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| RGB color model | |
|---|---|
| Name | RGB color model |
| Type | Color model |
| Primary | Red, Green, Blue |
| Space | Additive color |
| Uses | Electronic displays, imaging |
RGB color model The RGB color model is an additive color model used to represent colors by combining varying intensities of red, green, and blue primaries. It underpins color reproduction in devices such as Television, Computer monitor, Digital camera, Projector, and is central to standards developed by institutions like International Telecommunication Union and World Wide Web Consortium. The model interfaces with imaging work in contexts ranging from Adobe Systems workflows to broadcasting systems employed by BBC and NHK, and it links to colorimetric reference frameworks used by National Institute of Standards and Technology and International Commission on Illumination.
The RGB model expresses color as an ordered triple (R,G,B) where each component maps to an intensity from minimum to maximum; implementations vary between 8-bit color commonly used in Microsoft Windows and higher bit depths used by Digital Cinema Initiatives and Netflix. Origins of additive mixing connect to experimental work by figures such as Isaac Newton, Thomas Young, and Hermann von Helmholtz and informed modern standards from organizations including Society of Motion Picture and Television Engineers and International Organization for Standardization. Device profiles from entities like Apple Inc., Canon Inc., Sony Corporation, Samsung Electronics, and Xerox ensure consistent interpretation across pipelines involving Adobe Photoshop and Apple ColorSync.
Early scientific inquiries into color involved the Royal Society and instruments used by researchers such as Isaac Newton and later psychologists like Thomas Young and Hermann von Helmholtz. The trichromatic hypothesis influenced technologies developed by pioneers in photography and television including John Logie Baird, Philo Farnsworth, and engineers at RCA Corporation. Standardization in the 20th century saw contributions from entities like Bell Labs, BBC Radiophonic Workshop, and European Broadcasting Union; colorimetry advances by CIE panels and scholars like David MacAdam produced quantitative chromaticity diagrams that shaped RGB primaries adopted in standards such as Rec. 709, sRGB, and Rec. 2020. Commercial adoption accelerated with products from IBM, Apple Computer, Commodore International, and media formats promoted by Motion Picture Association stakeholders.
Colorimetry formalizes RGB through coordinates on chromaticity diagrams developed by International Commission on Illumination and practitioners such as W. David Wright. Transformations between RGB and perceptually uniform spaces reference models like CIE XYZ, CIE LAB, and CIE LUV; these transforms appear in workflows used by Adobe Systems, Microsoft Corporation, and Google LLC. Gamma correction practices, informed by psycho-physical studies including work by Gordon Moore-era engineers and researchers at Bell Labs, yield transfer functions like those in sRGB and Rec. 709. Color gamut comparisons frequently cite color spaces from Apple Inc. (Display P3), BT.2020 for high-definition broadcast, and standards used by Digital Cinema Initiatives for theatrical projection.
Hardware implementations of RGB occur in cathode-ray tubes developed by firms such as RCA, liquid crystal displays from Sharp Corporation and LG Electronics, organic light-emitting diode panels produced by Samsung Electronics and Panasonic Corporation, and laser projection systems used by Barco NV and Christie Digital Systems. Signal encoding standards like HDMI, DisplayPort, and SDI carry RGB or encoded YCbCr derived from RGB sources; codec ecosystems from MPEG and ITU-T interact with color conversions specified by SMPTE documents. Profiling and color management systems use ICC profiles standardized by the International Color Consortium and software such as Adobe Photoshop, GIMP, and Capture One to map device RGB to reference spaces maintained by laboratories like National Physical Laboratory and NIST.
RGB is fundamental to consumer electronics by companies such as Sony Corporation, LG Electronics, Panasonic Corporation, and Toshiba Corporation in televisions, smartphones from Apple Inc., Samsung Electronics, and Google LLC, and in computer graphics produced by studios like Pixar Animation Studios and Industrial Light & Magic. Web design standards by the World Wide Web Consortium specify color using RGB notations for browsers developed by Mozilla Foundation, Google LLC, and Microsoft Corporation. Printing workflows convert RGB to CMYK for press houses such as RR Donnelley and Quad/Graphics, while scientific imaging in observatories like European Southern Observatory and NASA missions process RGB composites for visualization.
RGB is limited by device gamut constraints and does not directly correspond to perceptual uniformity; issues documented by scholars such as Mark Fairchild and committees within CIE motivate alternatives like CMYK for print, HSV and HSL for user interfaces popularized by software from Adobe Systems, and wide-gamut spaces like Rec. 2020 and ProPhoto RGB used by photographers and studios including Getty Images and Corbis. Color appearance models such as CIECAM02 and IPT address viewing-condition dependencies for institutions like FIAF and labs at MIT and Stanford University.
Human perception of RGB mixtures involves physiological mechanisms studied by neuroscientists at institutions such as Harvard University, Max Planck Society, and University College London; experiments by researchers like Edwin Land (Polaroid) and contemporary vision scientists inform color appearance models and gamut mapping algorithms used in software by Microsoft Corporation and Apple Inc.. Color management pipelines employing ICC profiles, rendering intents, and calibration tools from manufacturers such as X-Rite and Datacolor ensure consistent reproduction across equipment in environments like television studios at BBC and post-production facilities used by Warner Bros. and Universal Pictures.
Category:Color models