HDR: FROM PILLAR TO POST
monitoring have spotted those things, but in my experience it’s still pretty rare that editorial is getting HDR dailies.
TM If you’re editing and only looking at it in
709, you don’t know the impact it will have in HDR, You’re going to see the cut in the grade and think ‘that doesn’t work’. You might have chosen to cut things differently if you know you’re going from a dark scene back to a bright scene. You might choose to reduce those cuts or deliberately increase them. Going back and re-cutting it and regrading it costs money. You could go in at the low end and
get a decent 55” HDR TV or you can step up and get a grade 1 monitor, like the mid-size PVM-X2400 or the smaller E171. We really should be editing in HDR at a minimum and if we can dual HDR/SDR monitoring all the way down the pipe. In conversations I’ve had privately
with some of the streaming companies, they’re waiting for all of the stakeholders to come on board. At Mission we’ve showed HDR is possible on set and for dailies playing back on iPad Pros and iPhones. As long as the cloud platform supports it, you can do it. The stakeholders need to understand the value
of wanting to move this forward. Once you’ve had it, you can’t live without it. I think we’re on this cusp and in the next 12 to 18 months we’ll see this transition happen quite rapidly.
AS It’s got so much better in the last few years.
Increasingly everyone has the same kit viewing experience and everything is constantly calibrated. The studios pretty much dictate X300s or HX310s. They want to know your calibration, and these are the numbers we want you to hit. It’s great because it’s no longer going somewhere else and looking different. That’s what we also need to get from set so that there’s no shock anymore. In the grade we view HDR and SDR at the
same time. We almost always do the HDR grade first before the Dolby Vision analysis and trim. And sometime even when you’re not delivering a Dolby derived HDR, you might just use that process to take you on the first step. If it works in HDR I can’t see a situation where
it’s not going to work in SDR, or that you’d miss something? That’s the way I like to grade first, even if I’m doing a theatrical with P3s as the primary, because you will get a better balance throughout. Your highlights will be in the same colour. You’ll notice if skies have different shades
or hues and you’d be getting those to match more closely. Anything after that is only going to be more accurate. The other way around I think would be a lot more work. You really want to highlight issues that might
come up later for the VFX team or that the colourist might want to take care of. If you do that in SDR, you wouldn’t know what’s going on.
We can’t always control viewing environments on set and they’re definitely never going to meet the standards of an HDR grading suite Paco Ramos
THE ACID TEST PR Test and measurement is important
because our eyes at some point trick us. Having a Leader scope in production helps us objectively and precisely judge where our images sit and helps us make better creative decisions.
TM It’s the point of absolute truth. It’s telling
you absolute values and your eye is subjective to the environment you’re in; how much luminance is in the room, how much background lighting there is, even how old or how young you are. The scopes for me are my primary reference and then you want to see how it looks and how it feels on the screen. You also need to refresh your eyes.
False colour mode shows SDR values in black and white and HDR values above 203 nits in a coloured pattern
AS It’s a classic thing when grading night or an
underwater sequence which you might want very, very blue. If you grade from shot to shot to shot and keep going, as you get used to it, you’re going to push more and more and more. It’s just natural. To combat that once I’ve got that scene, I refer
back to one last shot and I’ll check that saturation level on scopes and that floor level of black. Raised blacks and crushed blacks are often the things that get picked up in QC.
The more you can see in HDR earlier on, the better result you’ll achieve at the end - easier and faster - and it will be more beautiful Asa Shoul
The 60minute virtual session was recorded on the 18th February and sponsored by Sony and Leader Electronics. The views of the panellists are their own.
Go to
bit.ly/HDRPanel 73
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