1 High Dynamic Range The Best TV Picture You ve Ever Seen Broadcast and Professional Products Hitachi Kokusai Electric America
2 Introduction to HDR Common HDR Misconceptions HDR is independent of resolution and color gamut. HDR is not more brightness, it s detail in the tonal RANGE. HDR is not a format war. They all accomplish similar things. HDR can be compatible with today s SDR displays. HDR video in not the same as HDR photography
3 Agenda Why HDR? SDR - HDR Comparison Images Why HDR for HDTV? Standards & Terminology Requirements for HDR Wide Color Gamut & HDR Profiles Operational Considerations Compatibility with SDR Consumer HDR
6 What is High Dynamic Range? HDR is an attempt to more closely match the way the Human Visual System actually sees things in real life. HDR increases the difference in light intensity between the darkest and brightest elements of a TV picture. The human eye has an exceptionally large dynamic range of f stops and a contrast range of 30,000: 1 (without adaption).
7 ITU-R.BT.2100 Standard HDR provides substantially increased [peak] display brightness offering detail in highlights and reflecting objects, it also provides greater detail in dark areas. The HDR image formats should have, where appropriate, a degree of compatibility with existing workflows and infrastructure. Modern displays are capable of reproducing images at a higher luminance, greater contrast ratio and wider color gamut than is conventionally employed in program production.
8 SDR - HDR Comparison (Simulated images) HDR off HDR on
9 SDR - HDR Comparison (Simulated images) HDR off HDR on
10 SDR - HDR Comparison (Simulated images) HDR off HDR on
11 SDR - HDR Comparison (Simulated images) HDR off HDR on
12 Why HDR for HDTV? World-wide average TV viewing distance is about 9 feet. That s too far away to see the full resolution of 4K. 4K/UHD maximum viewing distance is about 6 feet for 65 TV. At average distance of 9 the optimum size is 4K/UHD TV is 105
13 Why HDR for HDTV? (cont.) HDR is easily visible at average viewing distances. UHD full resolution may be barely visible. HDR has far more visible impact than resolution for most consumers. HD-HDR (also called HDR+ / UHD Lite) has about one-quarter of the requirements for workflow, storage and bandwidth of 4K/UHD. HD-HDR is deliverable today by satellite, OTT & cable, ATSC 3.0 HDR bandwidth increase of about 25% increase in bandwidth.
14 Methods for Improving Pictures High Dynamic Range Resolution Color Gamut Bit Depth Frame Rate
15 Industry quotes on HD-HDR: Paul Turner Telestream: A well set up 1080p HDR image will blow away an SDR 4K image in almost every respect. Netflix - HDR is much more important (than 4K). Over the past 15 years, we ve had plenty of increments of pixels and pixel count eventually stopped being interesting. EBU (TR 037)- Advanced 1080p Format. (Also known as HD+ and UHD Lite). An increase in spatial resolution alone will not provide a sufficient boost in the viewing experience.
16 Advanced HDR The Devil is in the Details
17 History of Dynamic Range Today s camera gamma curve is based on the CRT. The CRT characteristics are standardized as BT.1886 This limits the display s peak white to 100 nits. BT.709 was established in Modern displays are capable of higher luminance, contrast ratio and wider color gamut than is employed in program production.
18 Signal Value BT.709 SDR Gamma Curve Camera Gamma (white) BT.709 Camera Gamma Correction (OETF) BT.1886 Display Gamma Curve (EOTF) Resulting System Gamma Curve (OOTF) (small stretch near black) nits Display Brightness The Camera Gamma Curve was established for CRTs, created in It is no longer relevant for digital code values and modern displays.
19 HDR Related Standards ITU-R BT.709 AKA Rec709 standardizes the format of high-definition television, having 16:9 aspect ratio ITU-R BT.2020 Rec2020 defines various aspects of ultra-high-definition television (UHDTV) with standard dynamic range (SDR), including picture resolutions, frame rates with progressive scan and bit depths. ITU-R BT.2100 defines various aspects of high dynamic range (HDR) video such as display resolution (HDTV and UHDTV), bit depth, Bit Values (Files), frame rate, chroma subsampling and color space. ST 2084 This standard specifies an EOTF (the Barton PQ curve). It also specifies an EOTF characterizing highdynamic-range reference displays used primarily for mastering non-broadcast content. ST 2086 Specifies the metadata items to specify the color volume (the color primaries, white point, and luminance range) of the display that was used in mastering video content. ST 2094 Specifies the content-dependent Color Volume Transform metadata for a set of Applications, a specialized model of the color volume transform defined by the core components document SMPTE ST ARIB STD-B67 Hybrid Log-Gamma (HLG) is a high dynamic range (HDR) standard that was jointly developed by the BBC and NHK. HLG defines a nonlinear transfer function in which the lower half of the signal values use a gamma curve and the upper half of the signal values use a logarithmic curve.
20 HDR Terminology HDR High Dynamic Range TV (ITU-R BT.2100) WCG Wide Color Gamut anything wider than Rec.709, DCI P3, Rec.2020 SDR Standard Dynamic Range TV (Rec.601, Rec.709, Rec.2020) PQ Perceptual Quantizer for HDR signals (SMPTE ST 2084, ITU-R BT.2100) Ultra HD Blu-ray HDR disc format using HEVC, HDR10, and optionally Dolby Vision Dolby Vision 12-bit HDR, BT.2020, PQ, Dolby Vision dynamic metadata HDR10 10-bit HDR using BT.2020, PQ and static metadata HLG Hybrid Log Gamma Transfer Function for HDR signals (ITU-R BT.2100) UHD Alliance Premium Logo High-end HDR TV requirements Rec.709, P3 or Rec.2020 MaxCLL Maximum Content Light Level MaxFALL Maximum Frame-Average Light Level Mastering Display Metadata SMPTE ST 2086 (min/max luminance, color volume) DMCVT Dynamic Metadata for Color Volume Transforms, SMPTE ST 2094 HFR High Frame Rate (100 & 120 fps) HEVC High-Efficiency Video Codec (ITU-T h.265) -2x more efficient than AVC
21 New HDR Terminology OETF = Opto-Electronic Camera Transfer Function A digital code value for the camera gamma curve EOTF = Electro-Optical Display Transfer Function A digital code value for a monitor or TV display OOTF = Opto-Optical Transfer Function Adjusted System: Glass to Glass entire path of the signal Luminance is measured in nits = 1 candela per meter square
22 Camera Signal Chain Scene Light OETF Video Signal EOTF Display Light Encoding Decoding Camera Signal Display OOTF
23 Display Luminance 14 stops 10 stops Black Cinema BT.709 (HLG & PQ) Dolby Vision Future Target Dolby Pulsar Nits ,000 2,000-4,000 10,000 Movie theaters are a highly controlled environment. Television viewing is an uncontrolled environment. Cinema & TV are very different viewing environments.
24 HDR Quantization A minimum of 10 bit quantization is required for HDR. It offers a wider range of tones and colors needed for HDR & WCG. 10 Bit = 1024 steps 8 Bit = 256 steps
25 HDR Links in a Chain Acquisition HDR Encoding Post-Processing Color & Tone Grading Distribution & Encoding Display HDR Decoding Every link in the chain must be capable of passing or processing HDR. HDR is not just a camera or a display curve. It s a SYSTEM.
26 HDR Links in a Chain SDR HDR
27 Bit Allocation in HDR Cameras The Human Visual System has a non-linear sensitivity curve to brightness. Higher bit-depth is required in the dark to mid-tones areas of the picture. Greatest Human Visual Human Visual System s System greatest sensitivity is in sensitivity the mid-level and dark areas of the picture stops stops of Dynamic Range
28 Wide Color Gamut In 1931, CIE established the 2D Chromaticity Diagram. CIE was first to describe the perception of colors in a quantifiable manner. Rec.601 & Rec.709 are similar. CIE Chromaticity Diagram
29 Wide Color Gamut (Volume) White is full brightness of each color. As bright colors come closer to white, they become less saturated. Color Volume (over Luminance) Current HDR/WCG displays must display at least 90% of DCI-P3. No current monitor or TV can display the full BT.2020 color gamut.
32 Differences between HDR Profiles* Hybrid Log-Gamma - ARIB STD-B67. For live Broadcast TV The HLG curve works with traditional displays (BT.1886) PQ / ST 2084 HDR bit. Color and tone grading added later in post. Static Metadata for Movies. Dolby Vision 12-bit. Same HDR curve as PQ. Post graded color & tone. 10,000 nit target. Dynamic metadata. License required *HLG & PQ are the only world standard HDR curves. All other HDR log curves must be converted for distribution.
33 Artistic Intent & Metadata PQ and Dolby Vision use metadata and are mostly for movies and cinema. The director s intent is put in metadata and that controls your TV display. NOTE: TV game shows and news sets are flat lit. They will look similar to SDR unless lighting is adjusted to be more dramatic.
34 HDR / SDR Compatibility HDR adoption requires how legacy SDR sets will display HDR. HLG no metadata. A more compatible hybrid curve for traditional TVs. PQ curve is less compatible. Static (or no metadata). Dolby Vision is the least compatible. Dynamic metadata and 12 bits. There s no guarantee that a single HDR will be best for all situations.
35 HDR / SDR Compatibility HDR Profile SDR TV Compatibility Picture Improvement Intended Usage Note: HLG Best Good Live TV Broadcast PQ/ HDR10 Dolby Vision Poor Better OTT/DVD Worst Best Movies Open Standard Licensed Proprietary
36 Signal Value HDR OOTF Transfer Curves 1.2 OETF/EOTH (OOTF) BT.709 Gamma Hybrid Log-Gamma PQ - SMPTE ST Modern HD/UHD Displays 500 Nits Brightness Modern Flat Panels Hybrid Log-Gamma is more similar to the BT.709 gamma curve up to 65% The HLG curve follows BT.709 and is more compatible with SDR TV 1000
37 HLG & SDR Compatibility 4K HDR monitor (HLG) HD SDR monitor (HLG) HLG Hybrid Log-Gamma Curve is more compatible with SDR displays.
38 Signal Value A 0.2 PQ Curve on SDR Display B OETF/EOTH (OOTF) BT-709 Curve HLG Curve PQ Curve Using PQ on a SDR display would make the picture brighter at A and darker at B, creating a low contrast image
39 PQ & SDR Compatibility 4K HDR monitor (PQ) HD SDR monitor (PQ) The PQ curve will appear grey, muddy & washed out a SDR display.
40 HDR Workflow Considerations How can I start using High Dynamic Range? What is the most compatible HDR Profile? Live Workflow Compatible HDR/SDR Shading? Mixing various SDR sources in HDR Workflow? Delivery of SDR and/or HDR? Broadcast Delivery of Simultaneous HDR and SDR?
41 Mixed Sources in HDR Production ITU-R BT The HDR image system should have a degree of compatibility with existing workflows and legacy infrastructure. Live production must handle many different sources and intermix HDR & SDR material. SDR content feeds in HDR Program Cam 1 (HDR) Cam 2 (HDR) RF Cam (SDR) Effects (SDR) Inserts (SDR) Net feeds (SDR) Graphics (HDR) Slow Mo (HDR) Production Switcher
42 HDR and SDR camera look The HDR signal has to be converted to SDR for wide distribution. It should look identical to the SDR signal from a SDR camera. The images within a scene have a different look for SDR and HDR HDR & SDR are not fully compatible. They have to be converted.
43 HDR/SDR Compatibility Required conversions for Broadcast HDR & SDR formats Dynamic Range: BT.2100 BT.709/BT.1886 (display gamma) Color Space: BT.2020 BT.709 Bit Depth: 10 bit 8 bit (Broadcast) Spatial Resolution: 2160 (4K) 1080/720 (HD) Temporal Resolution: 60 Hz Progressive Interlace Video coding: HEVC AVC or MPEG-2 (Broadcast)
44 Camera HDR & SDR Outputs Hitachi s 4K HDR camera is available with two simultaneous outputs one HDR (HLG or PQ) and another SDR output (BT.709). The camera exposure is adjusted for the HDR HLG output, and the SDR signal is derived by applying inverse gamma, a gain offset of -9 db, and then a conventional BT.709 OETF. HDR HDR Inverse Gamma Linear (flat) & lower gain BT.709 Gamut Mapping SDR
45 Inverse Gamma Gamma Mapping Process PQ HDR CURVE INVERSE HDR CURVE LINEAR / FLAT SDR CURVE P r o c e s s e s
46 Today s HDR/SDR shading Depending on the profile, camera video shaders should adjust the picture primarily for the downconverted SDR. If SDR is correct, HDR will be OK. The SDR lies within HDR. However, shading only for HDR will clip the SDR picture.
47 Camera Shading Tomorrow The camera shaders should be able to manage the cameras in the conventional manner, using SDR monitoring from the CCUs. The HDR signals will track the offset iris adjustments made for SDR. HDR SDR
48 Simulcast Delivery via LUT Mobile Production Truck LUT BOX SDR SDR SDR Feed HDR HDR to SDR HLG to PQ PQ to HLG Master Control distribution LUT 3D LUT BOX SDR HDR
49 Simulcast via CCU Conversion CU-UHD4000 Inverse Gamma/Gamut Mapping Mobile Production Truck SDR SDR HDR HDR SDR Feed Master Control distribution 3D LUT SDR SDR HDR
50 Broadcast SDR/HDR Delivery Stations will be able to deliver simulcast HDR/SDR with ATSC 3.0 ATSC 3.0 A/341 Standard SL-HDR1 Technicolor s Single Layer (SL) Transmission System Encodes a SDR signal with HDR Metadata for transmission Provides SDR & Reconstruction of HDR signal at the TV receiver.
51 Consumer TVs & HDR Standards ULTRA HD PREMIUM TV specs: Image Resolution: Color Bit Depth: 10-bit, BT.2020 color space (90% of DCI-P3 colors) High Dynamic Range and SMPTE ST2084 EOTF Spec on nits brightness: LCD = More than 1000 nits peak brightness & less than 0.05 nits black (today 2,000 nits) OLED = More than 640 nits peak brightness & less than nits black (today 1,000 nits)
52 HDR Support in TVs HDR10 Dolby Vision HLG HDR10+ SL-HDR1 Hisense x x LG x x x x Panasonic x x Visio x x x Samsung x x Sony x x Most major TV manufacturers have announced support of HLG for new models. Most OTT is available with HDR and is either HDR10 or HLG. Mobile devices receiving HDR are allhdr10.
53 Support of HDR Profiles (March 2018)
54 Worldwide HDR TV Forecast Full HDR - (Multiple profiles) HDR Compatible 4K TVs (luminance above 650 nits) Forecast = 245M UHD HDR TVs by 2022.
55 Comparison of SDR & HDR (simulated for SDR display) ORIGINAL 4K Content HDR Curve: PQ, 1000 nits, DCI-P3 color, Resolution: 3840x2160 Simulated 4K SDR: BT.709 Gamma, 100 nits, BT.709 color space, Resolution: 3840x2160 Workflow: The simulated SDR clip was achieved by re-grading the HDR clip until it was visually in-distinguishable from a SDR TV. The HDR and simulated SDR clips were then composited with a moving wipe. HDR/SDR comparison test clip
56 Thank You For more information John J. Humphrey Vice President, Business Development Hitachi Kokusai Electric America, Ltd. (724) Office (412) Mobile
57 Key Key Questions & Answers 1) Why do we advocate HD-HDR instead of UHD-HDR? At average Viewing distance you can t see the full resolution of UHD/4K 2) Why is there significant HLG compatibility with newer SDR flat panels? The brightness of today s SDR flat panels far exceeds 100 nits 3) What is the Primary difference between HLG and Dolby PQ? HLG is for Live Broadcast TV vs. Dolby PQ for Post-Produced Movies 4) How many bits are typical for SDR and how many for HDR? 8 bits for SDR. 10 bits for HDR. (Dolby Vision requires 12 bits)
58 Broadcast and Professional Products Hitachi Kokusai Electric America
The Future of TV Viewing Experience - White Paper - www.keepixo.com Introduction The video industry has always worked to improve the TV viewing experience. More than a decade ago, the transition from SD
Philips HDR technology White paper Philips International B.V. Version 1.0 2015-08-21 1. Introduction Current video formats are still based upon the display capabilities of CRT monitors. They cannot capture
Technical Paper SPECTRACAL C6 HDR HIGH LUMINANCE COLORIMETER By Tom Schulte and Darrell Bird High Dynamic Range (HDR) and Ultra HD TV (UHD) have been big news items in the entertainment industry lately
Van Már Nálatok UHD adás? Do you Receive the UHD signal? Bordás Csaba email@example.com HTE Medianet, Kecskemét, 2015.10.07 This presentation is about UHD-1 or 4k market perception Human Visual
Hitting the Moving Target of 4K Table of Contents The 4K Video Signal What You Need to Know Now...2 Resolution 4K and UHD...2 Color Bit Depth...3 Frame Rate...4 Color Sampling...5 Bandwidth Data Rate...6
ericsson White paper Uen 284 23-3266 November 2015 Understanding ultra high definition television TECHNOLOGIES FOR ENHANCED VIEWING EXPERIENCES Consumer demand for ultra high definition television (UHDTV)
Video Compression Trends & OUTLOOK Andreas Pentrelli Solution Consultant Subscriber's View All from one provider Triple Play TV - Linear TV / VOD, Telephone, High Speed Internet One household, multi screens
Next Generation DTV: ATSC 3.0 The DTV Standard High-Definition Multicasting 5.1 Digital Surround Sound Electronic Program Guides Enhanced Closed Captioning Enabled government goal of reclaiming spectrum
Managing Ultra High Cable Definition TV Migration TV (UHDTV): to IP Avoiding Part 1 the Pitfalls of 3DTV Series Introduction: Market Drivers and Tech Challenges Sean McCarthy, Ph.D., Fellow of the Technical
Managing The Future Cable of Ultra TV Migration High Definition to IP TV Part (UHDTV) 1 A Brief on Visual Acuity and the Impact on Bandwidth Requirements Series Introduction: Market Drivers and Tech Challenges
S-Log: A new LUT for digital production mastering and interchange applications Hugo Gaggioni, Patel Dhanendra, Jin Yamashita (Sony Broadcast and Production Systems) N. Kawada, K. Endo ( Sony B2B Company)
Recommendation ITU-R BT.79-6 (6/215) Parameter values for the HDTV standards for production and international programme exchange BT Series Broadcasting service (television) ii Rec. ITU-R BT.79-6 Foreword
Research & Development White Paper WHP 283 July 2014 Non-linear Opto-Electrical Transfer Functions for High Dynamic Range Television Tim Borer BRITISH BROADCASTING CORPORATION White Paper WHP 283 Non-linear
TECHNICAL STANDARDS SUPPLEMENT FOR DELIVERY OF UHD PROGRAMMES TO BROADCASTER LOGO Version 1.0 This document is a guide to the common technical standard for the delivery of UHD Programmes to BBC, ITV, Channel
ULTRA HIGH DEFINITION MARKET OUTLOOK AND NEXT STEPS Christoph LIMMER, Director Commercial Development Broadcast & Video Michel CHABROL, Marketing Director Innovation AGENDA Market environment Technical
Calibration Best Practices for Manufacturers SpectraCal, Inc. 17544 Midvale Avenue N., Suite 100 Shoreline, WA 98133 (206) 420-7514 firstname.lastname@example.org http://studio.spectracal.com Calibration Best Practices
Contrast ratio what does it really mean? Introduction...1 High contrast vs. low contrast...2 Dynamic contrast ratio...4 Conclusion...5 Introduction Contrast, along with brightness, size, and "resolution"
Understanding HD: Frame Rates, Color & Compression HD Format Breakdown An HD Format Describes (in no particular order) Resolution Frame Rate Bit Rate Color Space Bit Depth Color Model / Color Gamut Color
Application Note April 2013 Ultra-High Definition TV Acquisition and Exchange The TV industry is moving towards the next generation of high quality TV screen technology; Ultra High Definition Television
Technical Report 014 What follows HDTV? A status report on 1080p/50 and 4k Briefing Document to Senior Management Geneva June 2012 Contents EXECUTIVE SUMMARY... 5 1. Introduction... 7 2. Consumer market
/Video Synchronization Standards and Solutions A Status Report Patrick Waddell/Graham Jones/Adam Goldberg ITU-R BT.1359-1 (1998) Only International Standard on A/V Sync Subjective study with EXPERT viewers
Raster Graphics and Color Greg Humphreys CS445: Intro Graphics University of Virginia, Fall 2004 Color models Color models Display Hardware Video display devices Cathode Ray Tube (CRT) Liquid Crystal Display
EBU TECH 3299 High Definition (HD) Image Formats for Television Production Status: Specification Geneva January 2010 1 Page intentionally left blank. This document is paginated for two sided printing Tech
Plasma TV Buying Guide Plasma TVs are flat, super high-contrast TV sets that are offered in very large sizes, which at the extreme end exceeds 60-inches to provide the one of the most immersive theater-like
Recommendation ITU-R BT.1886 (03/2011) Reference electro-optical transfer function for flat panel displays used in HDTV studio production BT Series Broadcasting service (television) ii Rec. ITU-R BT.1886
WHICH HD ENDOSCOPIC CAMERA? Colin Dobbyne ORTV 2 Hillcrest Park, Hoyle Road Calverton, Nottingham NG14 6QJ t. +44 (0)115 965 55 77 f: +44 (0)115 965 55 22 e: email@example.com Welcome Thank you for downloading
Sony Corporation S-Log within Digital Intermediate workflow designed for cinema release Version 1.12.3 1/16 Index 1 S-Log Characteristics... 3 1.1 CHANGING THE SENSITIVITY (PUSH/PULL PROCESS)... 7 1.1.1
High Definition (HD) Technology and its Impact on Videoconferencing F770-64 www.frost.com Frost & Sullivan takes no responsibility for any incorrect information supplied to us by manufacturers or users.
Workflow Paper S-Log and ACES workflow in Vegas Pro 12.0 Revised August 8, 2012 Vegas Pro 12.0 supports the expanded dynamic range of cameras using S-Log encoding, such as the Sony PMW-F3 camera. S-Log
Color management workflow in Adobe After Effects CS4 Technical paper Table of contents 1 Getting started 3 High-definition video workflow 7 Digital cinema workflow 14 Animation/Flash export workflow 19
Optimizing BrightSign Video Quality The BrightSign "compact" models are capable of producing excellent high quality High Definition video output. However, video quality can be reduced if a system isn't
TV PROGRAMME ACCOMMODATION IN A DVB-T2 MULTIPLEX FOR (U)HDTV WITH HEVC VIDEO CODING TECHNICAL REPORT VERSION 1.0 Geneva March 2016 Page intentionally left blank. This document is paginated for two sided
BT Media & Broadcast Research Paper BT Media and Broadcast Research Paper Ultra High Definition Video Formats and Standardisation Version 1.0 April 2015 Mike Nilsson Page 1 Contents Page 1 Introduction
Rec. ITU-R BO.786 RECOMMENDATION ITU-R BO.786 * MUSE ** system for HDTV broadcasting-satellite services (Question ITU-R /) (992) The ITU Radiocommunication Assembly, considering a) that the MUSE system
Ultra HD Services Our Ultra HD Services From delivering Ultra HD content and TV signals to distributing these via satellite or Internet, we provide you with the services you need to get the most out of
LA TV LINEARE: ambiti, studi e riferimenti normativi internazionali 1 IERI TEMI RTV FORUM 2011 OGGI - TRANSPARENCY - ASSESSMENT FOR 3DTV - HEVC CODING for UHDTV - HYBRID BROADCASTING APPS - BROADCASTING
WHITE PAPER LIVE 4K ULTRA HD TV From Demonstration to Service Launch Copyright 2013 Elemental Technologies, Inc. Live 4K Ultra HD TV from Demonstration to Service Launch 1 TABLE OF CONTENTS Introduction...
Technical Paper DISPLAY PROFILING SOLUTIONS A REPORT ON 3D LUT CREATION By Joel Barsotti and Tom Schulte A number of display profiling solutions have been developed to correct image rendering errors in
November 2015 R-15-10-b the Big Picture: Ultra High-Definition Televisions Could Add $1 Billion to Viewers Annual Electric Bills EXECUTIVE SUMMARY With an estimated 300 million installed televisions in
USING PROFESSIONAL PLASMA DISPLAYS AS EVALUATION GRADE VIDEO MONITORS Peter H. Putman, CTS ROAM Consulting L.L.C. Doylestown, PA Nearly a decade into the 21 st century, we re seeing a paradigm shift in
Study and Implementation of Video Compression standards (H.264/AVC, Dirac) EE 5359-Multimedia Processing- Spring 2012 Dr. K.R Rao By: Sumedha Phatak(1000731131) Objective A study, implementation and comparison
TECHNICAL OPERATING SPECIFICATIONS For Local Independent Program Submission September 2011 1. SCOPE AND PURPOSE This TOS provides standards for producing programs of a consistently high technical quality
Barco A pragmatic look at higher frame rates in Digital Cinema Author Tom Bert Product Marketing Manager Barco Page 1 of 8 INTRODUCTION The digitization of cinema projection started around the year 2000.
Stereoscopic 3D Video in the Home Many consumers are looking with interest at all the 3D TV and projector models that are now becoming available to them, and most of them hope that they don t need to replace
White Paper Audio and Video Synchronization: Defining the Problem and Implementing Solutions Linear Acoustic Inc. www.linearacaoustic.com 2004 Linear Acoustic Inc Rev. 1. Introduction With the introduction
SPECIAL REPORT FROM THE AD HOC GROUP Mastering and Archiving Uncompressed Digital Video Test Materials By Charles Fenimore This is a report on the status of the SMPTE Ad Hoc Group (AHG) charged with creating
CS 430/585 Computer Graphics I Week 8, Lecture 15 Outline Light Physical Properties of Light and Color Eye Mechanism for Color Systems to Define Light and Color David Breen, William Regli and Maxim Peysakhov
Project Proposal Study and Implementation of Video Compression Standards (H.264/AVC and Dirac) Sumedha Phatak-1000731131- firstname.lastname@example.org Objective: A study, implementation and comparison of
An Introduction to Ultra HDTV and HEVC By Gregory Cox, Senior Application Engineer, ATEME July 2013 We are yet again at a precipice in technology with the introduction of HEVC and 4K. This is the new standard
EBU Recommendation R132 Signal Quality in HDTV Production and Broadcast Services Guidelines for technical, operational & creative staff on how to achieve and maintain sufficient technical quality along
SHARP S PICTURE QUALITY LEGACY CONTINUES: 2016 TELEVISION LINE-UP UNVEILED TODAY AT INTERNATIONAL CES 2016 For the First Time, Sharp AQUOS 4K Line-Up Includes Quantum Dot Technology and a Curved Screen
WHITE PAPER SENSITOMETRIC CHARACTERISTICS OF THE EOS C300 DIGITAL CINE CAMERA Updated June 19, 2012 Written by Larry Thorpe Professional Engineering & Solutions Division, Canon U.S.A., Inc. For more info:
Technical Paper DENTAL MONITOR CALIBRATION A REPORT ON DENTAL IMAGE PRESENTATION By Tom Schulte Dental radiographs and oral photographs are often both viewed on the same dental workstation monitor. The
5.1 audio How to get on-air with the Dolby "5.1 Cookbook" for broadcasters Tony Spath Dolby Laboratories, Inc. This article is aimed at television broadcasters who want to go on-air with multichannel audio
Technical Paper Dolby Digital Plus Audio Coding Dolby Digital Plus is an advanced, more capable digital audio codec based on the Dolby Digital (AC-3) system that was introduced first for use on 35 mm theatrical
August-2015 Broadcaster Directions 1 Why ATSC 3.0 now? The FCC has a current proceeding that will result in reverse auction of TV spectrum to FCC for ultimate resale to the wireless Multiple Network Operators
Advanced Techniques and Optimization of HDR VDR Color Pipelines Timothy Lottes [AMD] Contents Part 1: Variable Dynamic Range (VDR) Part 2: Tonemapping for VDR Part 3: Transfer Functions and Dithering Goal:
IF IT S WORTH WATCHING IN 3D IT S ON TIME WARNER DIGITAL CABLE 3D TV FAQ & SETUP GUIDE What Equipment do I Need to View Sports in 3D? Equipment I Need Time Warner Digital Cable Set Top Box (Connected Directly
EIZO Monitor CalMAN Setup Guide CalMAN Display Calibration Software can automatically create optimized calibration 1D or 3D LUTs for EIZO monitors equipped with a self-calibration sensor. CalMAN controls
Written by Jonathan Sachs Copyright 1996-1999 Digital Light & Color Introduction When using digital equipment to capture, store, modify and view photographic images, they must first be converted to a set
Video compression: Performance of available codec software Introduction. Digital Video A digital video is a collection of images presented sequentially to produce the effect of continuous motion. It takes
Outline srgb DX9, DX10, XBox 360 Tone Mapping Motion Blur srgb Outline srgb & gamma review Alpha Blending: DX9 vs. DX10 & XBox 360 srgb curve: PC vs. XBox 360 srgb Review Terminology: Color textures are
TV 2 AS HD DELIVERY FOR TV 2 AS Version 1.0 Contents 1. Delivery Format... 4 2. Standard Definition... 4 2.1. Standard definition... 4 3. Video Standards... 4 4. Action and Caption safe areas... 5 5. Audio...
E305 Digital Audio and Video (4 Modular Credits) This document addresses the content related abilities, with reference to the module. Abilities of thinking, learning, problem solving, team work, communication,
A Closer Look at CCTV Distribution Technologies Introduction In recent years high definition digital equipment, has become a standard requirement in the CCTV market. Recent reports indicate that by 2016,
R 95 SAFE AREAS FOR 16:9 TELEVISION PRODUCTION REVISION 1 SOURCE: SP-BHD, SP-QC Geneva July 2016 Page intentionally left blank. This document is paginated for two sided printing EBU R 95 Safe areas for
Red Bee Media Technical file and tape delivery specification for Commercials Applies to all channels transmitted by Red Bee Media Red Bee Media Rev. November 2010 Introduction Commercial copy is delivered
CALIBRATION AND OPERATION OF PANASONIC PLASMA MONITORS JULY 2009 Overview Plasma video monitors provide high resolution images with excellent contrast and dynamic range, low black levels, and saturated
Introduction to Analog Video Prepared by: Paul Lee ON Semiconductor APPLICATION NOTE Introduction Eventually all video signals being broadcasted or transmitted will be digital, but until then analog video
White paper An explanation of video compression techniques. Table of contents 1. Introduction to compression techniques 4 2. Standardization organizations 4 3. Two basic standards: JPEG and MPEG 4 4. The
Display technologies seminar 3D Displays What is 3D? 3D History 3D production 3D Displays 3D now Agenda 13 May 2010 Metropolia University of Applied Sciences Lauri Virkki What is 3D? Eyes are average 64
The Ultra High Definition View Ade Fewings CAST Limited, Bangor University email@example.com 1 Contents What is UHD? Technology Experience at Technium CAST Cool Stuff at CineGrid 2 What and Why? 3 What
Written by Jonathan Sachs Copyright 1996-1999 Digital Light & Color Introduction A scanner is a device that converts images to a digital file you can use with your computer. There are many different types
Based on the information you provided we are unable to match you with a specific hookup recommendation. For your convenience this document provides the four most common hookup configurations for the devices
NIELSEN'S LAW VS. NIELSEN TV VIEWERSHIP FOR NETWORK CAPACITY PLANNING Michael J. Emmendorfer and Thomas J. Cloonan ARRIS Abstract Our industry is fully aware of Nielsen s Law of the maximum Internet service
FAQs Getting started with the industry s most advanced compression technology when it counts AVC-Intra Frequently Asked Questions 1. What is AVC-Intra? AVC-Intra, the industry s most advanced compression
PEG Streaming Public, Education, and Government (PEG) TV channels have been going through an evolution. Once the exclusive domain of "cable TV", PEG's have evolved to become Community Media Centers, serving
Video Matrix Switches and Bandwidth TABLE OF CONTENTS What is a Video Matrix Switch?...3 Bandwidth in Video Matrix Switches...4 Bandwidth Variations in Video Systems...4 Measuring Video Matrix Switch Bandwidth...4
Introducing AVP 3000 Voyager JPEG 2000 in DSNG Executive Summary Compelling live News, Events and Sports is key to audience share. In a fragmented multi channel, multi platform market, live content continues
ATSC 3.0 overview Rich Chernock TG3 Chair Triveni Digital CSO BMSB, Ghent, June 2015 Subject to Change Specialist Groups and ad hoc groups have made preliminary decisions to select technologies for incorporation
Quality Estimation for Scalable Video Codec Presented by Ann Ukhanova (DTU Fotonik, Denmark) Kashaf Mazhar (KTH, Sweden) Purpose of scalable video coding Multiple video streams are needed for heterogeneous
Understanding Network Video Security Systems Chris Adesanya Panasonic System Solutions Company firstname.lastname@example.org Introduction and Overview This session will provide vendor neutral introduction
Digital Asset Requirements for Game Titles The following section covers the creation and use of digital assets required to publish Game content on Xbox LIVE Marketplace Game Key Art General requirements