In Broadcast - December 2013 - 32


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 26 - DECEMBER 2013

N E W S

InFOCUS
Preparing For 4K Acquisition & Beyond Cont.

The Sony crew in Belo Horizonte prepare for shooting
the Confederations Cup in HD & 4K

32

vehicle was systems integrated by
Sony Professional and supports
HDC-2500R cameras for HD, F55
35mm digital film cameras for 4K,
a MVS-8000X vision mixer and a
Miranda 4K UHD TV enhanced 8500
Series router.
Peter Sykes, Strategic Technology
Development Manager at Sony
Europe, comments that there
are similarities between the
implementation of 4K technology
today and the take-up of HD in the
early 2000s. "It was feasible to shoot
HD then but there wasn't the means
to get it into homes," he says. "The
key thing today is that although 4K is
still emerging, services to the home
are developing quite quickly. So if
people shoot at the highest quality
now they should be covered for
whatever is used in the future."
Simon Westland, Sales Director for
Blackmagic Design EMEA, observes
that a price premium for 4K might
put people off investing in it. "For a
broadcaster or production company
the decision today is whether to
shoot in HD anymore or move to
4K." Westland adds that future
proofing is a major consideration.
He points to the BBC Natural
History unit commissioning its new
wildlife series, Survival, in 4K. "The
opportunities are there for content
creators to make something of the
4K resolution," Westland comments.
"When it comes to making technical
decisions they are seeing longer term

value in shooting higher than HD."
Chuck Meyer, Chief Technology
Officer for Core Products at Miranda
Technologies, points out that, unlike
HD, there is no legal mandate
for broadcasters to move to the
higher resolution.

Simon Westland,
Blackmagic Design

today
"...the decisionshoot
is whether to
in HD anymore or
move to 4K

"

"So 4K will have to prove its own
value," he says. "Just like the HD
transition, content and delivery
bandwidth will set the rate of
adoption. The costs involved in
making 4K broadcasts possible
would be significant, although
much of the off line, and near online equipment currently in use at
many facilities is already capable
of handling 4K content, or is easily
upgradeable."
Both Meyer and James Gilbert,
Joint Managing Director of
graphics specialist Pixel Power, are
enthusiastic about the benefits of
4K imaging, particularly the more

Employed by Sky, Telegenic's 4K
T25 vehicle attended the Confederations Cup

intense colours and better resolution,
which gives an immersive sensation.
Gilbert, however, does sound a
note of caution: "The reality is that
certain processes have it easier
than others when it comes to
embracing 4K. Image capture at
4K for certain types of footage is
relatively straightforward. But when
we start to venture into transmission,
delivery and live events, 4K may be
a factor of eight times more difficult
to handle than HD, if it ends up
being the 120Hz frame rate. And
there are issues around motion blur,
compression and the necessary
screen size. If you have to shoot
high frame-rate sports, how do you
make a lens and a camera that will
allow that? And how then do you
make a real-time, Ultra HD H.265
transmission encoder? You will
need each of these as-yet-elusive
things in the chain. That's not to
sound negative, though - 4K is a
beautiful thing."
At the front end of broadcasting,
OB companies are considering
when, or if, to make the jump up
the resolution scale. Brian Clark,
Commercial and Technical Projects
Director with NEP Visions, sees
limited interest in full 4K right now,
although broadcasters are looking
at "added value" 4K system such
as Sony Stitch. This combines
feeds from two F-65 4K cameras
to produce a panoramic picture
with the capability to zoon into
specific sections.

Blackmagic's 4K Production Camera

"The main issues relate both
to the camera system and the
equipment needed to process 4K.
The camera system is still very
much a product in development as
consideration has to be given to
the future use of the systems, as
in how do you use the 4K camera
system with non-4K operations and
frame rates. This means that the
market is at a point when it's really
important to catch our breath, test
and experiment but confirm that
we are moving all together towards
this new standard, or other options,

James Gilbert,
Pixel Power

"...The reality is that
certain processes
have it easier than
others when it comes
to embracing 4K

"

and not doing a vanity exercise to
push more TV sets."
Post-production facilities are
more used to dealing with 4K. Peter
Hampden, Managing Director of
LipSync Post in London, says the
facility has been familiar with 4K
workflows for "many years" due
to its background in film. "All our
grading and VFX systems have
been able to work at 4K since
2010," he explains. "There are cost
implications for Post companies
in terms of additional storage and
faster pipelines to cope with the
increase in data that 4K brings."
The take-up of HD from SD took
between ten to 30 years, depending
on whether we're talking analogue
or digital HD. The technological step
from HD to 4K might be shorter so
could the move to higher resolutions
be even closer?
Keith Wymbs of Elemental
Technologies points to NHK's
work with 8K as an example
of what can be done today
but says it will still "be a
while before we see it - and
there's some doubt about its
in-home applicability".
At Miranda Chuck Meyer is
a little more definite, although
he does cite technical caveats:
"How far can the technology go?
HEVC coding is developing rapidly
and should provide at least a 2:1
coding advantage over H.264, if
not more. Bandwidth to the home
continues to grow and display
technology is keeping pace. So,
certainly, 8K by 2018 to 2020 seems
achievable. But will it be viable for
broadcast? That depends on what's
being broadcast. The most likely
scenario is that resolution will be
used on an 'as appropriate' basis."

The Sony Stitch system allows for a region of interest


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Table of Contents for the Digital Edition of In Broadcast - December 2013

In Broadcast - December 2013
Contents
InNews: Vizrt to Acquire Mosart Medialab
InNews: NTP Dad Ax32 Captures Wagner
InReply: Seesense on Miniature Cameras
InStudio: Q-Ball Captures Historic Vettel Victory
InGear: Bluebell’s Fibre Optic Solutions
InGear: Grass Valley K2 Dyno Changes the Game
InMedia: Pixitmedia – More Partner Than Supplier
In Broadcast - December 2013 - Intro
In Broadcast - December 2013 - In Broadcast - December 2013
In Broadcast - December 2013 - Cover2
In Broadcast - December 2013 - Contents
In Broadcast - December 2013 - InNews: Vizrt to Acquire Mosart Medialab
In Broadcast - December 2013 - 5
In Broadcast - December 2013 - InNews: NTP Dad Ax32 Captures Wagner
In Broadcast - December 2013 - 7
In Broadcast - December 2013 - 8
In Broadcast - December 2013 - 9
In Broadcast - December 2013 - 10
In Broadcast - December 2013 - 11
In Broadcast - December 2013 - 12
In Broadcast - December 2013 - 13
In Broadcast - December 2013 - 14
In Broadcast - December 2013 - 15
In Broadcast - December 2013 - 16
In Broadcast - December 2013 - 17
In Broadcast - December 2013 - 18
In Broadcast - December 2013 - 19
In Broadcast - December 2013 - 20
In Broadcast - December 2013 - 21
In Broadcast - December 2013 - 22
In Broadcast - December 2013 - 23
In Broadcast - December 2013 - 24
In Broadcast - December 2013 - 25
In Broadcast - December 2013 - 26
In Broadcast - December 2013 - 27
In Broadcast - December 2013 - InReply: Seesense on Miniature Cameras
In Broadcast - December 2013 - 29
In Broadcast - December 2013 - 30
In Broadcast - December 2013 - 31
In Broadcast - December 2013 - 32
In Broadcast - December 2013 - 33
In Broadcast - December 2013 - 34
In Broadcast - December 2013 - 35
In Broadcast - December 2013 - 36
In Broadcast - December 2013 - 37
In Broadcast - December 2013 - 38
In Broadcast - December 2013 - 39
In Broadcast - December 2013 - 40
In Broadcast - December 2013 - 41
In Broadcast - December 2013 - InStudio: Q-Ball Captures Historic Vettel Victory
In Broadcast - December 2013 - 43
In Broadcast - December 2013 - 44
In Broadcast - December 2013 - 45
In Broadcast - December 2013 - 46
In Broadcast - December 2013 - 47
In Broadcast - December 2013 - 48
In Broadcast - December 2013 - 49
In Broadcast - December 2013 - 50
In Broadcast - December 2013 - 51
In Broadcast - December 2013 - 52
In Broadcast - December 2013 - 53
In Broadcast - December 2013 - 54
In Broadcast - December 2013 - 55
In Broadcast - December 2013 - 56
In Broadcast - December 2013 - 57
In Broadcast - December 2013 - 58
In Broadcast - December 2013 - 59
In Broadcast - December 2013 - InGear: Bluebell’s Fibre Optic Solutions
In Broadcast - December 2013 - 61
In Broadcast - December 2013 - 62
In Broadcast - December 2013 - 63
In Broadcast - December 2013 - InGear: Grass Valley K2 Dyno Changes the Game
In Broadcast - December 2013 - 65
In Broadcast - December 2013 - 66
In Broadcast - December 2013 - 67
In Broadcast - December 2013 - 68
In Broadcast - December 2013 - 69
In Broadcast - December 2013 - 70
In Broadcast - December 2013 - 71
In Broadcast - December 2013 - 72
In Broadcast - December 2013 - 73
In Broadcast - December 2013 - 74
In Broadcast - December 2013 - 75
In Broadcast - December 2013 - 76
In Broadcast - December 2013 - 77
In Broadcast - December 2013 - 78
In Broadcast - December 2013 - 79
In Broadcast - December 2013 - InMedia: Pixitmedia – More Partner Than Supplier
In Broadcast - December 2013 - 81
In Broadcast - December 2013 - 82
In Broadcast - December 2013 - 83
In Broadcast - December 2013 - S1
In Broadcast - December 2013 - S2
In Broadcast - December 2013 - S3
In Broadcast - December 2013 - S4
In Broadcast - December 2013 - S5
In Broadcast - December 2013 - S6
In Broadcast - December 2013 - S7
In Broadcast - December 2013 - S8
In Broadcast - December 2013 - S9
In Broadcast - December 2013 - S10
In Broadcast - December 2013 - S11
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201708
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201705
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201704
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201703
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201701
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_20110708_DEMO
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201610
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_inshowguide2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201609
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201608
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201607
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201606
http://europe.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC03
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201605
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201604
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2016
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201602
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201601
http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC02
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201512
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_CCW15expo
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_IBC2015
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_BROADCASTASIA2015
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2015
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