HDR, Ultra HD and 2020

Learn about 4K video in its various forms, see how Ultra HD brings real benefits in resolution, dynamic range frame rates and colour

Price per delegate: €350

Duration: 1 day

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What will you learn

You will learn about 4K video in its various forms concentrating on Ultra HD. You will learn how Ultra HD brings real benefits in resolution, dynamic range frame rates and colour. You will see how dynamic range and HDR (high dynamic range) work, and why they are major talking points in the AV media community greatly enhancing the viewing experience for Ultra HD. You will find out how Sony cameras and camcorders capture HDR material, and how it is conveyed through to the cinema or home, both for pre-recorded and live productions. You will also learn how Rec. 2020 brings more realistic colours, and improvements in frame rates bring better motion capture and portrayal.

Who should attend

This training is designed for anyone working in television, film, broadcast, or post-production, or any associated role. The session is designed to be easily accessible with a high degree of graphics and practical examples rather than complex technical explanations and mathematics.

Course contents

The essentials of 4K

The course starts with a brief summary of the various television and cinematography formats, and the various 4K standards.

This includes:-

  • The PAL and NTSC standard definition formats.
  • The 720p standards.
  • The various 1080 high definition standards.
  • DCI 2K.
  • Early 4K standards.
  • Ultra HD and DCI 4K. 
Rec. 709

This part of the course looks at the ITU-R BT.709 standard for high definition television and its limitations.

This includes:

  • The essential details of Rec. 709.
  • Rec 709 resolutions.
  • Frame rates in Rec 709.
  • The Rec. 709 colour space.
  • Rec. 709 dynamic range and gamma.
The essentials of dynamic range

The course includes an explanation of what dynamic range is, the dynamic range of nature and how we see it. There is also a summary of how light, contrast and dynamic range are measured.

This includes:

  • Natural light levels and dynamic range.
  • How the human eye captures the world around us.
  • Measuring the dynamic range of cameras.
  • Measuring the contrast ratio of monitors.
  • Comparing dynamic range and contrast ratio.

This part of the course covers a hot topic in the AV media community, high dynamic range.

This includes:

  • The advantages and disadvantages of shooting RAW.
  • The need for high dynamic range standards.
  • How to convey high dynamic range.
  • Knee correction.
  • Hypergamma and Cinegamma.
  • S-Log, S-log 2 and S-Log 3.
Ultra HD standards

This part of the course looks at the improvements brought by Ultra HD.

This includes:

  • Ultra HD standards development.
  • Resolution in Ultra HD.
  • Ultra HD dynamic range.
  • Colour spaces for Ultra HD.
  • Ultra HD frame rates.
  • Bit depth and quantisation in Ultra HD.
Colour for Ultra HD

This part of the course looks at the ITU-R BT.2020 standard, and the various other colour spaces, and explains how it enhances Ultra HD the colour.

This includes:

  • Comparing Rec 709 and Rec 2020 colour spaces.
  • Rec 2020 primaries.
  • S-Gamut 3 and S-Gamut 3.Cine colour spaces.
  • Working with S-Gamut 3 and Ultra HD.
  • Working with S-Gamut 3.Cine and DCI P3.
Grading and colour correction

This part of the course takes a look at the workflows and processes employed by cinematography and video production to ensure good colour and dynamic range in television drama, documentaries, and movies.

This includes:

  • Grading and colour correction essential principles.
  • A summary of grading and colour correction suites.
  • The difference between grading and colour correction.
  • The grading workflow.
HDR in live production

 This part of the course looks at the challenges in producing simultaneous Ultra HD HDR, Ultra HD SDR and HD SDR outputs for live production programming.

This includes:

  • The job of the Shader.
  • Using monitors and technical displays correctly.
  • Understanding how to match colours.
  • Dynamic range optimisation.
  • Using attenuation control to match outputs.
  • Matching shots and angles.

Courses can be run at various locations. Courses must have a minimum number of attendees in order to run. To discuss the exact location and times available please click ‘Enquire Now’ at the top of the page.