In HDR video, there is no artifact more repugnant than blown-out highlights. All that is required to avoid them is for the DP not to clip the signal, but many simply refuse to learn their craft. These issues ought to have been spotted during pre-production or when reviewing dailies and they most certainly should not have passed Netflix QC.
Image courtesy of Netflix. I Came By (2022). Cinematographer: Kit Fraser. Colorist Dan Moran tried valiantly to conceal the frightfully clipped highlights with heaps of diffusion, to no avail.Image Courtesy of Netflix. Madoff: The Monster of Wall Street (2023). Cinematographer: Jeff Hutchens. We were awestruck by the number of scenes where 12K, 5K and 3K lights burned revoltingly ugly holes in the picture.Image courtesy of Netflix. The Brothers Sun (2024). Cinematographers: C. Kim Miles and Andrew Mitchell. Miles boasts that he likes 20Ks and T12s pounding through windows, and it shows. It would’ve been nice if he knew how to use a light meter.Image courtesy of Netflix. The Recruit (2022). Cinematographers: Bernard Couture and Pierre Jodoin. It’s a shame they didn’t catch all the repulsive, blown-out highlights during pre-production. Image courtesy of Netflix. Chef’s Table (2015). Cinematographers: Adam Bricker, Will Basanta, Matthew Chavez and Chloe Weaver. Often cited as a model of HDR production, Chef’s Table is damaged by countless instances of disagreeable, blown-out highlights.
The Daejeon Chronicles 
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