The What, Why and How of High Dynamic Range in Post Production
The Editors’ Lounge kicked off its 2016 season on Friday, January 29th with a special focus on HDR in post-production. High Dynamic Range video is coming and editors need to be prepared for integrating it into their workflows. Leading post-production hardware and software companies presented solutions for successfully working with HDR media in the editing suite.
Dolby Laboratories' Jim Crenshaw gave a presentation on HDR content creation for Dolby Vision and HDR-10. Topics included HDR in acquisition, VFX, editing, grading/mastering, encoding and playback, and creating Dolby Vision, HDR-10 and Rec 709 deliverables from a single workflow.
David McGavran, Director of Engineering for Adobe’s professional audio and video products, dropped by to demonstrate the latest release of Adobe Premiere Pro CC and its support for High Dynamic Range video featuring the new Lumetri Color Panel.
In addition, FilmLight showcased its HDR, wide gamut and Ultra HD 4K color technology. Peter Postma, U.S. Product Manager for FilmLight, was on hand to show attendees how content can look its best in any context across production, editorial, VFX and finishing with Baselight Editions for Avid and NUKE and the Baselight color finishing system for Dolby Vision mastering.
The evening was a phenomenal success with a record attendance. Based on how jam-packed every single presentation was throughout the evening, there is a lot of interest in—and questions about—HDR and what it means for editors.