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Thesis Master’S Degree Thesis Master’s Degree HDR and the Colorist How new technology affects professionals in the motion picture industry Author: Jonas Westling Supervisor: Johnny Wingstedt Examiner: Jonas Ramsten Course examiner: Cecilia Strandroth Subject: Audiovisual Studies Course: AU3001 Points: 15 hp Examination date: May 24th, 2019 Vid Högskolan Dalarna finns möjlighet att publicera examensarbetet i fulltext i DiVA. Publiceringen sker open access, vilket innebär att arbetet blir fritt tillgängligt att läsa och ladda ned på nätet. Därmed ökar spridningen och synligheten av examensarbetet. Open access är på väg att bli norm för att sprida vetenskaplig information på nätet. Högskolan Dalarna rekommenderar såväl forskare som studenter att publicera sina arbeten open access. Jag/vi medger publicering i fulltext (fritt tillgänglig på nätet, open access): Ja ☒ Nej ☐ Högskolan Dalarna – SE-791 88 Falun – Tel 023-77 80 00 Abstract By utilizing a Research through Design approach this master thesis studies how technological changes might affect professionals working in the motion picture industry, specifically; how the advent of HDR (High Dynamic Range) affects the colorist. The research questions formulated are the following; (1) How can color grading in HDR be approached? (2) What effect can HDR have on visual modality? (3) What specific affordances can HDR offer the colorist? (4) How can HDR affect the creative space of the colorist? Three of the research questions are derived from the theoretical framework applied in this master thesis; starting with the social semiotic implementation of the term modality (models of reality), the Gibsonian term affordance (possibilities for action and meaning making) and its use in communications research, and lastly; the concept of creative space in motion picture production. Analytic autoethnography was used to generate primary data by documenting the process of color grading a 13-minute short film, and also performing semistructured interviews with four colorists. Amongst other findings, this study found that HDR offers a wider range of modality expression than SDR (Standard Dynamic Range); regarding several visual modality markers. Four HDR-specific affordances were formulated; (1) color expandability, (2) highlight differentiability, (3) tonal rangeability, (4) brightness disturbability. Relating to the concept of creative space; the colorists expressed a concern that they will have to create multiple versions when delivering HDR, but not get a bigger budget for it, therefore having less time to spend on other aspects of color grading. Keywords HDR, High Dynamic Range, Colorist, Color correction, Color grading, Cinema, Motion picture, Digital video, Film, Postproduction. HDR is coming and it's incredibly exciting for us as colorists, [...] there's just so much we can do with HDR. I mean that's a new toolkit right there. That's what we should be embracing.1 -Kevin Shaw 1 Petok, J. & Shaw, K. [Colorist Podcast]. (2016, July 11). Episode 002: Kevin Shaw [podcast]. Retrieved from https:// coloristpodcast.libsyn.com/episode-002-kevin-shaw Foreword ........................................................................................I 1. Problem definition .......................................................................1 1.1 Objective and research questions ............................................................1 2. Background ................................................................................2 2.1 The five key parameters of digital video ..................................................2 2.1.1 Quantitative properties .....................................................................3 2.1.2 Qualitative properties ........................................................................3 2.2 An introduction to the colorist .................................................................5 2.2.1 Color correction and color grading ....................................................5 2.2.2 Primary and secondary adjustments .................................................6 2.2.3 Goals and methods of the colorist .....................................................7 2.3 HDR review.............................................................................................. 9 2.3.1 Color volume .....................................................................................9 2.3.2 Tonal range .....................................................................................11 3. Theory .....................................................................................14 3.1 Modality................................................................................................. 14 3.2 Affordance .............................................................................................16 3.3 Creative Space .......................................................................................17 4. Method ....................................................................................18 4.1 Research through design .......................................................................18 4.2 Analytic autoethnography ......................................................................19 4.3 Semistructured interviews .....................................................................21 4.4 Implementation and execution ..............................................................22 4.4.1 Data generation 1: Production diary ................................................23 4.4.2 Data generation 2: Interviews .........................................................23 5. Production ................................................................................25 5.1 Getting started with HDR .......................................................................25 5.1.1 Hardware and software ...................................................................25 5.1.2 Consuming HDR content ..................................................................27 5.2 Color grading a short film ......................................................................28 5.2.1 Initial setup and test .......................................................................28 5.2.2 Conforming the timeline ..................................................................32 5.2.3 Starting out in SDR ..........................................................................33 5.2.4 Maximizing the look ........................................................................33 5.2.5 Secondary corrections .....................................................................38 5.2.6 Managing graphics ..........................................................................41 6. Interviews ................................................................................43 6.1 Informant 1 ...........................................................................................43 6.2 Informant 2 ...........................................................................................45 6.3 Informant 3 ...........................................................................................47 6.4 Informant 4 ...........................................................................................49 7. Analysis ...................................................................................51 7.1 General evaluation................................................................................. 51 7.2 HDR in relation to Modality ....................................................................53 7.3 The Affordances of HDR .........................................................................56 7.4 HDR and Creative Space ........................................................................57 8. Discussion and conclusion ...........................................................59 8.1 Future work ...........................................................................................60 Reference list ................................................................................61 Litterature ...................................................................................................61 Internet .......................................................................................................63 Appendix .....................................................................................67 HDR formats ................................................................................................67 SMPTE ST.2084 ........................................................................................67 HDR Metadata ..........................................................................................68 Dolby Vision .............................................................................................69 HDR10/HDR10+ .......................................................................................69 Foreword Do you remember the advent of High Definition video? I do. I remember a friend sending me stills of 720p HD and 1080p Full-HD video via Microsoft’s MSN Messenger. This was a while ago, but actually not too long ago, and this was the latest time I was truly excited about video standards and related technology, until now. Since then we’ve seen a couple of technologies appear on the market. In 2012, I remember going to the cinema to watch ‘The Hobbit: An unexpected Journey’ to emerge myself in the experience of stereoscopic, or 3D for short. I wasn’t too excited about what I thought was something of a hype; with more expensive tickets and some glasses
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