As video content evolves from traditional television into more complex and varied forms
of media, more and more of our content creators capture in higher resolution, frame rate
and dynamic range than traditional HD to give themselves creative latitude in post-
production.
Generating UHD content comes with its lot of challenges for a traditional HD
infrastructure. For example, which version(s) should we archive: The source, ungraded
asset, the HD version, the social media version(s) like square and vertical, or a
combination of those? If content is shot in UHD, for example, and then cropped in post,
should the final, cropped HD product be the one we archive, or the UHD original? If we
archive the original, how do we store information about the cropping parameters? If
colour and dynamic range are wider in the source than the final render (e.g.
SLog3/SGamut3), which 3D Look-up Table is the right one to use? Should that 3D LUT
also be archived with the source asset? How do we link a specific asset to a specific 3D
LUT for posterity?
Public broadcasters have legal obligations with regards to content preservation, but those
do not necessarily specify the format(s) for archival, so we need to balance obligations,
cost and future value of assets in the process of designing such workflows.
This case study covers all of those aspects, and specifically discusses:
- Which capture standards are adopted?
- How can HDR to SDR conversion (and vice-versa) be automated in a consistent, high-
quality manner?
- Which production units were initially targeted, and why?
- How was the training program developed, what equipment was required to deliver
effective training?
- How is quality control performed during production and post-production?
- What affordable tools can be used for HDR and SDR monitoring?
- What worked well so far, and what required adjustments?