Case Studies for HDR versus SDR
Many creatives are concerned with large differences between color grading in SDR vs HDR. Even more of a challenge, the variety and frequency of HDR deliverable specs has increased in great numbers. However, we can be confident there is at least one other longstanding challenge present in even greater numbers: the viewing conditions in which end consumers in which will watch these deliverables. How can we, from photographers to colorists to VFX artists and all in the pipeline, make good creative decisions based on modifying the available dynamic range of our delivery target?
This webcast will discuss strategies for color correction in both SDR and HDR, and ideas for focusing on color decisions that will hold up across multiple color targets and viewing conditions, using case examples from the author’s experience with over 100 HDR titles.
Rory Gordon sge is a senior colorist at Arsenal in Santa Monica, CA. She has a life-long passion for the science and art of image capture; this passion has taken her from makeshift basement darkrooms in her home state of Oklahoma, to the Munsell color laboratory at Rochester Institute of Technology in Rochester, NY, where she earned a BFA in film production, to Hollywood, where she has worked steadily for the last ten years. She has worked on twenty series as a colorist, executing many different styles and always working in support of the choices made by the show’s creative team – from cinematographers, to directors, to producers. She has finished over 100 episodes of HDR content, including both HDR-10 and Dolbyvision.
Gordon lives in Los Angeles with her partner James Gibson and two cats. In her spare time she enjoys painting, messily cooking, and doing lazy yoga. She hopes everyone is staying safe, healthy, and sane in the time of COVID-19.