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www.postmagazine.com 33 POST JULY 2018 www.postmagazine.com 33 POST JULY 2018 www.omnitek.tv us-sales@omnitek.tv +1 317-437-9696 Ultra XR - SDI/IP 4K UHD Waveform Rasterizer "The Colorist's instrument of choice" O-Zone TM HDR false colour Nits graticules PQ, HLG, S-Log support Region of Interest Waveform, CIE, gamut Vectorscope, histogram HDR AND THE ECONOMICS OF 'BETTER PIXELS' BY WES DONAHUE H igh Dynamic Range (HDR) video has emerged as one of the most compelling technological innovations in video content creation and distribution since the advent of high definition TV. The visceral impact of a much wider ratio between the brightest whites and the darkest blacks, truer and more saturated colors, and a higher resolution than Standard Dynamic Range (SDR) video, is the result of various HDR formats designed to display motion pictures that are more immersive and realistic than anything we have seen before. However, the primary obstacle hampering the wider adoption of this im- proved method of presenting motion picture content for both content creators and post production artists alike is the simple fact that movie studios, direc- tors and DPs really don't — for the most part — light and shoot theatrical films specifically for HDR distribution. This is because the clear majority of theaters in the world are not capable of projecting HDR content. And while HDR has seen strong and growing support from streaming content providers — several of which produce their own original content, like Amazon and Netflix — broadcast- ers and Hollywood studios in general are still lagging behind. With SDR as the baseline workflow in dailies, editorial and projection, an HDR master is just another of the many downstream deliverables that most 4K HDR AND Postium reference displays meet most, if not all, of the HDR requirements.