THE IMPORTANCE OF A CONSISTENT, MANAGED HDR COLOUR PIPELINE


JOINING THE DOTS


In February, Televisual moderated a virtual panel with A List production talent


exploring best practice colour management for HDR from prep, through on-set and grade. Here are some of the


observations and conclusions from the session


Driven by the streamers, the demand for HETV is growing at a considerable pace with multiple play out displays, including iPads and iPhones, and the requirement is increasingly to master to HDR as the primary deliverable. However, HDR can be very unforgiving but with planning and forethought starting in pre-production you can avoid some of the most common pitfalls. The panel’s agenda was to identify best practice protocols and how technology can support the director’s creative intent. A common theme was how HDR demands a


changed mindset. The production team needs to avoid a compartmentalised view and to see HDR colour management as one continuous joined-up


process from pre-production and prep through delivery. Many have likened HDR to a more nuanced,


varied and vivid colour palette but perhaps it is useful to think of HDR as a more sensitive canvas that requires more critical judgements from the point of capture.


If you don’t manage your HDR colour pipeline, it’s going to be chaotic. It will cost money and you’ll get an undesired result at the end of the process. ‘Fix it in pre’ is the slogan Tom Mitchell


THE PANELLISTS


ASA SHOUL


Colourist, Warner Bros. De Lane Lea (all seasons of Netflix’ The Crown, all seasons, FX’ Devs and just tx’ed Netflix’ Behind Her Eyes)


70 televisual.com Spring 2021


TOM MITCHELL


Technical Director, Mission (Mission including Netflix’ Rebecca, Netflix’ Enola Holmes and Netflix’ Emma)


PACO RAMOS


Head of Colour, Mission (Amazon’s Unfortunate Stories, Netflix’ Hache, Season 2 and Movistar’s Reyes de la Noche)


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