POST
HIGH-END TELEVISION CRAFT POST: AIMING CHRIS RODGERS
Senior Colourist, Company 3 Feel Good, Cursed, The Widow, The Last Kingdom, Doctor Who, Fungus the Bogeyman
Perhaps it’s a sign that I’ve become more comfortable with HDR over the past few years, but my approach is essentially the same as SDR. Of course, there are many details that differ, but I still use traditional film-like grading tools to get the colour separation, exposure, and contrast that the DP is looking for. Just as with SDR grading, I find that a less complicated approach tends to give better results.
There’s a whole variety of variables to test – camera, lenses, filtration, lighting, exposure, costume, makeup, not to mention the
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grade itself. The combinations and possibilities are endless, so it’s good to look at material together to see what’s right for the project. There can be surprises when a DP sees their footage in HDR for the first time. For example, faces against a bright window may look as intended in SDR, but once that window becomes brighter in HDR, the subject will feel darker even if technically they’re not. Some lighting techniques might not work, for example a light through a window may look like low direct sunlight in SDR, but once the highlights are opened up in HDR, you can clearly see the light source and stand. Also, the
characteristics of lenses and filtration can appear different in HDR. The softness and ‘glow’ from a particular filter can seem to disappear in HDR entirely. There are lots of pleasant surprises too though – the detail and contrast that is revealed in skies, the modelling of light on a face can feel more dramatic, or the way a city at night takes on a new dimension as neon lights spring to life in a way that SDR can’t do.
Don’t be scared of HDR, and don’t overthink your approach. If you can create something that looks great in SDR, it will basically look great in HDR too. Beyond that, I’d say it’s important to look at tests with the Colourist before the shoot to see what works and what doesn’t, as it’s likely the only opportunity to see the footage in HDR is in the grading suite, months later at the end post.
It’s subjective of course, but there are two extreme ends of a scale that I think should be
avoided. Pushing an image to its limit just because it’s possible is one danger, and at worst could even be uncomfortable for the viewer. However, creating an HDR version that is exactly the same as the SDR feels like a missed opportunity to me.
HDR opens up possibilities rather than creates distractions. We’re beyond that initial stage where everyone was a little scared and cautious. HDR isn’t a fad and it isn’t going away so we should get on board and enjoy it.
Ideally the viewer won’t even be aware that they’re looking at HDR, they will just feel immersed in the content more than they’re used to with SDR – a subconscious reaction. It shouldn’t feel jarring, or unnatural. All of the things that we’ve learned about making a compelling image still apply, so HDR should rarely be cranked up to 11 just because it can.
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