And some HDR YouTube videos are so oversaturated, so grotesquely bright, so utterly lacking in contrast, with hideously blown-out highlights, that they resemble monstrous caricatures – yet unaccountably, they amass hundreds of millions of views – while at the same time exercising a corrupting influence on the taste of the general public.
Yet much of the HDR content on video sharing platforms and streaming services like Netflix is virtually indistinguishable from SDR. As incredible as it may seem, while doing an exemplary job of explaining the color wheels, this video demonstrates an SDR workflow.įar from being just a gimmick, HDR is an entirely new language with its own unique vocabulary and an expanded tonal range, allowing for immense expressive possibilities. In part one, we’ll cover (1) how to set up your a7s III (2) project settings you’ll need to grade HDR10 in Resolve (project settings for the RED Komodo are found in Part V (RAW) and (3) how to configure your LG OLED for use as an HDR grading monitor. Our goal was to make this tutorial as intelligible as possible, with the aim of inspiring even more filmmakers to discover the incredible universe that is HDR. Moreover, of the exceedingly few HDR tutorials that can be found on the Web, many have inaccurate, incomplete or outdated information. Since publishing our exhaustive workflow for HDR10 in Final Cut Pro, we’ve been inundated with requests to do the same for DaVinci Resolve – and with the introduction of customizable HDR color wheels that allow extremely precise exposure and color adjustments from super blacks to specular highlights in Resolve Studio 17, a terrific NLE just got even better! It’s baffling how to this day the single greatest contribution to cinema since the talkies remains woefully neglected by many in the filmmaking community and that there exists in 2021 no one-stop source with concise, accurate, up-to-date information for the enthusiast on the acquisition, processing and delivery of HDR video.
RED Komodo project settings have been added to Part V: RAW. The current recommendations are valid as of macOS Ventura version 13.0, DaVinci Resolve Studio 18.0.4 build 5 and Desktop Video 12.2.2. Note: The information in this guide is continually revised and expanded and the reader is urged to check back occasionally for updates. Part VIII: Why HDR Production Monitors Matter Part VII: The State of HDR Film Emulation LUTs & Plugins Part IV: HDR to SDR Conversion LUT for YouTube Part III: HDR Palette, project render settings, generate MaxCLL and MaxFall HDR10 metadata
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