In Broadcast - August 2014 - 72


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

WWW.INBROADCAST.COM | ISSUE 34 - AUGUST 2014

N E W S

InMEDIA

CLIPSTER Gains Dolby Atmos Certification
R

ohde & Schwarz DVS has
announced the of ficial
certification of CLIPSTER that
enables post-production studios
to create Dolby Atmos DCPs, fitting
easily into existing workflows and
improving efficiency.
R&S DVS had released a beta
version of CLIPSTER for the major
blockbuster success 'The Hobbit:
The Desolation of Smaug'.
Bernhard Reitz, Head of Product
Management at Rohde & Schwarz
DVS, said: "Dolby Laboratories
always delivers exceptional
technology that has and will
transform the entertainment and
cinema industry.
"Combining our technological
know-how in past projects has
shown us what we can achieve
for the cinemagoers. We are
delighted that the audience will
benefit from our joint expertise
and have an outstanding audiovisual experience."
Dolby Atmos gives sound experts
the creative freedom to easily place

72

sound anywhere in the movie theatre
not just where there happen to be
speakers with object-based audio.
Instead of thinking about speakers
or channels, sound mixers tag
each sound "object" with precise
directions as to where in the room
it should appear or move.
It takes into account each venue's
unique configuration, ensuring a
consistent, quality audio experience
across all theatres, regardless of
size and shape.
Thanks to an intelligent decoder
box, sound objects are rendered
and distributed to the required
number of speakers.
With CLIPSTER, Rohde & Schwarz
DVS has pioneered in processing
4K data in real-time since 2007,
and is also leading in the area
of frame rates.
With its acclaimed and highly
regarded digital cinema capabilities,
CLIPSTER can generate all

Rohde & Schwarz DVS CLIPSTER is now certified for Dolby Atmos DCPs

compliant DCPs in real-time - no
matter if the material is in 2D,
3D, 4K or HFR.
By using Rohde & Schwarz DVS's
own JPEG2000 encoding hardware
96 frames can be converted per
second, meaning CLIPSTER can
master cinema films at a speed up

to four times faster than real-time
(3D HFR in real-time) in the best
picture quality.
With CLIPSTER, the respective
Dolby Atmos mixes can be
integrated in the DCI mastering
process for the DCP.

The Benefits Of High Quality Mezzanine Compression
By Gaël Rouvroy
CTO, intoPIX

M

oving towards a fully IP/
Ethernet infrastructure and
taking on the 4K & 8K challenge
at a reasonable cost requires
mezzanine compression.
UHD data rates get astronomical
for uncompressed formats. A 4K
video stream Baseband requires
11880 Mbps, which is eight times
the bandwidth needed for an HD
video stream Baseband (1485 Mbps).
The first and expensive way to
take on this challenge is to get
more bandwidth over the network
infrastructure (from 10G to 40G to
100G) or more SDI cables within
the studios and broadcast facilities.
But it is not cost effective,
appropriate and scalable. 10GbE
ports, 3G-SDI are commonly
available, deployed and affordable
today and will continue to be
massively deployed in the near
future. To answer the strong
desire to manage UHD 4K and
UHD 8K content in a practical
and cost effective way on this
existing infrastructure, a high
quality HD/UHDTV Mezzanine
compression is needed.
JPEG2000 is a perfect mezzanine

3G-SDI, or 10GbE link: it offers a
smart infrastructure upgrade to 4K at
an equivalent price and complexity
to existing baseband HD operations.
With its pixel-lines-based-latency,
it is easy to combine TICO with
SMPTE2022 5/6 or Ethernet-AVB.
Combination of a visually lossless
and ultra-low latency mezzanine
compression with futureproof
transmission protocols such as
SMPTE2022 and Ethernet-AVB
over 10G infrastructure is the key
to bring a cost-effective solution that

addresses the 4K & 8K challenge.
The industry is moving on to what
is sure to be one of the biggest
technology trends over the next
five plus years. intoPIX compression
technologies combined with
SMPTE2022 or Ethernet-AVB on
FPGA are great examples of how
we, as a technology provider,
are pushing the boundaries and
contributing towards the move to
full IP infrastructure supporting HD
but also 4K and 8K.
Table 1 shows the typical
uncompressed UHD data rates
versus the different Ethernet types.
With TICO and JPEG2000 mezzanine
compressions, broadcasters will
easily support UHD 4K and 8K in
10GbE infrastructure.

compression. Following the VSF
Technical recommendations,
Broadcasters uses massively
JPEG2000 wrapped in MPEG2-TS
over SMPTE2022 1/2 for contribution
for its low latency, visually lossless
quality and robustness. The codec
implemented in FPGA offers huge
interest as it supports multiple bit
depth, frame rate and resolutions.
TICO is a new technology and is
based on a market-driven research
for lightweight
compression.
It aims to
be utilised
to enable a
mezzanine
4K/8K workflow
from 2:1 to 4:1
compression
with no effect
on quality
and latency:
it is visually
lossless with
only few pixel
lines of latency.
TICO enables
mapping 4K
over a single Table 1: Typical uncompressed UHD data rates versus the different Ethernet types


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Table of Contents for the Digital Edition of In Broadcast - August 2014

In Broadcast - August 2014 - Intro
In Broadcast - August 2014 - Cover1
In Broadcast - August 2014 - Cover2
In Broadcast - August 2014 - 3
In Broadcast - August 2014 - 4
In Broadcast - August 2014 - 5
In Broadcast - August 2014 - 6
In Broadcast - August 2014 - 7
In Broadcast - August 2014 - 8
In Broadcast - August 2014 - 9
In Broadcast - August 2014 - 10
In Broadcast - August 2014 - 11
In Broadcast - August 2014 - 12
In Broadcast - August 2014 - 13
In Broadcast - August 2014 - 14
In Broadcast - August 2014 - 15
In Broadcast - August 2014 - 16
In Broadcast - August 2014 - 17
In Broadcast - August 2014 - 18
In Broadcast - August 2014 - 19
In Broadcast - August 2014 - 20
In Broadcast - August 2014 - 21
In Broadcast - August 2014 - 22
In Broadcast - August 2014 - 23
In Broadcast - August 2014 - 24
In Broadcast - August 2014 - 25
In Broadcast - August 2014 - 26
In Broadcast - August 2014 - 27
In Broadcast - August 2014 - 28
In Broadcast - August 2014 - 29
In Broadcast - August 2014 - 30
In Broadcast - August 2014 - 31
In Broadcast - August 2014 - 32
In Broadcast - August 2014 - 33
In Broadcast - August 2014 - 34
In Broadcast - August 2014 - 35
In Broadcast - August 2014 - 36
In Broadcast - August 2014 - 37
In Broadcast - August 2014 - 38
In Broadcast - August 2014 - 39
In Broadcast - August 2014 - 40
In Broadcast - August 2014 - 41
In Broadcast - August 2014 - 42
In Broadcast - August 2014 - 43
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In Broadcast - August 2014 - 77
In Broadcast - August 2014 - 78
In Broadcast - August 2014 - 79
In Broadcast - August 2014 - 80
In Broadcast - August 2014 - 81
In Broadcast - August 2014 - S1
In Broadcast - August 2014 - S2
In Broadcast - August 2014 - S3
In Broadcast - August 2014 - S4
In Broadcast - August 2014 - S5
In Broadcast - August 2014 - S6
In Broadcast - August 2014 - S7
In Broadcast - August 2014 - S8
In Broadcast - August 2014 - S9
In Broadcast - August 2014 - S10
In Broadcast - August 2014 - S11
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