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Worth noting that those "HDR" televisions are still only Rec709 which is limited to about 6 stops of dynamic range. Sure some are approaching rec2020 color gamu

Worth noting that those "HDR" televisions are still only Rec709 which is limited to about 6 stops of dynamic range. Sure some are approaching rec2020 color gamut, but we're still cramming all that gamma down into 6-9 stops. Even a consumer DSLR can shoot 12. I work in post and have moved our workflow over to the Academy Color Encoding Specification (ACES) which supports up to 27 stops (more than the eye can see which is about 24 best case scenario). ACES allows us to dynamically change our output to rec709, rec2020, P3 etc and while 2020 has better colors, it's definitely still a highly compressed image (in terms of dynamic range).

dharma1 11y ago
Interesting, will look into ACES. What do you use for the files, openEXR? Yep first "HDR" tv's will be rec709 but higher DR is definitely coming, both to home TVs and cinemas (via super bright laser projectors) http://blog.abelcine.com/2015/03/06/high-dynamic-range-explained/ http://blog.abelcine.com/2015/03/06/high-dynamic-range-expla... I'm actually not convinced most people will want 5-100x brighter pictures than we currently have! Dynamic range of the human eye is also related to foveal/peripheral vision, so dynamic range in the real world probably doesn't map 1:1 to a small screen experience - if that makes sense. http://www.rags-int-inc.com/PhotoTechStuff/CameraEye/ http://www.rags-int-inc.com/PhotoTechStuff/CameraEye/ I am very interested in "natural", halo free tone mapping algorithms, squeezing that extended DR into current displays. I really like the results Adobe is getting with laplacian pyramids in Camera Raw for highlight/shadow recovery. Do you know of other tone mapping algos that look natural?
- ancientworldnow 11y ago
  I don't work with much HDR so I can't help you there. As for file formats, it varies entirely on the show. Higher end, fx heavy shows tend to use DPX and occasionally openEXR while lower end shows are typically some flavor of ProRes (422HQ and 4444 being nosy common). DNxHD 175 or 220 are also occasionally used. Some people are trying to move to the new ProRes high quality (4444XQ or DNxHR). Delivery specs for whatever network are almost always ProRes 422HQ 720p or 1080p. Features we'll output to DPX or TIFF which will be converted to DCP (JPEG2000) in the P3 color space (XYZ instead RGB or YUV). I'm excited to see higher bitrates for delivery, but it's going to be a long time on the broadcasters end. They're wary to upgrade so soon - especially when a lot of people already have trouble telling 720p from 1080p.

dharma1 11y ago

Interesting, will look into ACES. What do you use for the files, openEXR? Yep first "HDR" tv's will be rec709 but higher DR is definitely coming, both to home TVs and cinemas (via super bright laser projectors) http://blog.abelcine.com/2015/03/06/high-dynamic-range-explained/ http://blog.abelcine.com/2015/03/06/high-dynamic-range-expla... I'm actually not convinced most people will want 5-100x brighter pictures than we currently have! Dynamic range of the human eye is also related to foveal/peripheral vision, so dynamic range in the real world probably doesn't map 1:1 to a small screen experience - if that makes sense. http://www.rags-int-inc.com/PhotoTechStuff/CameraEye/ http://www.rags-int-inc.com/PhotoTechStuff/CameraEye/ I am very interested in "natural", halo free tone mapping algorithms, squeezing that extended DR into current displays. I really like the results Adobe is getting with laplacian pyramids in Camera Raw for highlight/shadow recovery. Do you know of other tone mapping algos that look natural?

ancientworldnow 11y ago
I don't work with much HDR so I can't help you there. As for file formats, it varies entirely on the show. Higher end, fx heavy shows tend to use DPX and occasionally openEXR while lower end shows are typically some flavor of ProRes (422HQ and 4444 being nosy common). DNxHD 175 or 220 are also occasionally used. Some people are trying to move to the new ProRes high quality (4444XQ or DNxHR). Delivery specs for whatever network are almost always ProRes 422HQ 720p or 1080p. Features we'll output to DPX or TIFF which will be converted to DCP (JPEG2000) in the P3 color space (XYZ instead RGB or YUV). I'm excited to see higher bitrates for delivery, but it's going to be a long time on the broadcasters end. They're wary to upgrade so soon - especially when a lot of people already have trouble telling 720p from 1080p.