InBroadcast
DPs and crews wanting to maximise HDR’s potential need to
ensure the nuances of HDR delivery are accommodated at every stage in the
pipeline.
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High Dynamic Range is part of the UHD specification and has arguably
grown quicker than that of 4K resolution as a piece of the pie. HDR enhances
the visual quality of any resolution format, broadening the range of contrast
to ensure more picture detail along with higher brightness screens. Broadcast
engineers and shaders, lighting directors and DPs as well as colorists need to
know what they are looking at on set when capturing HDR which is where
monitoring comes in.
“HDR offers a huge step up in image quality, especially when
paired with 4K resolution,” says Simon Hall, Senior Technical
Sales Specialist, Blackmagic Design. “DPs and crews will want
to maximise its potential, but will need to ensure the nuances and subtleties
of HDR delivery are accommodated at every stage in the pipeline.”
It can be a tricky balance. He adds, “A scene perfectly lit
for SDR may look completely incorrect when checked for HDR. Monitoring is
critical in achieving this, however cost can play a factor.
“Which colour gamut is monitored will depend on the
deliverable file, so HDR formats can use either P3-D65 or Rec.2020. To have
accurate HDR monitors throughout the production pipeline that show the EOTF
ST2084 at a 1000 nit+ level could potentially be expensive.
“When it comes to delivery, HDR is a 10bit system, so it
is recommended that files are recorded in 12bit to ensure enough
colour volume and dynamic range for the delivered file. This rules
out certain cameras and codecs, and 8bit sources, as unsuitable.”
HDR files have to be delivered in a specific format
with the correct embedded metadata for the file to trigger a
consumer display into HDR. Also it has to be either trim
pass metadata, which profiles the image in an SDR gamut and gamma, or a
separate grade for SDR has to be delivered.
Blackmagic Design offers a complete workflow solution for
HDR. Blackmagic RAW is a 12bit file with colour gamut greater than the Rec.2020
profile. On-set monitoring and recording
with Video Assist, which offer 2500nit HDR monitoring, with support for 3D LUTs
and HDR scopes. DeckLink capture cards, UltraStudio playback devices and Mini
Monitor offer external HDR monitoring. In post, DaVinci Resolve Studio allows
for monitoring and grading of HDR content, and can deliver files for Dolby
Vision, HDR 10+, HDR 10 and Hybrid Log Gamma files.
“Currently the biggest challenge for on-set HDR monitoring
is a lack of affordable and set ready equipment that supports true 10bit and
higher HDR,” says Colin McDonald, Product Manager Cine Products at Vitec
Group’s Creative Solutions. “Many of the current approved HDR offerings are
incredibly expensive and physically prohibitive for on-set use. Additionally,
since so many of the current offerings come from different manufacturers, there
is no shared workflow experience. Creative Solutions is working hard to provide
a complete end-to-end HDR solution for customers at all production
levels.
Creative Solutions – which comprises brands Teradek, SmallHD
and Wooden Camera – is rounding out HDR workflow with new releases like the
Teradek Prism Encoder / Decoder, which is built for robust, high-bandwidth
remote video streaming, supporting up to 4Kp60 10bit HDR. The Bolt 4K family of
products support true wireless 4K HDR video transmission. Finally, the upcoming
SmallHD Vision series of monitors will meet the DolbyVision HDR spec for
monitoring, and standardise on-set HDR with a rugged and portable form factor.
Whether integrating HDR into a live production or monitoring
HDR footage on-set, you’re often working with various camera and HDR formats,
as well as SDR footage that must be incorporated into the final output or
product.
“In live production, it’s essential to be able to quickly
and easily convert between SDR and HDR, various HDR formats like PQ and HLG,
and camera log formats,” says Andy Bellamy, product marketing manager, AJA
Video. “In an on-set environment, camera log formats must also often
be converted to BT. 2020, ACES or other standards commonly used in
postproduction. This helps to ensure that the integrity of the image is
maintained as it moves throughout the signal chain. Without
the right combination of technology, these tasks can tasks can prove
difficult.”
AJA offers a range of solutions to address these needs,
including FS-HDR with Colorfront Engine technology, which helps professionals
bridge conversions between camera log formats and SDR sources to HDR formats,
from SDR to HDR to bring non-HDR camera feeds and materials into HDR
programming, and HDR to SDR in situations where SDR is a final deliverable — all
in real-time.
“Our HDR Image Analyzer 12G waveform, histogram and
vectorscope monitoring solution can also prove incredibly useful in giving
production and post teams the confidence that HDR production and mastering are
consistent and predictable,” says Bellamy. “For simpler on-set HDR monitoring
needs, we also develop the Hi5-4K-Plus Mini-Converter, which enables
professionals to feed HDR10 and HLG footage to cost-efficient HDMI displays.”
Flanders Scientific is introducing the XM312U as one
of the world’s brightest commercially available professional reference
displays. The XM312U is a 31" UHD resolution HDR
and SDR monitor equipped with 12Gbps SDI inputs. The unit qualifies as a
Dolby Vision mastering monitor. A peak luminance over 5,000cd/m2, support for
both PQ and HLG EOTFs, multiple color gamut selections, and a contrast ratio in
excess of 5,000,000:1 make the XM312U ideal for a wide variety of demanding HDR
workflows.
“For HDR projects our industry is typically requesting
either 1,000nit or 4,000nit deliverables from colorists,” says Bram Desmet,
CEO. “Up until now our 3,000nit capable XM310K was one of the few solutions
available that allowed colorists to grade well over 1,000nits, but it still
fell a bit short of that critical 4,000nit deliverable threshold.
"With the XM312U, we set out to address that limitation
and deliver something to our clients that can take them to that 4,000nit goal
and beyond, while also offering some key improvements to other performance
benchmarks.
“We are excited to see what clients can do with the XM312U
and what higher luminance mastering options will do for HDR content creation in
the years to come.”
LogiColor is a newly developed colour management system
aiming for accurate and stable colour reproduction on TVLogic monitors.
According to the firm, it’s not just a new firmware with improved
functionalities, but an “innovation inside the whole colour processing pipeline
to control monitor colours.” It is based
on the WonderLookPro algorithm
and covers not only design and manufacture, but also customer support.
LogiColor is onboard TVLogic’s LUM-series monitors including
the LUM-310-CI all powered by a new colour signal processing engine in 24bit
linear RGB. It achieves correct calculation and flexible support for various
colour standards, gamuts and EOTFs.
“In order to compensate the non-linearity of the display
panels' colour reproduction, a new processing method is introduced to achieve
correct and stable interpolation. Thanks to this new process, the monitor uses
the full power of the LCD panel more than before.”
The Postium OBM-X Series is the South Korean
company’s most advanced displays for UHD/4K HDR Grade 1 and Grade 2 Reference
monitoring. The 31” OBM-X310 is a Grade 1 monitor compatible with
Dolby Vision, HDR10 and HDR10+, HLG and others. The 24”
OBM-X241 is for QC and HDR production monitoring. Both utilize native
4096×2160 LCD panels with a maximum HDR luminance of 1000 nits.
According to Postium, the unique dual cell panel structure
of the OBM-X310 allows for light output modulation at an individual pixel
level. This panel structure eliminates pixel light leakage to adjacent pixels
that often results in a “halo effect” and allows for uniform gradation of
grayscale and colour with black level details that are “highly accurate and
free from visible artifacts related to imprecise local-dimming pixel luminance
errors.”
3D LUT import is supported for colour matching between
individual displays as well as using customized ‘looks’ that have been created
in third party color-grading applications.
In addition, the OBM-X series has built-in Camera Log to Linear
conversion LUTs from various camera manufacturers including Log-C, C-Log /
S-Log2, S-Log3 / J-Log1 and more. The LUT-converted content can then be output
to downstream devices/monitors via the SDI loop out.
“The single biggest challenge in
monitoring HDR onset is the current limitations in terms of the panel
technology,” says Wes Donahue, VP, Sales & Marketing, Eridita Marketing.
“With HDR being based on Rec. 2020 colour space and demanding minimum and
maximum simultaneous contrast requirements, there are very few technologies
available that can render both the colour gamut and the contrast and luminance
range required. No monitor can currently achieve all of the Rec. 2020 colour
space. And only a few can handle the luminance and contrast required for true
HDR.”
He highlights that Konvision has announced a new
31” OLED monitor – the KUM-3110S - that will reach more than 99% of DCI-P3 and
80% of BT2020. It has a max luminance of 540 nits. So, while it cannot reach
the top luminance levels required for color grading, with a 1,000,000:1
ultra-high contrast ratio and 0.0005 nit deep. “It can reproduce incredible
black details – which should make it very useful for on-set HDR monitoring,” he
adds. The new OLED should be shipping in 4Q21.
In addition, Konvision’s KXM-3120QD is a mastering 8K
monitor for a wide range of HDR workflows. The 31" monitor has a
dual-layer LCD panel which offers 1000 Nits brightness and 1,000,000:1 contrast
ratio. Its equipped with 4x12G-SDI inputs and built-in HDMI 2.0 interface, quad
link supports up to 4x 4K 2160 60P and supports various cameras’ HDR Log curves
and SDR Log curves, S-Log, C-Log and Log C.
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