"4K/ UHD Advanced"

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Advanced 4K UHD

François ABBE, Cherif BEN ZID, Asma JENHANI mesclado

17 May 2015

Eurecom

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Commentaires de présentation

Team effort Asma, placement FA = CEO

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4K/UHD – The 12 essentials

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Let’s start with the first key point: resolution. Peter, let’s hear what you told us during the Mesclado seminar on 4K/UHD we held in partnership with SMPTE ****** CLIP: PW = K is not about resolution, it is about sampling grid

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1. Resolution

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True Resolution

Rating a camera by counting horizontal photosites is wrong but common (eg; Red 5K v Panavision Genesis 5.7K or 2K)

• Sony F65 has 8192 photosites horizontally

• Next generation 65mm Panavision Camera The final image size is 48mm x 20.25mm. The number of photosites is 7680 (1920 x 4) by 3240 (1080 x 3), for a total of 24,883,200 photosites, with a photosite size of 6.25μ and output sample grid of 3840 x 2160.

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Poser la problématique des réelles résolutions 4K/UHD (Sony, Panasonic, RED, …)

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Compression formats (1) – DCT-based

Format Mode Max Sampling Max Resolution Max Frame Rate Max Birate

H.264 @5.2 Intra / Long GOP 4:2:0 10-bits 4K 60p 720 Mbps

XAVC XAVC Long GOP 4:2:2 10-bits UHD-1

60p 150 Mbps

XAVC Intra 4:2:2 10-bits 4K 960 Mbps XAVC S 4:2:0 8-bits (4K) UHD-1 150 Mbps

AVC-Ultra Intra 4:4:4 12-bits 4K 24p NM

4:2:2 10-bits 4K

UHD-1 60p NM

ProRes 4444

4:4:4:4 12-bits math. lossless

5K 60p 3535 Mbps

422 (HQ) 4:2:2 10-bits

visually lossless 2357 Mbps

MPEG-4 SStP 5 4:4:4 12-bits 4K

30p 1800 Mbps 6 60p 3600 Mbps

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Compression formats (2) – wavelet-based

Implementation Max Resolution Frame Rates Sampling Max Bitrate Colour Mode

IPX-JPUHD4K (IntoPix) 4K 24 to 60

4:4:4 12-bits 4:2:2 12-bits

1à 2 Gbps YUV, RGB, XYZ

JPEG 2000-4K (Evatronix)

8K (16K personnalisé)

24 4:4:4 12-bits 4:2:2 12-bits 4:2:0 12-bits

800 Mbps RGB, YCbCr

BA109/BA110 (BarcoSilex) 4K Unknown

4:4:4 12-bits 4:2:2 12-bits

Unknown YUV, RGB, XYZ

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JPEG-2000 hardware implementations

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RAW formats

Format Mode Lossy Compression Max Sampling Max

Resolution Max Frame Rate Max Birate

F65RAW F65RAW-Lite YES

16-bit Linear 8K 60p

150 Mbps F65RAW-SQ YES 250 Mbps

F65RAW-HFR YES 120p 1 to 2.4 Gbps

REDCODE RAW

REDCODE 28 YES 12-bits 16-bits

6K 100p in 6K 150p in 4K 300p in 2K

224 Mbps REDCODE 36 YES 288 Mbps REDCODE 42 YES 336 Mbps

ARRIRAW 2.8K NO

12-bits Log C

3.4K 120p in 16:9

90p in 4:3

1.34 Gbps in 16:9 24p

1.79 Gbps in 4:3 24p

Open Gate (3.4K) NO 75p 1 to 2.4 Gbps

Canon RAW 4K RAW NO

10-bits 4K 60p

> 2.7 Gbps 120p 4K HRAW NO

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4. Display (1)

Minimum viewer-screen distance – 8K UHD screen

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Source: NHK

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DISPLAY Lancement : Peter, you gave a trick on how to choose monitors during our seminar in Paris where we had several UHD screen. Let’s hear this dirty secret ! ****** CLIP: PW = Brighter and high contrast monitors look best

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4. Display (2)

4K/UHD monitors: towards a UHD phase 1 incompatibility • UHD Ready logo pushed by manufacturers • The 3 prerequisites of UHD phase 1 not guaranteed:

– Connectors (HDMI 2.0) – Anti-piracy (HDCP 2.1) – 50p compatibility (50 images / second)

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5. Connectivity

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You need to: • Handle huge amounts of data in transfer • Have flexible interfaces • Get closer to real-time applications • Consider distance between equipment to link up

Présentateur


Lancement : Peter, 4K/UHD opens up interesting issues on how you can connect a camera. Let’s hear it from Cédric Lejeune ****** CLIP: CL = no live 4K output on C500

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5. Connectivity - “4K/UHD SDI” Interfaces (1)

Interface Workgroup Standard Description Features Resolution Sampling Mode Max Frame Rate

6G-SDI

SMPTE 32NF-40

SMPTE ST 425-3

Mapping Image Formats into Dual Link 3G interface

4096x2160 &

3840x2160

4:2:2 & 4:2:0 10-bit image formats 30p

SMPTE 32NF-70

ST 2081-10 2160-line and 1080-line Source

Image and Ancillary Data Mapping for 6G-SDI

3840x2160 4:2:2 & 4:2:0 10-bit image

formats 30p

4096x2160 4:2:2 10-bit image formats 30p

12G-SDI

SMPTE 32NF-40

SMPTE ST 425-5

Mapping 2160 line Image Formats into Quad Link 3G

interface

4096x2160 &

3840x2160

4:2:2 & 4:2:0 10-bit image formats

60p

4:2:2 & 4:4:4 10 & 12-bit image formats

30p

SMPTE 32NF-70

ST 2082-10 2160-line and 1080-line Source

Image and Ancillary Data Mapping for 12G-SDI

3840x2160

4:2:2 & 4:2:0 10-bit image formats

60p

4:4:4 12-bit image formats 30p

4096x2160 4:2:2 10-bit image formats 60p

4:4:4 12-bit & 4:4:4:4 10-bit image formats

30p

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Présentateur


EN + update www.smpte.org

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5. Connectivity - “4K/UHD SDI” Interfaces (2)

Interface Workgroup Standard Description Features

Multi-Link 10G-SDI

SMPTE 32NF-40 DG

SMPTE ST 2063-4

UHDTV Multi-link 10Gb/s interfaces

3840x2160 pixels 4:2:2 & 4:4:4 10 & 12-bit

100, 119.88 & 120p 4 to 6 10G-links

25G-SDI SMPTE

32NF-40 DG

SMPTE ST 2062 part 2

25 Gb/s Serial Signal/Data Interface

(optical interface)

3840x2160 pixels 4:4:4 10 & 12-bits up to 60p

72G - ITU-R BT.2246-2 Super-Hi Vision 72 Gbps

Optical fiber interface 7680x4320 pixels

4:4:4 12-bit up to 60p

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Présentateur


EN + update

https://kws.smpte.org/kws/groups/32nf40-20gbs/calendar/event?event_id=9274

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5. Connectivity - HDMI Interfaces

Version Ratification Date Max Resolution Max Frame Rate Bitrate/channel Total Bitrate

1.4 May 28, 2009 4096x2160 30p 3.40 Gbps 10.2 Gbps

2.0 Sept. 4, 2013 4096x2160 60p 6 Gbps 18 Gbps

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Will implementations consider the 18Gbps? Not so sure…

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5. Connectivity - DisplayPort Interfaces

Version Ratification Date Resolution Max Frame Rate Total Bitrate

1.2 2009 4K 60p

(8-bits) 17.2 Gbps

1.3 Work in progress 8K - 32.4 Gbps

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Same challenge

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6. Frame Rate

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Source : Big Buck Bunny – www.bigbuckbunny.org

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1080p50 isn’t it sufficient? Motion blur / judder – UER entre 25, 50 et 100P FTV recent tests reached 200p

http://www.bigbuckbunny.org/

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6. Frame Rate

• Frame Rate = Dynamic Resolution • Interests rising in sports, action and animation

movie production • Interfaces not yet available for higher Frame

Rates

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Lancement : Peter, there is a connection between frame rate and sensitivity. Let’s hear what you told us previously. ****** CLIP: CL = Framerate and sensitivity

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7. Sampling

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Sample Size Production & Post-Production Distribution

8-bit Any XDCAM HD based work Everywhere

(except Blu-Ray & D-Cinema)

10-bit HD-SDI Any AVC-I based work

Blu-Ray & D-Cinema

12-bit Minimum requirement for

High-Dynamic Range (HDR) Standard No

16-bit Visual effects (VFX)

High-end No

See: http://www.display-central.com/free-news/display-daily/dolby-discusses-hdr-encoding/

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Lancement : Peter, let’s hear what you told us about the impact of bit depth ****** CLIP: PW = bit depth and cost

http://www.display-central.com/free-news/display-daily/dolby-discusses-hdr-encoding/

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8. Colour Space

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Lancement : Cédric Lejeune from Workflowers told us at the seminar about what’s important with Human Visual system Technologies concurrentielles : Dolby Vision, BBC, Technicolor

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8. Colour Space

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Existing: HD & UHD phase 1 (Rec.709)

HDR: UHD phase 2 (Rec.2020)

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Figure Rec. 2020 vs 709 Dolby vision?

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Major constraints around 4K/UHD

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EN

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11. Audio

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Schémas Pascal étude

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11. Audio

Meanwhile…

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Barco Dolby

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Barco Auro 11.1 & Dolby atmos

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#MediaEI @Mesclado

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Before we get starting, there are several ways you can interact with us: - Using twitter: @Mesclado and #MediaEI, as in Media Engineering Intelligence, that’s the name of Mesclado’s programme that offers studies, seminars, training and consulting services that all provide hard facts for decision makers from the media industry Using the Webcasting interface

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François ABBE – Mesclado – www.mesclado.com

Many thanks to: Peter WILSON – HDDC – www.hddc.co.uk

And Cédric Lejeune – Workflowers – www.workflowers.net

mesclado Production Team: Asma Jenhani, Cherif Ben Zid, Sandrine Hamon,

http://www.mesclado.com/

http://www.hddc.co.uk/

http://www.workflowers.net/

"4K/ UHD Advanced"

Engineering

Transcript of "4K/ UHD Advanced"