The global high dynamic range (HDR) market is expected to surpass $126 million by 2030, according to Allied Market Research. The projection shouldn’t come as a shock to media and entertainment (M&E) professionals who have been delivering HDR content for platforms like Netflix, Hulu, Disney+, and others for years. Meanwhile, HDR-capable displays have become standard in most production and post environments and across consumer displays. With these developments, HDR has emerged as the preferred production standard, and with just cause; HDR enhances imagery in ways resolution alone can’t while making for a more dynamic audience experience.
Compression is almost taken for granted despite its incredible complexity. But it’s worth remembering how compression has developed so we can progress further.
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John Watkinson moves on to discussion of the effects of the medium waves are travelling in and explains why loudspeaker enclosures contain foam.
Matt Sakatani Roe shares his experiences shooting the Netflix film ‘Purple Hearts’, staying hands on with the camera, staying close to the characters and leveraging natural light.
Lithium batteries are all the rage on account of their low weight and high capacity. But how good are they really?
Compression is the ultimate enabling technology behind broadcasting. Without it, life would be very difficult indeed. In this new series, the whole topic will be explored at some depth.
Like a lot of new ideas in film and TV, high dynamic range pictures are easy to like. The fear is that they’re far harder to create. In reality, HDR isn’t necessarily a huge burden, certainly not in the way that stereo 3D can be. It’s often been possible to take well-shot images which were produced with no thought of an HDR finish, and make them available in HDR via a fairly straightforward re-grading process. Most people are aware of the truism that proper exposure is the cinematographer’s first responsibility, and we should probably hold on to that thought.