So far I’ve graded fifteen HDR projects, including Sex Education, Fleabag, Landscapers, Top Boy, Gangs of London, Persuasion (feature) and many more. We’ve also delivered in to all the streaming platforms, and my thoughts below align with all of them.
HDR isn’t going away. Any TV bought in the last couple of years will likely have HDR built in. When you choose to stream a film or TV programme on most platforms, if your audience have an HDR TV, they’ll see it in HDR automatically.
Three years ago, only a low audience percentage might see your project in HDR, now it’s likely a significant percentage will. Importantly, they are unlikely to have any choice, stopping an HDR stream to see it in SDR (Standard Dynamic Range) is beyond most viewer’s ability – even if it is possible on the platform. Plus, why would they personally want to?
HDR and SDR viewing is now running in parallel across televisions and mobile devices across the world.
Keeping this brief might be challenging, and I will skim over technical specifications and details to focus on the core principles. As such, my techy friends, don’t freak out I’ve been very broad in my choice of technical language.
I will explain the analogies I use when chatting to DOPs and Directors, and others, about the opportunities, and hurdles, that may come up with these more modern workflows.
I combine the topics of HDR with ACES, as they are so often interwoven in conversations, and compliment each other.
To read more on this article, click here
This article is courteous of The Look: for more info click here
We are Post Super Ltd , your ultimate destination for all things post-production management.