cameras, like the Red One or Epic, can still be
used to shoot HDR for VOD production.
For example, VIVE Networks is using a Red
Epic for VOD productions. As we’ll discuss soon,
however, VIVE had to use a much newer and
much more expensive Sony HDC-4300 for live
and live-to-tape productions.
5. You’ll need to pick
one or more HDR standards.
Your job as content producer is to make your
content look as good as possible and to enable
it to play on as many end points as possible.
Table 1 presents the three most prominent options available for HDR and some of their key
characteristics. Let’s identify the three, and then
dig into the table.
Briefly, Dolby Vision is a standards-based system developed by Dolby, whose primary business model is licensing revenue from TV set,
mobile, and other players. Note that Dolby Vision display hardware is backward-compatible
with HDR10, so every Dolby Vision-enabled set
can play HDR10.
HDR10 is an open standard supported by
many companies and industry groups. Finally, Hybrid Log-Gamma (HLG) was jointly developed by the BBC and Japanese state broadcaster NHK, which needed a single format that
could display on HDR and SDR 4K sets, and
could be used for live and traditional broadcast channels.
The first four lines in Table 1 involve quality, starting with metadata. In Dolby Vision and
HDR10, the metadata carries color and brightness information to optimize the picture on the
display. With Dolby, this information is dynamically updated throughout the video; with HDR10
(but not HDR10+, discussed below), it’s static,
and is set once for the entire movie.
Figure 2 illustrates the difference. On the
left, one tonal mapping value is applied to clips
of varying brightness. As a result, the two dark-est clips have poor contrast, though the brightest clip looks perfect. On the right, multiple
tonal mapping values are applied to match the
content. The two darker clips have much better contrast, while the brightest clip, mastered
at the same value as the
static solution, looks the
same. In this manner, dynamic tone mapping, enabled by dynamic metadata, should produce a
As the table shows,
HLG doesn’t use metadata. Rather, it deploys a
hybrid method of storing
the color and brightness
information that separates the SDR data from
top three HDR
Static vs. Dynamic
(adapted from Borg