You are right Stefan. Dolby Vision is something that requires a balance of technical Knowledge and good taste. Grading in DV HDR is kind of like working through a magnifying glass. Sloppy color no longer makes the cut. You also need to resist the temptation to over drive the color and contrast. Subtlety is the secret. If there aren’t any bright highlights in the frame, the CMU SDR contrast values should match your HDR. Then you can push the HDR and see where the SDR (REC709) starts to break. That is your limit. Also remember to re-analyze after making changes to your HDR grade. Even if it looks ok on your SDR display. The Dolby CMU analysis re-maps between 100nits and your mastering display max nit level (usually 1000nits). Just because it looks ok at 100 nits, doesn’t mean the whole PQ curve between HDR-709 is correct.
I believe that Tomorrowland in 2015 was the first Dolby Vision project that Company 3 did in the same theater this interview was shot. It was also the first DI that we completed in that building, which was still under construction at the time.
