Digital Studio
The camera support sector is unfairly perceived as lacking the technological dynamism of, say, the digital cameras which they carry, but a great deal of investment and unsung effort goes into the creation of such tools to make the job of operators, working across ENG to large budget features, easier and more creative.
http://www.digitalproductionme.com/article-6567-heavy-metal-no-longer-rocks/
Tuesday 30 July 2013
Monday 29 July 2013
Why Does Anyone Need UltraHD?
IBC
While UltraHD is expected to dominate discussion at IBC2013, there are questions being asked against the sanity of pushing beyond HD so quickly. After all, what's wrong with high-definition anyway?
Ultra HD has been a hit demonstration and consumer technology suppliers are rapidly moving to promote 4K as the next new format, but some may question whether it is really necessary. It may have four times the resolution of HDTV television, but is it four times better?
William Cooper, Founder & Chief Executive, Informitv is chairing a debate on the topic at IBC and says there are strong arguments on both sides.
“On one hand there is the technical imperative to improve quality, which is a focus for many of those attending IBC,” he says. “There is a lot of room for improvement on high-definition television, which compromises quality in many respects. UltraHD or 4K promises the next big thing in television.
“On the other hand, beyond a few enthusiasts, most people seem happy enough with the television they have. If you ask people what could be improved about television not many would say the resolution. There are many ways in which the quality of television could be improved without adding more pixels. There is a diminishing return on investment in technical quality for the average viewer.”
The problem is that this is being driven by a technology push and marketing hype rather than any substantial evidence of consumer demand.
“There may be opportunities for pay-television operators but what are the prospects for free-to-air broadcasters?” he asks.
There are others voicing caution against the prevailing mood of UltraHD inevitability. Broadcasters are wary of getting bitten, as ESPN appears to have had done with launching and then shuttering a 3D channel, by leaping wholesale into a format that has next to no consumer base.
“The jury is still out,” admits IBC2013 Conference speaker Andrew Jordan, SVP, International Technology & Operations, NBC Universal. “The question for us is under what circumstances is it most appropriate. Like any big shift in the industry we have to understand its relevance. If everyone had jumped in with both feet and bought 3D sets the world would now look very different.”
West European TV set sales peaked at 51m HD units in 2010 followed by a 4% decline in 2011 and 12% last year. Analysts Future source predicts a similar slide in 2013. All this in a market where three quarters of homes contain HD screens but only half currently receive HD broadcasts.
“The single most important reason [for the push to 4K] is that TV manufacturers are losing money on TVs,” comments Jack Wetherill, senior market analyst. “They need to find a compelling reason for consumers to buy new more expensive sets.”
Nonetheless, Ericsson's 2012 ConsumerLab TV report highlighted a willingness among consumers to pay for 'extreme quality' as part of their overall TV and video service.
Stakeholders in the format's future are calling for a united front before the format hits the public consiousness.
“We must be patient and not rush to be first, because if we get it wrong it may be the end of it,” stresses Stephan Heimbecker, Head of Innovation and Standards, Sky Deutschland, who delivers a major presentation on UltraHD at IBC this year. “Let's do it right.”
Not confusing the consumer is the Digital TV Group's concern. “We still have enough time to do the strategic planning, to learn all the lessons from HD such as avoiding confusion with a UltraHD marque,” says Digital TV Group, Director General, Richard Lindsay-Davies, also an IBC2013 speaker. “We must be careful to manage the step change so that the specifications are right, that the value is right for the consumer, with the right timing and appropriate communication.”
Much of the testing surrounds what the attributes of a next generation TV service might actually be, with the feeling that resolution alone is not sufficient to convince the market of the need to upgrade.
“Something beyond HD might have no interlace, more resolution, finer pixels... but what else is there?” questions Chris Johns, BSkyB's Chief Engineer, Broadcast Strategy. “It has to deliver a new viewing experience. It has to be something consumers want to have.”
Discussion is also focussed on the presentation of 4K on increasingly large home screens, reckoned to be of the order of 60-inches for UltraHD visual benefits to be experienced. At the optimal viewing distance from the screen, around 60 degrees of the viewer’s field of view will be filled with the TV image. By comparison, today’s viewing typically fills around 30 degrees of the field of view.
“Does the production grammar have to change?” asks Heimbecker. “At screen sizes above 55-inchs at an average 2.7 metres viewing distance, then conventional close-ups would appear larger than lifesize which could be discomforting to people. Perhaps we need to use head to hip shots for a less disturbing experience.”
At IBC2012 Sky Deutschland was one of the first broadcasters to publically announce its commitment towards the launch of Ultra HD services. Over the past twelve months the German pay TV operator has added authority to that pledge in the form of several Ultra HD test productions, the support of respective standardization efforts, and the analysis of potential new concepts for Ultra HD.
For IBC 2013 Sky Deutschland has partnered with Sony Pictures, 3net, SES and Pace representing the end-to-end chain to create an Ultra HD demo live on air, which represent the current status of the development towards a regular service. In taking a step further compared to similar approaches at IBC last year, this time content has been encoded in HEVC by Harmonic and is received by a prototype Ultra HD receiver presented by Pace.
Monday 22 July 2013
Sky Deutschland leads UHD live demo at IBC
TVB Europe
Sky Deutschland is leading a demonstration of an end-to-end Ultra HD live on air broadcasting chain at IBC in tandem with Sony Pictures, 3net, SES and Pace.
There are rumours that the German pay TV operator may even announce an Ultra HD service as soon as next month.
At IBC2012 Sky Deutschland was one of the first broadcasters to publically announce its commitment towards the launch of Ultra HD services. Over the past 12 months the operator has added authority to that pledge in the form of several Ultra HD test productions, the support of respective standardisation efforts, and the analysis of potential new concepts for Ultra HD.
This September, Sky Deutschland, Sony Pictures and 3net will show a trailer comprising Ultra HD content, mixing sports, movies and documentaries, aired live over satellite by SES in a sponsored session free to all delegates.
In a step forward on similar approaches at IBC last year, this time the content will be encoded in HEVC by Harmonic and will be received by a prototype Ultra HD receiver presented by Pace. The results will be displayed on several Sony 4K displays of different sizes.
Speaking at Beyond HD Masters last month Stephan Heimbecher (pictured), head of Innovation and Standards, Sky Deutschland – who is leading the presentation at IBC – said: “We must be patient and not rush to be first, because if we get it wrong it may be the end of it.”
At IBC, Sky Deutschland says it aims to take the consumer perspective in showing how more, faster and better pixels (colourimetry, latitude, frame rates rather than just resolution alone) might be able to wow the customer.
It is an attempt to nip industry and consumer scepticism about the format in the bud. Some observers are questioning the value proposition of 4K to the consumer and wondering whether they will see any value to an Ultra HD picture over HD.
William Cooper, Founder & chief executive of Informitv, who is chairing a debate on the topic at IBC, says there are strong arguments on both sides.
“On one hand there is the technical imperative to improve quality, which is a focus for many of those attending IBC,” he says. “There is a lot of room for improvement on high-definition television, which compromises quality in many respects. UHD or 4K promises the next big thing in television.
“On the other hand, beyond a few enthusiasts, most people seem happy enough with the television they have. If you ask people what could be improved about television not many would say the resolution. There are many ways in which the quality of television could be improved without adding more pixels. There is a diminishing return on investment in technical quality for the average viewer.”
The problem, says Cooper, is that this is being driven by a technology push and marketing hype rather than any substantial evidence of consumer demand.
“There may be opportunities for pay-television operators, but what are the prospects for free-to-air broadcasters?” he asks.
By Adrian Pennington
By Adrian Pennington
Tuesday 9 July 2013
Glasses-free 3D airborne by year end
TVB Europe
A glasses-free 3D display technology will be installed on planes by several major airlines by the end of the year, according to its European distributor, Frontniche.
http://www.tvbeurope.com/glasses-free-3d-airborne-by-year-end/
A glasses-free 3D display technology will be installed on planes by several major airlines by the end of the year, according to its European distributor, Frontniche.
http://www.tvbeurope.com/glasses-free-3d-airborne-by-year-end/
Sunday 7 July 2013
Arri's Managing Director: HD Is 'Dumbed Down' to Make 4K Look Good
The Hollywood Reporter
Franz Kraus reveals the details of a high-frame-rate, high-resolution and high-dynamic-range successor to the Alexa in the works.
http://www.hollywoodreporter.com/behind-screen/arris-managing-director-hd-is-578724Tuesday 2 July 2013
Dramatic Production Values on Show at IBC
IBC
High end production values are now suddenly in the scope of even the lowest TV budgets. The filmic look of shallow depth of field that is associated with feature film and drama has begun to trend in factual and reality productions, as producers strive for a distinctive look to make their programming stand out from the crowd.
While budgets for these types of production have not risen, the larger 35mm sensor cameras capable of delivering a shallow depth of field (sending the backgroud out of focus and bringing the subject in the foreground sharply into view) have significantly reduced in price to buy or rent. Not only are these lower cost cameras capable of the 50Mb/s data rates required of broadcast HD deliverables, but they also permit productions to mount specialist stills and prime lenses which have hitherto been the preserve of drama. Even The X Factor has got in the act. The UK's version, produced by Syco TV, features the shallow depth of field on recorded inserts to contrast with the standard broadcast shots of the live action. Other productions which have adopted the filmic look include The Secret Life of Dogs (Oxford Scientific Films); Jamie's 30 Minute Meals (Fresh One Productions); The Boy Who Can't Forget (Studio Lambert) and Styled to Rock (TwentyTwenty).
On a film or drama set of course, there is time to plan and reset camera settings or framing between takes. Not so on your typical run-and-gun style documentary where the camera is usually handheld not tripod-mounted. Lacking the budget for a seasoned director of photography, producer-directors are taking the kit on themselves but will admit to lacking some essential knowledge to get the most out of it. In turn, this has meant that equipment rental firms can use the expertise they hold in-house to help production crews with basic knowledge before they go out and shoot. Most rental companies arrange training as part of the hire contract, from understanding essential terminology, such as peaking or zebras, to data management, or how to set up a camera effectively.
The biggest issue for producers-directors is focus, since any loss of concentration – not easy in a run and gun style documentary shoot – could easily lead to soft shots. While a focus puller would alleviate those errors, few factual budgets can afford the luxury. Traditionally, live sports coverage has been accomplished by broadcast cameras with 2/3inch lenses and zooms in which the entire field of play foreground and background is kept in focus. Yet few manufactuers have signalled their intent to produce a 2/3 camera capable of 4K and so the trial of 35mm sensor cameras for 4K production of the Confederations Cup in Brazil results in some interesting lessons about whether seasoned sports producers or viewers will appreciate certain shots with blurred backgrounds.
While shallow depth of field is seen by many as fashionable just now, there are producers who are already casting around for the next technology to make their production stand out. Factual and reality TV shows will possibly begin making use of hi-speed capture at 120 fps to insert into programming to heighten an emotion. A victory celebration could be slowed down to enhance the emotion of the moment in close-up on the victor's face. In addition, new lenses are coming to market with integrated zoom servos so that a single cameraman can zoom and pull focus without need of a separate focus puller, perhaps eliminating the problem of focus afflicting single-shooters.
Anamorphic lenses, of which there are several new ranges on release this year, may also tweak the imagination of indie producers. This type of glass provides a highly distinctive visual blurring, favoured by cinematographers as a look that distinguishes high budget feature film from video-style work. While still expensive (with single lenses typically costing E20,000 and upwards) an occasional use in tandem with budget-friendly 35mm-sized cameras could see them employed more widely. The increasing interest in 4K origination may also boost production values, since a 4K recording can arguably provide a higher quality HD picture on transmission for even daytime shows.
You can further your knowledge of the latest equipment and get invaluable tips on how to use it at IBC. Not only does the IBC Exhibition house relevant high frame rate, DSLR, large sensor camera and lens innovation, it also offers practical demonstrations at the hands-on Feature Area, IBC Production Insight. Here you will be able to use the technology and compare it with the competition as well as gain advice from expert technicians.
Is All of Your Media Worth Keeping?
IBC
http://www.ibc.org/page.cfm/action=library/libID=2/libEntryID=183/listID=4
In a file-based IP-enabled environment we are told that we can squeeze more and more value out of more of the media we capture. However, just because we can capture and store images and related information as data, should not automatically mean we have to. Every bit we store has a cost. So what is the true value of media considered from the perspective of deep archive?
The problem of media obsolescence has been an issue for the industry for many years. Just how do you preserve media decades from now, given the risk that neither the physical mechanisms nor the software codecs to replay it may exist?
Already, the first iterations of existing archive standard LTO tape are obsolete. Broadcasters are required to coordinate a migration of their archive every few years just to keep it up to date. LTO is, in any case, viewed as more of a short to mid-term storage system, useful for near line access on robotic systems and favoured because of its remarkably cheap basic cost of around €30 per cassette. Questions are being asked, though, about whether LTO's roadmap for capacity can keep up with the sheer volumes of data now being generated.
The paranoia over irretrievable future media was arguably more of a concern a few years ago when proprietary codecs were locked into turnkey hardware. The development of open source framework FFmpeg permits files written in any mainstream codec to be decoded, in theory, at any point down the line. Then there is ISO standard Universal Disc Format written in 1986 but which essentially still unites CDs made in 1982 with optical file systems of tomorrow. Ironically, given the widespread move to digitise film archives, the only media with a proven hundred year lifespan is celluloid. What makes film particularly appealing is that all it takes to read it back is a light source and a mechanism to move it frame by frame. The BFI, custodian of the UK's film heritage, has a dual strategy in which it plans to digitise 10,000 titles by 2017 while maintaining a temperature controlled vault for long term preservation of up to 450,000 film cans.
“The fundamental long term approach is to maintain original film elements in a secure, cold and dry vault storage, with digitisation at 2K resolution providing the means to digital access as well as a further layer of preservation,” it states. “As scanning technologies evolve, it will be possible to return to these high quality materials and reproduce images from the physical materials.” However, with over 700,000 television programmes also within the BFI National Archive, it must consider the future preservation needs of video content, which presents a different set of challenges. While VTs themselves have an inherent material stability through their polyester bases with less stringent storage climates required than for film, a serious threat to longevity exists because of dependency on multiple iterations of proprietary machinery, spare parts and specialised technical skills - all of which will ultimately become exhausted due to lack of demand from the commercial environment they were primarily serving.
The BFI believes digitisation is the only viable method for preserving legacy videotape content. What though of contemporary digital born works? “It is essential that preservation systems be created with inherent self-migrating capability, in order to sustain and maintain accessibility of the vast quantities of data,” states the BFI.
While it would be unrealistic to scan to film every piece of content being shot on file, Paul Collard, VP Film and Digital Services, Deluxe 142, makes the case that high value content should be preserved this way. “As 4K becomes the standard for post you could record high resolution content back to film in 4K either as colour stock for 100 years or as black and white separations for a life of 200 years,” he says. Alternative archive technologies are being devised. These include holographic techniques which use light to read and write data in three-dimensions for increased storage density and rapid data rates, though development appears to have stalled.
DOTS (Digital Optical Technology System) – a Future Zone exhibit at IBC2011 from Group47 - vouchsafes archival for 100 years and contains within it a microscopic 'Rosetta Stone' of instructions on how the data is encoded and on how to construct a reader.
Then there is M-Disc, already available as a Blu-ray, which engraves data by laser into a mineral layer with a claimed shelf life of 1,000 years. The catch is that it is intended for consumer rather than professional use and may not have the storage capacity required of media companies transporting Gigabytes and Terabytes daily.
Perhaps though, we should turn the argument on its head and look not at the technology but the business model. “What is the value in keeping it all?” poses Niall Duffy, Mediasmiths CEO. “For me, the cut off is 50 years, after which there is only a historical and socio-anthropological reason for archive.” This approach should substantially reduce costs, but more weeding is needed. “Today's fashion is to store everything, all the little bits and pieces, not just the master,” he says. “Part of the problem is that there is no structure to what data you really need to keep and what you need to throw away.” Second guessing the business models of a decade's time is futile perhaps, but the issue of knowing what is valuable and being able to find or delete it, is bound up with metadata and the intelligent use of it.
http://www.ibc.org/page.cfm/action=library/libID=2/libEntryID=183/listID=4
In a file-based IP-enabled environment we are told that we can squeeze more and more value out of more of the media we capture. However, just because we can capture and store images and related information as data, should not automatically mean we have to. Every bit we store has a cost. So what is the true value of media considered from the perspective of deep archive?
The problem of media obsolescence has been an issue for the industry for many years. Just how do you preserve media decades from now, given the risk that neither the physical mechanisms nor the software codecs to replay it may exist?
Already, the first iterations of existing archive standard LTO tape are obsolete. Broadcasters are required to coordinate a migration of their archive every few years just to keep it up to date. LTO is, in any case, viewed as more of a short to mid-term storage system, useful for near line access on robotic systems and favoured because of its remarkably cheap basic cost of around €30 per cassette. Questions are being asked, though, about whether LTO's roadmap for capacity can keep up with the sheer volumes of data now being generated.
The paranoia over irretrievable future media was arguably more of a concern a few years ago when proprietary codecs were locked into turnkey hardware. The development of open source framework FFmpeg permits files written in any mainstream codec to be decoded, in theory, at any point down the line. Then there is ISO standard Universal Disc Format written in 1986 but which essentially still unites CDs made in 1982 with optical file systems of tomorrow. Ironically, given the widespread move to digitise film archives, the only media with a proven hundred year lifespan is celluloid. What makes film particularly appealing is that all it takes to read it back is a light source and a mechanism to move it frame by frame. The BFI, custodian of the UK's film heritage, has a dual strategy in which it plans to digitise 10,000 titles by 2017 while maintaining a temperature controlled vault for long term preservation of up to 450,000 film cans.
“The fundamental long term approach is to maintain original film elements in a secure, cold and dry vault storage, with digitisation at 2K resolution providing the means to digital access as well as a further layer of preservation,” it states. “As scanning technologies evolve, it will be possible to return to these high quality materials and reproduce images from the physical materials.” However, with over 700,000 television programmes also within the BFI National Archive, it must consider the future preservation needs of video content, which presents a different set of challenges. While VTs themselves have an inherent material stability through their polyester bases with less stringent storage climates required than for film, a serious threat to longevity exists because of dependency on multiple iterations of proprietary machinery, spare parts and specialised technical skills - all of which will ultimately become exhausted due to lack of demand from the commercial environment they were primarily serving.
The BFI believes digitisation is the only viable method for preserving legacy videotape content. What though of contemporary digital born works? “It is essential that preservation systems be created with inherent self-migrating capability, in order to sustain and maintain accessibility of the vast quantities of data,” states the BFI.
While it would be unrealistic to scan to film every piece of content being shot on file, Paul Collard, VP Film and Digital Services, Deluxe 142, makes the case that high value content should be preserved this way. “As 4K becomes the standard for post you could record high resolution content back to film in 4K either as colour stock for 100 years or as black and white separations for a life of 200 years,” he says. Alternative archive technologies are being devised. These include holographic techniques which use light to read and write data in three-dimensions for increased storage density and rapid data rates, though development appears to have stalled.
DOTS (Digital Optical Technology System) – a Future Zone exhibit at IBC2011 from Group47 - vouchsafes archival for 100 years and contains within it a microscopic 'Rosetta Stone' of instructions on how the data is encoded and on how to construct a reader.
Then there is M-Disc, already available as a Blu-ray, which engraves data by laser into a mineral layer with a claimed shelf life of 1,000 years. The catch is that it is intended for consumer rather than professional use and may not have the storage capacity required of media companies transporting Gigabytes and Terabytes daily.
Perhaps though, we should turn the argument on its head and look not at the technology but the business model. “What is the value in keeping it all?” poses Niall Duffy, Mediasmiths CEO. “For me, the cut off is 50 years, after which there is only a historical and socio-anthropological reason for archive.” This approach should substantially reduce costs, but more weeding is needed. “Today's fashion is to store everything, all the little bits and pieces, not just the master,” he says. “Part of the problem is that there is no structure to what data you really need to keep and what you need to throw away.” Second guessing the business models of a decade's time is futile perhaps, but the issue of knowing what is valuable and being able to find or delete it, is bound up with metadata and the intelligent use of it.
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