Abstract
Increasing both the latitude of images and the peak brightness of their display can, in the right conditions, deliver stunning experiences to our viewers. However, there are also conditions where the viewer may not perceive any difference between a standard dynamic range (SDR) and a high-dynamic-range (HDR) source and, even more worrisome, situations where increasing the dynamic range can actually be detrimental to the story. Using a combination of histogrammatic and exposure value analysis methods, the author has reverse engineered the source luminance of a wide array of SDR assets from motion pictures, documentaries, talk shows, cinematic series, and sports to determine which assets offer the best potential to amaze viewers in this early wave of HDR introduction to the public.
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