Anyone starting work in the video production industry will quickly come across the term Rec 709. So what is it and what does it mean? Well, this concept can be considered both in a broader and a slightly narrower sense. The former means the international standard established by ITU (International Telecommunication Union) (Recommendation ITU-R BT.709) specifying the parameters of video signals for high-definition television. This standard contains a description of the color space as well as other technical requirements related to it. The last version of the document comes from 2015 (link here). However, a narrower approach, with which most people probably identify Rec 709, is the description of the color space itself under the same name.

WHAT IS A COLOR SPACE?

To fully understand Rec 709, you must first define what a color space even is. Well, it is a mathematical model that describes how colors are represented and organized in a digital system. In other words, a color space is a set of rules that determine what values ​​numerically correspond to which colors so that they can be reproduced correctly on device screens. There are many different color spaces, apart from Rec 709, there are also sRGB, Adobe RGB, DCI-P3 and Rec 2020, and each of them has its own specific applications.

RGB COLOR MODEL

The common element of many color spaces is the RGB (Red, Green, Blue) model. This model is widely used in digital systems such as cameras, televisions, monitors and projectors. It is based on the idea that all colors can be created by the appropriate combination of three basic colors: red (R), green (G) and blue (B). Each color in the RGB model can therefore be expressed using three numerical values ​​that represent the intensity of the red, green, and blue components. The range of these values ​​is from 0 to 255 for an 8-bit image, and 1023 for a 10-bit image, which makes it possible to obtain millions of different colors.

The RGB model is an additive model, which means that adding the intensity of the primary colors leads to a brighter color. For example, if we combine the maximum values ​​of red, green and blue, we get white. On the other hand, the absence of light (all RGB values ​​equal to 0) results in a black color. The subtractive model mentioned in the case of film stock (or CMYK prints) behaves exactly the opposite.

RGB VALUES AND WHITE POINT

To ensure consistent color reproduction across different image display devices, RGB component values ​​are precisely defined in the CIE 1931 chromaticity diagram. It is a two-dimensional chart showing the hue of colors that can be perceived by the human eye:
• Red: x = 0,640, y = 0,330
• Green: x = 0,300, y = 0,600
• Blue: x = 0,150, y = 0,060

Another very important value is the so-called white point. In Rec 709 it is defined as D65, which corresponds to a color temperature of approximately 6500 K. This is the standard white point used in most display systems, which provides neutral and natural-looking colors as in daylight. In the CIE 1931 chromaticity diagram, the values ​​for D65 are:
• x = 0.3127
• y = 0.3290

COLOR SPACE VS. GAMUT

When discussing the topic of colors in the digital world, two key concepts often come up: color space and gamut. Although these terms are used interchangeably, they have different meanings and refer to different aspects of color management. A color space is a complete system that describes how colors are organized and presented in a specific digital environment. This is a mathematical model that determines what values ​​are assigned to each color and how they are displayed on the screen. Gamut, on the other hand, refers to the actual range of colors that a particular device, such as a monitor, camera or printer, can reproduce in the context of a given color space.

Diagram CIE 1931 - Rec 709

DIFFERENCE BETWEEN REC 709 AND SRGB

Rec 709 and sRGB are often compared because they have similar characteristics, but there are a few key differences that result from their different applications. Both color spaces are based on the RGB model and have a very similar color gamut, but they differ in their application and parameters. Rec 709 was developed for television and video production, while sRGB is a color space created for computer graphics, digital photography and displaying images on websites. Rec 709 is optimized for transmitting video signals, while sRGB is better suited for static computer images. The key difference between these color spaces is the gamma value. Rec 709 most often uses a gamma of 2.4, which is standard for video production, while sRGB has a gamma of 2.2, which is better for displaying images on computer monitors.

REC 709 TYPICAL GAMMA

One of the key elements of any color space is gamma, a curve that describes how brightness values ​​are converted into signals displayed on the screen. In the case of Rec 709, gamma is described as a function, although it is assumed to be 2.4. This is a standard used mainly in professional film and television productions, where the image is displayed in controlled lighting conditions, for example in dark cinema rooms. For bright rooms, the gamma may be 2.2. Another example of gamma curves are logarithmic curves – the so-called logs, more about which in another entry about S-Log.

REC 2020

The Rec 2020 color space is a newer and more advanced standard that replaces Rec 709 in the context of Ultra HD (4K and 8K) television and HDR (High Dynamic Range) technology. Rec 2020 offers a much wider color gamut and a depth of up to 12 bits, which means it can reproduce a greater number of shades, especially in the context of very saturated colors. This standard also offers a brightness range of up to 10,000 nits. Rec 2020 is certainly the future, but its limitation for now is the higher costs of production, post-production, transmission and even the receivers themselves.

SUMMARY

The Rec 709 color space, although its color range is more limited compared to modern standards such as Rec 2020, still plays a key role in the film and television industry. For this reason, knowledge of these basic concepts is crucial both in the production and post-production of all forms of video.