UHD (2160 / HDR) and HD (1080 / BT.709) Simultaneous Workflows at the CBC

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 be archived: 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 color 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.

Published

2020-11

Content type

Original Research

Keywords

UHD, 4K, HDR, SLog3, 3D LUT, Broadcasting, Post-production

DOI

10.5594/M001901