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Color depth
Color depth or colour depth (see spelling differences), also known as bit depth, is either the number of bits used to indicate the color
of a single pixel, in a bitmapped image or video framebuffer, or the number of bits used for each color component of a single
pixel.[1][2][3][4] For consumer video standards, such as High Efficiency Video Coding (H.265), the bit depth specifies the number of bits
used for each color component.[1][2][3][4] When referring to a pixel, the concept can be defined as bits per pixel (bpp), which specifies the
number of bits used. When referring to a color component, the concept can be defined as bits per component, bits per channel, bits
per color (all three abbreviated bpc), and also bits per pixel component, bits per color channel or bits per sample (bps).[1][2][5]
Color depth is only one aspect of color representation, expressing the precision with which colors can be expressed; the other aspect is how
broad a range of colors can be expressed (the gamut). The definition of both color precision and gamut is accomplished with a color
encoding specification which assigns a digital code value to a location in a color space.

Contents
Comparison
Indexed color
List of common depths
1-bit color
2-bit color
3-bit color
4-bit color
5-bit color
8-bit color
12-bit color
High color (15/16-bit)
18-bit
True color (24-bit)
Deep color (30/36/48-bit)
High dynamic range and wide gamut
Linear color space and floating point

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More than 3 primaries

See also
References

Comparison
Same image on five different color depths, showing resulting (compressed) file sizes. 8 and smaller use an adaptive palette so
quality may be better than some systems can provide.

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24 bit.png 8 bit.png
16,777,216 colors 256 colors
98 KB 37 KB (−62%)

4 bit.png 2 bit.png
16 colors 4 colors
13 KB (−87%) 6 KB (−94%)

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1 bit.png
2 colors
4 KB (−96%)

Indexed color
With the relatively low color depth, the stored value is typically a number representing the index into a color map or palette (a form of
vector quantization). The colors available in the palette itself may be fixed by the hardware or modifiable by software. Modifiable palettes
are sometimes referred to as pseudocolor palettes.

Old graphics chips, particularly those used in home computers and video game consoles, often have the ability to use a different palette per
sprites and tiles in order to increase the maximum number of simultaneously displayed colors, while minimizing use of then-expensive
memory (& bandwidth). For example, in the ZX Spectrum, the picture is stored in a two-color format, but these two colors can be
separately defined for each rectangular block of 8x8 pixels.

The palette itself has a color depth (number of bits per entry). While the best VGA systems only offered an 18-bit (262,144 color) palette
from which colors could be chosen, all color Macintosh video hardware offered a 24-bit (16 million color) palette. 24-bit palettes are pretty
much universal on any recent hardware or file format using them.

If instead the color can be directly figured out from the pixel values, it is "direct color". Palettes were rarely used for depths greater than 12
bits per pixel, as the memory consumed by the palette would exceed the necessary memory for direct color on every pixel.

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List of common depths

1-bit color

2 colors, often black and white (or whatever color the crt phospher was) direct color. Sometimes 1 meant black and 0 meant white, the
inverse of modern standards. Most of the first graphics displays were of this type, the X window system was developed for such displays,
and this was assumed for a 3M computer. The first Macintoshes, Atari ST high resolution. In the late 80's there were professional displays
with resolutions up to 300dpi (the same as a contemporary laser printer) but color proved more popular.

2-bit color

4 colors, usually from a selection of fixed palettes. The CGA, gray-scale early NeXTstation, color Macintoshes, Atari ST medium resolution.

3-bit color

8 colors, almost always all combinations of full-intensity red, green, and blue. Many early home computers with TV displays, including the
ZX Spectrum and BBC Micro

4-bit color

16 colors, usually from a selection of fixed palettes. Used by the EGA and by the least common denominator VGA standard at higher
resolution, color Macintoshes, Atari ST low resolution, Commodore 64, Amstrad CPC.

5-bit color

32 colors from a programmable palette, used by the Original Amiga chipset

8-bit color

256 colors, usually from a fully-programmable palette. Most early color Unix workstations, VGA at low resolution, Super VGA, color
Macintoshes, Atari TT, Amiga AGA chipset, Falcon030, Acorn Archimedes. Both X and Windows provided elaborate systems to try to
allow each program to select its own palette, often resulting in incorrect colors in any window other than the one with focus.

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Some systems placed a color cube in the palette for a direct-color system (and so all programs would use the same palette). Popular sizes
were:

6x6x6 (web-safe colors), leaving 40 colors for a gray ramp or programmable palette entries.
8x8x4. Each pixel byte consists of 3 bits for each R and G component, and 2 bits for the B component. The normal human eye is less
sensitive to the blue component than to the red or green (two thirds of the eye's receptors process the longer wavelengths[6]), so it is
assigned one bit less than the others. The correct value can be computed from a color without using multiplication. Used, among
others, in the MSX2 system series of computers in the early to mid 1990s.
a 6x7x6 cube, leaving 4 colors for a programmable palette or grays.

12-bit color

4096 colors, usually from a fully-programmable palette (though it was often set to a 16x16x16 color cube). Some Silicon Graphics systems,
Color NeXTstation systems, and Amiga systems in HAM mode.

High color (15/16-bit)

In high-color systems, two bytes (16 bits) are stored for each pixel. Most often, each component (R, G, and B) is assigned five bits, plus one
unused bit (or used for a mask channel or to switch to indexed color); this allows 32,768 colors to be represented. However, an alternate
assignment which reassigns the unused bit to the G channel allows 65,536 colors to be represented, but without transparency.[7] These
color depths are sometimes used in small devices with a color display, such as mobile phones, and are sometimes considered sufficient to
display photographic images.[8] Occasionally 4 bits per color are used plus 4 bits for alpha, giving 4096 colors.

The term "high color" has recently been used to mean color depths greater than 24 bits.

18-bit

Almost all of the least expensive LCDs (such as typical twisted nematic types) provide 18-bit color (64 × 64 × 64 = 262,144 combinations)
to achieve faster color transition times, and use either dithering or frame rate control to approximate 24-bit-per-pixel true color,[9] or
throw away 6 bits of color information entirely. More expensive LCDs (typically IPS) can display 24-bit color depth or greater.

True color (24-bit)

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24 bits almost always use 8 bits each of R, G, and B. As of 2018, 24-bit color depth is used by virtually
every computer and phone display and the vast majority of image storage formats. Almost all cases of 32
bits per pixel assigns 24 bits to the color, and the remaining 8 are the alpha channel or unused.

224 gives 16,777,216 color variations. The human eye can discriminate up to ten million colors[10] and
since the gamut of a display is smaller than the range of human vision, this means this should cover that
range with more detail than can be perceived. However, displays do not evenly distribute the colors in
human perception space, so humans can see the changes between some adjacent colors as color banding.
Monochromatic images set all three channels to the same value, resulting in only 256 different colors and
thus, potentially, more visible banding, as the average human eye can only distinguish between about 30
shades of gray.[11] Some software attempts to dither the gray level into the color channels to increase this,
although in modern software this is more often used for subpixel rendering to increase the space All 16,777,216 colors
resolution on LCD screens where the colors have slightly different positions. (downscaled, click image for full
resolution)
The DVD-Video and Blu-ray Disc standards support a bit depth of 8 bits per color in YCbCr with 4:2:0
chroma subsampling.[12][13] YCbCr can be losslessly converted to RGB.

Macintosh systems refer to 24-bit color as "millions of colors". The term true color is sometimes used to mean what this article is calling
direct color.[14] It is also often used to refer to all color depths greater or equal to 24.

Deep color (30/36/48-bit)

Deep color consists of a billion or more colors,[15] 230 is approximately 1.073 billion. Color depths of 30, 36, and 48 bits per pixel are in
use, with 10, 12, or 16 bits per RGB channel/sample/component, respectively. Often an alpha channel of the same size is added, resulting
in 40, 48, or 64 bits used for each pixel. Some vendors call their 8-bit color depth with FRC panels 30-bit panels; however, true deep color
displays have 10-bit or more color depth without FRC.

Some earlier systems placed three 10-bit channels in a 32-bit word, with 2 bits unused (or used as a 4-level alpha channel); the Cineon file
format, for example, used this. Some SGI systems had 10- (or more) bit digital-to-analog converters for the video signal and could be set up
to interpret data stored this way for display. BMP files define this as one of its formats, and it is called "HiColor" by Microsoft.

Image editing software such as Photoshop started using 16 bits per channel fairly early in order to reduce the quantization on intermediate
results (i.e. if an operation is divided by 4 and then multiplied by 4, it would lose the bottom 2 bits of 8-bit data, but if 16 bits were used it
would lose none of the 8-bit data). In addition, digital cameras were able to produce 10 or 12 bits per channel in their raw data; as 16 bits is
the smallest addressable unit larger than that, using it would allow the raw data to be manipulated. These systems did not take advantage
of 16 bits for high dynamic range, and some assign almost mystical capabilities to 16 bits that are not actually true.

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Video cards with 10 bits per component started coming to market in the late 1990s. An early example was the Radius ThunderPower card
for the Macintosh, which included extensions for QuickDraw and Adobe Photoshop plugins to support editing 30-bit images.[16]

The HDMI 1.3 specification defines bit depths of 30 bits (approximately 1.073 billion colors), 36 bits (approximately 68.71 billion colors),
and 48 bits (approximately 281.5 trillion colors).[17] In that regard, the Nvidia Quadro graphics cards manufactured after 2006 support 30-
bit deep color[18] and Pascal or later Geforce and Titan cards when paired with the Studio Driver[19] as do some models of the Radeon HD
5900 series such as the HD 5970.[20][21] The ATI FireGL V7350 graphics card supports 40-bit and 48-bit color.[22]

The DisplayPort specification also supports color depths greater than 24 bpp in version 1.3 through "VESA Display Stream Compression,
which uses a visually lossless low-latency algorithm based on predictive DPCM and YCoCg-R color space and allows increased resolutions
and color depths and reduced power consumption."[23]

At WinHEC 2008, Microsoft announced that color depths of 30 bits and 48 bits would be supported in Windows 7, along with the wide
color gamut scRGB.[24][25]

High Efficiency Video Coding (HEVC or H.265) defines the Main 10 profile, which allows for 8 or 10 bits per sample with 4:2:0 chroma
subsampling.[2][3][4][26][27] The Main 10 profile was added at the October 2012 HEVC meeting based on proposal JCTVC-K0109 which
proposed that a 10-bit profile be added to HEVC for consumer applications.[4] The proposal stated that this was to allow for improved
video quality and to support the Rec. 2020 color space that will be used by UHDTV.[4] The second version of HEVC has five profiles that
allow for a bit depth of 8 bits to 16 bits per sample.[28]

High dynamic range and wide gamut

Some systems started using those bits for numbers outside the 0-1 range rather than for increasing the resolution. Numbers greater than 1
were for colors brighter than the display could show, as in high-dynamic-range imaging (HDRI). Negative numbers can increase the gamut
to cover all possible colors, and for storing the results of filtering operations with negative filter coefficients. The Pixar Image Computer
used 12 bits to store numbers in the range [-1.5,2.5), with 2 bits for the integer portion and 10 for the fraction. The Cineon imaging system
used 10-bit professional video displays with the video hardware adjusted so that a value of 95 was black and 685 was white.[29] The
amplified signal tended to reduce the lifetime of the CRT.

Linear color space and floating point

More bits also encouraged the storage of light as linear values, where the number directly corresponds to the amount of light emitted.
Linear levels makes calculation of light (in the context of computer graphics) much easier. However, linear color results in
disproportionately more samples near white and fewer near black, so the quality of 16-bit linear is about equal to 12-bit sRGB.

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Floating point numbers can represent linear light levels spacing the samples semi-logarithmically. Floating point representations also
allow for drastically larger dynamic ranges as well as negative values. Most systems first supported 32-bit per channel single-precision,
which far exceeded the accuracy required for most applications. In 1999, Industrial Light & Magic released the open standard image file
format OpenEXR which supported 16-bit-per-channel half-precision floating-point numbers. At values near 1.0, half precision floating
point values have only the precision of an 11-bit integer value, leading some graphics professionals to reject half-precision in situations
where the extended dynamic range is not needed.

More than 3 primaries

Virtually all television displays and computer displays form images by varying the strength of just three primary colors: red, green, and
blue. For example, bright yellow is formed by roughly equal red and green contributions, with no blue contribution.

Additional color primaries can widen the color gamut of a display, as you are not limited to the shape of a triangle in the CIE 1931 color
space. Recent technologies such as Texas Instruments's BrilliantColor augment the typical red, green, and blue channels with up to three
other primaries: cyan, magenta and yellow.[30] Mitsubishi and Samsung, among others, use this technology in some TV sets to extend the
range of displayable colors. The Sharp Aquos line of televisions has introduced Quattron technology, which augments the usual RGB pixel
components with a yellow subpixel. However, formats and media supporting these extended color primaries are extremely uncommon.

For storing and working on images, it is possible to use "imaginary" primary colors that are not physically possible so that the triangle does
enclose a much larger gamut, so whether more than three primaries results in a difference to the human eye is not yet proven, since
humans are primarily trichromats, though tetrachromats exist.[31]

See also
Audio bit depth – corresponding concept for digital audio
Bit plane
List of color palettes
List of colors (compact)
Mach banding
RGB color model

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