Introduction
Your colorist just finished the HDR grade and the streaming platform rejects the deliverable. The error report says the MaxCLL metadata is missing, the color space is tagged BT.709 instead of BT.2020, and the audio is 16-bit instead of 24-bit. Three technical violations, three revision cycles, three days lost. All because the delivery specs were checked after the grade instead of before it.
The HDR delivery spec checker gives you the complete technical requirements for major distribution platforms before you start mastering. Select a platform and see every specification: resolution, codec, bit depth, color space, transfer function, luminance targets, HDR metadata type, audio format, and container. No more hunting through 40-page PDF spec documents.
This tool turns a 30-minute spec research task into a 30-second lookup, and it prevents the most expensive kind of error: the one you discover after the deadline.
What This Tool Calculates
The checker is a specification reference tool rather than a formula-based calculator. Select a delivery platform or format and it displays the full technical requirements organized into three sections.
Video specifications include resolution, codec, bit depth, chroma subsampling, bitrate range, frame rates, and container format. Color and HDR specifications include color space, transfer function (PQ, HLG, or gamma), peak and minimum luminance targets, and HDR metadata requirements. Audio specifications include codec, channel configuration, bit depth, and sample rate. Platform-specific notes highlight critical requirements that are commonly missed.
The Formula and How It Works
HDR delivery relies on several interrelated standards. The color space defines the range of colors available. Rec. 709 is standard dynamic range (SDR). Rec. 2020 (BT.2020) is the wide color gamut used by all HDR formats, covering 75.8% of the visible spectrum compared to Rec. 709's 35.9%.
The transfer function determines how brightness values are encoded. PQ (Perceptual Quantizer, SMPTE ST 2084) maps absolute luminance values up to 10,000 nits. HLG (Hybrid Log-Gamma) is a relative system that is backwards compatible with SDR displays.
HDR metadata comes in two forms. Static metadata (HDR10) includes MaxCLL (Maximum Content Light Level) and MaxFALL (Maximum Frame Average Light Level) for the entire program. Dynamic metadata (Dolby Vision, HDR10+) includes per-scene or per-frame tone mapping information that optimizes the image for each display's capabilities.
Key reference: a premium streaming platform typically requires H.265/HEVC Main 10 Profile, Rec. 2020 color space, PQ transfer function, 10-bit depth, 4:2:0 chroma subsampling, and either static HDR10 or dynamic Dolby Vision metadata with an SDR fallback version.
Real-World Examples
First-Time Streaming Delivery for Independent Film
An independent filmmaker accepted a licensing deal with a premium streaming platform. The post house had graded in Rec. 709 SDR only. Using the spec checker, they discovered the platform required both an HDR master (Dolby Vision Profile 5, Rec. 2020, PQ, 10-bit) and an SDR version. The colorist regraded in DaVinci Resolve's HDR mode, generating Dolby Vision metadata and an SDR trim simultaneously. Without the spec check upfront, they would have delivered SDR only and faced a rejection.
Festival DCP with HDR Considerations
A filmmaker submitting to a major festival assumed they needed an HDR DCP. The spec checker showed that standard DCI theatrical projection is limited to 48 cd/m2 (nits), which is technically SDR by streaming standards. The tool clarified that only Dolby Cinema venues support extended dynamic range at 108 nits. The filmmaker saved thousands of dollars by creating a standard 2K DCP for festival screening instead of an HDR master that most festival projectors cannot display.
YouTube HDR Upload for Music Video
A production company wanted to upload an HDR music video to YouTube. The spec checker showed that YouTube requires HDR10 (PQ transfer, Rec. 2020) encoded in H.265/HEVC or VP9 Profile 2 at 10-bit. The editor exported from Premiere Pro using the HEVC HDR10 preset, set MaxCLL and MaxFALL values in the export settings, and uploaded at 50 Mbps. YouTube automatically transcoded to VP9 Profile 2 and AV1 for HDR playback on supported devices.
HDR Format Comparison
| Feature | HDR10 | HDR10+ | Dolby Vision | HLG |
|---|---|---|---|---|
| Metadata | Static | Dynamic (scene) | Dynamic (frame) | None required |
| Max Bit Depth | 10-bit | 10-bit | 12-bit | 10-bit |
| Transfer Function | PQ | PQ | PQ | HLG |
| SDR Compatible | No | No | Profile 8.1 only | Yes (native) |
| License Fee | Free (open) | Free (open) | Licensed (Dolby) | Free (open) |
| Adoption | Universal | Samsung, Amazon | Apple, Netflix, Disney+ | BBC, NHK, broadcast |
| Peak Nits (spec) | 1,000-10,000 | 1,000-10,000 | 1,000-10,000 | 1,000 nominal |
Pro Tips and Common Mistakes
Pro Tips
- Always check delivery specs before starting the color grade, not after. The choice between HDR10, Dolby Vision, and HLG affects your entire mastering pipeline, from the working color space in your grading software to the export settings in your NLE.
- Most premium streaming platforms require both an HDR version and an SDR version. Grade in HDR first, then create the SDR trim. DaVinci Resolve and Baselight both support simultaneous HDR/SDR output from a single timeline.
- When in doubt about which HDR format to use, HDR10 has the widest device compatibility and no licensing fees. Dolby Vision provides the best image quality on supported displays but requires a licensed encoder. HLG is the safest choice for content that must play on both HDR and SDR displays without separate masters.
- MaxCLL and MaxFALL metadata values should be measured from your actual master, not guessed. DaVinci Resolve's HDR analysis tools and Colorfront's Transkoder both measure these values automatically. Incorrect metadata causes tone mapping errors on consumer displays.
Common Mistakes
- Tagging the color space as Rec. 709 instead of Rec. 2020 in the export metadata. The image data may be correctly graded in wide color gamut, but if the container metadata says Rec. 709, displays will interpret the colors incorrectly, producing oversaturated or shifted hues.
- Delivering 8-bit HEVC for an HDR master. All HDR formats require a minimum of 10-bit encoding. 8-bit video cannot represent the extended brightness range without severe banding in gradients, especially in sky and skin tones.
- Assuming all HDR displays show the same result. A 1,000-nit TV and a 4,000-nit TV will render the same HDR10 content differently because static metadata provides no per-scene adjustment. Dolby Vision's dynamic metadata adapts the image to each display, which is why platforms increasingly require it.
Frequently Asked Questions
What is the difference between HDR10 and Dolby Vision?
HDR10 uses static metadata (one set of brightness values for the entire program). Dolby Vision uses dynamic metadata (brightness values per scene or per frame). Dynamic metadata allows the display to optimize tone mapping for each scene, producing better shadow detail and highlight accuracy. Dolby Vision also supports 12-bit processing internally, while HDR10 is limited to 10-bit.
Do I need a special monitor to grade HDR?
Yes. You need a reference monitor that supports at least 1,000 nits peak brightness and covers the DCI-P3 or Rec. 2020 color gamut. Common choices include the Sony BVM-HX310 (1,000 nits, full P3), FSI XM311K (1,000 nits), and SmallHD or Flanders Scientific models. Grading HDR on an SDR monitor produces unreliable results because you cannot see the extended brightness range.
What is HLG and when should I use it?
HLG (Hybrid Log-Gamma) is an HDR format developed by the BBC and NHK for broadcast. Its key advantage is backwards compatibility: HLG content displays correctly on both HDR and SDR televisions without requiring separate masters or metadata. Use HLG for live broadcast, news, sports, and any content where SDR compatibility is essential without maintaining two separate deliverables.
Can I convert SDR content to HDR?
Technically yes, through inverse tone mapping and AI upscaling tools. However, the result is not true HDR because the original footage lacks the brightness and color information that HDR captures. Converted SDR looks marginally better on HDR displays but does not match natively captured HDR content. Most platforms do not accept upconverted SDR as an HDR deliverable.
Start Calculating
HDR delivery is a moving target with specifications that vary by platform, format, and year. Checking the requirements before you start mastering is the single most effective way to avoid rejection, revision cycles, and deadline pressure.
Select your target platform above and review every specification before your next HDR delivery. Which HDR format does your primary distribution channel require, and have you verified your monitoring chain supports it?
