Happily, it seems that most of what I’d written before NAB was in line with the experiences of others in the field, providing both confirmation and a sense of relief that I was on the right track. In the process, I also was invited to participate on a panel moderated by colorist Robbie Carman and hosted by Future Media Concepts on which Katie Hinsen ( Light Iron), Marco Solorio ( One River Media), Bram Desmet ( Flanders Scientific), Robert Carroll ( Dolby), Joel Barsotti ( SpectraCal) and I got to chat about HDR. While I’d started, many weeks ago, to write an overview of HDR for folks who are interested in what’s going on, the growing enormity of the article caused it to be unfinished when I paused to attend the 2016 NAB conference to see this year’s update of what directions HDR seems to be taking. I’ve also managed to work on a few HDR grading jobs myself, on two different HDR displays, which was the point at which I felt I had something interesting to contribute to the topic.
I’ve been keen on this technology ever since I first saw demonstrations at the 2015 NAB conference, and I’ve had the good fortune to sit with some excellent colorists who’ve been grading HDR projects to see what they’ve been doing with it.
High Dynamic Range (HDR) video describes an emerging group of monitoring, video encoding, and distribution technologies designed to enable a new generation of television displays to play video capable of intensely bright highlights and increased maximum saturation.
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