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2000年代中頃以降に出荷された一般向けモニターはこの規格に校正されています。",{"type":24,"tag":40,"props":1783,"children":1785},{"id":1784},"rec709hd放送",[1786],{"type":29,"value":1787},"Rec.709——HD放送",{"type":24,"tag":25,"props":1789,"children":1790},{},[1791,1795],{"type":24,"tag":32,"props":1792,"children":1793},{},[1794],{"type":29,"value":1767},{"type":29,"value":1796},"（ITU-R BT.709）はHDテレビ用の色標準です。1080p放送、Blu-ray、大多数のストリーミング納品仕様で使われています。",{"type":24,"tag":25,"props":1798,"children":1799},{},[1800],{"type":29,"value":1801},"色域はsRGBと同じですが、Rec.709のガンマは暗室環境（輝度を落とした部屋）向けにγ2.4で校正されるのが一般的です。カメラメーカー、NLE、デリバリーパイプラインが特に指定しない場合はRec.709をデフォルトとしていることがほとんどです。",{"type":24,"tag":25,"props":1803,"children":1804},{},[1805,1810],{"type":24,"tag":32,"props":1806,"children":1807},{},[1808],{"type":29,"value":1809},"HD映像を一般向けに配信するなら、ターゲットカラースペースはRec.709です。",{"type":29,"value":1811}," 特別な鮮やかさはありませんが、世界中のHDテレビが変換なしで正しく表示できる唯一の共通規格です。",{"type":24,"tag":1813,"props":1814,"children":1816},"h3",{"id":1815},"カメラネイティブのlogとrec709",[1817],{"type":29,"value":1818},"カメラネイティブのLogとRec.709",{"type":24,"tag":25,"props":1820,"children":1821},{},[1822],{"type":29,"value":1823},"カメラがLogプロファイル（S-Log3、Log-C、BRAWなど）で撮影するとき、それは意図的にRec.709では撮影していません。Log映像は階調を圧縮した収録形式であり、そのまま表示するためのものではありません。グレーディングされていないLog映像がフラットで色の薄い見た目なのは、そういう仕様だからです。",{"type":24,"tag":25,"props":1825,"children":1826},{},[1827,1829,1834],{"type":29,"value":1828},"グレーディング——LUTの適用や手動調整——こそが、カメラネイティブのLogを納品カラースペース（Rec.709やP3）に変換する作業そのものです。ワークフローの詳細は",{"type":24,"tag":286,"props":1830,"children":1831},{"href":875},[1832],{"type":29,"value":1833},"Logガンマ解説",{"type":29,"value":1835},"の記事を参照してください。",{"type":24,"tag":40,"props":1837,"children":1839},{"id":1838},"dci-p3映画",[1840],{"type":29,"value":1841},"DCI-P3——映画",{"type":24,"tag":25,"props":1843,"children":1844},{},[1845,1849],{"type":24,"tag":32,"props":1846,"children":1847},{},[1848],{"type":29,"value":1714},{"type":29,"value":1850},"は、2005年にDigital Cinema Initiatives（Disney、Fox、MGM、Paramount、Sony、Universal、Warner Bros.の共同組織）が策定したデジタルシネマ投映用のカラースペースです。",{"type":24,"tag":25,"props":1852,"children":1853},{},[1854],{"type":29,"value":1855},"P3はRec.709よりも大幅に広い色域を持ち、特に緑と赤の領域が広がっています。フィルムプロジェクターが実際に映せる色域に対応するよう設計されたもので、当時のコンシューマーディスプレイでは扱いきれないほどの広さでした。",{"type":24,"tag":25,"props":1857,"children":1858},{},[1859],{"type":29,"value":1860},"動画制作でP3が関係する場面は主に二つです。",{"type":24,"tag":157,"props":1862,"children":1863},{},[1864,1874],{"type":24,"tag":63,"props":1865,"children":1866},{},[1867,1872],{"type":24,"tag":32,"props":1868,"children":1869},{},[1870],{"type":29,"value":1871},"劇場向け納品",{"type":29,"value":1873},"——DCP（デジタルシネマパッケージ）として映画館に納品する映像はDCI-P3でグレーディングし、P3で書き出す必要があります。",{"type":24,"tag":63,"props":1875,"children":1876},{},[1877,1882],{"type":24,"tag":32,"props":1878,"children":1879},{},[1880],{"type":29,"value":1881},"コンシューマーHDR",{"type":29,"value":1883},"——2016年以降のすべてのiPhone・iPad・Macに搭載されているAppleの「Display P3」は、基本的にDCI-P3の白色点をRec.709/sRGBのD65に変えたものです。Appleプラットフォーム向けにマスタリングする場合、ターゲットはDisplay P3になります。",{"type":24,"tag":25,"props":1885,"children":1886},{},[1887],{"type":29,"value":1888},"P3はコンシューマー機器とプロシネマの色域が収束しつつあるカラースペースです。最新のAppleデバイス、広色域Android端末、HDR10対応のストリーミングサービスに向けたコンテンツは、P3以上の広色域で表示される可能性があります。",{"type":24,"tag":40,"props":1890,"children":1892},{"id":1891},"rec2020ultra-hdとhdr",[1893],{"type":29,"value":1894},"Rec.2020——Ultra HDとHDR",{"type":24,"tag":25,"props":1896,"children":1897},{},[1898,1902],{"type":24,"tag":32,"props":1899,"children":1900},{},[1901],{"type":29,"value":824},{"type":29,"value":1903},"（ITU-R BT.2020）はUHD（4K/8K）とHDRコンテンツの色標準です。その色域は非常に広く、現在のカメラやディスプレイがまだ完全には再現できない色まで含んでいます。",{"type":24,"tag":25,"props":1905,"children":1906},{},[1907,1909,1914],{"type":29,"value":1908},"この「まだ再現できない」という部分が重要です。",{"type":24,"tag":32,"props":1910,"children":1911},{},[1912],{"type":29,"value":1913},"現時点では、Rec.2020を完全にカバーするメインストリームのカメラもディスプレイも存在しません。",{"type":29,"value":1915}," 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