This is the first part of a series of articles about HDR production and the implications on the film set. The series covers typical use cases, presents best practices, and offers insights for setting up all required devices and systems. In this first article, we want to lay the foundations by discussing a few central topics: First, we cover the motivation behind using HDR technology for on-set activities. This understanding lets us derive specific requirements and consequences for camera departments generally and the DIT cart specifically. We also provide an overview of the required equipment.

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This article is the second part of a series of articles about HDR production and resulting implications on the film set. Overall, the series covers typical use cases, presents best practices, and offers insights for setting up all required devices and systems. In this second article, we will talk about all camera and monitor settings that are relevant in the context of HDR viewing. We will also illustrate how to set up and configure Livegrade and the processing devices such as LUT boxes.

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This article is the third part of a series of articles about HDR production and resulting implications on the film set. Overall, the series covers typical use cases, presents best practices, and offers insights for setting up all required devices and systems. This third article illustrates a few tricks for dual-monitoring in HDR and SDR, talks about color grading HDR vs. SDR, and goes through a few pitfalls that can occur.

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