HDR (High Dynamic Range) cinematography was presented by Michael Cioni and Aaron Kroger from Panavision at Camerimage 2018. The presentation was dedicated to new ideas and concepts related to HDR. Read below our insights followed by screenshots from the presentation.

Generally speaking, HDR grants the cinematographer more control by the expansion of DR, wider color gamut, and improved clarity and precision.

At Y.M.Cinema Magazine we love to write about HDR (ARRI HDR Masterclass review) since we truly believe that HDR is a fascinating concept and technology, that privileges special capabilities to imagery. Furthermore, HDR is booming and penetrating into TV technology that becomes more and more available to us, the consumers. We believe that in two years HDR TV will be an integral part of our living-room.

HDR grants the cinematographer more control by the expansion of DR, wider color gamut, and improved clarity and precision.

HDR is a process

Kroger and Cioni emphasize the fact that HDR is not a button nor a setting. It does not start and finish at the post. HDR is a whole process. Furthermore, HDR is not just about nits. Even if your TV is capable of 500 nits, it doesn’t mean that it’s HDR. Furthermore, Before HDR there was SDR (Standard Dynamic Range) that is still relevant and looks great.

Why should we choose shooting HDR?

The need for HDR came from cinematographers who wanted more dynamic range, which is one of the most important factors related to imagery. As cinematographers and filmmakers, we can’t blame them. HDR content indeed looks much better.

The need for HDR came from cinematographers who wanted more dynamic range, which is one of the most important factors related to imagery

Back to SDR and FilmStream

According to the presentation, SDR is 10 bits per pixel, 100 nits of brightness and 10 stops of dynamic range, which even an old DSLR exceeds that. Even old film cameras which made 15 years ago are included in that category. Take for an example the Viper film camera that shoots a flat format called FilmStream, which is very similar to the modern Log format derived from CMOS sensors. The FilmStream looks flat and greenish, and it was used to utilize camera potential in order to get more stops of DR (Dynamic Range). The FilmStream was graded in the post to get the desired image, exactly like RAW/ Log footage.

There is another solution to capture HDR. By capturing and stitching two SDR footage with a different exposure, we get an HDR image. This is doable in the photography world, but not practical in cinema applications because of the complexity of syncing these two shots together.

SDR is 10 bits per pixel, 100 nits of brightness and 10 stops of dynamic range, which even an old DSLR exceeds that. Even old film cameras which made 15 years ago are included in that category

HDR mastering

This part of the presentation talks about HDR as a mastering format. First, we need to understand that HDR is a mastering standard which requires new cinematography techniques. We wrote an article that demonstrates how to shoot HDR and how to light to HDR. It’s different from shooting and lighting to SDR. Yes, you can manipulate it in the post, but it’s far more logical to prepare for HDR from the beginning (pre-production and production). It’s important to mention that HDR is paired with increased resolution and color. Furthermore, you might need an HDR dedicated display in order to see the HDR footage you have captured.

The FilmStream looks flat and greenish, and it was used to utilize camera potential in order to get more stops of DR

HDR monitors

In this part of the deck, the HDR monitors are being defined. HDR monitor must be capable of capturing above 10bit, around 1000 nits of brightness and in Rec2020 color space altogether. On HDR monitors you can elevate brightness of the highlights while maintaining the blacks. On SDR monitors (Rec709) you can elevate highlights but the blacks are raised as well. On HDR monitors the blacks remain blacks and the highlights are extremely bright without impairing image details.

To sum this part up, HDR needs all three components: curve, nits, and bits.

HDR monitor must be capable of capturing above 10bit, around 1000 nits of brightness and in Rec2020 color space altogether.

The color factor Rec709 vs Rec2020

As being said before, HDR is not just about dynamic range. The color constitutes a crucial factor. The difference between Rec709 and Rec2020 is huge. We must see the color spectrum as a 3D structure. Thus why having HDR monitor on set is mandatory.

Home entertainment

The next section of the presentation deals with home entertainment by compare Rec709 monitors to HDR monitors. Rec709 monitors are relative and not absolute. Elevate brightness on 709 will raise the blacks as well relatively. Contrary, HDR monitors are absolute. Raising highlights will not change the blacks. Look at the slides below to explore the changes between Rec709 displays to HDR monitors in regard to calibration.

So how can we watch HDR at home? Do we have to calibrate our TVs? Does our remote control have a dedicated HDR activation button? The answer is NO. HDR is already baked in the file. When HDR file format is recognized by an HDR TV, you’ll see that HDR in the TV, means the TV will automatically switch into the proper HDR mode.

HDR is already baked in the file. When HDR file format is recognized by an HDR TV, you’ll see that HDR in the TV, means the TV will automatically switch into the proper HDR mode.

HDR statistics

As mentioned before, HDR is here to stay. If you’d like to see some facts and statistics, take a brief look at the info below which shows some indications regarding HDR technology market penetration and implementation from a consumer point of view.

By the end of 2019, 250 million 4K High Dynamic Range televisions are projected to dominate the consumer electronics marketplace.

HDR adoption is 60% faster than HD.

The broadcast is making progress on higher quality distribution.

By the end of 2019, 250 million 4K High Dynamic Range televisions are projected to dominate the consumer electronics marketplace.

Tips for shooting HDR

At this point, let’s cut to the chase and talk about how to shoot HDR.

Do not look for brightness, means HDR is not about bright images. Thus, increasing the brightness will not transform your images into HDR.

Shoot for the whole color spectrum.

Plan to deliver HDR and SDR for 10 more years (SDR will still be relevant).

Have an HDR monitor on set.

Have an HDR display in post-production, in order to enable you to color grade the HDR images.

Plan to deliver HDR and SDR for 10 more years. SDR will still be relevant

Final thoughts

These are the insights and highlights taken from the Panavision HDR presentation. We recommend you to watch it, since the presentation packs all this information together, and makes it very simple to understand what’s HDR. Moreover, the presentation is fun to watch, and together with this article really simplifies the methodology.

Have you got the chance to shoot HDR? What do you think about this technology? Let us know your insights in the comments section below.