More rambling.... Wayne, thank you so much for the insights on television display engineering. Wonderful! Regarding SMPTE, I subsumed gamut into the color bars. But you’re quite right: //[NTSC 1953] was originally conceived by Norbert D. Larky and David D. Holmes of RCA Laboratories and first published in RCA Licensee Bulletin LB-819 on February 7, 1951// https://en.wikipedia.org/wiki/SMPTE_color_bars Reading on about this, you can gain a sense of televisions assumptions about color gamut, like it was so well understood and deeply coded into the signaling system it wasn’t even a topic of concern. SMPTE color bars cont.: //The graticule of a vectorscope is etched with boxes showing the permissible regions where the traces from these seven bars are supposed to fall if the signal is properly adjusted. Below the main set of seven bars is a strip of blue, magenta, cyan, and white castellations. When a television receiver is set to filter out all colors except for blue, these castellations, combined with the main set of color bars, are used to properly adjust the color controls; they appear as four solid blue bars, with no visible distinction between the bars and the castellations, if the color controls are properly adjusted. // Anyone who has used the SMPTE pluge pattern with a blue filter for consumer video display alignment has had an experience with how gamut was taken completely for granted under television standards. So do we assume oblivious determination to a standard as an explanation for the absence of the concern of gamut? Probably not. Better to assume that CIE science was studied and the designers felt a high degree of confidence that their choice of primaries would be no impediment to posterity. My guess was that as television evolved over decades, the industry discovered that NTSC 1953 had more than enough and other factors led to seeking a finer compromise, which eventually became 709. And lo-and-behold Wayne explains the sort of factors that would’ve influenced the compromise with the following great detail, and I quote: //The compromise to Rec 709 is strictly because those were the primaries that were available that made bright CRTs with nearly equal gun currents. The unequal gun currents in early "NTSC" CRTs were a terrible headache in terms of maintaining equal spot size and gray scale tracking between the guns. One should also note that the psychophysical sensation of "colorfulness" is affected greatly by display brightness, and the TV companies and their customers recognized this, although they may not have had the research to support it at the time. In any case, customers much preferred brighter pictures, a difference they could see immediately and continually, while they could not detect gamut limitations without seeing the TV side by side with the program stage itself.// Fantastico! Regarding gamma and history, I re-read and relish Poytan’s “Rehabilitation of Gamma” https://poynton.ca/papers/IST_SPIE_9801/index.html And I currently lament how BT.1886 is becoming commonly misunderstood as a new reference for consumer video displays. That's not what it's for. Poyton begged ITU to close a gap in spec history so that production houses have a formal spec for how to handle legacy content. As to consumer video, choose settings that look good in your viewing conditions. As to this—and possibly openly contradicting myself—I’ve also been mystified at the continuation SMPTE testing artifacts in digital video systems. What does PLUGE even mean in computer-based systems? When was the last time you saw a SMPTE film leader on TV except to make a meta point that you are “watching an old movie.” It’s like the concept of ‘overscan’, an absurd artifact. How do you get rid of this stuff! On video forums you will learn about a certain sort of video fidelity nerd who gets very animated about the limits of their Blu-ray chroma decoding and whether it should be done in the player or the set, and how using certain bug-a-boo gadgets in their HDMI chain enhances the picture. Now, if you’re used to RGB graphics you think ‘What are they talking about, what with their chroma sampling test patterns?!’ In computer graphics, you just expect all the bits you send to be rendered by the display with ever more perfect precision. ‘Please put these perfectly yellow pixels exactly there so subbpixel rendering can make text look smooth.’ Computer graphics nerds spend their time lamenting stuck or dead individual pixels, which they count. ‘Our dead pixel return policy is 5.’ And what do h265 engineers think about YCbCr 4:2:0. ‘Good work kids, you've already compressed the hell out of that picture! No more work to be done here. Move along!’ I’m joking. My point is that we’ve gotten to a place where an immense amount of historical baggage is coded into these formats, and in many ways we don’t need to think like that any more—which the flip-side of my point about sRGB gamut. I wonder if UHD TV is hamstrung by history, which is why consumer color is moving towards web-meets-movies. As to SMPTE, what are they up to now?: https://en.wikipedia.org/wiki/Academy_Color_Encoding_System //The system defines its own color primaries that completely encompass the visible spectral locus as defined by the CIE xyY specification. The white point is approximate to the CIE D60 standard illuminant, and ACES compliant files are encoded in 16-bit half-floats, thus allowing ACES OpenEXR files to encode 30 stops of scene information.// You may have enjoyed these capabilities in features like: //The Lego Movie, The Lego Batman Movie, Guardians of the Galaxy Vol. 2, King Arthur: Legend of the Sword, The Grand Tour, Café Society, Bad Santa 2, The Legend of Tarzan, Chef's Table, Chappie, The Wedding Ringer, Baahubali: The Beginning and The Wave// I’ve watched the Lego movie and Guardians of the Galaxy Vol. 2 on a properly aligned home projector and can say without a doubt that I missed nothing in these movies because of the measured slightly smaller than Rec.709 (read as shamefully lacking) gamut capability of the Sony VPL-HW45ES. Meanwhile, anyone who has ever printed anything at all is like ‘So you’ll really get a sense of how fantastic these colors can be when you view under the right light source!’ ‘Please see our affiliates section for suppliers of advanced color corrected viewing booths.’ I’ve read how-to articles by prepress pros explaining “observer metameric failure” to other printing professionals in terms of ‘how to tell you customer that he’s wrong while becaming his color guru’. I am not making this up: https://sdgmag.com/features/metameric-failure At which point I take Andrew Rodney’s perspective to heart: You have to train people to appreciate the value of wide-gamut printing because this is something they won’t comprehend unless you explain it to them using specialized tools and test files that exhibit what they’re missing, because it’s something they didn’t even know existed. Andrew, I truly enjoy the video explaining WCG printing, and it reminds me of a way-back-in-the-day a Mad Magazine riff about the pointlessness of advertising the merits of color-TV on TV: Because if you don’t have a color TV you can’t see the advantages, and if you can see the advantages you already have a color TV. So in the WCG printing tutorial video, I do think I can see what I’m missing… And I’m seeing it in sRGB! A lot of the fine-art printing sector feels like this to me. My inquiry stands: What does WCG printing make possible that people really want? What's a seminal printed product that shows off the new powers of the medium? Let’s keep in mind the origins of Giclée is Iris proofers. And a French pejorative. I totally dig that more color can be a great sensation, and that printers can do color that you want soft-proof. And I’m not arguing that sRGB should be a limit, only that it’s been an excellent compromise, and I feel the topic of gamut has never been both as well understood and misunderstood as it is now. To appreciate the diversity of perspectives on this topic, consider the following: https://ninedegreesbelow.com/photography/articles.html#ICC-RGB-working-space... There are some ridiculous observations in the above articles. For example: https://ninedegreesbelow.com/photography/white-balancing-camera-jpegs.html#i... I did the suggested experiment myself with the supplied photo using Photoshop and sRGB, and in a few minutes had results (of this genuinely and wonderfully awful photo) equal to the results of the tutorial. I love the opinions and curiosity of the author and it’s all truly well-intentioned. When you are willing to patch GIMP to get a linear space sRGB to work the way you think it should, I salute you! And you can see how peoples expectations of performance become captive to their tools, which is maybe my plight WRT WCG and sRGB. I don’t have WCG displays, but I’d like to use them just to experiment with what they do. What it will come down to is whomever changes a big share of the viewing market. And if anyone is on track to do it, it’s Apple. Anyways… ANYONE ON THIS LIST KNOW HOW TO ENGAGE APPLE ON COLORSYNC BUGS SO WE CAN HELP THE DISPLAYCAL GUYS MAKE THEIR USER EXPERIENCE BETTER? Thank you. Roger, thank you for opening Pandora’s Box.