HDR (High Dynamic Range) imaging technology displaying expanded brightness and color gamut with significantly brighter highlights and deeper blacks compared to SDR.
HDR stands for High Dynamic Range and, in the film and TV sector, refers to recording, editing, and playback methods that display a significantly wider brightness range and an extended color gamut (Wide Color Gamut) than classic SDR (Standard Dynamic Range). While SDR images are designed for a peak brightness of around 100 nits (cd/m²), HDR aims for considerably higher highlights and, simultaneously, deeper, purer black tones. HDR is not a single device but a continuous signal chain from the camera through grading to the display.
HDR directly impacts camera and post-production technology: conventional SDR material is insufficient for a usable HDR image. The prerequisite is recording material with a high dynamic range, meaning Log or RAW recording (e.g., ARRI Log-C, Sony S-Log3, Blackmagic RAW). Modern cinema camera sensors (like ARRI's ALEV family) achieve a dynamic range on the order of approximately 14 to 17 stops, which forms the basis for HDR evaluation.
HDR replaces the classic gamma curve with new transfer functions (EOTF):
The most important delivery formats differ primarily in the metadata that describes the mastering:
| Format | Transfer Function | Metadata |
|---|---|---|
| HDR10 | PQ | static |
| HDR10+ | PQ | dynamic (scene-based) |
| Dolby Vision | PQ | dynamic (scene-based) |
| HLG | HLG | none |
HDR content is also mastered in an extended color space: Rec. 2020 (BT.2020) or, in practice, often the DCI-P3 contained within it, instead of Rec. 709 (BT.709) which is standard for SDR.
For the gaffer and the camera team, HDR shifts the exposure philosophy: highlights, practical lights, and window brightness become more visible and "real" in the HDR image, rather than clipping early. This increases creative freedom but also demands a deliberate lighting concept, as bright light sources are more noticeable in the HDR master.
In practice, this means continuous Log or RAW recording, a calibrated HDR reference monitor on set and in post-production, and an HDR-capable grading workflow. Typically, a derived SDR cut (HDR-to-SDR trim) is also created, as not all distribution paths and end devices support HDR. Industry references such as ITU-R BT.2100 or UHD Premium specifications define target values for peak brightness and black level of mastering displays for this purpose.
Ich muss bereits am Set auf HDR-kompatible Monitore setzen und meine Belichtung entsprechend anpassen – die Log-Aufzeichnung gibt mir deutlich mehr Spielraum in den Lichtern und Schatten. Das bedeutet aber auch, dass ich bei Mixed-Lighting-Situationen noch präziser arbeiten muss, da HDR jeden Fehler gnadenlos sichtbar macht.
HDR eröffnet mir völlig neue Möglichkeiten für die visuelle Dramaturgie – ich kann mit extremen Kontrasten arbeiten, ohne Details zu verlieren, und Lichtquellen wie Kerzen oder Neonröhren bekommen eine fast physische Präsenz. Besonders bei Thriller oder Science-Fiction kann ich die Zuschauer durch diese erweiterte Realitätsnähe noch tiefer ins Geschehen ziehen.
HDR bedeutet 25-30% höhere Postproduktionskosten durch doppeltes Color Grading und HDR-fähige Technik, aber die Streaming-Anbieter zahlen Premium-Rates für HDR-Content. Ich muss von Anfang an HDR-Monitoring einkalkulieren und sicherstellen, dass meine Postproduktions-Pipeline beide Standards effizient bearbeiten kann.
1. Was beschreibt „HDR" am besten?
2. Zu welchem Department gehört „HDR"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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