CONTENTS

Report ITU-R BT.2408-8
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 Integrating standard dynamic range and high dynamic range production
        5.1 Inclusion of standard dynamic range content in high dynamic range
                  5.1.1 Display referred mapping
                  5.1.2 Display referred mapping of SDR into PQ
                  5.1.3 Display referred mapping of SDR into HLG
                  5.1.4 Scene referred mapping
                  5.1.5 Comparing scene-light and display-light direct-mapping
        5.2 HDR to SDR down-mapping
        5.3 Handling negative values in format conversion
        5.4 Adjustments to BT.709 cameras
        5.5 Use of 8-bit content
 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 to HDR production
        7.1 Common components in a single-master workflow
                  7.1.1 UHD and HD resolution HDR camera outputs
                  7.1.2 HDR slow-motion
7.1.3 HDR to SDR down-mapping
7.1.4 Camera shading
7.2 Single-master HDR production with HDR-focused workflow
7.3 Single-master HDR production with SDR focused workflow
7.3.1 PQ production with SDR shading
7.3.2 HLG production with SDR shading
7.4 Single-master HDR production with dual-focused workflow
7.4.1 Approach A: unified white levels achieved by using an SDR display with reference peak luminance and an HLG display with adjusted peak luminance levels
7.4.2 Approach B: unified white levels achieved by using an HDR display with reference peak luminance and an SDR display with adjusted peak luminance levels
7.5 Downstream distribution of a single-master production
7.6 SDR-HDR and HDR-SDR format conversion
7.6.1 PQ conversion
7.6.2 HLG conversion
7.6.3 The displayed ‘look’ of content following format conversion
7.6.4 Signal range considerations for HDR to SDR conversion
7.7 SDR-HDR-SDR ‘Round-Tripping’
7.8 Hardware colour matrix compensation
7.9 Signal line-up
7.10 Camera painting
7.11 Progressive-to-interlaced conversion
7.12 Look-up Table (LUT) conversions in HDR television production
7.13 Floating-point signal representation for programme exchange
8 Conversion practices for camera and display RGB colorimetry
9 Graphics
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
Annex 9  HDR and SDR monitors in close proximity
       A9.1 Approach A: Matching SDR diffuse white level by adapting HDR monitor peak luminance
       A9.2 Approach B: Matching HDR diffuse white level by adapting SDR monitor peak luminance
                  A9.2.1 Signal flow - hybrid-linear HDR-to-SDR conversion
Annex 10  NBCUniversal single-master HDR-SDR workflow
Annex 11  Conversion between 203 cd/m² and 100 cd/m² (BT.2035) SDR signal formats
      A11.1 Example of optional gamma applied to SDR images
      A11.2 Example of optional gamma applied to SDR for monitoring
References
Glossary