Colour in modern broadcast post-production

By Andy Minuth and Daniele Siragusano of FilmLight

Click this link to download a PDF copy of this article.

This article is part 1 of a three-part series on modern broadcast workflows. You can find the other two parts of this series by following these links:

Part 2: IT in modern broadcast

Part 3: Collaboration in modern post-production

Introduction A lot has happened in the post-production environment in recent years. High dynamic range (HDR) output, the Academy Color Encoding System (ACES) and comparable workflows are now standard in many areas. Broadcast environments, however, have always posed unique challenges for post-production, with an emphasis on creating uniform, stable and fast workflows. In addition to other developments, the increasing demand for HDR content requires a rethink of these workflows.

How would you design a state-of-the-art post-production workflow for broadcast today? Public broadcaster SWR in Germany faced this challenge in 2021. The plan was to move the digital colour correction department to completely new premises and modernise the workflows at the same time. At FilmLight, the manufacturer of the Baselight colour grading system, we're proud to have supported SWR to realise these ambitions.

In this three-part series, we take you through the different aspects of this project. We begin by focusing on colour workflows, examining the change in approach that was implemented at SWR - and which offers opportunities to broadcasters worldwide.

A suite in SWR's new colour correction department in Baden Baden, where SDR and HDR are mastered. In addition to the HDR reference monitor, there is also a larger HDR OLED consumer display, which is matched to the reference display within the scope of the technical possibilities.

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