BCA Show Daily - Day 1 - 22

SUNTEC SINGAPORE

A part of

MARINA BAY SANDS * SUNTEC SINGAPORE

Show Daily | Tuesday 26 June 2018

BBright: Full UHD HEVC Workflow
from Contribution to Delivery
Despite the inception of some very new video codecs, such as
AV1 for the OTT arena and AVS 2.0 for China, the HEVC/H.265
codec has now become ubiquitous worldwide...

EVC coding refinements indeed bring
around 50 per cent bitrate, whether for
broadcast, IPTV, cable TV or OTT. Today, all
4K - UHD channels use the HEVC technology
for final delivery to end-consumers (to STB or
TV, or on mobile).
At live production level, and within
broadcaster's head-ends, HEVC is rather
common too, although some older video
compression codecs remain in use. Live
sport contributions would often be processed
based on very high bitrate JPEG-2000
or
multi-quadrant
AVC/H.264
encoding. However, from 2016
to 2017 there is a clear market
momentum to replace four-quadrant
Ultra HD contributions with single,
full-frame,
HEVC
contribution
around 60 to 120 Mbps for the
same perceived visual quality.

based or other proprietary pivot files. Indeed,
H.264-based files are much larger in size for
the same asset duration compared to HEVC
Single Link Benefits
files. Bitrates up to 600Mbps impose larger
Drastically reducing the transmitted
NAS for content storage and will stress more
video bitrate offers lots of cost savings
intensively the broadcaster's IP network for
associated to the contribution link. Moreover,
transfers, back-up, etc.
the advantage of providing a single UHD
Finally, the HEVC Main 10 coding profile, i.e.
contribution link encoded in HEVC is the
10-bit encoding, has been designed from the
possibility to ingest such live Transport
ground up to natively support High Dynamic
Stream and then directly re-use later the
Range (HDR). Different HDR schemes corecorded Transport Stream file for Nonexist on the market such as HDR10 - PQ
Linear Editing or for (time-shifted) playout
(with static metadata), HLG (being backward
replay. This proves to be much easier than
compatible with SDR display screens),
transcoding ingested contribution into H.264DolbyTM Vision (using dynamic metadata)
BBright specialises in and the newer HDR10+ (also with
UHD/HEVC/HDR workflows dynamic metadata).

Specialist in
UHD/HEVC/HDR
The
French-based
company
BBright is a reputed specialist of
Ultra HD/HEVC/HDR workflows.

BBright delivers solutions for high bitrate
HEVC live Transport Stream contribution
ingest and also high bitrate HEVC decoding
back to baseband or to HDMI.
The companion BBright playout servers can
directly accept HEVC Transport Stream files
either for baseband playout (quad 3G-SDI
output) with graphical insertions, or for final
delivery to end-consumers (with multiple
channels on TSoIP output). The scheduling of
playout events is embedded and sequenced
internally and does not require costly external
automation control systems.
All BBright products are SDR, HDR10-PQ
and HLG compatible with more support for
other HDR schemes to come. Such products
are already deployed in North America, Latin
America and Europe to support the football
World Cup.
BBright is ready to team up with Asian
broadcasters and service providers to deploy
full HEVC workflows to improve video quality,
reduce bandwidth and storage requirements
and ultimately minimise CAPEX and OPEX for
new 4K/Ultra HD Services.
BBright is exhibiting at booth 4F1-04.
www.bbright.com

Sci-Fi Short Hyperlight Delivered in
HDR with Blackmagic Design
Blackmagic Design's range of digital film cameras (Stand: 6S2-01/3), including the URSA Mini 4.6K and
URSA Mini Pro, have been used in the filming of Hyperlight...
Editor

yperlight is a science fiction thriller from
writer and director Nguyen Anh Nguyen
(Akira Project and Temple).
Post-production for the movie was
completed in DaVinci Resolve Studio,
including the edit and grade, while the visual
effects were completed in Fusion Studio
and overseen by VFX supervisor Santiago
Menghini.
Nguyen Anh Nguyen (centre) on the Hyperlight set

Confined space
According to DP Simran Dewan, the URSA
Mini's compact form factor and ergonomics
made it the ideal choice for Hyperlight as the
majority of the film takes place within the
confines of a spaceship. "Being lightweight
and easy to use, the URSA Mini allowed us
to readily switch between a variety of different
setups on a quick release plate," he said. "Not
only that, we could manoeuvre into the tight
corners of the set to create unique angles."
Dewan pushed to shoot in CinemaDNG

RAW as his preferred workflow. "You end up
with a much thicker digital negative with more
latitude and information for post-production.
Treating the camera as I would any other film
stock, I rated it at 800 ISO but metered for
500 and paired it with a set of vintage Kowa
anamorphic lenses. I've always imagined
film in this format, and the lens perfectly
complemented the colour fidelity of the 4.6K
sensor."
The URSA Mini was rigged for a Chapman
Hybrid dolly and a Ronford-Baker Atlas tripod

Naomi Silver-Vézina relied on
management tools such as flags and
markers to help identify proxy clips,
previz shots, mockups and final shots.
Resolve's burn-in text functionality
and titling tools were also used to add
precise notes to any placeholders: a
crucial aspect to such a VFX heavy
project.
"The biggest advantage to using
Blackmagic's range of digital film cameras were used during filming DaVinci Resolve on Hyperlight was
head. "On an indie shoot, you are always
in being able to move from the final editing
limited by time, so the camera was constantly
timeline to the grading environment and back
being moved from one setup to another on
at will. Being able to switch to the colour
a quick release plate; we were often tearing
page in seconds allowed me to make fine
down part of the set while setting up the next
adjustments such as chroma keying and even
scene at the same time."
some minor compositing using masks, all of
which benefitted the final edit," said SiverDaVinci Resolve Studio
Vézina "What would have usually taken hours
Subsequently, the rushes were synced to
of conforming or round-tripping between
the audio and converted to DNxHR for offline
software, we could do painlessly in minutes
in DaVinci Resolve Studio, which was used at
with DaVinci Resolve."
every step of the post-production process.
www.blackmagicdesign.com

http://www.bbright.com http://www.blackmagicdesign.com

Table of Contents for the Digital Edition of BCA Show Daily - Day 1