BEST PRACTICE HDR FOR HETV
Darren Wolfson (DW) A lot of HETV projects remind me of the feature films I used to be involved with at Pinewood, which had much higher budgets than traditional broadcast. There are so many reasons why a post house should be brought in early that can impact later on. You need to understand the camera choices, not necessarily to offer an opinion but so that you know what’s going to be used; what native resolutions they capture, whether they work in different colour spaces. You need to know ahead so that there’s a plan. You need to agree a working colour space, for
example ACES. If it’s an HDR show, how many stops you might acquire in camera and what nit levels you’re going to work to. Once this has been decided, we need to create a whole colour pipeline; to have all of our IDTs and import transforms so that we can work from camera into a working colour space. And then depending on the workflow there will be other adjustments and corrections applied on either a look or LMT basis, you might have CDLs post shot and you need to plan for how that carries through the show. If it’s an HDR show and you’re acquiring for HDR,
it’s obviously really good that you should be looking at those images in HDR as often as possible to make sure there are no artefacts being introduced or anything out of the order. Talk to the streamers throughout. My experience
is that they are very supportive and employ people in technical roles specifically to support the process and to who you can address your questions. Some of the delivery specifications can appear quite daunting the first time you see them.
IN THE PREP ROOM
Tom Mitchell (TM) It’s very important to sit down with your colourist and look at the footage. The old saying holds good, “if you fail to prepare, prepare to fail”. That holds true for any production but particularly when you’re working in
PORTABLE 4K HDR MONITORING
Darren Woolfson
Director of Technology and Visual Services Molinare
new territory. There are a lot of things that change with HDR. Coca Cola love HDR because it’s the first time you can see ‘Coca Cola red’. It’s not just about the dynamic range but about the colour as well. You can see the difference between matt white and gloss white, because the gloss white shows up within the speculars. You should experiment with set, props and make-up. You would want to know what you were framing to – and your frame lines – if you were doing a
New PVM-X3200 66
televisual.com Summer 2021 PVM-X2400
The Sony PVM-X Series monitors utilise a 4K premium LCD panel with a wide colour gamut, high luminance, high contrast, fine grey scale, wide viewing angle and great uniformity. Sony specified the panel to achieve 1,000 cd/m2 luminance and 100% colour gamut coverage of the BVM-HX310, an industry-leading master monitor. This feature provides a consistent HDR colour pipeline from on-set right through to Post-Production.
PVM-X1800
Woolfson is one of Soho’s most respected technical experts returning to Molinare, who’s recent credits include Amazon’s Truth Seekers and Sir Alex Ferguson: Never Give In, and Netflix’ Criminal UK and Don’t F**k with Cats
cinematic or television deliverable. You would want to know what the end result was going to look like. The same is true for HDR. HDR might be a brighter image, but that’s not its
main goal. All of your diffused whites are roughly where they were but what changes are your specular highlights. What you’re looking for is aspects that are adding to the image rather than might be distracting. You’re looking for what might now be too punchy, like bright windows in the background. If you are
All stakeholders involved in a project
can share a common view and a common understanding of content colour and tone even though they may be working at different times and in different locations. This allows everyone involved to communicate with each other more smoothly than before and helps ensure a more efficient process across the production chain.
Find out more about Sony’s Digital Cinema
Workflow Solutions at:
pro.sony/rewrite/on-set-production-workflows
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