGB
DCI-P3 - Misplaced Pages Continue
1312-692: The red primary chromaticity coordinates, resulting in an even more inaccurate representation of the SMPTE standard. On the other hand red and blue primary are the same as in PAL and green is the same as in NTSC 1953 (blue is the same as in BT.709 and sRGB). Adobe tried numerous tactics to correct the profile, such as correcting the red primary and changing the white point to match that of the CIE Standard Illuminant D50 (though that will also change
1353-538: The sRGB transfer curve, which is approximately equivalent to a gamma of 2.2. Display P3's gamut is approximately 50% larger than sRGB in volume and 25% in surface. Since iPhone 7 , the built in camera creates images tagged with the Display P3 ICC profile . Some Netflix HDR deliverables use P3-D65 in conjunction with the PQ transfer curve . Canon created an expanded gamut color space they call DCI-P3+ using
1394-420: The same ~6300 K white point as DCI-P3. Otherwise, P3+ has no relation to DCI-P3 nor the Digital Cinema Initiative. Unlike the DCI-P3 color space, which defines an actual display technology, Canon's DCI-P3+ color space uses imaginary primaries which cannot be realized by any physical display technology. Because the P3 gamut is larger than sRGB, designs created for P3, but presented on an sRGB display without
1435-476: The software. Although users loved the wider range of reproducible colors, those familiar with the SMPTE 240M specifications contacted Adobe, informing the company that it had copied the values that described idealized primaries, not actual standard ones (in a special annex to the standard). The real values were much closer to sRGB's, which avid Photoshop consumers did not enjoy as a working environment. To make matters worse, an engineer had made an error when copying
1476-594: The use of color management, tend to appear duller or less saturated. Apple suggests creating a separate set of image or color elements for each color space, sRGB and Display-P3, adding to complexity. Because the P3 red primary emits a longer wavelength (i.e. a deeper red) than sRGB, individuals with some forms of color vision deficiency (aka colorblind) will see colors involving red as even darker than on sRGB. This creates an accessibility issue for instance for red, purple, or orange text against black. Digital Cinema Initiatives Digital Cinema Initiatives, LLC ( DCI )
1517-622: The ~6300 K white point of DCI-P3. On April 6, 2011, SMPTE published SMPTE RP 431-2:2011 which defines the reference viewing environment. Display P3 colors (a variant of DCI-P3) are supported in CSS Color Level 4 on Safari since 2017 (version 10.1) and Google Chrome since March 2023 (version 111) browsers. Initially, DCI-P3 was available with theatrical xenon-arc projection systems. This emerging technology presented challenges for filmmakers working with digital media on desktop workstations—that is, how to accurately view
1558-753: Was Universal's first DCP commercial release, and, in addition to 35mm film distribution, was delivered via hard drive to 20 theatres in the United States along with two trailers . The Academy Film Archive houses the Digital Cinema Initiatives, LLC Collection, which includes film and digital elements from DCI's Standard Evaluation Material (StEM), a 12-minute production shot on 35mm and 65mm film, created for vendors and standards organizations to test and evaluate image compression and digital projection technologies. Adobe RGB color space The Adobe RGB (1998) color space or opRGB
1599-426: Was approved on October 10, 2012. DCI approved DCI Specification Version 1.3 on June 27, 2018, integrating the 45 errata issued to the previous version into a new document. On July 20, 2020, fifteen years to the day after Version 1.0, DCI issued a new DCI Specification Version 1.4 that assimilated 29 errata issued since Version 1.3. On October 13, 2021, DCI approved a new DCI Specification Version 1.4.1 that integrated
1640-486: Was developed by the Digital Cinema Initiatives (DCI) organization, many of the relevant technical standards are published by the Society of Motion Picture and Television Engineers (SMPTE) such as SMPTE EG 432-1 and SMPTE RP 431-2 . On November 10, 2010, SMPTE published SMPTE EG 432-1:2010, which includes a variant of the color space using a D65 white point (about 6503.51 K) instead of
1681-645: Was subsequently standardized by the IEC as IEC 61966-2-5:1999 with a name opRGB (optional RGB color space) and is used in HDMI . Beginning in 1997, Adobe Systems was looking into creating ICC profiles that its consumers could use in conjunction with Photoshop's new color management features. Since not many applications at the time had any ICC color management, most operating systems did not ship with useful profiles. Lead developer of Photoshop, Thomas Knoll decided to build an ICC profile around specifications he found in