High Dynamic Range Cinema Experience
April 6, 2014, NAB, Las Vegas—Colin Davis, Travis LaBella, and Matt Litwiller from Observatory Media, and Rick Taylor from Dolby talked about capturing and recreating HDR cinema content. High dynamic range techniques will provide a new tool in the creative arsenal.
Litwiller described a short film called “Telescope” that is a demonstration of the capabilities of HDR for cinema. In preproduction, they developed a story of a deep space faster than light ship that enabled the occupant to look into the past. Production was with Sony F65’s in 4k with a 4k HDR pipeline for post.
Taylor commented that Dolby’s name for HDR is EDR, for extended dynamic range. They build a monitor that has a 19 stop dynamic range for increased contrast and greater realism to help visualize the images throughout the whole ingest to final flow. Even though most cameras and edits are only 14 stops, some can handle 19 stops. Still not as much as film at 22 stops, but getting closer. The cameras affect filmmaking by increasing the dimensionality in the highlights. This is now an extra component for filmmakers.
LaBella admitted they didn’t know much abut HDR when they started, but pushed all the flows and tools to their extremes for dynamic range and color. They tried for maximum contrast to emphasize the extremes.
Litwiller added that the highlights required them to push the equipment and forced changes in lighting on the set to remove halos and to draw to different areas in the screen. These changes provoked a visceral quality and needed the HDR to increase the depth. Their plan was to use the sets and light to change compositions and add to increased immersion. One challenge was that the existing workflows are not able to handle HDR processing.
Davis acknowledged that HDR is new and expands the filmmaker’s palette, but it has unknown real effects. Filmmakers will have to rethink their approach to filmmaking and pay more attention to the nuances of light. The images can be captured, but processing and display are ongoing issues.
Litwiller noted that the tool increased visceral reactions. As a result, bright colors are now part of the design elements. The technology is helping to increase immersion and empathy with the audience. At the same time, the value if HDR has to be used in a way that doesn’t draw attention to the effect.
Davis considered that expectations for the views and equipment limitations were challenging. They wanted to see the full HDR images, but could only see them at final steps in the pipeline.
Taylor interjected that the workflow issue is being addressed by some 2,000 nit monitors.
To address the challenges of consistency, reflect the look of film, and fit with the narrative, on-set monitors were Sony OLED and F65 monitors on the set were an asset in the creative process. Unlike analog where there was a leap of faith for the dailies and everyone saw the images at the same time, NLE changes the creative process.
Davis noted that management is more important, since everything changes in the workflow. Problems arise from non-calibrated monitors, and everyone has to work together.
LaBella added that the workflow allowed for some visual correlations.
Litwiller commented that the visual effects people needed to work with the others.
Davis postulated that visual effects will change with HDR as there is a thicker negative and more room to play. The full dynamic range has to fit into the HDR limits, so VFX may have to be integrated into the capture. This is a change in approach.
Taylor considered that the images will change in projection. There is a roll off at 14 ft l., but there is still some headroom available.
AIIS files can be re-rendered. Davis noted that, originally, the film was not intended for HDR, so in the future, they may have to change the edit due to HDR. Everything was pushed for a wow factor. At present, nothing is planned for HDR. The increased information in the images can influence the story.
Taylor stated that HFR exists in other media, and the combination of HFR and HDR will make new approaches to film possible.
Davis considered that you can never have too much of anything for an image. The audiences will adapt, because they have no prior reference points. The high frame rates are different because TV is even faster.
The interactions of changing technologies changes the look and feel of movies. Now the 24fps proves filmmakers as storytellers despite the technology. The new technologies like 3-D, HDR, HFR are options for the filmmaker to mix for the best final story telling process. The technologies will force the integration of creative thinking and planning in cinema.
