Technology Development Group Tech Ops Presentati… · Who we are •We are a group of...

IntroductionTechnology Development Group

Who we are

• We are a group of technologists dedicated to providing enabling technology to help the divisions be more profitable.

• We are largely focused on production and delivery: how we produce and master content, how and what we deliver to the consumer, and how we protect the assets.

• We work closely with the technical people in each division and with those in IT.

• Like IT, we are a corporate group.

24/7/15Sony Pictures Confidential

● Spencer StephensChief Technology Officer

Scot BarbourVP, Production Technology

Tim WrightVP, Worldwide New Media and Technology

New HireVP, Security and Media Technology

Andrew LivingstonManager, Digital Policy

Yoshikazu TakashimaExec Director Advanced Technology

Masaki NakayamaExecutive Director, Technology Operations

Dawn BranchAdministrative Assistant

Culver City

London

4/7/15Sony Pictures Confidential3

Basics

4k or UHD

• Ultra High Definition (UHD) is 3840 x 2160

• UHD is being called 4k, 4k UHD, Ultra HD 4k, …

• Digital cinema definition of 4k is 4096 x 2160

• SPE’s definition of 4k UHD content

• Shot and mastered in 4k

• Not up-scaled from lower resolution

• It’s the highest quality version of a movie or TV show

• 4k movies & TV is shot on 35mm film and on new digital cinema cameras like the Sony F65


8’

26” Standard Def

> 7x SH

SH*

*Screen Height


8’

50” HD

> 3x SH< 7x SH

SH


8’

85” UHD

> 1.5x SH< 3x SH

SH


8k Quiz

1. What’s the ideal viewing distance for an 8k TV?

2. What size 8k would you want if your sofa is 8’ away from it?

0.75x Screen Height

260”, 1 9 feet wide


Increased spatial resolution isn’t enough• Picture specifications for high def are based on CRT TV capabilities

• With 4k there is an opportunity to improve other picture parameters

• These new parameters can improve HD too but will need new players.

Parameter Comments

Larger color space (ITU-R Rec 2020 or XYZ)

• Colors that cannot be reproduced on a CRT TV

High dynamic range (HDR) aka extended dynamic range (XDR)

• More details in the highlights, darker shadows.• Brighter screens for better color display• HD is 100 nits, new XDR TVs are 1,000 nits, studio

target is 4,000 nits but there are power considerations.

10 or 12 bits color depth • 8 bit used in HD can cause “contouring” of the image. (10 vs 12 bits still being debated)

Higher frame rates • 48 fps or 60 fps for high frame rate movies• 100 fps or 120 fps sports broadcast


Not all 4k is created equalSony F654096 green pixels2048 red pixels2048 blue pixels

Red Epic2560 green pixels1280 red pixels1280 blue pixels

Sony F552048 green pixels1024 red pixels1024 blue pixels

Arri Alexa1440 green pixels 720 red pixels720 blue pixels

Bayer pattern and CMOS sensors

8k pixelsTrue 4k output

5.5k pixels4k output

4k pixels4k output

2.8k pixels2.8k output


Acquiring 4k content – features and episodicCamera Type Maximum Resolution Comments In

use?4k? HDR

?

35mm Film Scanned at 4k Most features and all episodic that are shot on film

Yes Yes Yes

65mm Film Scanned at 6k “Lawrence of Arabia” No Yes Yes

35mm CCD Digital Cinema Cameras

1920x1080 Sony F35, Genesis (2005) No No No

Arri Alexa 2880x1620 or 2880×2160 depending on format

CMOS RAW or ProRes Yes No Yes*

Red Epic & Dragon Up to 5.5k & 6k respectively

CMOS RAW Yes Yes Yes*

Sony F55 4096x2160 CMOS RAW or XAVC Yes Yes Yes*

Sony F65 Normally 4096x2160, 8192x2160 possible

CMOS RAW Yes Yes Yes*

CGI effects Typically 2k Resolution is rendering cost issue.

Yes Option Option

* These cameras are, in varying degrees, capable of HDR but production decisions may mean footage isn’t HDR


Consumer Services

Delivering 4k to the consumer

• AVC encoded 4k is 2-3 time larger than HD

• Not 4 times larger

• 4k delivery becomes practical with HEVC (H.265) codec

• Perhaps 35-40% more efficient than AVC today

• Hardware decoders in shipping devices

• Sony Pictures is requiring significantly stronger content protection for UHD/4k than for HD


Availability of 4k in the consumer market• Sony shipped server loaded with 11 4k movies with the 84” 4k TV in late 2012

• Sony 4k Video Unlimited service launched 1st September 2013

• Preload and download 4k movies and TV shows

• Second gen 4k player and TVs have Netflix 4k

• Netflix started 4k streaming SPE content to Sony and Samsung TVs in June 2014

• Adaptive streaming means instantaneous resolution may be less than 4k or content is spatially subsampled or heavily compressed

• A lot of interest by broadcasters in UHD

• BSkyB and Sky D are shooting football in UHD and with HDR

• Korean broadcasters have linear UHD channels.

• DirecTV will launch using RVU – 4k HEVC decode in TV, not in STB


TV series delivering to Netflix in 4k

• Blacklist

• Breaking Bad

• Masters of Sex

• House of Cards


Market Deployment Timeline

What we expected

1. Physical media

2. Download

3. Streaming

4. Linear

What’s happening

1. Sony pre-loaded players

2. Streaming

3. Linear

4. Download

5. Physical media


Enhanced Content Protection

Starting Point

• No content protection system is impenetrable, but the system has to be hard to crack.

• You just got hacked, what are you going to do?

• Rapidly re-secure the content protection

• Contain the breach to a single title/copy

• Learn from the Condition Access (CAS) industry for cable, satellite, etc.

• Security system providers whose reputation is at stake

• Both a technology and a service

• Software running in Trusted Execution Environments

• Rapid proactive and reactive renewability

• Breach and hacker monitoring• What are people trying to hack the system working on?


SPE Requirements for 4k/UHD Content

• HDCP 2.2 output protection

• No other digital outputs currently offer appropriate security

• On line authentication

• Check for current content protection version

• Prevent pre-street date piracy

• Title diversity

• When one title/copy is compromised, incremental hacking is required to compromise the next title

• Decode in trusted execution environment (TEE) with hardware protected video path.

• Forensic watermarking identifying player model/version

• Content protection technology/implementation from expert companies with appropriate practical experience


SPE Requirements for 4k/UHD Content

• HDCP 2.2 output protection

• No other digital outputs currently offer appropriate security

• On line authentication

• Check for current content protection version

• Prevent pre-street date piracy

• Title diversity

• When one title/copy is compromised, incremental hacking is required to compromise the next title

• Decode in trusted execution environment (TEE) with hardware protected video path.

• Forensic watermarking identifying player model/version

• Content protection technology/implementation from expert companies with appropriate practical experience

Challenging for linear - use return path through TVs Internet connection

Requirement for off-line playback

State of the art in new devices

TV makers have rapidly realized this is a necessity


Thank YouSpencer Stephens

[email protected]

Movielabs specifications for next generation video: http://movielabs.com/ngvideo/index.html

mailto:[email protected]

http://movielabs.com/ngvideo/index.html

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