American Cinematographer - April 2017 - 64
A crane is called into action for a night-exterior scene in which Danny sneaks atop
a shipping container.
HDR," the cinematographer continues.
"The most egregious thing is the difference in highlights and how they clip in
Rec 709 versus Rec 2020. At 100 nits in
Rec 709, it looks fine as long as the rolloff into the clipping is handled nicely by
the camera. But it becomes quite
aggressive at 4,000 nits on an HDR
monitor - it's actually blinding, so you
really can't let the highlights ever clip.
"I see the biggest difference when
I'm shooting at night," Billeter observes.
"Highlights and practical electric
sources can become a problem - even
the smallest lightbulb comes screaming
at you [in HDR], especially when you're
allowing practical sources to light the
scenery, which is a very common practice of mine. Even if the highlights are
at 85-90 IRE on the waveform on set,
and even if we cap them at 700 nits in
post, they're very loud. I find it quite
problematic, because instead of following the story, you're potentially suddenly
distracted by a strong highlight somewhere in the frame, and for that
moment you've lost the plot. All of that
meant I had to take great care during
production to control those highlights,
much more so than on a project finishing in SDR. And Tony would help me
bring them further down on his end."
An added concern with the