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HDR is not simply SDR with the brightness turned up. The two systems interpret encoded values differently, and an HDR picture also depends on its color representation, any format metadata, and how the display maps the signal to its own capabilities. A bright screen cannot fix a signal that it is interpreting incorrectly.
What makes HDR and SDR different?
A video signal stores numbers, not light itself. A transfer function defines how those encoded values relate to the light a display should produce. For SDR reference-display behavior, ITU-R guidance uses BT.1886; HDR workflows use transfer functions such as PQ or HLG. The same encoded value therefore does not necessarily mean the same displayed light in SDR and HDR.
Color representation is a separate part of the signal. It describes how colors are represented, while the transfer function describes signal-to-light behavior. For example, AWS lists Rec. 2020 color space for both HDR10 and HLG, but pairs them with different transfer functions and metadata approaches. A Rec. 2020 label does not mean that every source uses the full gamut.
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What do PQ, HLG, and metadata tell you?
HDR is not a single signal format. PQ and HLG are distinct approaches, and metadata is one piece of a format—not a substitute for its transfer function or color representation.
| Format | Color space listed by AWS | Transfer function | Metadata listed by AWS |
|---|---|---|---|
| HDR10 | Rec. 2020 | PQ | SMPTE ST 2086 display metadata |
| HLG | Rec. 2020 | HLG | No display metadata listed |
This comparison reflects the entries in AWS Elemental Live’s color-space standards table; it should not be generalized to every codec, delivery system, or optional format extension. In particular, it does not mean every HDR file contains dynamic metadata.
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PQ
PQ is the transfer function associated with HDR10 in AWS’s table. HDR10’s entry also specifies Rec. 2020 and SMPTE ST 2086 display metadata. Those details help identify how the signal is represented, but the display still has to render it within its own capabilities.
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HLG is a different HDR approach. AWS lists it with Rec. 2020 and no display metadata in the cited table. Apple describes HLG as scene-referred: the system applies an output transform based on peak display brightness and ambient lighting. That makes viewing conditions and display behavior part of the result, not just the stored signal. See Apple’s HLG documentation.
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Why does the display’s interpretation matter?
A display has a finite luminance range, and the room and viewing conditions also affect perceived image brightness. When the screen cannot reproduce the content’s full range, display mapping adapts the signal to what that screen can show. Mapping is a rendering decision; the label “HDR” alone does not specify exactly how a particular display will handle it.
ITU-R BT.2408-7 discusses adapting to a display’s peak luminance and calls for display mapping when the display has a lower dynamic range than the HDR content. Its example SDR-to-PQ workflow assumes a 100 cd/m² screen white and maps that nominal SDR peak white to about 203 cd/m², or 58% PQ. Those are values for the described workflow—not a universal SDR limit, HDR ceiling, or consumer-TV target. The report also refers to a 5 cd/m² BT.2100 surround condition when discussing adaptation; that is contextual guidance, not a general room-light recommendation.
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The consequences of a format mismatch can be visible. ITU-R warns that BT.2100 PQ shown on a monitor expecting BT.709 can look dim and washed out, with desaturated colors and hue shifts. Raising a brightness control does not correct the underlying interpretation: the display must treat the signal according to its transfer function and color representation.
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Does converting SDR to HDR create more detail?
Conversion changes how existing material is represented and mapped; it does not, by itself, establish that highlights or color detail absent from the source have been recovered. The outcome depends on the conversion method and the display that renders it.
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ITU-R Report BT.2408-7 states, “Currently, there is no universal approach,” specifically about mapping SDR content into HDR. It says the choice depends on the application and that implementers should consider their goals and the documented characteristics of each method. A workflow might prioritize preserving the SDR appearance, aligning midtones, or matching scene-referred material; no one mapping choice is right for every use.
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