Ray3 HDR & EXR Workflow

TL;DR

Ray3 can deliver HDR video and OpenEXR sequences that grade cleanly if you treat them like film scans: lock color management, protect highlights in the prompt, and track every export with a checklist. Draft in SDR to validate motion, then switch to HDR/EXR once direction is locked, stakeholders approve, and post teams are ready to ingest heavier assets.

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HDR/EXR in Plain Terms

• HDR video preserves highlight headroom so you can compress contrast later without clipping; think of it as extra dynamic range for creative grade moves.
• OpenEXR stores float data per frame; it is heavier but keeps latitude for compositing, relighting, and deep compositing workflows.
• Color spaces (ACEScct, Rec.2100 PQ/HLG) define how that data maps to screens; inconsistent choices cause banding, crushed blacks, or washed highlights.
• Metadata discipline (fps, bit depth, exposure notes, camera intent) ensures editors and compositors stay synced across apps and makes relinks painless.
• Proxy strategy matters: generate lighter mezzanine files so stakeholders can review without waiting on EXR playback.

Export & Management

1. Generate a hi-fi pass with highlight-safe prompts (“protect highlights,” “controlled exposure,” “balanced contrast”) and confirm Draft outputs match timing.
2. Choose output: HDR video for fast delivery, or EXR sequence when you need comp and grade flexibility; note file size implications before committing.
3. Name files predictably: show/sequence/shot/version/hdr|exr; store Parameter Cards alongside renders so seeds, durations, and lighting cues travel together.
4. Import into grading/VFX tools with a consistent IDT/ODT (ACES or Rec.2100), apply viewing LUTs for reviews, and archive both proxies and masters with checksum logs.
5. Communicate storage and throughput changes to IT—EXR floods storage quickly, so plan retention windows and backup policies.

Post Pipeline Example

• Editorial: cut with lightweight mezzanine proxies (ProRes 422 HQ, DNxHR HQX, or HEVC 10-bit) and relink to EXR for online; maintain shot IDs.
• Color: apply ACEScct, balance exposure, then add creative looks, windows, and secondary isolation before outputting both HDR and SDR trims.
• VFX: composite glows, particles, or clean-up in Nuke/After Effects directly on EXR plates; render back to EXR or 16-bit TIFF sequences for grade.
• Finishing: bring graded masters into the online timeline, confirm sync against proxies, and prep delivery packages (IMF, ProRes, platform-specific specs).
• Archive: store EXR masters, graded HDR, SDR trims, Parameter Cards, and change logs so future revisions have full context.

Common Pitfalls & Fixes

• Crushed highlights → Add highlight language in prompts, monitor histograms, and avoid clipping during generation and grade.
• Gamma mismatches → Align everyone on ACES or a single Rec.2100 workflow before renders leave Ray3; document IDT/ODT in your checklist.
• Bloated storage → Use ZIP/PIZ compression for EXR, purge superseded takes, and keep mezzanine proxies for quick reviews.
• Version confusion → Tie every render to a Parameter Card ID and mirror that ID in filenames, edit timelines, and grade galleries.
• HDR to SDR trims breaking → Build LUTs or color transforms early and validate on target displays before final output.

Checklist

• Draft Mode run approved for camera, pacing, and coverage at SDR.
• HDR/EXR need confirmed with grade/VFX leads and storage owners.
• Export settings locked (resolution, fps, bit depth, compression, color space).
• Parameter Card saved with prompt, duration, lighting, exposure notes, and delivery status.
• Delivery targets defined (HDR master, SDR trim, mezzanine proxy, archive).
• QC plan set: scopes, HDR monitor, SDR verification, audio sync.

FAQ

Should I grade Draft outputs?
No. Draft Mode is for motion validation. Only grade once you have hi-fi or EXR renders with intact dynamic range and metadata.

How do I monitor HDR while iterating?
Use a calibrated HDR display or apply a LUT that approximates your delivery space; do not trust uncalibrated laptop screens for highlight decisions.

What if my team only works in SDR?
Render a 10-bit SDR mezzanine, but keep an EXR archive so future revisions can leverage HDR if required; note conversions in your Parameter Card.

Do I need ACES to work with Ray3 HDR?
ACES is not mandatory, but adopting a standardized color pipeline prevents mismatched gamma and simplifies multi-app handoffs.

How do I hand off EXR to agencies or vendors?
Provide a zipped package with EXR frames, Parameter Cards, LUTs, and readme instructions so external teams can match your pipeline instantly.