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| P3 color gamut | |
|---|---|
| Name | P3 color gamut |
| Type | RGB color space |
| Created | 2010s |
| Primaries | Red, Green, Blue |
| White point | D65 |
| Gamma | 2.2 (approx.) |
| Usage | Digital cinema, mobile devices, displays |
P3 color gamut
P3 color gamut is a wide RGB color space developed for digital imaging and projection, used across Apple Inc., Digital Cinema Initiatives, IMAX Corporation, Dolby Laboratories, and consumer electronics ecosystems. It bridges professional motion picture standards from Digital Cinema Initiatives and consumer display markets influenced by companies such as Apple Inc., Samsung Electronics, LG Electronics, Google LLC, and Microsoft Corporation. The profile is implemented in workflows involving organizations like Adobe Systems, The Khronos Group, International Electrotechnical Commission, International Organization for Standardization, and studios including Walt Disney Pictures, Warner Bros., and Paramount Pictures.
P3 emerged from professional film and projection practices associated with Digital Cinema Initiatives and distributors like Dolby Laboratories, aiming to extend gamut beyond traditional spaces adopted by Apple Inc. and content creators at Adobe Systems and facilities used by Industrial Light & Magic, Pixar Animation Studios, and Framestore. Hardware manufacturers such as Canon Inc., Nikon Corporation, Sony Corporation, Panasonic Corporation, Samsung Electronics, and LG Electronics integrated P3-like primaries into cameras, monitors, and projectors used by post-production houses like Technicolor SA, Deluxe Entertainment Services Group, and broadcasters such as BBC and CNN.
The specification specifies RGB primaries and a D65 white point standardized by institutes including International Electrotechnical Commission and International Organization for Standardization. Implementations reference gamma approximations near 2.2 used by platforms from Apple Inc. and Microsoft Corporation. Variants include DCI-P3 used in theaters influenced by Digital Cinema Initiatives and consumer-oriented adaptations used by Apple Inc., Google LLC, and Samsung Electronics. Colorimetric data are expressed in CIE space metrics developed from research by figures associated with Commission Internationale de l'Éclairage and standards committees involving IEC and ISO working groups.
Chromaticity coordinates for the red, green, and blue primaries derive from measurements comparable to those used in DCI-P3 theatrical standards established by Digital Cinema Initiatives and post-production houses such as Deluxe Entertainment Services Group and Technicolor SA. The white point commonly used is D65, aligning with measurements and displays produced by companies like Apple Inc., Samsung Electronics, and reference monitor manufacturers including EIZO Corporation. Color scientists at institutions such as National Institute of Standards and Technology, NASA, and university labs at Massachusetts Institute of Technology and Stanford University have published comparisons between P3 chromaticities and alternate white points used in digital cinema and television.
Compared with sRGB (endorsed by organizations like Microsoft Corporation and HP Inc.), P3 covers a larger portion of the CIE 1931 chromaticity diagram particularly toward the red and green vertices, a distinction important to studios like Walt Disney Pictures, Pixar Animation Studios, and broadcasters including BBC and CNN. Against Adobe RGB used widely in print workflows at companies such as Adobe Systems and printing labs collaborating with Kodak, P3 typically offers wider green coverage but different red primaries, influencing color grading at facilities like Industrial Light & Magic and Framestore. Camera makers such as Canon Inc., Sony Corporation, and Nikon Corporation expose these differences in capture profiles, while monitor makers like EIZO Corporation and Dell Technologies implement calibration targets for each space.
Color-managed pipelines use ICC profiles devised by organizations like International Color Consortium and software from Adobe Systems, Apple Inc., Blackmagic Design, and DaVinci Resolve developer Blackmagic Design Pty Ltd. Post-production workflows at houses such as Deluxe Entertainment Services Group, Technicolor SA, and studios including Warner Bros. and Paramount Pictures integrate P3 into grading, mastering, and delivery chains that interact with color grading control surfaces by Avid Technology and video servers by Hewlett-Packard. Conversion between P3 and legacy spaces involves transforms relying on matrices and perceptual rendering intents standardized by bodies like ICC.
Adopters include smartphone vendors Apple Inc., Samsung Electronics, and Google LLC who promoted P3-capable displays in flagship devices; monitor and laptop manufacturers such as Dell Technologies, HP Inc., and LG Electronics produce panels targeting P3 coverage. Cine and post houses using projectors from Christie Digital Systems and Barco and cinema chains like AMC Theatres and Cinemark Theatres align theatrical DCI variants with studio pipelines from Walt Disney Pictures and Universal Pictures. Camera vendors Canon Inc., Sony Corporation, and Panasonic Corporation offer capture profiles and LUTs for P3 workflows used by production companies like BBC and Netflix.
Critiques arise from color scientists at institutions such as National Institute of Standards and Technology and practitioners at Industrial Light & Magic and Technicolor SA regarding gamut mapping, device variability, and inconsistent metadata handling across ecosystems maintained by Apple Inc., Google LLC, and Microsoft Corporation. Distribution platforms like Netflix and broadcasters including BBC face challenges when remapping P3 material for legacy displays tied to sRGB or Rec. 709, and print-oriented labs tied to Adobe RGB note gamut mismatches. Standards bodies such as ISO and IEC continue to work with industry groups like Digital Cinema Initiatives and International Color Consortium to address interoperability, archival concerns at institutions like the Library of Congress, and preservation efforts by archives including British Film Institute.
Category:Color space