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
3.1.1 Mapping to displays with limited luminance range
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 programme brightness shifts
5 Inclusion of standard dynamic range content
5.1 Display referred mapping
5.1.1 Display referred mapping of SDR into PQ
5.1.2 Display referred mapping of SDR into HLG
5.2 Scene referred mapping
5.2.1 Scene referred mapping of SDR into HLG
5.3 Handling negative values in format conversion
5.4 Adjustments to BT.709 cameras
5.5 Use of 8-bit content
5.6 Mapping of SDR graphics
6 Conversion between PQ and HLG
6.1 Transcoding concepts
6.2 Conversion concepts using a reference condition at 1 000 cd/m2
6.3 Cameras using a common OOTF at a reference peak luminance of 1
000 cd/m2
6.4 Handling PQ signals with greater than 1 000 cd/m2
peak luminance
6.5 Possible colour differences when converting from PQ to HLG
7 Transitioning from SDR BT.709 to HDR BT.2100 production
7.1 HDR focused production
7.2 SDR focused 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
7.3.4 Signal range considerations for HDR to SDR
conversion
7.4 SDR-HDR-SDR “Round-Tripping”
7.5 Hardware colour matrix compensation
7.6 Signal line-up
7.7 Camera painting
8 Conversion practices for camera and display RGB colorimetry
Annex 1 Study to evaluate levels for PQ content
Annex 2 Analysis of reference levels
A2.1 Introduction
A2.2 Analysis of reference levels
A2.3 Diffuse white elements in live HLG encoded broadcast content
A2.4 Diffuse white in an HDR dataset of 1 000 cd/m2 PQ
encoded images
A2.5 Discussion
A2.6 Conclusions
Annex 3 Two studies of skin tones, using a reflectance database and using real
subjects
A3.1 Study 1: using a skin tone database and an ideal model of a
camera
A3.2 Study 2: using human subjects and a RAW recording camera
A3.3 Conclusions
Annex 4 Study of facial skin tones in broadcast content
A4.1 Facial skin tones in SDR news and information programmes in
studio
A4.2 Comparison of facial skin tones in HLG HDR and SDR content in a
music programme
A4.3 Conclusion
Annex 5 Displaying PQ – calculating the EETF
Annex 6 Comparison of the native looks of HDR and SDR production
A6.1 Differences in chromaticity and saturation
A6.2 Quantifying the total colour differences
A6.3 Comparison with the reference colour pattern data
Annex 7 Calculating the normalized primary matrix
A7.1 Conversion of normalized linear colour signals to
Recommendation ITU‑R BT.2100
A7.2 Conversion of BT.2100 to arbitrary linear colour signals for
display systems
Annex 8 4K/8K UHD HDR and HD SDR simul-production and simulcast practice in
China
A8.1 Background
A8.2 Basic workflows and principles
A8.3 Introduction of related work and research
A8.4 Mapping for conversion between HDR and SDR
A8.5 Parameter settings
A8.6 Converter performance consistency (LUTs usage)
A8.7 Signal range
A8.8 Consistency of international exchange
A8.9 Conclusions
References
Glossary