HDR In Name Only: The Invisible Downgrade In Dolby Vision Streaming

“Dolby Vision is a visual technology designed to enhance the viewing experience to unprecedented levels. It empowers visual creatives to infuse their work with unparalleled depth and vibrancy, revolutionizing how we perceive visual content. By leveraging High Dynamic Range (HDR) technology, Dolby Vision dynamically optimizes image quality based on the specific service, device, and platform,” offering “deep contrasts, vibrant colors, and near-realistic visuals, revealing the finest details and nuances in dark and bright scenes.” – Dolby Vision vs. IMAX and HDR10: A Comparative Analysis

Although Dolby Vision markets itself as offering richer color and contrast, many if not most streamed Dolby Vision movies and TV series are little more than SDR in an HDR container: that is, they don’t exploit the format’s wider dynamic range or color gamut. Consequently, the content is likely to be virtually indistinguishable from SDR, Dolby Vision badge notwithstanding. 

“There are filmmakers who I work with whose answer is identical: ‘I want the HDR to be identical to the SDR. I want it to have the same dynamic range. I want it to have the same color gamut. I want nothing whatsoever to change. All I want to change is the deliverable itself because that’s being required of me by the studio.’” – Cullen Kelly, colorist

The reason for this situation is not so much technical (this occurs even on multi-million dollar productions using cameras approved by the streamers with the necessary dynamic range, proper exposure tools and lights & post-production houses have the required tier 1 reference grading monitors, etc.) as it is aesthetic – filmmakers simply have an undisguised aversion to HDR. 

“HDR is designed so people watching on their small phone can have everything pop because they are watching it during daylight or in their office.” – Barry Sonnenfeld, director

Those who’ve invested in HDR TVs & premium tier subscriptions (for the most part, the only ones that offer HDR) expecting better quality but who don’t see it, might cancel subscriptions or migrate to other platforms in the faint hope of stumbling across one that provides true HDR content. And doubtless some will take to the forums and social media to broadcast their disillusionment. 

“What you mention is completely true. I was in a feature films in which everything was done on SDR until the grading. The camera test was SDR, the LUT created was SDR, the dailies were SDR, the offline was SDR. Then the DP came and said I want the movie to look like the offline IN SDR. So it was impossible to convince him other way. And the LUT created from the colorist for SDR obviously it wasn’t working for HDR. So the solution was to create the SDR dailies exactly but within the HDR container. 

Until everything in the pipeline is HDR based, I highly doubt there will be good implemented HDR as you mentioned” Cristóbal Bolaños López, colorist

If a streamer distributes subpar HDR content, it very well might chip away at their reputation as a leader in streaming technology. Mixing true HDR and “SDR-in-HDR-container” content creates inconsistency, confusing users and diluting the Dolby Vision brand. Streamers that neglect HDR’s potential may also lag in the “streaming wars,” where visual quality is a key differentiator. To make matters worse, in their webinars, Dolby Professional, acknowledging the pushback against HDR by filmmakers, is now advising colorists on how best to preserve the rotten low-con SDR look in the HDR master. 

“Disney+’s The Mandalorian live-action Star Wars series is the latest in a long line of high-profile content that is just SDR wrapped up in an HDR package. The show has none of the actual benefits of HDR and a number of additional downsides, such that viewers might actually prefer to disable HDR on their TVs when viewing.” – Ars Technica

Content that is HDR in name only risks a barrage of criticism from tech reviewers, influencers and fans alike. Tech-savvy audiences are important for driving adoption of new features, so losing their endorsement could be harmful. As Ars Technica Sr. Editor Samuel Axon points out, deceptive tactics like this could also lead consumers who would otherwise invest in the technology to conclude that HDR’s not worth the effort. Why streamers like Netflix even bother to distribute movies and series in Dolby Vision by outspoken critics of HDR is anybody’s guess. 

Conversely, considering the expenditure on HDR by streamers, it’s financially irresponsible if content doesn’t utilize its potential. HDR requires significantly more bandwidth and storage than SDR, incurring higher costs without a corresponding ROI.

 “If you can get exactly the author’s intent out of SDR, then by definition, you have to distort it to make it look different in HDR.” – Steve Yedlin, ASC

Filmmakers protest that HDR alters their artistic intent. Traditional SDR has limitations that creators have gotten used to and HDR might push the visuals beyond what they consider aesthetically pleasing. Whether for nostalgic or stylistic reasons, or because they associate SDR with the ‘cinematic’ look tied to legacy formats (in particular, photochemical film), it’s no exaggeration to say that filmmakers really are hooked on low dynamic range imagery!

“All the HDR stuff is really just another place for things to get screwed up, and not much more than that.” – Steve Yedlin, ASC

Because HDR requires a decidedly different approach to exposure, lighting, editing and grading, creators accustomed to SDR workflows are bound to feel that transitioning to HDR is disruptive at first. They might not have the same level of confidence or familiarity, leading to frustration. And, as we’ve previously remarked, that frustration is sometimes redirected at manufacturers, studios and even the general public. 

“HDR is the future… but it shouldn’t be. It’s great for watching sports, like hockey, but nothing else.” – Barry Sonnenfeld, director

Streamers face several strategic risks if they continue to offer HDR (Dolby Vision) content that fails to provide tangible benefits over SDR. Without mandates or support (e.g., training, tools), filmmakers are inevitably going to deprioritize HDR mastery. Addressing creators’ dislike of HDR involves understanding the root causes— whether technical, educational, or artistic – and tailoring strategies that respect filmmakers’ creative visions while leveraging HDR’s benefits. Streamers ought to work on changing perceptions, demonstrating the artistic benefits of HDR and showcasing successful examples where HDR enhances the storytelling. At the same time, they should be enforcing strict HDR standards for deliverables, ensuring that dynamic range and color gamut are utilized.