“If you come to me tomorrow and you say ‘Hey, I’ve got an HDR project I’d love to grade with you,’ I’ll say ‘Okay cool’, and very early on in the process I’m going to say ‘Let’s set our speed limit in terms of luminance.’ And if you ask me for my take and you want to go with my suggestion, I’m going to suggest that we set a speed limit of around 250 nits because I don’t want to see an image brighter than that.” – Cullen Kelly, colorist
“Some of the worst practices I’ve seen in this industry have been people dumbing down the HDR [grade] because a DP comes in the room and says they don’t like highlights, so they put their highlights at 200 nits. And then now they’ve basically graded SDR on an HDR display. And I don’t care if you’re doing HDR10 dual pass, if you start with a master that’s got such low contrast, the CMU is going to see that and be like ‘What do you want to do here?’ and it’s going to give you a pretty flat, muddy picture.” – Tony D’Amore, Senior Colorist and Director of Creative Workflow, Picture Shop
The Daejeon Chronicles 
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