put in H/V blanking intervals. Color space for Y’ B’-Y’ R’-Y’ is also defined in ITU Rec. 601 or Rec. 709 color space. Panasonic's D-5 format has similar specifications, but sampled at 10-bits as opposed to D-1's 8-bits. It had the advantage of development time as it was introduced much later than Sony's D-1 and two years after Sony's Digital Betacam format was unveiled. The D-2 format system from Sony and Ampex soon followed two years later, using composite video in order to lower the bandwidth needed. This reduced D-2's price tag to half that of D-1. Since D-2 was composite digital as opposed to component, it could easily be dropped into the space and infrastructure of composite analog machines presently used at the time (2-inch Quadruplex, 1-inch Type C and 3/4-inch U-Matic). Since less information was recorded on D-2 than on D-1, tape speed could be reduced and hold a maximum of 208 minutes compared to D-1's 94 minutes. However, D-2 was still a compromise, being composite video. As broadcasters would later convert from analog to digital wiring, component digital infrastructure became feasible. Sony's popular component Digital Betacam would usher the transition of keeping the colors separated in component digital space (D1/D5) rather than combined in composite space (D2/D3). Digital Betacam could play previous analog Betacam/Betacam SP tapes – which by now – had built a library archive for broadcasters using its 1/2-inch tape format (as opposed to the bulkier 19mm D1/D2 cassettes). 1/2-inch Digital Betacam thus became the de facto standard-definition broadcast editing, delivery and archive standard. Even as HD broadcasting and delivery became more commonplace in the U.S. after 2008–2010, networks would often require standard definition copies on Digital Betacam. Television shows such as CBS' The Rachael Ray Show were still recorded and archived on Digital Betacam as late as 2012. Use D-1 was notoriously expensive and the equipment required very large infrastructure changes in facilities which upgraded to this digital recording format, because the machines being uncompromising in quality reverted to component processing (where the luminance or black-and-white information of the picture) and its primary colors red, green and blue (RGB) were kept separate in a sampling algorithm known as 4:2:2, which is why many machines have a badge of "4:2:2" instead of "D-1." Early D-1 operations were plagued with difficulties, though the format quickly stabilized and is still renowned for its superb standard definition image