I'm curious about how to camera setup for HDR. What are people doing?
Our productions are pretty small, but with Youtube offering HDR content and the newest iPhones, Samsung mobiles and iPads utilising a DCI-P3 color space, I think it's worth thinking about for the future. Post-production is a whole other thing, I'm just curious about capture at this point.
Our Canon c500 can record in DCI-P3, BT 2020 and Cinema Gamut and we are recording 10-bit 4K ProRes on an Odyssey 7Q.
I guess my questions are:
1. Do recorder settings matter? Will the Oddysey record whatever color space it is sent? I think it can monitor at DCI-P3, but does that matter if the signal is Cinema Gamut or BT 2020? Or do you need a recorder designed to capture specific color gamuts?
2. I understand monitoring in HDR is important on set. Are there HDR monitors people are using that they recommend? Ideally an on-camera monitor.
HDR is rec. 2020. what are you editing on? premiere can't grade true HDR. just record with the highest dynamic range in rec. 2020. most of the 'look' will come from the grade. you need 1,000 nits monitor to grade 'true' HDR although you can fake grade with sub-par monitors with a lut, like a quasi-SDR. HDR is HDR from the brightness and color primaries .2020. There's a lot of gotchas grading HDR like something too bright will force the rest of the screen to get a weighted average brightness.
Thanks for the reply Chris! I edit on Premiere, but finish one Resolve. I’m not quite ready to make a full HDR workflow switch, but does it make sense to capture at BT2020 even for SDR delivery? To my eye it looks like the grade comes out nicer, but that might be in my head.
I’m really interested in the capture side. Does the recorder affect the color space at all? If the camera is set to 2020 or P3 do the recorder settings matter? Just trying to wrap my head around all this!
.2020 has more colors than .709. It depends what your final delivery format is. capturing in 10 bit will help grading even 709 stuff. .2020 requires 10 bit or higher as it supports more dynamic range or you'll get banding. rec. 709 10 bit codec is also required if your camera shoots more than 12 stops dynamic range as more bits have to be compressed in an old 5 stop gamma curve spec or you'll end up getting mushy shadows.