Over the last few years, 4K/UHD and high dynamic range (HDR), in many ways, has been little more than a science project, as manufacturers have struggled to convince production entities of the long-term practicality and viability, with fears of overly complex pipelines and dual HDR-SDR workflows hindering widespread adoption. Beyond the manufacturers’ hype offering greater resolution in home displays, HD HDR, with its clearly improved dynamic range and enhanced highlights and shadow detail is what consumers really notice and ultimately care about. For broadcasters, there is beauty in HD HDR, as the technology doesn’t require more bandwidth. It simply remaps the available bandwidth already in place, albeit at an increased bit depth.
Content producers often prefer to shoot or record original content. Documentarians, on the other hand, typically must rely on material recorded by others that is often stored on film stock, Regular 8mm and Super 8mm being common formats. Working with older technology is a challenge requiring special techniques.
Rohde & Schwarz’s CLIPSTER has the power to process real time images up to 4K at 120 fps in HDR and output to either file or tape.
The new DaVinci Resolve 15 from Blackmagic Design is a massive upgrade to one of post production’s most capable editing and effects platforms. And you won’t believe the price!
NAB 2018 was an important show for Adobe Systems as they brought the power of Artificial Intelligence to their rapidly expanding post production systems.
MTI Film’ Cortex v5, the latest version of its set-to-screen dailies software includes new features for IMF, DCP, and Dolby Vision packaging.