HDR10 is an open, royalty-free high dynamic range video format that combines the PQ transfer function (SMPTE ST 2084), the Rec. 2020 color primaries, a 10-bit bit depth and static metadata describing the mastering display and content brightness. It is the mandatory baseline HDR format for Ultra HD Blu-ray and the most widely supported HDR format on televisions, streaming services and game consoles.
The format was defined in 2015 by the Consumer Technology Association as a profile of existing standards rather than as a new codec. HDR10 video is typically compressed with HEVC (H.265), though AV1 and VP9 can carry it as well, and every HDR-capable television that supports Dolby Vision, HDR10+ or HLG also decodes HDR10.
Technical components of HDR10
HDR10 is defined by a fixed set of signal parameters. Together they describe how code values map to absolute light levels and colors, which is what allows an HDR10 picture to reach far beyond the roughly 100 nits of standard dynamic range video.
| Parameter | HDR10 value | Purpose |
|---|---|---|
| Transfer function | PQ, SMPTE ST 2084 | Maps code values to 0-10,000 nits |
| Color primaries | Rec. 2020 (ITU-R BT.2020) | Wide color gamut container |
| Bit depth | 10-bit | 1,024 levels per channel, limits banding |
| Chroma subsampling | 4:2:0 for delivery | Bandwidth-efficient distribution |
| Static metadata | SMPTE ST 2086, MaxCLL, MaxFALL | Guides display tone mapping |
| Typical codec | HEVC Main 10 | Efficient 10-bit compression |
PQ is an absolute transfer function: a given code value always means the same luminance in nits. This differs from SDR gamma and from HLG, which are relative to the display’s peak brightness. In practice, HDR10 content is mastered on displays of about 1,000 or 4,000 nits, and the Rec. 2020 container usually holds colors limited to the smaller P3 gamut.
How HDR10 static metadata works
HDR10 metadata is called static because one set of values applies to the entire program. The display reads it once and uses it to decide how to fit the content into its own capabilities.
| Field | Meaning | Example value |
|---|---|---|
| Mastering display primaries and white point | Gamut of the grading monitor | P3 primaries, D65 white |
| Mastering display luminance | Minimum and maximum of the grading monitor | 0.0001 to 1,000 nits |
| MaxCLL | Brightest single pixel in the program | 1,000 nits |
| MaxFALL | Highest frame-average light level | 400 nits |
When content is brighter than the display, the television applies tone mapping, compressing highlights to fit its peak luminance. Because the metadata is static, the same curve serves a dark cave scene and a sunlit beach, which can leave dark scenes dimmer than intended or bright scenes with flattened highlights. Missing or incorrect MaxCLL and MaxFALL values make this worse, because the display must guess.
HDR10 compared with other HDR formats
HDR formats differ mainly in metadata, transfer function and licensing. HDR10 is the common denominator that the others build on or fall back to.
| Format | Transfer function | Metadata | Licensing |
|---|---|---|---|
| HDR10 | PQ | Static | Open, royalty-free |
| HDR10+ | PQ | Dynamic, per scene or frame | Royalty-free with certification |
| Dolby Vision | PQ, up to 12-bit | Dynamic, per scene or frame | Proprietary license |
| HLG | Hybrid log-gamma | None | Royalty-free |
Dynamic metadata in HDR10+ and Dolby Vision lets the display adapt tone mapping scene by scene, which matters most on mid-range televisions with 400 to 800 nits. HLG suits live broadcast because it needs no metadata and remains viewable on SDR displays. Most HDR10+ and Dolby Vision streams include an HDR10 base layer or fallback, so HDR10 support guarantees playback.
Mastering and delivering HDR10
An HDR10 master starts with a grade on a calibrated PQ reference monitor, usually at 1,000 nits peak, in a color-managed pipeline such as ACES or a wide-gamut working space. The colorist keeps a consistent diffuse white of about 100 to 200 nits and reserves higher levels for specular highlights and light sources.
| Decision | Common choice | Reason |
|---|---|---|
| Mastering peak | 1,000 nits | Matches most reference monitors and TVs |
| Encoding | HEVC Main 10 or AV1 10-bit | Required 10-bit efficiency |
| Streaming bitrate for 2160p | About 15-25 Mbit/s | Preserves gradients and highlights |
| Metadata | Measured MaxCLL and MaxFALL | Accurate display tone mapping |
| SDR version | Separate trim or managed conversion | Serves non-HDR viewers |
The metadata must survive the whole chain. Encoders write it into the HEVC SEI messages and the container, and HDMI carries it in the HDR InfoFrame to the display.
Limitations and common misconceptions
- An HDR10 label does not guarantee a bright picture; a display with 350 nits peak shows heavily tone-mapped HDR.
- 10-bit is necessary but not sufficient; low bitrates still cause banding in skies and shadows.
- Rec. 2020 is a container, not a promise; few displays reproduce more than the P3 gamut.
- Static metadata cannot adapt to scene changes, which is the main reason dynamic formats exist.
- Mislabeled SDR inside an HDR10 stream looks washed out or overly saturated on HDR displays.
Understanding it simply
HDR10 is a common recipe for showing brighter highlights, deeper shadows and richer colors than ordinary video. It tells a television exactly how bright each part of the picture should be.
Along with the picture, it sends one short note about the whole film. The note says how bright the film gets at most. Each television then adjusts the picture to fit its own screen. Because the recipe is free and simple, almost every HDR television can play it.
Applied in practice
An independent nature documentary is sold to a streaming platform that requires HDR10 delivery in 2160p. The colorist grades on a 1,000-nit PQ reference monitor in a Rec. 2020 container limited to P3, keeping sunlit water highlights near 800 nits and diffuse white around 200 nits.
After the grade, a quality-control tool measures MaxCLL at 950 nits and MaxFALL at 310 nits, and these values are written into the HEVC Main 10 master together with the mastering display data. On a 1,500-nit television the film plays almost untouched, while a 500-nit model compresses the brightest highlights. The platform accepts the master on the first submission, and viewers on every HDR-capable device receive a consistent picture.