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Harmonic had produced its own HDR content, shooting an American Rugby League match in San Francisco. Displayed on what was said to be an engineering sample by one company representative, and a Vizio by another. In any case all the stickering had been removed from the back, glue residue was still clear visible to enquiring eyes.
Like all compression vendors Harmonic had pre-graded HDR material that was "live processed at the booth". Ian Trow Senior Director Emerging Technology & Strategy at Harmonic (UK) Ltd, responded to the 'live grading' question: "Live is a big issue especially for the Rec.709 extended approaches such as for live sports, how to shoot live and still get some material live regraded for HDR, then live process it".
Harmonic was only showing the live processing and compression part, but so was basically every-one else, except for camera maker Grassvalley in cooperation with Dolby. Even the live contribution by Ericsson, used pre-recorded material, that was produced to follow the SMPTE 2084 EOTF curve, with minor adaptation to match the Sim2 HDR display used.
Motion portrayal performance suggested this was material produced at 30P, not 60P, but no one at the Harmonic booth could confirm, or tell us the bit rate used for the Base and HDR layers.
The dark area's in the shadow of the stands looked much like regular SDR coverage, showing that producing for more details in dark area's is a new skill to be acquired. The highlight sometimes looked over saturated showing some artifacts around the edges of the blown out red jerseys against the light green field, and the Red on Yellow advertising banners from sponsor DHL.
Motion issue:
