The Australian Society of Cinematographers and many other industry players have released a video introducing HDR, especially what it means for cinematographers and colourists on the front lines of production.
This video provides a fascinating and insightful introduction to the benefits of HDR. It also clears up some misunderstandings and discusses how to create HDR and SDR versions of your project.
HDR is an attempt to create a new image framework for the 21st century. For nearly 40 years, production has been done using the Rec 709 standard based on cathode ray tube display technology. Fast forward to 2022, and the Rec 709’s 100nit brightness standard and limited color gamut are seriously underwhelming. The average brightness of TVs is moving towards more than 1000nit. Modern display capabilities will only continue to increase as Mini LED and Micro LED panels come to market. Perhaps the most exciting aspect of HDR is its introduction of metadata, allowing content creators for the first time to control how images are displayed on end consumers’ devices.
HDR production sets new standards such as Rec 2100 and ST 2084, which are far better at taking advantage of the capabilities of modern monitors. Streaming companies like Netflix, Apple, Disney, etc. have recognized this and have accepted or even mandated that their productions be done in HDR.
This video attempts to define HDR and explore its impact on cinematographers responsible for shooting HDR projects.To achieve these goals, the ACS Technical Committee conducted a test shoot with Toby Oliver ACS, credits including go out and day shift Explore workflow and aesthetic implications. They also spoke with colorists who are creating HDR content.
ACS technical committees include:
- Chairman: Tom Gleason (NSW)
- Calvin Gardner ACS (NSW)
- Caroline Constantine ACS (NSW)
- Miguel Gallagher (ACT)
- Tim Jordin (QLD)
- David Gregan (SA)
- Ben Allen ACS CSI (NSW)
