Sony’s 4K proof of concept

TVB Europe

http://legacy.tvbeurope.com/main-content/full/sony-s-4k-proof-of-concept/fr28#.VLw0CaDpBG4

The recent tests by Sony and FIFA of a 4K live production workflow at the Confederations Cup in Brazil has enabled the manufacturer’s live production expert, Norbert Paquet, to claim: “We have made a proof of concept that 4K is operationally and technically feasible.”

With Sony’s Mark Grinyer, Paquet was on hand at the Mineirao Stadium in Belo Horizonte to supervise the 4K shoot of three matches.

“We achieved a full 4K workflow,” said Paquet. “Viewing was only made in private viewing areas, not broadcast, but as far as the experience of watching the output in the truck goes I can say that it was amazing. This was a milestone for us as the first multi-camera production in 4K that was run like an HD production.”

Optical fibre ran raw baseband data from seven Sony F55 cine cameras back to BPU-4000 baseband processors in the Telegenic T25 OB truck. These are 1U rack mount units designed to debayer the RAW data and output four separate HD signals for transport at 3Gbps over Miranda's router. Importantly, the BPU-4000s were connected to 3G HDI CCUs providing power and traditional broadcast camera control functions to the F55 camera head.

“As far as the CCU is concerned it is talking to a standard camera as the processing that is done in the camera head for HD is done in the BPU-4000,” added Paquet. “When the operators rack focus and zoom it's as if they were using a standard broadcast lens. As far as the camera operators were concerned this was a totally traditional workflow using Sony BVME-170 Trimaster 17-inch OLEDs [HD monitors] to colour match with a conventional RCP (remote control panel) and no specific software.

“Whereas with 3D the cameras took a long time to set up and operators needed to relearn how to pan, the technical part of 4K live was ultimately straightforward thanks to the adaptation of the F55.” Although set-up times were quick, he admitted that “it needs engineering work to anticipate how to handle four 3G signals in a truck to ensure everything is routed and synched.”

However, while it may be feasible, there are limitations in the 4K workflow – namely the necessity to route each 4K single around the truck as 4x 1080p 60hz signals. This limits vision mixing capability among other things. The EVS server software at 4K is also not stable, with material recorded on SR1000 decks for post production. Hi-speed 4K cameras were not even tested and the full range of cameras for covering a live soccer match – Steadicams, spidercams, goalcams and other positions – will need upconverting for the time being.

FIFA are likely to greenlight shooting at least some matches at next year's World Cup in 4K glory for posterity, but if there is to be any transmission of an Ultra-HD feed there will need to be sufficient demand for it from broadcasters.

By Adrian Pennington