Joe Stabb, Senior Colourist, Fifty Fifty: “We experimented with in-camera effects, fl ares and so on, and the test proved how well those worked. Today’s HDR tools bring in detail and vibrancy, and that carries across the trim. The prosthetics look great in HDR, but the really exciting thing for me was how amazing they looked in SDR. For the full series, some shots I didn’t touch in the trim, some I tweaked for the look of the show, contrasting naturalism with high-impact hero shots. Both HDR and SDR were faithful to the story we told.”


“The minute we saw the prosthetics in grade, we knew we had the show’s special magic.”


Simon Welton, Executive Producer, Lion TV


How well did you fi nd Dolby Vision HDR worked for this genre?


Campbell: “HDR is great for high-end productions, but it’s even more useful on an unscripted show like Sexy Beasts. With scripted shows, you have huge control. You set your shots with perfect lighting, get the take just so. [Here] we plan, but we can’t dictate how a shot will go. HDR helps out hugely. It’ll capture all the detail in the


contrasts, highlights and backgrounds no matter what. That adds everything to visual storytelling.”


Julian Nelson, Head of Picture, Fifty Fifty: “Unscripted series like Sexy Beasts lend themselves to Dolby Vision. Sam did an amazing job with the crew on set. They were throwing lights into the lens, getting amazing fl ares in camera, things you wouldn’t get anywhere else. And once that’s in a Dolby Vision environment, when we’re in the grade, it brings it all to life. You can really play with these amazing lights.”


Was it a steep learning curve, and if so, did you feel restricted?


Campbell: “No to both. It was more liberating and creative almost from the start. For example, at the last minute, weather pushed an end scene indoors to the main hall, full of dark cavernous depths. The director of photography reassured me that ‘It’s HDR, it’ll be fi ne’, so that liberated me. And It looked really good. One hundred per cent.”


Could you go back to SDR?


Stabb: “There’s so much more scope with HDR. We’re thinking about doing an HDR grade for an SDR-only deliverable because it works so well. I really hope that we’re moving to HDR by default, especially as Dolby Vision- capable devices become more common.”


Nelson: “It’s becoming common practice in the industry to have Dolby Vision as the master for other HDR deliverables, such as mastering HDR10 deliverables in Dolby Vision fi rst. It’s increasingly economical


to think that way, and you can’t beat the fl exibility of being able to quickly give someone a great SDR-viewable version.” Campbell: “Personally,


it was fantastic to


work with Dolby Vision HDR, a real step forward. It changes the game. I’ll never forget the moment I went into the edit suite and saw the grade and went, ‘Wow!’ Who’d want to go back?”


Sexy Beasts is streaming now on Netfl ix.


“Personally, it was fantastic to work with Dolby Vision HDR, a real step forward. It changes the game. I’ll never forget the moment I went into the edit suite and saw the grade and went, ‘Wow!’ Who’d want to go back?”


Sam Campbell, Series Director


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