Utility

Hyperion 2.5

by Topaz Labs

Topaz Labs' SDR to HDR model.
Turns 8‑bit video into 10‑bit ProRes and 16‑bit EXR masters.

Hyperion 2.5

Key features

Technical specifications

SDR to HDR

Inverse tone mapping from BT.1886 Rec.709 source to BT.2100 PQ.

Up to 16-bit

8-bit input expanded to 10-bit integer or 16-bit float per channel.

BT.2020 PQ

HDR10 by default, with ACES 2065-1 on the EXR output path.

ProRes, EXR

The two Topaz publishes for this model. The desktop app adds more codecs.

Use cases

A broadcast master control room at night, a wall of monitors glowing in the dark

AI footage to delivery spec

Generated clips come out in a format most broadcast and streaming specs reject. This produces the master they ask for.

A dark visual effects studio, a large display showing a landscape composite beside a warm desk lamp

Handing a shot to VFX

The EXR output is the one a compositor can drop into a scene with live action and have the lighting actually match.

A dark living room lit only by a large television, light spilling across the floor

Streaming HDR10 delivery

H.265 comes straight out of the conversion, sized for platforms that want a finished HDR file rather than a master.

Rows of metal film reel canisters on steel shelves receding into darkness

Converting a back catalogue

With nothing to set per shot, a long library converts to one consistent standard instead of being tuned clip by clip.

A colour grading control panel at night, illuminated trackballs glowing warm against a dark suite

Grading with more room

A converted file holds far more tonal detail, so shadows and highlights survive a grade that would break the original.

A wide sunset over calm water fading smoothly from amber at the horizon to deep blue overhead

Fixing banded skies

Sunsets and studio backdrops that broke into visible stripes come back as one smooth, unbroken gradient.

Overview

Hyperion 2.5 turns ordinary video into HDR. It redistributes the brightness and colour in each frame across a far wider range while holding on to the fine detail, and writes the result as a 10-bit ProRes or 16-bit EXR master, the files a broadcaster, a streaming platform or a visual effects artist will actually accept. The full walkthrough covers what to feed it and when it will not help.

Simple pricing

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Basic

$19/ month
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$24/ month
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3625 monthly credits

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$45/ month
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6350 shared monthly credits

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+ up to 4 more at extra cost

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$170/ month
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24650 shared monthly credits

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+ up to 9 more at extra cost

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For higher limits

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FAQs

What is Hyperion 2.5?
Hyperion 2.5 is Topaz Labs' SDR to HDR video model, released on 18 August 2026. Topaz describes it as automatically redistributing luminance and colour across highlights, midtones and shadows while preserving fine detail, then expanding the available colour and luminance range. In practice that means inverse tone mapping, bit-depth expansion, and a conversion from Rec.709 gamma to BT.2100 PQ on wider primaries. It generates nothing and adds no resolution.
What formats does Hyperion 2.5 output?
Topaz publishes two output formats for this model: 10-bit ProRes in BT.2020 PQ and 16-bit half-float EXR in ACES 2065-1. ProRes is the editorial and grading format; EXR is what a compositor expects to receive. The Topaz Video desktop app offers a wider codec list than the hosted model does, so check which route you are using before promising a delivery format.
Does Hyperion 2.5 have any settings?
No conversion controls. The original Hyperion filter exposed Adjust Exposure, Boost Saturation and a Highlight Threshold that defaulted to 0.70, and those were removed in Hyperion 2 in favour of automatic highlight classification. What you still choose is the output format, codec and bit depth.
Can Hyperion 2.5 recover clipped highlights?
Not the clipped part. Those values are absent from the file and no model can read data that was never written. What the conversion does is redistribute what survived across a much wider range, so highlights that still hold detail gain separation. Topaz states the limit directly: on video that is too bright and blown out there can be too little range to build upon, and its own guidance calls the result faux HDR.
Where does Hyperion 2.5 struggle?
Interlaced footage converts poorly and should be deinterlaced first. Very dark or overexposed source leaves the conversion almost no range to work with. Moving shots with inconsistent lighting can show frame-to-frame variation, and compression artifacts get expanded along with real detail, which is why any cleanup or upscaling belongs before the conversion rather than after it.
How do I use Hyperion 2.5 on Morphic?
Ask Copilot to convert a clip to HDR, or pick Hyperion 2.5 from the model library and attach the video. There are no conversion settings to fill in, so the only choice is the output format. Because it sits alongside the generation and upscale models, a clip can be generated, upscaled and converted without leaving the conversation.

More about Hyperion 2.5

Hyperion 2.5: how to turn ordinary video into HDR

Hyperion 2.5 in plain terms: what it gets you, what to send it, and when it will not help.

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