A showcase of HDR for broadcast and event. A proof of concept for a comprehensive setup of lights, cameras, LED walls and content all in HDR, with real life WYSIWYG at every point in the workflow. It works!
We have proven that the act on stage does not have to compete with his/her duplicate on the LED wall. The original stage act and the LED wall can be equally bright and can look very similar.
We have proven that the quality of light must be high. Our workflow is transparent. Does a person have a greenish tint due to bad light on stage, the person is equally greenish on the LED wall as well as on the program. Good light starts with… Light!
We have proven that content in HDR is of absolute added value for the overall show design. Show light is by default HDR. We suggest, the content on the LED wall should be on the same level from now on.
We have proven that cameras from different manufacturers can look very similar and can be matched to each other – on the LED wall as well as in the broadcast.
We have proven that we can compare content coming directly from the server to it being filmed from the LED wall: even in a split screen it shows near to no difference. Added haze and show light flaring into the camera limit black level representation of the LED wall. Of course!
We have proven that video feedback looping between camera and LED wall remains stable and in HDR certainly continues to shine.
We have proven that screening HDR offers a realistic appearance of the show onto the LED wall for the audience. If you watch the show from further back, e.g. at a concert, you will still be able to see it in its full glory on the LED wall.
We have proven that more nits and more headroom are always better. Our entire demo ran in PQ with a Diffuse White of 100 nits in the camera and 200 nits in the scene. The content was created with a peak white of 4000 nits. Both cameras were running in S-Log3 up to the sensor clip above 3500 nits. All our LED walls were capable of 3500 nits. According to its specifications, the reference display was capable of 4000 nits peak luminance. We showcased a true HDR setup with truly high dynamic range. Above the capabilities of HLG…
We have proven that mapping between formats must be mathematically transparent. Then every footage can be mixed and matched. The images appeared 100% the same up to diffuse white level in SDR and PQ, applying the reference OOTF of 1.2. To achieve this, we used our own LUTs, which are mathematically transparent, without adding a look. The designers create the look: with content and light, not with the workflow.
Many, many thanks to ST. ROBO for supplying the great content and the openness to work with us on equal terms on something new: Content in HDR! Those cool Laser (umb-) Rellas were a real eye-catcher – in the content as well as in the set. Next time we’ll also need a real ST. ROBO on stage. We love “him”!
Many thanks to Michael Mücher for the support in just about everything we do.
Many thanks to the entire VisionTools team for doing such an incredible job and having our backs during rig/derig and with the logistics.
Thank you to all the technology partners of the HDR Experience Zone. Without the fantastic support from the industry, such a large and complex showcase would not have been possible.
Absen Live
Analog Way
br!ght
Brompton Technology
Canon
Grass Valley
HAW Hamburg
Light Art Studios
NordLite
Recience
Roxx
Sony
Many thanks to Tom Wiegand, Max Nickel , Nico Weiberg and Cedric Grote. Without your commitment, the HDR Experience Zone would have remained a fantasy.
Many thanks to Duc Nguyen and the LEaTcon team. What a great opportunity to present HDR to our industry in such a comprehensive way.
Last, but (absolutely!) not least: Thank you to all our visitors and colleagues who came to see our showcase and discussed HDR with us.
If you want to learn more about the interaction of light, camera and LED wall in much more detail, you can find the right seminar here.
If you want to see this showcase at another fair… We are up for it. Give us a shout!
Johannes and Matthias
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