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More editors are leveraging 4K/Ultra HD and HDR technologies to bring their stories to life

It is no secret that HD has become a norm for filmmaking, regardless if the final content is being distributed onto linear or online platforms, or a combination of both. This is evident in today’s professional camera marketplace where most camera systems are readily HD-equipped.

In order to match the colours as closely to reality as what the human eye sees, the industry has introduced higher resolution formats beyond HD, as well as high dynamic range (HDR), to provide more details and dynamic range of luminosity. To meet these demands, camera manufacturers have developed cameras that are capable of recording up to 4K/Ultra HD (UHD), or even 8K, while integrating HDR capabilities within the camera systems.

And in the near future, in post production, which perhaps is the last stage of the broadcast and film acquisition chain, colourists and editors will be editing videos containing high-resolution images and greater dynamic range.

David Colantuoni, senior director of production management, Avid, tells APB: “With all of this technical change, never before has a director of photography (DoP), director or editor been given such a wide range of options for creating content. Today’s camera technology is capable of capturing larger than 4K/UHD, and HDR workflows add another level of complexity, but an extended range of looks that can be achieved for the ultimate creative differentiation.

Read the full story in the APB October 2018 issue.

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