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8K HIGH RESOLUTION CAMERA SYSTEM 1900

D e p t . O f E l e c t r o n i c s & C o m m u n i c a t i o n E n g i n e e r i n g

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1. INTRODUCTION

The deployment of digital cinema stimulates many advanced applications that will use super

high definition (SHD) imaging systems and high-speed optical fiber networks. Theater

systems for digital cinema, projector , and playback video servers have been commercialized

based on the standards issued by the Digital Cinema Initiative (DCI). 8K is the SHD video

format defined in DCI specification. It has a resolution of 4096*2160 pixels, so its image

quality is equivalent to that of 35-mm film. The total bit rate of raw 8K videos with the frame

rate of 24 frames per second is about 7 gigabit per second. This necessitates the use of the

JPEG 2000 algorithm to compress the bit rate to 250 megabit per second. To deliver the

movie data to movie theatres, hard disk drivers and courier services appeared to be the easiest

approach , but a business trial demonstrated that network-based delivery was more cost

effective and secure against content piracy.

Fig(1). 8K video camera movies in theatres.

Furthermore, network transfer also supports a wider variety of contents, namely public

viewing of live-streaming content. Four years before the digital cinema industry standardized

the DCI specification, in 2001, the worlds first video JPEG decoder system was developed

that could display SHD images (38402048 pixel spatial resolution) with 24-frames/s time

resolution. This decoder was designed to realize IP transmission of extra-high-quality videos,

while fully utilizing the full bandwidth of emerging commercial communication networks

based on 1-Gb Ethernet. In 2002, the second prototype SHD image decoder was developed

that exploits a highly parallel processing unit of JPEG2000 de-compressors. The decoder

receives the IP streams of compressed video contents transmitted by a video server over GbE

network, and decodes them using the standard JPEG2000 decoding algorithm in real time.



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Fig(2). Ultra High Defination.

The decoder was combined with a special 3840*2048 pixel projector using a dedicated digital

video interface for the decoder. This architecture allows the decoded videos to be transferred

and shown in completely digital form. This system triggered detailed discussions on the

digital cinema video format for DCI. The question was whether a higher image quality than

HDTV was required to replace movie films. In order to solve the question, an experiment was

conducted by the Entertainment Technology Center (ETC) of the University of Southern

California (USC) involving 100 digital cinema engineers; it compared the image quality of

conventional films, high definition resolution (HDTV), and SHD images with 8-million-pixel

resolution. The results of this experiment yielded the consensus that the horizontal resolution

of around 4000 pixels was required to replace films, and JPEG2000 was suitable for the

compression of digital cinema data. Stimulated by the experiment, DCI accelerated the

standardization of digital cinema, specified the movie format of 4096*2160 pixels, and

simply called it 8K.

DCI finalized version 1.0 in 2005 and version 1.2 in 2008. Currently, further standardization

activities are in progress at the Society of Motion Picture and Resolution Engineer (SMPTE).

To explore the application range of 8K video beyond digital cinema, we developed a

JPEG2000-based 8K real time streaming codec system. This codec can compress/ de com-

press 8K videos: the total bit rate exceeds 12 gigabit per second (4 : 2 : 2, 60 frames/s), and

the resulting 5001000-Megabit per second compressed streams are transferred as IP packets.

While digital cinema employs the 24-frames/s movie format to replicate the cinema style, it is

believed that at least 60 frames/s is needed for realistic video communication services such as

teleconferencing. The following sections describe the features of the 8K imaging systems

used in digital cinema and live streaming.



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2. HISTORY

Astro Design 8K camera being displayed at the 2013 NAB Show

NHK and Hitachi demonstrating their 8K camera at the 2013 NAB Show

On January 6, 2015, the MHL Consortium announced the release of the superMHL

specification which will support 8K resolution at 120 fps, 48-bit video, the Rec. 2020 color

space, high dynamic range support, a 32-pin reversible superMHL connector, and power

charging of up to 40 watts.

MHL Consortium Announces super MHL – the First Audio/Video

Specification With Support Up to 8K

Today announced the super MHL™ specification, the next-generation of MHL ®technology

for CE and mobile devices. Building on its market leadership, super MHL delivers significant

mobile advancements such as higher resolution and frame rates along with 40W of power

charging, while broadening MHL’s reach in home theater connectivity by supporting 8K

video resolution and expanded audio formats. With super MHL, consumers can link their

mobile devices, set-top boxes (STBs), Blu-ray Disc™ players, AVRs, streaming media sticks

and other source devices to TVs and displays. The release of a new reversible super MHL

connector supports enhanced video formats to deliver lifelike, immersive content between

home theater products and displays.

Features of super MHL Include

1. Delivery of up to 8K 120fps video

2. Deep Colour support up to 48-bit colour depths

3. Wider colour gamut to view content the way filmmakers intended

4. High-Dynamic Range (HDR) support to strike the perfect balance of bright spectral

highlights along with shadow details

5. Immersive surround sound with support for object audio such as Dolby Atmos®,

DTS-UHD™, 3D audio, and an audio-only mode

6. Advanced connectivity configurations to link multiple MHL devices together (TV,

AVR, Blu-ray player) and control them via one remote

7. Power charging up to 40W



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8. Content on multiple displays when connecting a single device

9. New reversible super MHL connector

2.1 First cameras

On April 6, 2013, Astro Design announced the AH-4800, capable of recording 8K resolution.

Fig(3). Astro Design 8K camera being displayed at the 2013 NAB Show.

2.2 Productions

Fig(4). NHK and Hitachi demonstrating their 8K camera at the 2013 NAB Show.

An 8K scan/4K intermediate digital restoration of Lawrence of Arabia was made for Blu-ray

and theatrical re-release during 2012 by Sony Pictures to celebrate the film's 50th

anniversary. According to Grover Crisp, executive VP of restoration at Sony Pictures, the

new 8K scan has such high resolution that when examined, showed a series of fine concentric

lines in a pattern "reminiscent of a fingerprint" near the top of the frame. This was caused by

the film emulsion melting and cracking in the desert heat during production. Sony had to hire

a third party to minimise or eliminate the rippling artefacts in the new restored version.



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On May 17, 2013, the Franklin Institute premiered To Space And Back, an 8K×8K, 60 fps,

3D video running approximately 25 minutes. During its first run at the Fels Planetarium it

was played at 4K, 60 fps.

2.3 Broadcasting

Japanese public broadcaster NHK began research and development on 8K in 1995, having

spent over $1B on the resolution since then. Code named Super Hi-Vision, NHK also was

simultaneously working on the development of 22.2 channel surround sound audio, aiming

for mainstream broadcasting by the year 2032.Experimental transmissions of the resolution

were tested with the London 2012 Olympic Games, and at the Cannes Film Festival

showcasing Beauties À La Carte, a 27 minute short film showcased publicly on a 220”

screen. The world's first 8K resolution was unveiled by Sharp at the Consumer Electronics

Show(CES)in2013

2.4 8K full dome

Fig(5). shows the proportional scale differences from 1080p (1920×1080 pixels) to 8K×8K

fulldome video.

8K fulldome is a resolution of 8192×8192 (67.1 megapixels) and is the resolution of top-end

modern projection for hemispherical fulldome theatres often seen in planetaria. 8K fulldome

projects over 4 times the width and over 7.5 times the height resolution of 1080p HDTV

format, with 32 times as many pixels overall.



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3. What is 8K

8K resolution (7680 x 4320, 4320p), the successor of 4K resolution, is now the highest

UHDTV (ultra high definition resolution) resolution in digital resolution and film

restoration/mastering and is 16 times detailed than current 1080p resolution. 4K is speculated

to become a mainstream standard in resolutions by 2017 and NHK plans to apply 8K to Japan

TV broadcasting in 2020, especially in the 2020 Tokyo Olympics.

Fig(6). Delivering 8K VFX Shots for The Dark Knight.

8K resolution is the highest ultra high definition resolution (UHDTV) resolution to exist in

digital resolution and digital cinematography. 8K refers to the horizontal resolution of these

formats, which all are on the order of 8,000 pixels, forming the total image dimensions

(7680×4320).8K is a display resolution that may eventually be the successor to 4K resolution.

1080p is the current mainstream HD standard, with TV manufacturers pushing for 4K to

become a new standard by 2017,although the feasibility of such a fast transition as well as the

practical necessity of a new standard is questionable.



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4. 8K RESOLUTION SPECIFICATION

Resolution 7680 x 4320 pixels (33.2 megapixels)

Aspect Ratio 16:9

Colour Bit Depth 12-bit colour

Colour Space Rec.2020

Frame Rate 120 fps

Scanning progressive scanning only

Audio 22.2 multi-channel surround sound

Audio Sampling Rate 96 KHz

Broadband UHF - 8 MHz, 35~45Mbit/s

Ku waveband 2x36MHz transponders, 140~150Mbit/s (DVB-S2)

Ka waveband 600 MHz, 500~6600Mbit/s

Fig(7). Comparison chart

8K resolution is the highest ultra high definition resolution (UHDTV) resolution to exist in

digital resolution and digital cinematography. 8K refers to the horizontal resolution of these

formats, which all are on the order of 8,000 pixels, forming the total image dimensions

(7680×4320).8K is a display resolution that may eventually be the successor to 4K resolution.

1080p is the current mainstream HD standard, with TV manufacturers pushing for 4K to

become a new standard by 2017, although the feasibility of such a fast transition as well as

the practical necessity of a new standard is questionable

One advantage of high-resolution displays such as 8K is to have each pixel be

indistinguishable from another to the human eye from a much closer distance. On an 8K

screen sized 52 inches, this effect would be achieved in a distance of 50.8 cm (20 inches)

from the screen, and on a 92 in screen at 91.44 cm (3 feet) away. Another practical purpose



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of this resolution is in combination with a cropping technique used in film editing. This

allows filmmakers to film in a high resolution such as 8K, with a wide lens, or at a farther

distance from a potentially dangerous subject, intending to zoom and crop digitally in post-

production, a portion of the original image to match a smaller resolution such as the current

industry standard for High-definition resolutions (1080p, 720p & 480p).

Few video cameras have the capability to film in 8K, with NHK being one of the only

companies to have created a small broadcasting camera with an 8K image sensor.

Sony and Red Digital Cinema Camera Company are both working to bring larger 8K sensors

in more of their cameras in the coming years. Although 8K will not be a mainstream

resolution anytime soon, a major reason filmmakers are pushing for 8K cameras is to get

better 4K footage. Through a process called down sampling, using a higher resolution 8K

image down sampled to 4K could create a sharper picture with richer colours than a 4K

camera would be able to achieve on its own with a lower resolution sensor.

4.1 Resolutions

Table(1). Shows resolution table.

8K FUHD is a resolution of 7680 × 4320 (33.2 megapixels) and is one of the two resolutions

of ultra high definition resolution, the other being 4K UHD. In 2013, a transmission

network's capability to carry HDTV resolution was limited by internet speeds and relied on

satellite broadcast to transmit the high data rates. The demand is expected to drive the

adoption of video compression standards and to place significant pressure on physical

communication networks in the near future.

8K FUHD has four times the horizontal and vertical resolution of the 1080p HDTV format,

with sixteen times as many pixels overall.



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5. 8K FORMAT

8K is a new resolution standard designed for digital cinema and computer graphics. It has

following advantages:

1. Higher image definition quality.

2. More detailed picture.

3. Better fast-action.

4. Larger projection surface visibility.

8K format was named because it has 4000 pixels horizontal resolution approximately.

Meanwhile, standard 1080p and 720p resolutions were named because of its vertical

resolution. The new standard renders more than four times higher image definition than

1080p resolutions for example

This format can’t have the change in horizontal resolution, so changes in aspect are made

through the vertical resolution.

For example 40962304 is a frame size with aspect 16:9 and 40963072 - 4:3.

8K format was named because it has 4000 pixels horizontal resolution approximately.

Meanwhile, standard 1080p and 720p resolutions were named because of its vertical

resolution. The new standard renders more than four times higher image definition than

1080p resolutions for example

Fig(8). Shows 8K format.



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This format can’t have the change in horizontal resolution, so changes in aspect are made through the vertical resolution. For example 40962304 is a frame size with aspect 16:9 and

40963072 - 4:3.

6. PIXEL

In digital imaging, a pixel, pel,or picture element is a physical point in a raster image, or the smallest addressable element in an all points addressable display device; so it is the smallest controllable element of a picture represented on the screen. The address of a pixel

corresponds to its physical coordinates. LCD pixels are manufactured in a two-dimensional grid, and are often represented using dots

or squares, but CRT pixels correspond to their timing mechanisms and sweep rates. Each pixel is a sample of an original image; more samples typically provide more accurate

representations of the original. The intensity of each pixel is variable. In colour image systems, a colour is typically represented by three or four component intensities such as red,

green, and blue, or cyan, magenta, yellow, and black. In some contexts (such as descriptions of camera sensors), the term pixel is used to refer to a

single scalar element of a multi-component representation (more precisely called a photo site in the camera sensor context, although the neologism sensel is sometimes used to describe the

elements of a digital camera's sensor),while in others the term may refer to the entire set of such component intensities for a spatial position. In colour systems that use chroma sub sampling, the multi-component concept of a pixel can become difficult to apply, since the

intensity measures for the different colour components correspond to different spatial areas in such a representation.

Fig(9). shows an image with a portion greatly enlarged, in which the individual pixels are

rendered as small squares and can easily be seen.

6.1 Etymology

The word "pixel" was first published in 1965 by Frederic C. Billingsley of JPL, to describe the picture elements of video images from space probes to the Moon and Mars. However, Billingsley did not coin the term himself. Instead, he got the word "pixel" from Keith E.

McFarland, at the Link Division of General Precision in Palo Alto, who did not know where the word originated. McFarland said simply it was "in use at the time" (circa 1963).



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Fig(10). A photograph of sub-pixel display elements on a laptop's LCD screen

The word is a portmanteau of picture and element, via pix. The word pix appeared in Variety magazine headlines in 1932, as an abbreviation for the word pictures, in reference to movies. By 1938, "pix" was being used in reference to still pictures by photojournalists.

The concept of a "picture element" dates to the earliest days of resolution, for example as

"Bildpunkt" (the German word for pixel, literally 'picture point') in the 1888 German patent of Paul Nipkow. According to various etymologies, the earliest publication of the term picture element itself was in Wireless World magazine in 1927, though it had been used

earlier in various U.S. patents filed as early as 1911.

Some authors explain pixel as picture cell, as early as 1972. In graphics and in image and video processing, pel is often used instead of pixel. For example, IBM used it in their Technical Reference for the original PC.

Pixilation, spelled with a second i, is an unrelated filmmaking technique that dates to the

beginnings of cinema, in which live actors are posed frame by frame and photographed to create stop-motion animation. An archaic British word meaning "possession by spirits (pixies)," the term has been used to describe the animation process since the early 1950s;

various animators, including Norman McLaren and Grant Munro, are credited with popularizing it.

6.2 Technical

A pixel is generally thought of as the smallest single component of a digital image. However,

the definition is highly context-sensitive. For example, there can be "printed pixels" in a page, or pixels carried by electronic signals, or represented by digital values, or pixels on a display

device, or pixels in a digital camera (photo sensor elements). This list is not exhaustive and, depending on context, synonyms include pel, sample, byte, bit, dot, and spot. Pixels can be used as a unit of measure such as: 2400 pixels per inch, 640 pixels per line, or spaced 10

pixels apart.



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Fig(11,12,13). A pixel does not need to be rendered as a small square. This image shows

alternative ways of reconstructing an image from a set of pixel values, using dots, lines, or smooth filtering.

The measures dots per inch (dpi) and pixels per inch (ppi) are sometimes used interchangeably, but have distinct meanings, especially for printer devices, where dpi is a

measure of the printer's density of dot (e.g. ink droplet) placement.

For example, a high-quality photographic image may be printed with 600 ppi on a 1200 dpi

inkjet printer. Even higher dpi numbers, such as the 4800 dpi quoted by printer manufacturers since 2002, do not mean much in terms of achievable resolution.

The more pixels used to represent an image, the closer the result can resemble the original. The number of pixels in an image is sometimes called the resolution, though resolution has a

more specific definition. Pixel counts can be expressed as a single number, as in a "three-megapixel" digital camera, which has a nominal three million pixels, or as a pair of numbers,

as in a "640 by 480 display", which has 640 pixels from side to side and 480 from top to bottom (as in a VGA display), and therefore has a total number of 640×480 = 307,200 pixels or 0.3 megapixels.

The pixels, or colours samples, that form a digitized image (such as a JPEG file used on a

web page) may or may not be in one-to-one correspondence with screen pixels, depending on how a computer displays an image. In computing, an image composed of pixels is known as a bitmapped image or a raster image. The word raster originates from resolution scanning

patterns, and has been widely used to describe similar halftone printing and storage techniques.

6.3 Resolution of computer monitors

Computers can use pixels to display an image, often an abstract image that represents a GUI. The resolution of this image is called the display resolution and is determined by the video

card of the computer. LCD monitors also use pixels to display an image, and have a native resolution. Each pixel is made up of triads, with the number of these triads determining the

native resolution. On some CRT monitors, the beam sweep rate may be fixed, resulting in a fixed native resolution. Most CRT monitors do not have a fixed beam sweep rate, meaning they do not have a native resolution at all - instead they have a set of resolutions that are

equally well supported. To produce the sharpest images possible on an LCD, the user must ensure the display resolution of the computer matches the native resolution of the monitor.



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6.4 Resolution of telescopes

The pixel scale used in astronomy is the angular distance between two objects on the sky that

fall one pixel apart on the detector (CCD or infrared chip). The scale s measured in radians is the ratio of the pixel spacing p and focal length f of the preceding optics, s=p/f. (The focal

length is the product of the focal ratio by the diameter of the associated lens or mirror.) Because p is usually expressed in units of arc seconds per pixel, because 1 radian equals

180/π*3600≈206,265 arc seconds, and because diameters are often given in milli meters and

pixel sizes in micrometers which yields another factor of 1,000, the formula is often quoted as s=206p/f.

6.5 Bits per pixel

The number of distinct colours that can be represented by a pixel depends on the number of bits per pixel (bpp). A 1 bpp image uses 1-bit for each pixel, so each pixel can be either on or

off. Each additional bit doubles the number of colours available, so a 2 bpp image can have 4 colours, and a 3 bpp image can have 8 colours:

Sr. No Bits Per Pixel 2n Colours

1 1 21 2

2 2 22 4

3 3 23 8

4 8 28 256

5 16 216 65.536

6 24 224 16.777.216

Table(2). Shows BPP

For colour depths of 15 or more bits per pixel, the depth is normally the sum of the bits

allocated to each of the red, green, and blue components. High colour, usually meaning 16 bpp, normally has five bits for red and blue, and six bits for green, as the human eye is more sensitive to errors in green than in the other two primary colours. For applications involving

transparency, the 16 bits may be divided into five bits each of red, green, and blue, with one bit left for transparency. A 24-bit depth allows 8 bits per component. On some systems, 32-

bit depth is available: this means that each 24-bit pixel has an extra 8 bits to describe its opacity (for purposes of combining with another image)



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6.6 Sub pixels

Many display and image-acquisition systems are, for various reasons, not capable of

displaying or sensing the different colour channels at the same site. Therefore, the pixel grid is divided into single-colour regions that contribute to the displayed or sensed colour when

viewed at a distance. In some displays, such as LCD, LED, and plasma displays, these single-colour regions are separately addressable elements, which have come to be known as sub pixels. For example, LCDs typically divide each pixel horizontally into three sub pixels.

When the square pixel is divided into three sub pixels, each sub pixel is necessarily rectangular. In the display industry terminology, sub pixels are often referred to as pixels, as

they are the basic addressable elements in a viewpoint of hardware, and they call pixel circuits rather than sub pixel circuits.

Fig(14). Geometry of colour elements of various CRT and LCD displays; phosphor dots in a

colour CRT display (top row) bear no relation to pixels or sub pixels.

For systems with sub pixels, two different approaches can be taken:

1. The sub pixels can be ignored, with full-colours pixels being treated as the smallest

addressable imaging element; or 2. The sub pixels can be included in rendering calculations, which requires more

analysis and processing time, but can produce apparently superior images in some cases.

This latter approach, referred to as sub pixel rendering, uses knowledge of pixel geometry to manipulate the three coloured sub pixels separately, producing an increase in the apparent

resolution of colour displays. While CRT displays use red-green-blue-masked phosphor areas, dictated by a mesh grid called the shadow mask, it would require a difficult calibration

step to be aligned with the displayed pixel raster, and so CRTs do not currently use sub pixel rendering.



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6.7 Megapixel

A megapixel (MP) is a million pixels; the term is used not only for the number of pixels in an

image, but also to express the number of image sensor elements of digital cameras or the number of display elements of digital displays. For example, a camera that makes a

2048×1536 pixel image (3,145,728 finished image pixels) typically uses a few extra rows and columns of sensor elements and is commonly said to have "3.2 megapixels" or "3.4 megapixels", depending on whether the number reported is the "effective" or the "total" pixel

count.

Fig (15). Diagram of common sensor resolutions of digital cameras including

megapixel values

Digital cameras use photosensitive electronics, either charge-coupled device (CCD) or complementary metal–oxide–semiconductor (CMOS) image sensors, consisting of a large number of single sensor elements, each of which records a measured intensity level. In most

digital cameras, the sensor array is covered with a patterned colour filter mosaic having red, green, and blue regions in the Bayer filter arrangement, so that each sensor element can

record the intensity of a single primary colour of light. The camera interpolates the colour information of neighbouring sensor elements, through a process called demosaicing, to create the final image. These sensor elements are often called "pixels", even though they only record

1 channel (only red, or green, or blue) of the final colour image. Thus, two of the three colour channels for each sensor must be interpolated and a so-called N-megapixel camera that

produces an N-megapixel image provides only one-third of the information that an image of the same size could get from a scanner. Thus, certain colour contrasts may look fuzzier than others, depending on the allocation of the primary colours (green has twice as many elements

as red or blue in the Bayer arrangement).



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Fig(16). Marking on a camera phone that has about 2 million effective pixels.

6.8 Pixel Densities of 8K.

Table(3). Pixel Density.

Name Vertical Resolution

Horizontal Resolution

Pixels

Full Aperture

8K

7680 4320 12,746,752

Academy 8K

3656 2664 9,739,584

Digital Cinema

8K

7680 4320 7,020,544

Digital Cinema Aperture 8K

7680 4320 8,631,360



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7. Structure of Colour Sepration.

1. Incident light is separated into four colour and divided in to 2. Two green, one red, and one blue (GGRB).

3. Three-sensor imaging system (RGB) used in commercial and broadcast video cameras.

4. Prism for the four-sensor system can be made as small as the conventional RGB prism.

Fig(17). Shows Colour separation prism

8K format was named because it has 4000 pixels horizontal resolution approximately. Meanwhile, standard 1080p and 720p resolutions were named because of its vertical resolution. The new standard renders more than four times higher image definition than

1080p resolutions for example.

1. Image resolution:

a) 2048*1080 pixels, referred to as 2K; b) 7680*4320 pixels, referred to as 8K.

The 2K format provides resolution almost equivalent to current high-definition resolution,

while the 8K format, which has four times the resolution, provides digital images with quality as good as the conventional 35-mm film.

2. Image colour reproduction and frame rate:

The image quantization depth is 12 b for each XYZ colours. The frame rate is the same 60 frames/s as is conventionally used for film. For the 2K format, however, a 48-frames/s mode

is specified to allow for other display styles, such as the 3-D display.



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3. Image compression method:

JEGP2000 produces a high-quality image without the block distortion that occurs with JPEG or MPEG compression. An additional feature is that 2K resolution data can easily be

extracted from 8K-resolution data. The maximum bit rate is specified as 250 Mb/s, which corresponds to about 200300 GB for a 2-h movie.

4. Audio signal:

48 r 96 kHz, 24 b, max. 16ch, no audio compression.

5. Subtitles: The XML format is specified for subtitle data. Both image data for overlay and text data are supported.

6. Data encryption:

The image and audio data are wrapped in a Material Exchange Format (MXF) and then encrypted with the Advanced Encryption Standard (AES) cryptosystem (128 b, CBC mode). The content is sent to theaters as a digital cinema package (DCP) that contains image, audio,

and subtitle data.

7. Decryption key distribution:

The encryption key, which is also used for decrypting the data, is encrypted by the RSA cryptosystem of the theatre exhibition equipment with license period information. It is called Key Delivery Message (KDM).

8. Digital watermarking: To prevent content theft, the exhibition equipment must embed information that specifies the

exhibition time and place into the projected images as a digital watermark.



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8. Devices.

8.1 TVs/Monitors

1. Sharp's 85" 8K LCD TV, 7680×4320 resolution - International Consumer

Electronics Show (CES) 2012 :-

Fig(18). shows Sharp's 85" 8K LCD TV, 7680×4320 resolution

If you aren’t ready for 4K TVs yet, you could wait a few more years for the next big thing—8K. Rave comments were heard in front of Sharp’s latest prototype 8K display at the Ceatec

electronics expo outside Tokyo this week as the company tries to spark interest in the next level of dazzling displays. The enormous 85-inch LCD display has a resolution of 7,680 by 4,320 pixels, which is 16 times that of standard HD TVs, and a frame frequency of 120 Hz.

The screen was showing eye-popping images of Dubai’s Burj Khalifa. Even close up, its tiny individual pixels were very hard to see. While Sharp has been working on 8K prototypes for

years, it said its latest is the first to meet the so-called “BT.2020” standard for 8K resolution and color gamut set by the International Telecommunications Union, which was approved in June. Many consumers may still be unaware of the 4K TVs that have appeared at CES and

other technology trade shows in recent years. The U.S. Consumer Electronics Association (CEA) predicts that shipments of 4K displays will reach 800,000 this year. “Certainly, the

bigger the screen gets, people would like to have high-resolution pictures,” Sharp



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spokeswoman Miyuki Nakayama said about the 8K prototype, noting the company has no plans for commercialization yet and the display is still in development.

2. Panasonic's 145" 8K Plasma Display, 7680×4320 resolution - Internationale

Funkausstellung Berlin (IFA) 2012:-

Fig(19). Shows Panasonic's 145" 8K Plasma Display, 7680×4320 resolution

Over in Japan, Panasonic has teamed up with Japanese broadcaster NHK to produce a 145-inch, 8K resolution prototype plasma display. The super-sized TV is the world's first self-illuminating Super Hi-Vision TV, meaning it doesn't require a backlight to light up your

entertainment. It also uses a new drive method that scans the pixels vertically to achieve a uniform picture quality, eliminating high-resolution flicker. Currently there isn't any content

on hand to take full advantage of the super-high resolution: Hollywood is still struggling to graduate from 1080p and 2K (2048 × 1080) resolutions to 4K (4096 × 2160). However NHK has reportedly been experimenting with an 8K image sensor which can natively output to the

team's new prototype. The new drive method helps to keep the picture rock solid despite the TV's massive size. NHK has reportedly been working on Super Hi-Vision (SHV) for a

number of years. Both Panasonic and NHK developed the monster TV to promote the research and development of SHV, and plans to film the upcoming Olympics in this super hi-def mode to show just how uber sharp and immersive the experience can be. The duo plans to

demo the new tech in Japan, the United States and the UK starting in May, showcasing images and videos shot with the NHK 120 FPS 8K sensor. According to the specs, the prototype measures 145-inches, or 1.8m (L) x 3.2m (H). The actual resolution is 7,680 x

4,320 while the frame rate resides at a solid at 60 FPS. The pixel pitch is 0.417-mm horizontal, 0.417-mm vertical, the aspect ratio is 16:9 and the phosphor array is a RGB

vertical stripe. Panasonic stated on Friday that the new 145-inch Super Hi-Vision TV will make an appearance at the Institute of Technology from May 24 to May 27, and at the SID International Symposium international conference from June 3 to June 8. No other dates and

locations were provided.



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3. LG's 98" 8K LCD TV, 7680×4320 resolution - Internationale Funkausstellung

Berlin (IFA) 2014:-

Fig(20). Shows LG's 98" 8K LCD TV, 7680×4320 resolution

At IFA 2014 in Berlin today, LG unveiled its latest effort in Ultra High Definition resolution,

a 98-inch 8K TV (7680 x 4320 pixels) boasting 16 times the resolution of a normal 1080p HD resolution and four times that of the latest 4K sets that few people own yet.

That’s right: With consumers only beginning to get their heads wrapped around the notion of 4K Ultra HD TVs, and 4K content just beginning to come available, LG is pushing the edge of the tech envelope in preparation of unleashing 8K resolutions on the masses in the not-too-

distant future. And that suits us just fine, because this TV is absolutely stunning to behold. The level of detail this TV was producing is hard to overstate. Pixels were all but invisible

from as close at 6 inches, and completely invisible from 3 feet. The result is a picture that comes as close to reality as we’ve ever seen, due in no small part to the sense of depth that is created by the intense resolution. For the first time upon approaching a TV, we weren’t

entirely certain it wasn’t a framed work of art. After a few moments of watching moving footage, we were sold. LG’s pride and joy is delicious eye candy, pure and simple.



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4. Samsung's 110" 8K 3D LCD TV, 7680 × 4320 resolution - International

Consumer Electronics Show (CES) 2015:-

Fig(21). Shows Samsung's 110" 8K 3D LCD TV, 7680 × 4320 resolution

In showing its range of TV, Samsung unveiled a “big” (in all senses) surprise. Trai models SUHD There is also a giant 110 “, equipped with an LCD panel with a resolution of 8K ,

7680 x 4320 pixels. Since the panel SUHD, there are the same basic features, first of all, the technology Quantum Dot . Samsung has integrated a new video processor, able to operate an

effective upscaling of content, to bring them to the native resolution (in fact find material to 8K resolution is not exactly simple.) This remarkable concentration of technology integrates another particularly important: is in fact able to view 3D content without the aid of glasses .

Unfortunately there are no details on the operation: in general, the 3D TV without glasses, using parallax barriers, special lenses can reconstruct the 3D effect. The type of lenses, and

technologies used (eg cameras that analyze the user’s location in order to maximize the effect), can differ significantly, contributing to a greater or lesser effectiveness of 3D (and perceived resolution more or less high).

When the TV is a prototype, like all 8K shown to date. Samsung has given no indication of a

possible commercialization (which will be very difficult in the short term).



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8.2 Cameras

1. AH-4800, a camera capable of recording in 8k resolution. Unveiled by Astro

Design on April 6, 2013:-

Astro Design, the Japanese camera manufacturer brand is the first one to announce the camera with the 8K video recording capability. The 8K CAMERA HEAD AH-4800 from

Astro Design, is a heavy duty shooter which was introduced at the NAB 2013 show. The 8K camera head comes with the 2.5-inch 33-million pixels single plate CMOS sensor, which was developed by NHK Engineering System, Inc.

Fig(22). Shows AH-4800, a camera by Astro Design

Name Details

Active resolution 7680×4320

Lens mount PL mount

Output 12-channel parallel optical-fiber

Dimensions 125(W) x 125(H) x 150(D)mm

Weight 2kg



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Table().Some of the details about the AH-4800

The camera is capable of capturing 8K UHD resolution at 60 fps. Although one might not be

able to judge how good this would function, it is the first of its kind and you have to commend Astro Design for their try in getting an edge on this new technology that is

predicted to be a part of the daily stuff in a decade from now. After the early announcement at the NAB 2013 show, the camera didn’t really show much appearance, and according to its makers, the first tests are to be done in the year 2016, and well, by then we are going to see

some good screens which would be able to stream and portray this ultra high resolution content.

There is going to be a Full HD electronic viewfinder in this camera, and the adjustment of brightness, contrast, peaking with dedicated rotary switch can be performed well, flip screen, full / under, mono: mug on / off, 2 times, smooth, marker, aspect sensor, select marker, mask,

back light, tally etc., and there are quite a lot more inbuilt functions, so the future with the 8K realistic capturing is not far, and Astro Design is one of the first to doe something in the UHD

category. According to Astro Design, the processor and the camera head were two separate parts initially, and it wasn’t easy easy to merge them, but they finally could do something and the processor has been made into a form where it can be placed within the camera. The

adapter AC-4803 is built-in. There is a huge control panel which would take care of the capturing and the processing of it, and that all isn’t a part of the camera. With the pace at

which things are happening, we are sure that the progress of AH-4800 would be faster and we would get to know about things related to it, very soon.



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Table(4). Some of the details about the AH-4800

9. High-Definition Resolution

High-definition resolution (HDTV) provides a resolution that is substantially higher than

that of standard-definition resolution.

HDTV may be transmitted in various formats:

1080p: 1920×1080p: 2,073,600 pixels (~2.07 megapixels) per frame

1080i: 1920×1080i: 1,036,800 pixels (~1.04 MP) per field or 2,073,600 pixels (~2.07

MP) per frame

A non-standard CEA resolution exists in some countries such as 1440×1080i: 777,600 pixels (~0.78 MP) per field or 1,555,200 pixels (~1.56 MP) per frame

720p: 1280×720p: 921,600 pixels (~0.92 MP) per frame

The letter "p" here stands for progressive scan while "i" indicates interlaced.

When transmitted at two megapixels per frame, HDTV provides about five times as many

pixels as SD (standard-definition resolution).

9.1 History

The term high definition once described a series of resolution systems originating from

August 1936; however, these systems were only high definition when compared to earlier

systems that were based on mechanical systems with as few as 30 lines of resolution. The

ongoing competition between companies and nations to create true "HDTV" spanned the

entire 20th century, as each new system became more HD than the last.

The British high-definition TV service started trials in August 1936 and a regular service on 2

November 1936 using both the (mechanical) Baird 240 line sequential scan (later to be

inaccurately rechristened 'progressive') and the (electronic) Marconi-EMI 405 line interlaced

systems. The Baird system was discontinued in February 1937.In 1938 France followed with

their own 441-line system, variants of which were also used by a number of other countries.

The US NTSC 525-line system joined in 1941. In 1949 France introduced an even higher-

resolution standard at 819 lines, a system that should have been high definition even by

today's standards, but was monochrome only and the technical limitations of the time

prevented it from achieving the definition of which it should have been capable. All of these

systems used interlacing and a 4:3 aspect ratio except the 240-line system which was

progressive (actually described at the time by the technically correct term "sequential") and

the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system

adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker

problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled

its frame rate but this would have meant that the transmitted signal would have doubled in

http://en.wikipedia.org/wiki/Image_resolution

http://en.wikipedia.org/wiki/Standard-definition_television

http://en.wikipedia.org/wiki/1080p

http://en.wikipedia.org/wiki/Megapixel

http://en.wikipedia.org/wiki/Frame_(video)

http://en.wikipedia.org/wiki/1080i

http://en.wikipedia.org/wiki/Field_(video)

http://en.wikipedia.org/wiki/720p

http://en.wikipedia.org/wiki/Progressive_scan

http://en.wikipedia.org/wiki/Interlaced_video

http://en.wikipedia.org/wiki/405_line


http://en.wikipedia.org/wiki/NTSC


http://en.wikipedia.org/wiki/Interlacing

http://en.wikipedia.org/wiki/Aspect_ratio_(image)



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bandwidth, an unacceptable option as the video baseband bandwidth was required to be not

more than 3 MHz.

Colour broadcasts started at similarly higher resolutions, first with the US NTSC color

system in 1953, which was compatible with the earlier monochrome systems and therefore

had the same 525 lines of resolution. European standards did not follow until the 1960s, when

the PAL and SECAM color systems were added to the monochrome 625 line broadcasts.

The Nippon Hōsō Kyōkai (NHK, the Japan Broadcasting Corporation) began conducting

research to "unlock the fundamental mechanism of video and sound interactions with the five

human senses" in 1964, after the Tokyo Olympics. NHK set out to create an HDTV system

that ended up scoring much higher in subjective tests than NTSC's previously dubbed

"HDTV". This new system, NHK Color, created in 1972, included 1125 lines, a 5:3 aspect

ratio and 60 Hz refresh rate. The Society of Motion Picture and Resolution Engineers

(SMPTE), headed by Charles Ginsburg, became the testing and study authority for HDTV

technology in the international theater. SMPTE would test HDTV systems from different

companies from every conceivable perspective, but the problem of combining the different

formats plagued the technology for many years.

There were four major HDTV systems tested by SMPTE in the late 1970s, and in 1979 an

SMPTE study group released

A Study of High Definition Resolution Systems:

EIA monochrome: 4:3 aspect ratio, 1023 lines, 60 Hz

NHK color: 5:3 aspect ratio, 1125 lines, 60 Hz

NHK monochrome: 4:3 aspect ratio, 2125 lines, n/a Hz. BBC colour: 8:3 aspect ratio,

1501 lines, n/a Hz

Since the formal adoption of digital video broadcasting's (DVB) widescreen HDTV

transmission modes in the early 2000s; the 525-line NTSC (and PAL-M) systems as well as

the European 625-line PAL and SECAM systems are now regarded as standard

definition resolution systems.

9.2 Analog systems

Early HDTV broadcasting used analog technology, but today it is transmitted digitally and uses video compression.

In 1949, France started its transmissions with an 819 lines system (with 737 active lines). The system was monochrome only, and was used only on VHF for the first French TV channel. It

was discontinued in 1983. In 1958, the Soviet Union developed Тransformator (Russian: Трансформатор, meaning

Transformer), the first high-resolution (definition) resolution system capable of producing an image composed of 1,125 lines of resolution aimed at providing teleconferencing for military

http://en.wikipedia.org/wiki/PAL

http://en.wikipedia.org/wiki/SECAM

http://en.wikipedia.org/wiki/NHK

http://en.wikipedia.org/wiki/Digital_video_broadcasting

http://en.wikipedia.org/wiki/NTSC

http://en.wikipedia.org/wiki/PAL-M

http://en.wikipedia.org/wiki/PAL

http://en.wikipedia.org/wiki/SECAM



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command. It was a research project and the system was never deployed by either the military or consumer broadcasting.

In 1979, the Japanese state broadcaster NHK first developed consumer high-definition

resolution with a 5:3 display aspect ratio.The system, known as Hi-Vision or MUSE after its Multiple sub-Nyquist sampling encoding for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution

(1080i/1125 lines). Satellite test broadcasts started in 1989, with regular testing starting in 1991 and regular broadcasting of BS-9ch commencing on November 25, 1994, which

featured commercial and NHK programming. In 1981, the MUSE system was demonstrated for the first time in the United States, using the

same 5:3 aspect ratio as the Japanese system.Upon visiting a demonstration of MUSE in Washington, US President Ronald Reagan was impressed and officially declared it "a matter

of national interest" to introduce HDTV to the US. Several systems were proposed as the new standard for the US, including the Japanese

MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At this time, the number of resolution channels was growing rapidly and

bandwidth was already a problem. A new standard had to be more efficient, needing less bandwidth for HDTV than the existing NTSC.

9.3 Demise of analog HD systems

The limited standardization of analog HDTV in the 1990s did not lead to global HDTV adoption as technical and economic constraints at the time did not permit HDTV to use bandwidths greater than normal resolution.

Early HDTV commercial experiments such as NHK's MUSE required over four times the

bandwidth of a standard-definition broadcast. Despite efforts made to reduce analog HDTV to about 2× the bandwidth of SDTV these resolution formats were still distributable only by satellite.

In addition, recording and reproducing an HDTV signal was a significant technical challenge

in the early years of HDTV (Sony HDVS). Japan remained the only country with successful public broadcasting of analog HDTV, with seven broadcasters sharing a single channel.

9.4 Rise of digital compression

Since 1972, International Telecommunication Union's radio telecommunications sector (ITU-R) had been working on creating a global recommendation for Analog HDTV. These recommendations however did not fit in the broadcasting bands which could reach home

users. The standardization of MPEG-1 in 1993 also led to the acceptance of recommendations ITU-R BT.709.In anticipation of these standards the Digital Video Broadcasting (DVB)

organisation was formed, an alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees upon specifications which are formally standardised by ETSI.



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DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and

HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard, although DVB systems

may also be used to transmit video using the newer and more efficient H.264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-

hardware and antenna requirements.

In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world

already having split into two camps, 25/50 Hz and 30/60 Hz, largely due to the differences in mains frequency. The IWP11/6 working party considered many views and throughout the

1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the

end established, agreement on the aspect ratio was achieved.

Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. An aspect

ratio of 16:9 was duly agreed upon at the first meeting of the IWP11/6 working party at the BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R

Recommendation ITU-R BT.709-2 ("Rec. 709") includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1,080 actively interlaced lines of resolution) and 1080p (1,080 progressively scanned lines). The British Free view HD trials used MBAFF,

which contains both progressive and interlaced content in the same encoding.

It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at the ITU as an enhanced resolution format rather than a true HDTV format, and so was not

included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards.)

9.5 Inaugural HDTV broadcast in the United States

HDTV technology was introduced in the United States in the late 1980s and made official in 1993 by the Digital HDTV Grand Alliance, a group of resolution, electronic equipment,

communications companies consisting of AT&T Bell Labs, General Instrument, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of

HDTV at 199 sites in the United States was completed August 14, 1994.The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina resolution station WRAL-HD began broadcasting from the existing tower of

WRAL-TV south-east of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV,

based out of the facilities of NBC owned and operated station WRC-TV.The American Advanced Resolution Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space

on board the Space Shuttle Discovery.The signal was transmitted coast-to-coast, and was



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seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast.

9.6 European HDTV broadcasts

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the

Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and

then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test

transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of

direct-to-home HDTV in Europe. Euro1080, a division of the former and now bankrupt Belgian TV services company Alfa

cam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in

Europe. The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to

MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

The number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than

200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all

European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).

In December 2009 the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital

TV Group (DTG) D-book, on digital terrestrial resolution. The Free view HD service currently contains 10 HD channels (as of December 2013) and

was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Free view HD is not the first

HDTV service over digital terrestrial resolution in Europe; Italy's Rai HD channel started broadcasting in 1080i on April 24, 2008 using the DVB-T

transmission standard.



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In October 2008 France deployed five high definition channels using DVB-T transmission standard on digital terrestrial distribution.

9.7 Notation

HDTV broadcast systems are identified with three major parameters: Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels,

for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted, as in the case of 720p and 1080p.

Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning. Frame rate is identified as number of video frames per second. For interlaced systems the

number of frames per second should be specified, but it is not uncommon to see the field rate incorrectly used instead.

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning

system].[citation needed] Often, frame size or frame rate can be dropped if its value is implied from context. In this case the remaining numeric parameter is specified first,

followed by the scanning system. For example, 1920×1080p25 identifies progressive scanning format with 25 frames per

second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation

identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning

format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days

of standard definition resolution, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition resolution supports both fractional and slightly different integer rates, therefore

strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

For commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i resolution set). A frame rate can also be specified without a resolution.

For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.

There is no single standard for HDTV color support. Colours are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating

technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colours are

typically pre-converted to 8-bit RGB channels for additional storage savings with the



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assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these

files unsuitable for professional TV re-broadcasting.

Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below.

9.8 Display resolutions

Table(5). Shows Display Resolution.

At a minimum, HDTV has twice the linear resolution of standard-definition resolution

(SDTV), thus showing greater detail than either analog resolution or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV

storage and transmission systems will distort the received picture, when compared to the uncompressed source.

9.9 Standard frame or field rates

ATSC and DVB define the following frame rates for use with the various broadcast standards:

23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)



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24 Hz (international film and ATSC high-definition material)

25 Hz (PAL film, DVB standard-definition and high-definition material)

29.97 Hz (NTSC film and standard-definition material)

30 Hz (NTSC film, ATSC high-definition material)

50 Hz (DVB high-definition material)

59.94 Hz (ATSC high-definition material)

60 Hz (ATSC high-definition material)

The optimum format for a broadcast depends upon the type of videographic recording

medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition resolution, not to digital or high definition broadcasts. However, with the roll out of digital

broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.

9.10 Types of media

Standard 35mm photographic film used for cinema projection has a much higher image

resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard resolution, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally

considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is

performed by a technique called 3:2 Pull down: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the

correct average film frame rate. Non-cinematic HDTV video recordings intended for broadcast are typically recorded either

in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements

compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.

9.11 Contemporary systems

In the US, residents in the line of sight of resolution station broadcast antennas can receive free, over the air programming with a resolution set with an ATSC tuner (most sets sold since

2009 have this). This is achieved with a TV aerial, just as it has been since the 1940s except now the major network signals are broadcast in high definition (ABC, Fox, and Ion Resolution broadcast at 720p resolution; CBS, My Network TV, NBC, PBS, and The CW at

1080i). As their digital signals more efficiently use the broadcast channel, many broadcasters are adding multiple channels to their signals. Laws about antennas were updated before the

change to digital terrestrial broadcasts. These new laws prohibit home owners associations and city government from banning the installation of antennas.



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Additionally, cable-ready TV sets can display HD content without using an external box. They have a QAM tuner built- in and/or a card slot for inserting a Cable CARD.

High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital

cable, IPTV (including Google TV Roku boxes and Apple TV or built into "Smart Resolutions"), Blu-ray video disc (BD), and internet downloads.

Sony's PlayStation 3 has extensive HD compatibility because of its built in Blu-ray disc based player, so does Microsoft's Xbox 360 with the addition of Netflix and Windows Media

Center HTPC streaming capabilities, and the Zune marketplace where users can rent or purchase digital HD content.[24] Recently, Nintendo released a next generation high definition gaming platform, The Wii U, which includes TV remote control features in

addition to IPTV streaming features like Netflix. The HD capabilities of the consoles has influenced some developers to port games from past consoles onto the PS3, Xbox 360 and

Wii U, often with remastered or up scaled graphics.

9.11 Recording and compression

HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS), W-VHS (analog only), to an

HDTV-capable digital video recorder (for example DirecTV's high-definition Digital video recorder, Sky HD's set-top box, Dish Network's VIP 622 or VIP 722 high-definition Digital

video recorder receivers, or TiVo's Series 3 or HD recorders), or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some included in the monthly cable service

subscription price, some for an additional fee, can be played back with the cable company's on-demand feature.

The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available to the consumer. In 2008 the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content

through component video inputs and stores the content in MPEG-2 format in a .ts file or in a Blu-ray compatible format .m2ts file on the hard drive or DVD burner of a computer

connected to the PVR through a USB 2.0 interface. More recent systems are able to record a broadcast high definition program in its 'as broadcast' format or transcode to a format more compatible with Blu-ray.

Analog tape recorders with bandwidth capable of recording analog HD signals such as W-VHS recorders are no longer produced for the consumer market and are both expensive and

scarce in the secondary market. In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional"

FireWire (IEEE 1394) upon request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TVcompanies have. As

of July 2004, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the

content.



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9. Full High Defination Resolution

1080p (also known as Full HD or FHD and BT.709) is a set of HDTV high-definition video

modes characterized by 1080 horizontal lines of vertical resolution and progressive scan, as opposed to interlaced, as is the case with the 1080i display standard. The term usually

assumes a widescreen aspect ratio of 16:9, implying a resolution of 1920x1080 (2.1 megapixel) often marketed as Full HD.

10.1 Broadcasting standards

Any display device that advertises 1080p typically refers to the ability to accept 1080p signals in native resolution format, which means there are a true 1920 pixels in width and 1080 pixels in height, and the display is not over-scanning, under-scanning, or reinterpreting

the signal to a lower resolution. The HD ready 1080p logo program, by DIGITALEUROPE, requires that certified TV sets support 1080p 24 fps, 1080p 50 fps, and 1080p 60 fps formats,

among other requirements, with fps meaning frames per second. For live broadcast applications, a high-definition progressive scan format operating at 1080p

at 50 or 60 frames per second is currently being evaluated as a future standard for moving picture acquisition.EBU has been endorsing 1080p50 as a future-proof production format

because it improves resolution and requires no deinterlacing, allows broadcasting of standard 1080i25 and 720p50 signal alongside 1080p50 even in the current infrastructure and is compatible with DCI distribution formats.

1080p50/p60 production format will require a whole new range of studio equipment

including cameras, storage and editing systems,and contribution links (such as Dual-link HD-SDI and 3G-SDI) as it has doubled the data rate of current 50 or 60 fields interlaced 1920x1080 from 1.485 Gbit/s to nominally 3 Gbit/s using uncompressed RGB encoding.

Most current revisions of SMPTE 372M, SMPTE 424M and EBU Tech 3299 require YCbCr color space and 4:2:2 chroma subsampling for transmitting 1080p50 (nominally 2.08 Gbit/s)

and 1080p60 signal. Recent studies show that for digital broadcasts compressed with H.264/AVC, transmission

bandwidth savings of interlaced video over fully progressive video are minimal even when using twice the frame rate, i.e., 1080p50 signal (50 progressive frames per second) actually

produces the same bit rate as 1080i50 signal (25 interlaced frames or 50 sub-fields per second).

10.2 ATSC

In the United States, the original ATSC standards for HDTV supported 1080p video, but only at the frame rates of 23.976, 24, 25, 29.97 and 30 frames per second (colloquially known as

1080p24, 1080p25 and 1080p30).



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In July 2008, the ATSC standards were amended to include H.264/MPEG-4 AVC compression and 1080p at 50, 59.94 and 60 frames per second (1080p50 and 1080p60). Such

frame rates require H.264/AVC High Profile Level 4.2, while standard HDTV frame rates only require Level 4.0.

This update is not expected to result in widespread availability of 1080p60 programming, since most of the existing digital receivers in use would only be able to decode the older, less-

efficient MPEG-2 codec, and because there is a limited amount of bandwidth for subchannels.

10.4 DVB

In Europe, 1080p25 signals have been supported by the DVB suite of broadcasting standards. The 1080p50 is considered to be a future-proof production format and, eventually, a future

broadcasting format. 1080p50 broadcasting should require the same bandwidth as 1080i50 signal and only 15–20% more than that of 720p50 signal due to increased compression

efficiency, though 1080p50 production requires more bandwidth and/or more efficient codecs such as JPEG 2000, high-bitrate MPEG-2, or H.264/AVC and HEVC.

From September 2009, ETSI and EBU, the maintainers of the DVB suite, added support for 1080p50 signal coded with MPEG-4 AVC High Profile Level 4.2 with Scalable Video

Coding extensions or VC-1 Advanced Profile compression; DVB also supports 1080p encoded at ATSC frame rates of 23.976, 24, 29.97, 30, 59.94 and 60.

EBU requires that legacy MPEG-4 AVC decoders should avoid crashing in the presence of SVC and/or 1080p50 (and higher resolution) packets. SVC enables forward compatibility with 1080p50 and 1080p60 broadcasting for older MPEG-4 AVC receivers, so they will only

recognize baseline SVC stream coded at a lower resolution or frame rate (such as 720p60 or 1080i60) and will gracefully ignore additional packets, while newer hardware will be able to

decode full-resolution signal (such as 1080p60).

10.5 Availability

Broadcasts In the United States, 1080p over-the-air broadcasts still do not exist as of March 2015; all

major networks use either 720p60 or 1080i60 encoded with MPEG-2. However, satellite services (e.g., DirecTV, XstreamHD and Dish Network) utilize the 1080p/24-30 format with

MPEG-4 AVC/H.264 encoding for pay-per-view movies that are downloaded in advance via satellite or on-demand via broadband. At this time, no pay service channel such as USA, HDNET, etc. nor premium movie channel such as HBO, etc., stream their services live to

their distributors (MVPD) in this format because many MVPDs, especially DBS and cable, do not have sufficient bandwidth to provide the format streaming live to their subscribers

without negatively impacting their current services. In addition is the high "cost" of using more bandwidth for one 1080p/24 channel than that necessary for a 1080i or even a 720p channel and for only those relatively few subscribers who have HDTV devices that can

display 1080p/24 being an efficient use of their limited bandwidth.



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For material that originates from a progressive scanned 24 frame/s source (such as film), MPEG-2 lets the video be coded as 1080p24, irrespective of the final output format. These

progressively-coded frames are tagged with metadata (literally, fields of the PICTURE header) instructing a decoder how to perform a 3:2 pull down to interlace them. While the

formal output of the MPEG-2 decoding process from such stations is 1080i60, the actual content is coded as 1080p24 and can be viewed as such (using a process known as inverse telecine) since no information is lost even when the broadcaster performs the 3:2 pull down.

Blu-ray Disc

Blu-ray Discs are able to hold 1080p HD content, and most movies released on Blu-ray Disc

produce a full 1080p HD picture when the player is connected to a 1080p HDTV via an HDMI cable. The Blu-ray Disc video specification allows encoding of 1080p23.976, 1080p24, 1080i50, and 1080i59.94. Generally this type of video runs at 30 to 40 megabits per

second, compared to the 3.5 megabits per second for conventional standard definition broadcasts.

Smart phones Smart phones with 1080p Full HD display have been available on the market since 2012. As of the end of 2014 it is the standard for mid to high end smart phones and many of the

flagship devices of 2014 used even higher resolutions.

Consumer televisions and projectors

As of 2012, most consumer televisions being sold provide 1080p inputs, mainly via HDMI,

and support full high-definition resolutions. 1080p resolution is available in all types of television, including plasma, LCD, DLP front and rear projection and LCD projection.

For displaying film-based 1080i60 signals, a scheme called 3:2 pull down reversal (reverse telecine) is beginning to apper in some newer 1080p displays, which can produce a true

1080p quality image from film-based 1080i60 programs. Similarly, 25fps content broadcast at 1080i50 may be deinterlaced to 1080p content with no loss of quality or resolution.

AV equipment manufacturers have adopted the term Full HD to mean a set can display all available HD resolutions up to 1080p. The term is misleading, however, because it does not

guarantee the set is capable of rendering digital video at all frame rates encoded in source files with 1080 pixel vertical resolution. Most notably, a "Full HD" set is not guaranteed to

support the 1080p24 format, leading to consumer confusion. Digital Europe (formerly EICTA) maintains the HD ready 1080p logo program that requires

the certified TV sets to support 1080p24, 1080p50, and 1080p60, without over scan/under scan and picture distortion.

10.4 Computer monitors Most widescreen cathode ray tube (CRT) and liquid crystal display (LCD) monitors can natively display 1080p content. For example, widescreen WUXGA monitors support

1920x1200 resolution, which can display a pixel for pixel reproduction of the 1080p



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(1920x1080) format. Additionally, many 23, 24, and 27-inch (690 mm) widescreen LCD monitors use 1920x1200 as their native resolution; 30 inch displays can display beyond

1080p at up to 2560x1600 (1600p). Many 27" monitors have native resolutions of 2560x1440 and hence operate at 1440p.

10.4 Camcorders and cameras Many consumer camcorders, professional video and DSLR cameras, and smart phones can capture 1080p24, 1080p25, or 1080p30 video, often encoding it in progressive segmented

frame format.

10.5 Video game consoles Video game consoles such as Sony's PlayStation 3, Microsoft's Xbox 360 and Nintendo's Wii

U, as well as micro consoles like OUYA, Game Stick and Nvidia Shield can display up scaled games and video content in 1080p, although the vast majority of games are rendered at

lower resolutions. For all of the consoles, this is done through HDMI connections (in the case of the Xbox 360, HDMI is only available on consoles manufactured after June 2007). Additionally, the up scaled 1080p video is available on the PlayStation 3 and Xbox 360 via

an analog component/D-Terminal (YPBPR) connection,†‡ as well as the VGA connection on the Xbox 360. On the PlayStation 3, developers must provide specific resolution support at

the software level as there is no hardware up scaling support, whereas on the Xbox 360 games can be up scaled using a built in hardware scaler chip. However, most games on both consoles do not run at a native 1080p resolution.

The Wii U, PlayStation 3, and Xbox 360 provide 1080p video services. Sony provides both

the PlayStation Store VOD service and Blu-ray Disc playback. Microsoft provides the Zune Video Marketplace for "instant on" 1080p† video content but does not have Blu-ray disc playback capability. It does however support the now-defunct HD DVD disc standard via the

Xbox 360 HD DVD Player add-on. Both consoles also offer support for streaming 1080p content in various formats over home network from other computers, and also via USB

connection to external storage devices.

11. 2K resolution

2K resolution is a generic term for display devices or content having horizontal resolution on

the order of 2,000 pixels.

In the movie projection industry, Digital Cinema Initiatives is the dominant standard for 2K output. In the digital film production chain, a resolution of 2048x1556 is often used for acquiring “open gate” or anamorphic input material, a resolution based on the historical

resolution of scanned super 35mm film.

12. 4K resolution

4K resolution, also called 4K, refers to a display device or content having horizontal resolution on the order of 4,000 pixels. Several 4K resolutions exist in the fields of digital



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television and digital cinematography. In the movie projection industry, Digital Cinema Initiatives (DCI) is the dominant 4K standard.

4K has become the common name for ultra-high-definition television (UHDTV), although its

resolution is only 3840 x 2160 (at a 16:9, or 1.78:1 aspect ratio), which is lower than the movie projection industry standard of 4096 x 2160 (at a 19:10 or 1.9:1 aspect ratio).

The use of width to characterize the overall resolution marks a switch from the previous generation, high definition television, which categorized media according to the vertical

dimension instead, such as 720p or 1080p. Under the previous convention, a 4K UHDTV would be equivalent to 2160p.

YouTube and the television industry have adopted Ultra HD as its 4K standard. As of 2014, 4K content from major television networks remains limited. On April 11, 2013, Bulb TV

created by Canadian serial entrepreneur Evan Kosiner became the first broadcaster to provide a 4K linear channel and VOD content to cable and satellite companies in North America. The channel is licensed by the Canadian Radio-Television and Telecommunications Commission

to provide educational content. However, 4K content is becoming more widely available online including on YouTube, Netflix and Amazon. As of 2013, some UHDTV models were

available to general consumers in the range of US$1500.

12.1 History

The first commercially available 4K camera for cinematographic purposes was the Dalsa

Origin, released in 2003.YouTube began supporting 4K for video uploads in 2010.Users could view 4K video by selecting "Original" from the quality settings until December 2013, when the 2160p option appeared in the quality menu. In November 2013, YouTube started to

use the VP9 video compression standard, saying that it was more suitable for 4K than High Efficiency Video Coding (HEVC); VP9 is being developed by Google, which owns

YouTube. The projection of films at 4K resolution at cinemas began in 2011.Sony was offering 4K

projectors as early as 2004.The first 4K home theater projector was released by Sony in 2012.

In February 2014, HIGH TV (High 4K) Launched the first Ultra HD, 24/7 General Entertainment TV Channel available Worldwide. The channel was the first of its kind and featured a unique mix of Entertainment, Lifestyle, Extreme Sport, Movies and everything in

Ultra HD Quality, with 200 Hours of New Content each year. High 4K Team already distribute the channel to Pay TV Operators, IPTV, Mobile, Web TV, etc, as well as distribute

the 4K content worldwide. Sony is one of the leading studios promoting UHDTV content, as of 2013 offering a little

over 70 movie and television titles via digital download to a specialized player that stores and decodes the video. The large files (~40GB), distributed through consumer broadband

connections, raise concerns about data caps. In 2014, Netflix began streaming House of Cards, Breaking Bad and "some nature

documentaries" at 4K to compatible televisions with an HEVC decoder. Most 4K televisions sold in 2013 did not natively support HEVC, with most major manufacturers announcing



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support in 2014. Amazon Studios began shooting their full-length original series and new pilots with 4K resolution in 2014.

In early 2014, adult sites started offering 4K video content.

12.2 Resolutions

Ultra HD

UHD is a resolution of 3840 pixels × 2160 lines (8.3 megapixels, aspect ratio 16:9) and is one of the two resolutions of ultra high definition television targeted towards consumer television,

the other being FUHD which is 7680 pixels × 4320 lines (33.2 megapixels). UHD has twice the horizontal and vertical resolution of the 1080p HDTV format, with four times as many pixels overall.

Televisions capable of displaying 4K resolutions are seen by consumer electronics companies

as the next trigger for an upgrade cycle due to a lack of consumer interest in 3D television.

Digital cinema

The Digital Cinema Initiatives consortium established a standard resolution of 4096 pixels ×

2160 lines (8.8 megapixels, aspect ratio ~17:9) for 4K film projection. This is the native resolution for DCI-compliant 4K digital projectors and monitors; pixels are cropped from the top or sides depending on the aspect ratio of the content being projected. The DCI 4K

standard has twice the horizontal and vertical resolution of DCI 2K, with four times as many pixels overall. DCI 4K does not conform to the standard 1080p Full HD aspect ratio (16:9),

so it is not a multiple of the 1080p display. 4K digital films may be produced, scanned, or stored in a number of other resolutions

depending on what storage aspect ratio is used. In the digital film production chain, a resolution of 4096 × 3112 is often used for acquiring "open gate" or anamorphic input

material, a resolution based on the historical resolution of scanned Super 35mm film.

Streaming video

YouTube, since 2010,and Vimeo allow a maximum upload resolution of 4096 × 3072 pixels

(12.6 megapixels, aspect ratio 4:3).Both YouTube and Vimeo's 4k content is currently limited to mostly nature documentaries and tech coverage. This is expected to grow as 4k adoption increases. High Efficiency Video Coding should allow the streaming of content with a 4K

resolution with a bandwidth of between 20 to 30 Mbps.VP9 is also being developed for 4k streaming.



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13 Conclusion

1. Development of the SHD imaging system: replacement of film cinema with digital

camera.

2. Digital Cinema: a). will utilize movie content delivery via optical networks soon.

b). needs only bulk file transfer.

3. ODS: utilizes the networks for real time data transfer.

4. One way streaming.

5. A need to reduce the transmission latency while preserving 8k/2k flexibility and

stability.



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http://www.dailytech.com/