CONTENTS
Policy on Intellectual Property Right (IPR)
1 Introduction
2 Reference levels and signal format
2.1 HDR Reference White
2.2 Signal levels for line-up in production
2.3 Bit depth
2.4 Signal range
2.5 Colour representation
3 Monitoring
3.1 Display of PQ signals
3.2 Display of HLG signals
3.2.1 Display of HLG signals on SDR screens
4 Image brightness
4.1 Comfortable brightness of static images
4.2 Tolerance to Brightness Shifts
5 Inclusion of standard dynamic range content
5.1 Adjustments to ITU-R BT.709 cameras
5.2 Use of 8-bit content
5.3 Mapping of SDR graphics
6 Conversion between PQ and HLG
7 Transitioning from SDR BT.709 to HDR BT.2100 production
7.1 HDR focussed production
7.2 SDR focussed production
7.2.1 PQ production
7.2.2 HLG production
7.3 SDR-HDR and HDR-SDR format conversion
7.3.1 PQ conversion
7.3.2 HLG conversion
7.3.3 The displayed “look” of content following format
conversion
7.4 SDR-HDR-SDR “Round-Tripping”
7.5 Hardware colour matrix compensation
Annex 1 Study to evaluate levels for PQ content
Annex 2 Analysis of reference levels
1 Introduction
2 Analysis of Reference Levels
3 Diffuse white elements in live HLG encoded broadcast content
4 Diffuse white in an HDR dataset of 1000 
PQ encoded images
5 Discussion
6 Conclusions
Annex 3 Two studies of skin tones, using a reflectance database, and using
real subjects
1 Study 1: using a skin tone database and an ideal model of a camera
2 Study 2: using human subjects and a RAW recording camera
3 Conclusions
Annex 4 Study of facial skin tones in broadcast content
1 Facial skin tones in SDR news and information programmes in studio
2 Comparison of facial skin tones in HLG HDR and SDR content in a music
programme
3 Conclusion
Annex 5 Factors facilitating successful HDR-TV