CRAFT HIGH-END TELEVISION HIGH VICKI MATICH


Hopefully I will get some time with the DoP and Director where we will do a camera test or lens test shot on location. This is typically when we will also discuss the look, and perhaps I’ll be shown a mood board or some stills from the set they have graded up themselves as a reference - I’ll then create a LUT based on this session. This is also the time for them to see their images in HDR and make decisions about the best camera, lens, lighting...etc to use. These sessions prior to shooting are invaluable and can save time, money, and unforeseen technical issues further down the line! Plus, just on a human level it’s also great to meet everyone and have a chinwag!


Have HDR monitoring on set. Try not to let the grade be the first time you see the images you shot in HDR. If it is, understand that it will look different. You’ll see things you won’t have noticed


during the shoot. Don’t be inclined to want to grade down the HDR images to resemble the SDR. Carry out some tests before the shoot (as above). Get the colourist involved early on. There should be an open dialogue already in place before the first day of shooting.


There are two mistakes. Mistake one: The first time you work in HDR it can seem all a bit too bright and OTT. There is a danger of holding back so much that you’re basically doing a SDR grade. Mistake two: You’re SO used to it now that you’re not checking your scopes or yourself and you use everything at your disposal because you can. It’s so important to use all your measuring tools when grading HDR - where are your diffuse whites sitting at? If you stop checking, you will inevitably start making them brighter and brighter and that saturation will slowly creep up. It does take some getting used to HDR. Remembering to


Senior Colourist, Molinare


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POST


Ten leading colourists, re recording mixers and vfx artists tell Jon Creamer about dealing with the new demands of HETV post production and how to get the best possible creative outcome when dealing with HDR and Dolby Atmos


keep referring to your “master shot” or taking a walk to reset will save you from this mistake.


The core principles of grading don’t change just because the technology does. If an overly bright area is distracting from the story, I need to redirect the focus to where it needs to be. The highlights in HDR can be SO bright that not only is it distracting but it can make the darker areas appear darker, so you still need to isolate areas...take some down, push some up. The flip side of that is that there is so much detail in those highlights and so more to play


with instead of the often blown-out whites you can get in SDR.


The biggest advantage of HDR is having that extra range as a tool to enhance the story. For example, if there’s an explosion you can really go for it and use the full gamut, push it past 58% and it can really have an impact that way. By the same token you have that extra detail in the shadows so you’re not having to constantly brighten everything for fear of not being able to see it. It’s about using the extra range when you need it to make that impact that’s not possible in SDR.


Spring 2021 televisual.com 85


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