Segments in this Video

Introduction: HDR & Raw (02:57)


HDR is the future for delivering any type of footage because it is a realistic representation of the world around us. This video will explore tips and techniques for correcting color with this new method. There is a lot of momentum in the film industry towards 10-bit cameras.

Trip to London (07:55)

Philip Bloom and Ollie Kenchington capture images with specular highlights around Richmond. LOG is very unforgiving. Prores allows for shooting in real-time RAW footage while being able to easily edit the footage.

Filming in HDR (05:47)

HDR is still very expensive. Prioritize highlights and elevate them until just before they appear clipped; a nit is a typical unit of measuring screen brightness and equivalent to one candela per square meter. Bloom and Kenchington continue to capture images around the Thames River.

HDR Choices (06:07)

Kenchington discusses the benefits and drawbacks to Hybrid Log-Gamma and Perceptual Quantizer. HDR allows for brighter specular highlights.

RAW Settings (09:57)

Codecs include Apple ProRes RAW, Canon C200, RED, ARRI RAW, and Cinema TMG. Kenchington traces the history of color science in film stock. The RAW file allows a colorist to change the ISO, color temperature, and de-noise.

Larger Files (07:09)

RED, Canon, and Apple all have compressed RAW files. Kenchington demonstrates how to change the fundamental color space and gamma.

High Dynamic Range (06:38)

Toby Tomkins discusses color grading "The End of the F'ing World" which was shot in HDR; Netflix requires the format. When choosing a screen, do not be misled by the maximum luminance output. Final Cut Pro 10 is the only program that can manipulate Apple ProRes RAW footage.

Editing in DaVinci Resolve (07:18)

Kenchington demonstrates applying a transform to RAW footage to a viewable gamut and gamma. If delivering to YouTube or Vimeo use a perceptual quantizer curve. Brett Danton discusses the benefits and drawbacks to under-exposing film.

Color Grading HDR (11:43)

Most objects fall within 0-100 nit standard dynamic range. Kenchington performs a technical grade on the HDR footage by adjusting the contrast and demonstrates how to output deliverables. Danton discusses the benefits and drawbacks of uploading footage to YouTube or Vimeo for client approval.

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HDR & Raw

Part of the Series : Mastering Color
DVD (Chaptered) Price: $129.95
DVD + 3-Year Streaming Price: $194.93
3-Year Streaming Price: $129.95



In Ollie's final module, he teams up with internationally renowned filmmaker, Philip Bloom, to look at the future of film production and delivery - HDR. Starting off in Philip's hometown of Richmond, the pair shoot ProRes RAW and Canon Raw Light during golden hour, while discussing the dos and don'ts of recording for HDR delivery. Ollie then heads back to the grading suite to show Philip what his work looks like on a 1000 nit HDR monitor, and how to set up, grade and deliver HDR video. Ollie also talks about raw workflow and how working in raw can benefit your clients, even if you are only delivering in HD SDR.

Length: 66 minutes

Item#: BVL194671

ISBN: 978-1-64623-790-6

Copyright date: ©2018

Closed Captioned

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