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« 4K / UHD: Business realities vs. technological speculation »
Context: Even as migration from SD to HD (and 2K) is
still in progress, Ultra High Definition (UHD) and 4K are
already being rolled out in the Film, Broadcast and Online
Video markets: Film (The Hobbit…), sporting events
(London 2012 Olympics, BNP Paribas Masters de Paris-
Bercy 2013…), video games (NBA 2012 for PS4 & Xbox
One…), online video (4K clips on YouTube…), digital
cinema (20,000 4K projectors installed in cinemas
worldwide)...
Challenges: 4K / UHD resolutions will add further
complexity to workflows, from production through to
distribution. The rush towards 4K / UHD will require heavy
investment and trigger evolution across entire sectors of
the industry. What are the market opportunities? What
action is necessary now in order to prepare for migration?
What exactly are the formats and are they standardised?
Are end-to-end or even partial 4K / UHD workflows
practically possible? What are the implications in terms of
infrastructure, cost and feasibility etc.?
Solutions: This study provides factual data in order to answer the many questions surrounding, and provide a
greater understanding of the transition to 4K / UHD resolutions. Mesclado have identified all the elements
essential for future native end-to-end 4K / UHD production/post-production/distribution in Film, Broadcast and
Digital (Rich Media, Global Media…). The study examines the current state of the market and assesses new
and future technological advances.
Release date: December 2013
Available in English and French (other languages upon request)
Study delivered as a PDF (110 pages) including comparative tables
4K/UHD: the clock is ticking!
Collection: New technologies
I
« 4K / UHD: Business realities vs. technological speculation »
1 Executive Summary2 Introduction
2.1 Presenting Mesclado and the study’s
authors
2.2 Framework
2.3 Confidentiality
3 Challenges of 4K/UHD formats3.1 History
3.2 Definitions
3.3 Quality and bandwith requirements
3.4 Differentiation of needs for acquisition,
postproduction and distribution3.4.1 Acquisition codecs
3.4.2 Post-production codecs
3.4.3 Distribution codecs
3.4.4 Online publication codecs
3.5 Audio3.5.1 In Japon
3.5.2 In USA
3.5.3 In Europe
4 Film Industry Vs Broadcast Industry4.1 Assessment of market demand
4.1.1 Convergence between 4K and UHDTV
4.1.2 D-Cinema and UHD televisions, driving
forces for consumer growth
4.2 4K/UHD resolutions migration state
4.3 State of the art in capturing 4K/UHD
formats
4.4 Audio : state of the art and work in
progress4.4.1 NHK
4.4.2 Dolby
4.4.3 Fraunhofer
4.4.4 Barco
4.4.4 Autres
5 4K/UHD Editing platforms5.1 Introducing online/offline video editing
5.2 Online editing tools
5.3 Offline editing tools
6 Video codecs in the acquisition/editing/distribution chain
6.1 B2B applications B2B : codecs used6.1.1 AVC-Ultra
6.1.2 H.264
6.1.3 XAVC
6.1.4 JPEG-2000
6.1.5 Apple ProRes6.1.6 Cineform
6.1.7 MPEG-4 SStP (HDCAM SR)
6.1.8 Other codecs
6.1.9 Formats bruts (RAW)
6.2 B2C application : codecs used6.2.1 HEVC
6.2.2 VP8
6.3 Conclusion
7 Managing 4K/UHD content7.1 Capture Methods for 4K/UHD
7.1.1 Lenses
7.1.2 Camera settings
7.1.3 Image processing post sensor
7.2 Colorimetry issues7.2.1 Mastering
7.2.2 Display
7.3 High-Dynamic Range (HDR)7.3.1 Capturing HDR
7.3.2 Rendering HDR
7.4 File-based encapsulation methods
7.5 Audio
7.6 Real-time transport technologies7.6.1 “4K/UHD SDI” interfaces
7.6.2 HDMI interfaces
7.6.3 Other interfaces
8 Use-cases: workflow examples8.1 Case #1 (Broadcast TV Production )
8.2 Case #2 (Broadcast TV Production
applied to telefilms/documentaries)
8.3 Case #3 (Film production)
8.4 Case #5 (Broadcast TV distribution)
8.5 Case #6 (Film distribution)
9 Conclusion10 Acknowledgements11 Index of companies & organisations
mentioned12 Index of figures13 Index of tables
Summary
2
« 4K / UHD: Business realities vs. technological speculation »
Index of companies & organisations mentioned
A
Aaton
Academy of Motion Picture
Arts and Sciences
Adobe
AJA
Analog Devices
Angénieux
Apple
Arri
Assimilate
Ateme
Autodesk
Avid
B
Barco
BarcoSilex
BBC
Blackmagic
BSkyB
C
Canon
Christie
CineForm
D
DCI (Digital Cinema
Initiative) Dolby
DTS
E
EBU
EDCF (European Digital
Cinema Forum)
Ericsson
Euro Media France
Eutelsat
Evatronix
EVS
F
France Télévisions
Fraunhofer
G
GoPro
Grass Valley
H
Harmonic
Harrison
HPA (Hollywood Post
Alliance)
I
Industrial Light and Magic
(ILM)
IntoPix
Iridas
ISO/IEC
ITU (International
Telecommunication Union)
J
Joint Collaborative Team on
Video Coding (JCT-VC)
M
McGill University CIRMMT
Microsoft
Motion Picture Experts
Group (MPEG)
N
NAB (National Association of
Broadcasters)
NBC Olympics
NHK
O
On2 Technologies
P
Panasonic
PBS
Q
Quantel
R
RED
Rohde & Schwarz DVS
S
Samsung Electronics
SES
SGO
SMPTE
Sony
STMicroelectronics
T
Telegenic
Texas Instruments
V
Video Coding Experts Group
(VCEG)
Video Electronics Standards
Association (VESA)
Vision Research
Y
YouTube
Index of figures
Figure 1 - Cinema Resolutions Vs Broadcast Resolutions
Figure 2 - Main technical constraints of the 4K/UHD
ecosystem
Figure 3 - Main defining parameters of 4K and UHD
formats
Figure 4 - RED camera
Figure 5 - Canon 1D-C
Figure 6 - Sony PWM-F55 Camera
Figure 7 - 24 channel audio distribution
Figure 8 - Fraunhofer IIS 22.2 Audio Lab
Figure 9 - Global sales projections for televisions (in
thousands of units)
Figure 10 - Sales projections for Ultra High Definition LCD
TVs (in millions of units)
Figure 11 - Feasibility of Cinema / Broadcast channels in
4K/ UHD – December 2013
Figure 12 - Example of a projection room equipped with
Dolby Atmos technology
Figure 13 - Barco Auro 11.1 immersive audio technology
Figure 14 - Scratch interface
Figure 15 - Autodesk Smoke interface
Figure 16 - Resolve interface
Figure 17 - Pablo Rio interface
Figure 18 - Clipster interface
Figure 19 - Mistika System
Figure 20 - Premiere interface
Figure 21 - Final Cut Pro interface
Figure 22 - Media Composer interface
Figure 23 - Ranking of codec families by transform type
supporting 4K/UHD
Figure 24 - Codecs supporting 4K/UHD resolutions
Figure 25 - Key parameters of 4K/UHD resolutions
Figure 26 - Example of lens resolution using a millimetre
grid
Figure 27 - Factors contributing to 4K/UHD capture
performance
Figure 28 - Configurations of sampling tables for 4K/UHD
camera sensors
Figure 29 - Bayer matrix
Figure 30 - Example of a grading suite
Figure 31 - ACES workflow diagram
Figure 32 - Diagram of Rec.709 and Rec.2020 colour
spaces
Figure 33 - TV Broadcast Production at the BNP Paribas
Paris-Bercy 2013 tennis tournament
Figure 34 - Adobe Premiere in multicam mode
Figure 35 - TV Broadcast Production for a
drama/documentary
Figure 36 - 4K Cinema Production
3
« 4K / UHD: Business realities vs. technological speculation »
Cédric LejeuneWorkflow specialist for high-end VFX and
digital cinema, Cédric Lejeune sets
production pipelines and trains people all
around the world.
Peter WilsonHD and D-Cinema pioneer, he is consistently
at the forefront of technical developments in
television and film, and is deeply involved in
the global 4K/UHD ecosystem.
Francois AbbeAn Audio/Video Solution Architect, François
Abbe has been working since the ‘90s in the
compression and image formats fields,
offering a wide viewpoint on content
creation, management and distribution.
Cherif Ben ZidAn active member of influential SMPTE
workgroups (TC-10E, TC-24TB, TC-
31FS, TC-35PM), Cherif Ben Zid follows
4K/UHD developments at an international
level.
Pascal FlamentWith a rich 20-year experience of linear and
non-linear content distribution, Pascal
Flament shares his vision of the 4K/UHD
distribution ecosystem.
Study authors
Table 1 - Definition of 4K and UHD
Table 2 - Main video compression families
Table 3 - Production types and associated constrains
Table 4 - Panasonic AVC-Ultra Main features – June
2013
Table 5 - H.264 Hi10P profile
Table 6 - Sony XAVC Main features – September
2013
Table 7 - JPEG-2000 Main features
Table 8 - Apple ProRes Main features
Table 9 - MPEG-4 SStP Main features (as used by
Sony HDCAM SR)
Table 10 - Features of common RAW formats
Table11 - Key differences between HEVC and H.264
standards
Table 12 - VP8 main features
Table 13 - 4K/UHD Camera sensors and corresponding
optics resolutions
Table 14 - 4K/UHD compatible wrapper formats
Table 15 - Features of standardised 4K/UHD real-time
interfaces (greater than 3 Gbps)
Table 16 - Future 4K/UHD technological roadmap
(2013-2018)
Index of tables