Professional HDR Processing for Every Production Need
Convert SDR archive footage to HDR or process production EXR sequences with full color-managed workflows. Choose the path that fits your pipeline, your deliverable, and your creative vision.
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Workflows
SDR to HDR
Turn your existing 8-bit SDR video into production-ready 16-bit EXR in scene-linear ACEScg. Expand dynamic range, grade with latitude, or encode directly for HDR displays, all without leaving your pipeline.
HDR Native
Bring production EXR sequences into LTX and get HDR back. Color and dynamic range survive the edit, so your output stays ready for compositing, grading, and finishing. Every capability, including inpainting, outpainting, relighting, day-to-night, runs inside the same workflow.
Expand Existing SDR Footage
Input 8-bit SDR video and get 16-bit EXR out in ACEScg. Our range expansion works on filmed footage and generated clips alike, synthesizing detail to create the dynamic range your HDR master needs.
EXR In, EXR Out
Bring full EXR sequences in and get EXR back. Work in the production format your pipeline already uses. No format conversions, no workarounds—just AI-enhanced footage in the standard that defines professional post-production.
Production-Grade ACES Color Management
Output arrives in ACES color space (scene-linear ACEScg or your declared space). An ACES-based workflow manages color through processing, so color space remains consistent throughout the post-production process. Your footage integrates seamlessly into your finishing pipeline with no additional conversions required.
Grading Latitude & Delivery Flexibility
Shadow and highlight information is preserved through processing, giving your colorist full latitude for exposure adjustments and shot matching. The tiled workflow supports up to 8K on a single GPU with extended processing times at higher resolutions. Your output is ready for continued grading or direct encoding to HDR displays.
Designed for real-world deployment
HDR processing at every level of production, from creative teams working with mixed-source material to technical pipelines integrating AI as a native production stage.
Brands, agencies, and production teams working with existing SDR libraries and generated video that needs to meet an HDR delivery spec.
Colorists and finishing teams working with SDR archive material, mixed-source projects, or footage delivered without HDR masters.
VFX artists and compositors combining live action footage, CG renders, and AI-processed footage.
Teams preparing content for LED walls who need to expand SDR assets or bring production EXR into a color-managed workflow for extended creative work.
Lighting and rendering teams already working in EXR.
Teams looking to connect LTX's EXR input and output with existing tools, storage, and color-management workflows.
The Workflows Explained
How SDR to HDR Works
Technical characteristics:
Input
- Existing 8-bit SDR video (MP4, ProRes, or other standard video formats)
- Filmed footage or generated clips
- Any resolution up to 8K
Output
- 16-bit EXR frames in scene-linear ACEScg
- Import into your color-managed finishing tools for additional grading
- Or encode directly for HDR-enabled displays
- HLG MP4 sidecar for review
How HDR Native Works
Technical characteristics:
Input
- EXR sequences only (single .exr file or folder of frames)
- Color space declared explicitly: SRGB_LINEAR, ACESCG, or ACESCCT
- Declaration is required; omitting it returns an error
- Up to 4K and 8K delivery resolution
- Not supported: ARRIRAW, BRAW, ProRes RAW, DPX, CDNG
Note: Camera-native formats (RAW) must be converted to EXR first, as they typically are in VFX pipelines. Render and plate files go in directly.
Output
- Half-float EXR in your declared color space
- HLG MP4 sidecar for review
- Up to 4K and 8K delivery resolution on a single professional GPU
- Not supported for output: ProRes 12-bit, DPX
What users are building with LTX
FAQs
Can LTX convert SDR footage into HDR?
Yes. LTX expands the dynamic range of existing 8-bit SDR footage, including generated clips. Any additional detail is synthesized rather than a guaranteed recovery of lost information.
What format does the output come in?
16-bit EXR frames in scene-linear ACEScg. Take it into a color-managed finishing pipeline, or encode it for HDR-enabled displays.
Can I continue grading the output?
Yes. The EXR output retains the range needed for exposure adjustments and color grading. Use the appropriate color-management settings when importing into your finishing tools.
How is this different from HDR Native?
HDR Native preserves range that already exists in an HDR source. SDR to HDR generates range that was never in the file. If your footage is already HDR, use HDR Native.
Can I bring in files straight off the camera?
No. This path takes EXR only. A single .exr or a folder of frames. ARRIRAW, BRAW, ProRes RAW, DPX and CDNG are not supported for ingest, so camera negative needs to be converted to EXR first, as it already is in most VFX pipelines. Render and plate files go in directly.
What happens to the footage inside the model?
It is encoded to ACEScct for the model and decoded back to EXR in your declared space. The same shape of operation a color grading application performs when it moves a shot through a working space. Roughly 99% of the range is retained end to end.
Which capabilities run inside this workflow?
All of them listed above, with no separate path or format for any one edit.
Can I deliver ProRes 12-bit or DPX out of it?
Not today. Output is half-float EXR in your declared space, plus an HLG MP4 sidecar for review.
