High Dynamic Range is a heavily debated topic in the technology community: not only linked to cinema, but also to television and content creation.
In this article, we’ll zoom out a bit and won’t focus on the projection aspect. We look at the wider eco-system instead: what does it take and who’s involved to get HDR-content on my screen?
There are two, equally important, aspects of realizing HDR in cinema:
- There’s an image processing aspect: “can my projection system read and process an HDR DCP the way it’s meant to be?”
- There’s is an image quality aspect: “is the perceived dynamic range in the final on-screen image, visibly better?”
Hungry for more insights?