Tuesday, 30 July 2019

Robert Richardson creates a retro look with a twist for Once Upon A Time in...Hollywood

Panavision


The highly anticipated opus from director Quentin Tarantino doesn’t disappoint. It’s a typically outrageous conglomeration of comedy and shock laced with pop culture references to cult B movie film and TV shows, replete with a soundtrack of 1970s hits.
The all-star cast for Once Upon A Time in...Hollywood is headed by Leonardo DiCaprio and Brad Pitt playing a TV actor and stuntman, respectively, who cross paths with the Charles Manson cult.
The director’s longtime cinematographer Robert Richardson, ASC returns behind the camera, having lensed every Tarantino picture since Kill Bill (Vols 1 and 2), to shoot 1969 Los Angeles in primary colors of sky blue and sunset gold. Richardson returned to Panavision in Woodland Hills, the same facility where the filmmakers collaborated on the groundbreaking large-format release of The Hateful Eight (2015) as well as Django Unchained (2012).
“When I first met with Quentin to read (Once Upon a Time in...Hollywood), he told me he was uncertain if he would shoot in 70 or 35 or perhaps a mixture of both. Over time, he decided to shoot 35mm. One of the prime reasons was that Quentin had designed a series of shots that were to utilize a zoom and that’s not currently an option in 70mm.”
Thinking that a certain amount of handheld shots might form part of Tarantino’s design, Richardson chose the Panaflex Millennium XL2 as “ergonomically the most balanced 35mm” camera around. It can be converted from handheld to Steadicam to studio mode within seconds.
“The XL2 has the sharpest video viewfinder that Panavision has yet to offer, and the video is also improved in brightness levels which aids the camera assistant.”
Like The Hateful Eight, the film retains an epic cinemascope presentation paired with anamorphic lenses. Shooting in scope using anamorphics provided greater texture when moving between the various formats used in Once Upon a Time in...Hollywood such as 1.33:1 for early western TV sequences (based on CBS show Lancer) and 1:85 which was used for a series of commercials (that were shot but didn’t make the final cut).

 “Quentin loves the wide screen and didn’t want to consider a spherical Super 35 option,” the Oscar-winning cinematographer notes. “The aesthetic of Panavision’s anamorphics is wide ranging and the most impressive in the industry. From Ts to Gs to Cs to Es to Primos - each offers a unique look.”
Richardson says Tarantino envisioned a vintage feel to match the story’s era “but with a modern twist” and in pre-production embarked on a series of tests to find the precise lens selection. “We wanted a 1970’s retro, something familiar from the past but sitting in the present so when audiences watch the film it should feel slightly off balance.”
With camera assistant Gregor Tavenner, Richardson tested a range of Panavision glass both on site at Panavision and on location of the western set that was eventually used for black-and-white sequences of DiCaprio’s actor character playing a bounty hunter.
 “Each of these lens series has a specific feel and different personality so Gregor and I had to base our decision on what Quentin was requesting for a particular shot. At times we would utilize a lens with heavier flare capabilities or flaring that we thought more interesting in design, and other times we chose a lens that could handle high contrast without getting washed out. There is no magic formula – it’s test, trial and error.
“That said, Dan Sasaki greatly aided us in getting closer focus for the T Series and losing the capability, to some degree, in distance.”
The film stock was KODAK VISION3 5219, 5213 and EASTMAN DOUBLE-X Black-and White film 5222 with one small sequence on Super 8 EKTACHROME and part of another short scene on 16mm EKTACHROME.
Colorist Yvan Lucas collaborated with Richardson on setting the look and supervised the 4K digital intermediate. FotoKem developed and printed the dailies.
“We took our initial tests to Yvan and to FotoKem and searched for a richer, saturated look particularly in the skin tones. With the aid of production design, costume and make-up, we got closer and closer to what Quentin was asking. Certain lenses capture color in a more natural manner while others give a richness. It takes time to understand how each is performing and the skill of a talented grader to make the adjustments.”
Richardson adds, “I am very pleased with how the film looks but more importantly how it supports the brilliance of what Quentin directed by meeting his initial requests for a rich tapestry of color. I hope audiences agree.
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Monday, 29 July 2019

8K TV: The Shape Of Things To Come

Broadcast Bridge
With 4K UHD only just turning the corner and with much of the world still in SD is 8K a distraction from the rollout progress of 4K or just natural technological progress? The Broadcast Bridge takes stock of the current fuss around 8K which, like it or not, will be a major talking point at IBC2019.

https://www.thebroadcastbridge.com/content/entry/13757/8k-tv-the-shape-of-things-to-come?cat_id=1

It was only seven years ago that NHK conducted its first 8K trials with the BBC during the 2012 Olympic Games, but that outlandish experiment has come home to roost. 8K broadcasts across Tokyo next year are unlikely to kick-start wider transmission outside Japan but will catalyse interest and propel the industry to look ahead to Paris 2024 by which time a commercially viable 8K media ecosystem will be fairly widespread.
Today, the two most commonly cited areas for 8K usage for the consumer are higher resolution displays (four times that of 4K, or 16 times that of HD) or 360-degree video immersion, including virtual reality (VR), augmented reality (AR) and related mixed reality. In this case, the higher resolution is spread across more than the direct window of view, filling the indirect viewing areas to give the effect of complete immersion.
On the content creation side, another area for 8K use is higher resolution capture for both archiving and enabling higher resolution zoom or similar video effects for 4K or HD delivery. And lastly, the consumer electronics industry is already pushing 8K televisions because technology has enabled it to do so, independent of whether or not the content creation or production of 8K is practical or economically viable.
For major special events, 8K does have a high value potential, concedes Matthew Goldman, SVP Technology, MediaKind though it is unlikely to reach beyond this niche in TV distribution within the next five years.
“It’s still quite expensive for Hollywood to produce feature length motion pictures in 4K, never mind 8K,” he says. “Bandwidth is still a premium for most distribution methods to consumers today, save the lucky few that have upwards of 100 Mbps or more broadband access or soon to be deployed 5G wireless technology.”
But it’s not just about the availability of 8K content that’s a serious issue. To truly appreciate the potential of 8K, some argue that you need an enormous screen to be able to process the quality and detail of the image in front of you.
That’s why major television manufacturers are shipping 8K TV screens from 88-inches to over 100-inches diagonal.
As Rian Bester, MD at 4K channel Insight TV jokes, “The biggest factor now is not the size of the TV, it is the size of the box that you can fit in the back of your car or through the front door.”
The Viewing Distance Conundrum
The proper viewing distance for the human visual system to resolve 4K resolution is approximately one and a half times the picture height of a 16:9 display. To process 8K content, the distance is halved again; the viewer needs to be within three quarters of a picture height to resolve all of the 8K resolution. Compare this to HD resolution, which can be seen in full from a distance of around three times the picture height.
“In most home viewing environments today, consumers sit between two and a half to three times picture-height back from the display – and there lies a major problem,” Goldman says. “If one is not at the proper viewing distance from a 4K or 8K screen, then even if it’s displaying 4K or 8K content, one may not actually be seeing the 4K or 8K resolution! If there is no real discernable difference in the picture, then this could cause widespread fallout.”
The belief that viewers won’t notice the difference, or need giant TV’s is being contested.
“There is a rather bizarre idea that you need to sit closer to the screen to perceive the benefit,” says William Cooper, founder and CEO at Informitv. “The whole point of increasing resolution is that the pixel structure of the image should be imperceptible. It is a psychovisual effect that results in an image that appears to be more realistic.”
He continues, “The human visual system is very sensitive to certain features. It is called hyperacuity. For instance, we can easily see the jagged edges formed by lines that are slightly off the vertical or horizontal axis. Using anti-aliasing techniques can help smooth them out but has the effect of reducing contrast and softening the image. The alternative is to increase the resolution of the image. That is why high pixel densities displays can appear almost like print. By comparison, the old days of VGA computer graphics, which were considered adequate at the time, look primitive today.”
There is a related trend in cinema currently, led by filmmakers like Ang Lee, who are pushing the boundaries of our visual storytelling by combining high resolution with ultra high frame rates. Lee’s new sci-fi feature Gemini Man is being released at 4K and 120 frames a second in some theatres, in stereo 3D also, to achieve an effect which is commonly described as like looking through a window. Video gaming experiences also favour high frame rates and is more HFR content is seen, it could be that our natural inclination to watching content at 24 frames is revealed as nothing more than a cultural construct.
“Of course, now we have further advanced technologies like tiled screens from Samsung and rollable screens from LG on the horizon,” says Bester. “In the not too distant future we will have screens that are significantly bigger than what we have in our homes now and they will be multi-application devices like our phones. For that reason, I don’t think people should get too hung up on the science of traditional viewing distance and screen size - this is completely changing.”
HDR Lessons To Learn
Another matter of heated debate concerns the introduction of HDR as it relates to the claims for an 8K format resting on resolution alone. While the rollout of 4K UHD content has been relatively slow, the combination of UHD content with High Dynamic Range is universally seen as a breakthrough to immersive viewing.
As broadcasters increase the amount of content in 1080p50/60 HDR, 4K TV displays are now able to upconvert these images to 2160p. If these sets can support HDR, this means we can deliver an experience that gets extremely close to the native 4K HDR viewing experience that consumers have been demanding.
“It would arguably represent the biggest upgrade in the viewing experience since color displaced black and white – without the much higher bandwidth required for native 4K distribution or 8K,” asserts Goldman.
Given the difficulties in getting HDR to market however (there are now seven different HDR formats: PQ10 (PQ; perceptual quantization), HLG10 (HLG; hybrid log-gamma), HDR10, Dolby Vision, Samsung HDR10+, and Technicolor/Philips SL-HDR1 and SL-HDR2) there are lessons for the industry in avoiding replicating such confusion in future formats.
“Given that perceiving the difference between 4K and 8K resolution requires such enormous advances in screen size and greatly reduced viewing difference and given the enormous costs involved for both content creators and aggregators in providing the necessary infrastructure to deliver 8K content, time would be better spent focusing on collaborating and converging around a single (or at least far fewer) long-term HDR format, maturing high-bandwidth delivery mechanisms, and better video compression techniques, regardless of the spatial resolution,” says Goldman. “By greatly reducing bandwidth requirements and offering a richer, more lifelike picture (regardless of the spatial resolution), the industry has far more to gain in the short and medium term.”
The role of organisations like UHD Forum and the 8K Association is important here.
Goldman contends, “What we cannot have is a situation – as with HDR today – where we have many options and both equipment providers and consumers are left risking making bad choices, as content and service providers elect to use different formats due to the complexities involved in various implementations. So, before we can create a viable ecosystem around 8K content creation and distribution, the industry must take a lead by coming to an earlier consensus around an end-to-end 8K proposition.”
There needs to be improvements in production, distribution and consumption. This involves better coding efficiency to reduce the bandwidth required, higher capacity distribution networks at economically viable cost points and the professional and consumer interfaces and infrastructure to support higher bandwidth needs.
For large venue viewing, 8K is a potentially great application and corporate AV applications such as at exhibitions, museums or digital signage are already being primed to receive these high end visuals.
But for broadcast, 8K represents an extremely challenging implementation – particularly for live production.
“The real question will be around cost efficiency – what will return the best user experience for the best economically viable implementation?” says Goldman. “The entire end-to-end ecosystem needs to improve technologically for 8K to become viable at scale.”
This would include, among other things:
Professional interfaces/connectivity and infrastructure at economically viable cost points in production that support the higher bandwidth needs required by uncompressed 8K video (40-50 Gigabytes per second).
Better video coding efficiency to reduce the required distribution bandwidth (likely two to three times that of compressed 4K, which in turn already is two to three times that of HD). Versatile Video Coding, currently winding its way through MPEG and due for release in 2020 is the key here.
Higher capacity distribution networks at economically viable cost points are also needed – such as higher-bandwidth wired and wireless (5G) networks.
“8K is a natural progression from 4K, but we are still in the very early stages of its development,” says Wrede. “Currently display and flat screen manufacturers have taken the lead on development, but some broadcasters would need to implement it for 8K to become dinner table conversation.”
The latest series of SES marketing videos ‘Mastering the Detail’ was filmed in 8K. “Across the industry it has been common for content to be shot in the best quality possible and then down converted in the process of distributing it,” Wrede adds. “For 8K to really work though, the viewer has to be incentivised to look at the detail, and that is easy to do more with certain types of programming, such as sports, live events and nature programmes.”
There will always be technology luddites but Ben Schwarz, speaking as an independent expert, Founder CTOiC and Communications chair of the Ultra HD Forum relays an excellent analogy.
“When cellular networks came of age, developed markets adopted them with difficulty as the incumbents would often perceive them as cannibalistic. Taking the train from London to Paris, even now, is a case in point, with no coverage in many parts. Travelling across South Africa over 10 years ago, I was astounded by the quality of cellular coverage, even in the bush. The lesson is that 8K can leapfrog 4K in the same way that cellular did over DSL.”

5G set for slow burn uptake

DTVE
Operators are approaching early 5G rollout to deliver efficiency savings and enhanced broadband with the more exotic consumer apps lined up for phase two

There is no immediate ‘killer application’ for 5G. Its early consumer commercialisation should be seen as a way of evolving and expanding the established business of service providers. The prosaic objectives, at 5G’s birth at least, are a successful coexistence with existing network infrastructure and applying the lessons hard won over the previous decade.
“The early days are primarily to support some areas where there’s always been a limit to what 4G can do, in stadiums and train stations, for example,” says Matt Stagg, Director of Mobile Strategy, BT Sport. Sister company EE has launched 5G in six UK cities with ten to follow by end of the year. “5G will enable a much better experience in those high footfall areas.”
First-off-the-block launches by the likes of EE in the UK and Vodafone in the UK and Spain are using a ‘non-standalone’ deployment focused on using the combined power of 4G and 5G to boost mobile broadband (enhanced MBB)
Stagg adds, “We’re addressing urban centres where there’s a high population concentration. You have to be aware that [EE] is still heavily investing in 4G networks. So, it’s about being able to provide the best experience for our customers.”
Many of Vodafone’s rivals, such as Movistar, Orange and MásMóvil in Spain, will not launch commercial 5G services until at least 2021. Telefonica is also taking a pragmatic approach.
“They are keen to wait until the technology progresses and to learn from launches in other markets before jumping straight in,” reports Kester Mann, Director, Consumer and Connectivity, CCS Insight. “There is consumer benefit in faster, more reliable broadband but 5G will be around for many years and the marketing kudus from launching early is only worth so much. Most operators see far larger revenue opportunities for 5G in the enterprise. The consumer use case is more opaque.”
Orange for example has made trials in several countries but is waiting for devices to be ready and available in more brands before commercialisation in 2020. “In some markets we’re waiting for regulators to release spectrum,” says Jean-Pierre Casara, 5G Innovation Expert, Orange. “We expect the smartphone experience will be better but not a huge jump. 4G is good for many, many use cases. What is interesting is to go beyond that with partners and unlock innovation yet to be imagined.”
Operators are also cautious of repeating the mistakes that blighted previous generational uplifts. Vodafone’s CEO Nick Read admitted that MNOs had only themselves to blame.
“As an industry we don’t collaborate well enough and in terms of customer need we are not fast enough,” he told MWC in February. “We were protectionist around text messaging revenues and let OTT players move take over the rich messaging space.”
Beware the dumb pipe
Go back to 2008 and the first 3G smartphones (iPhone 3G) and revenue for operators in Western Europe was at its peak. At the same time as mobile broadband was developing, a significant amount of service revenue was lost.
“Over that period, cell operators in Western Europe collectively lost over a quarter of their service revenues while traffic over the networks grew 50-80% a year,” says Stephen Carson, Director Business Strategies at Ericsson. “The massive increase in traffic was not matched by revenue growth. The only way to keep pace with demand and not go backwards financially is to serve that traffic more and more efficiently. 5G is a big step in that direction.”
5G eMBB will deliver a significant reduction in cost per bit compared with 4G MBB, and this will continue to reduce (thanks to increased spectral efficiency, higher network utilization, greater user numbers and higher average speeds). Access to new and wider spectrum also delivers efficiencies.
“The challenge for operators, particularly in Europe, is to have some sort of value proposition and some service that they are in control of rather have it taken OTT,” says Carson.
“The telco reality is that they have to provide ever increasing bandwidth capacity while not ending up a dumb pipe,” agrees Kaltura’s SVP Product Marketing, Gideon Gilboa. “This is a difficult balance to manage. They are looking for ways to ensure the total cost of ownership makes sense by making reasonable commercial propositions balanced with big investments in the network.”
Video is the king of content demand and it will be long into the future. NSR predicts that by 2022, 82 percent of all IP traffic will be video.
Video is also a prime mover for 5G with upwardly revised predictions by Ericsson that 5G coverage will reach 45 percent of the world’s population by end of 2024. This could surge to 65 percent, as spectrum sharing technology enables 5G deployments on LTE frequency bands. Where 60% of data traffic is video today, close to three quarters will in six years’ time, it reckons.
“In some territories operators are trying to get around unlimited tariff structures,” notes Carson. “You can have all-you-can-eat data plans so long as the video is 480p. The bigger picture is that video will rise in volume and in quality and open up immersive experiences – but we’re at a very early stage yet.”
Raising ARPU
“Not matter how much bandwidth there is or how much the cost per bit comes down, spectrum is still finite,” Stagg says. “If you have payment models where a consumer pays for all their data then streaming 4K quickly becomes expensive. Where the operator offers all-you-can-eat video passes such as EE where a lot of content is zero rated, then the operator pays for bandwidth.”
Early reports suggesting that 5G services would be priced significantly higher than 4G appears to have been overplayed. According to Futuresource Consulting, many operators offering 5G for either the same price or only a small increase over 4G.
“Given the limited coverage of 5G, handsets are likely to be on the existing 4G network for the majority of the time currently, so [exhausting data caps] may not be a major concern in early adopters,” says analyst Simon Forrest.
“Primarily, the question is whether operators could raise ARPU by delivering video over 5G. But since video is regarded as part of the mobile data service, consumers are initially unlikely to consider delivery over 5G as a major differentiator. This would challenge operators wishing to improve the monetisation of such services. However, there are advantages to being able to receive uninterrupted live broadcast streams, especially sports and live events, which present revenue-generating opportunities if packaged appropriately.”
Partly to keep data costs down, BT Sport argues against use of 4K over mobile since no-one can see the extra pixels on a smartphone even if the device’s display is UHD-capable.
“We believe the optimum format for the small screen is HD HFR (high framerate) and HDR (high dynamic range),” says Stagg. “We don’t advocate 4K other than for casting to larger screens in the house over WiFi. This is the strategy for BT Sport and it should be for every operator.”
5G also opens an opportunity to drive fixed line subscriptions to the home. Connect a 5G router to the set-top box or Smart TV in the living room and deliver enhanced TV over the last mile.
“We ran some field trials in Romania last year for last mile delivery of high speed broadband in the mmWave spectrum which worked very well,” says Casara. “It’s probably more a use case in eastern Europe where cable and FTTH are still limited outside of the main cities.”
Cable providers too can put 5G cells into street cabinets and cover the last 500 yards where replacing coax with fibre or enhancing it with DOCSIS 3 is a less viable option.
Stagg urges the industry to be agnostic to the underlying technology and provide “the optimum experience at commercially viable cost. If it’s going to cost a million pounds to dig up a road and we can use a wireless tech that delivers better capacity to the home then this is a good use case. We’ve done a lot of testing on wireless routers. We need to decouple the underlying tech and use whatever makes most economic sense and provides the best experience.”
Standalone brings tipping point
Arguably it will be the introduction of the full next generation 5G core network, enhanced device chipset capabilities, and increased availability of 5G-ready spectrum which will kick-start more exotic consumer applications.
EE has scheduled this phase 2 rollout from 2022 and promises “truly immersive mobile augmented reality, real-time health monitoring, and mobile cloud gaming.” It is also a vital step to the convergence of fixed, mobile and WiFi “into one seamless customer experience.”
A report by Ovum commissioned by Intel suggests 2025 will be the ‘tipping point’ for 5G in entertainment and media. By then, 57% of wireless revenue globally will be driven by the capabilities of 5G networks and devices, rising to 80% by 2028 by which time M&E experiences enabled by 5G will generate up to $1.3 trillion or almost half of the projected $3 trillion in wireless revenues overall.
Augmented reality is top of the list. BT Sport has AR sports related experiences for both at home and in stadia in the works.
“The potential is huge,” Stagg confirms. “The ability to enhance sport is phenomenal by, for example, overlaying stats of players taking a penalty - live.”
Early AR experiences are imagined via smartphone but BT Sport is casting future interaction toward some form of lightweight glasses.
Telcos are also trialling virtual reality harnessed with 8K capture live streamed over the network. Orange’s partnership with France Télévisions took this to the next stage at Roland Garros with a demo mostly to devices spread over the stadium.
“We wanted to push the envelope on bandwidth and see how live 8K encoding would cope,” says Casara. “We concluded that 8K is a good format to start with for VR using tiling technology to encode and send just the parts of the image the viewer is looking at.”
Audible AR could evolve in tandem with 5G ‘hearable’ devices that overlay spoken information from an AI-enabled voice assistant to augment the real-world environment in real-time.
“With 5G connectivity and location-based awareness via an on-board GPS, spoken direction will become an essential skill for hearable products, capable of directing users through spoken step-by-step instructions,” says Forrest. “Advertisers will be quick to harness the opportunity to speak to wearers, conveying precisely timed and relevant information based upon geolocation.”
Given that 5G requires densification of the network infrastructure, it becomes possible to more accurately identify the locations of consumers via cell tower connection.
“This may lead to advanced advertising and improved targeting, perhaps delivering information and advertising based upon time of day and location to generate uplift in engagement,” says Forrest.
In parallel this should open up more flexible pricing models to target the generation of consumers who don’t want lengthy fixed terms contracts.
“This generation is used to bite sized video and Netflix-style subscriptions and want the same from their connectivity provider,” says Adam Davies, product manager, Synamedia“We’ve been talking about being able to build those flexible consumer models for years and with 5G, service providers have the network to make localised, personalised and flexible video packages happen.
Next-gen entertainment
Intel predicts that AR and VR will deliver cumulative revenues of $140 billion between 2021 and 2028.  Immersive and new media applications which don’t even exist today could generate $67bn a year by 2028 – equivalent to the value of the entire global media market in 2017, including games, music and films.
Perhaps the most significant new consumer application twinned with 5G is cloud gaming. Some see it as more of a game-changer than video since realtime multi-player gaming isn’t possible, certainly over mobile, without it. One of the first games to tap into this is Harry Potter: Wizards Unite from Niantic which claims to render AR in tens of milliseconds.
Synched with this is the need for edge computing in which logic is moved out of the device into the cloud. If you can process more encodes and transcodes there you can create thinner client apps, effectively streaming from the edge with less rendering on the device.
However, Forrest suggests that the industry is confused over what could be done with a 10Gbps low-latency network versus what should be done with a 10Gbps low-latency 5G mobile network.
“The parallel development of Wi-Fi 6 (802.11ax) promises to closely match the performance of 5G for local/indoor communications,” he contends. “This provides an alternative choice for networking of VR, AR and other applications, especially given that high-bandwidth 5G services are carried over mmWave frequencies that won’t easily penetrate walls, so indoor coverage will be close to non-existent.”
The 5G network will be meshed with the IoT allowing operators to rollout new consumer services hooked into Smart Cities. Apps for parking, waste disposal, real-time traffic management and leisure/tourism can all be introduced as part of a wider citywide data grids.
For EE this falls into Phase 3 of 5G rollout, from 2023, when “ultra-reliable” low latency communications, network slicing and multi-gigabit-per-second speeds are introduced. This phase will enable the “tactile internet” it predicts, where a sense of touch can be added to remote real-time interactions.
“Everybody is talking about new immersive AR/VR forms all the way out to volumetric 3D holograms but in order to have such experiences you need 6 DoF to look all around you and see superimposed data on reality,” says Carson.”You need extreme low latency and a shift of heavy compute processing to the edge to feed all the calculations for rendering. You might also need new forms of compression.”
5G may not even be good enough in the next decade to cope with the plans telcos have scoped out for it. “The increasing number of new applications such as VR/AR, autonomous driving, IoT, and wireless backhaul as well as newer applications that have not been conceived yet, will need even greater data rates and less latency than what 5G networks will offer,” states NYU Professor Ted Rappaport, in a paper published by the IEEE.
US government department FCC recently voted to grant licences for research into submillimetre wavelengths in the teraherz frequency range to unearth 6G bandwidth capacities.
If the hazardous nature of working in potentially radioactive frequencies are overcome then 6G (7G and beyond) promises such high capacity and instant data transmission it would deliver, it is speculated, artificial intelligence to wireless devices operating at the speed of human brain.

5G as DTT replacement? Not yet
5G will play a role in eventually replacing digital-terrestrial broadcasting although this is expected to be neither short term, top priority or universal.
“The requirement is free to view not free to air,” says Stagg, who notes the resilient popularity of the linear broadcast schedule. “But as viewing shifts OTT and broadcasters looks to move more things to IP we’re going to reach a point where, with fewer viewers on terrestrial, DTT becomes cost prohibitive. If your percentage of viewers goes down yet your costs of maintaining the broadcast network remain, at the same time as CDN costs rise, then inevitably things will change.”
Operators and broadcasters are collaborating on projects to investigate the overall benefits and efficiencies of 5G broadcast or Enhanced TV (enTV). Examples are 5G-Xcast (a Horizon 2020 and 5G-PPP project); Finland’s 5GTN+ programme; and 5G Today, ongoing in Bavaria, operating trial broadcasts over 5G using the 700MHz spectrum.
“One of the objectives is to identify the best solutions to exploit the enhanced capabilities of 5G, notably using the new radio interface (5G-NR) for broadcast TV and digital radio services,” explains Forrest. “Television over 5G is especially interesting for Europe, as there is an immediate deployment potential using the 700MHz spectrum band previously occupied by terrestrial services.”
The 3GPP Release 14 specs already meet all EU digital TV broadcast requirements; technical studies conclude this is approximately twice as efficient as DVB-T which would open up spare capacity in the spectrum for alternative use cases.
“In this instance, the remaining DTT frequencies (470MHz to 694MHz) could be reallocated to 5G, with TV broadcasts migrating from DVB to 5G broadcast technology,” says the analyst. “This consumes less bandwidth, leaving the remaining spectrum free for mobile use cases.”
Gideon Gilboa, SVP, product marketing, Kaltura notes moves among DTH providers to switch services from satellite to IP. Among them, Sky’s launch of Sky Q over IP in Austria and Italy and a DirecTV DTV package with an IP only connection. “5G is an enabler for more video to IP and in that sense we see the trend to IP continuing and maybe even accelerating the transition,” he says.
Even in the case of 5G and its capacity, unicasting to the entire nation is still too costly for live events especially at high bitrate 4K/8K.
“While many 5G supporters will say that 5G is building out for all unicast transmission – like every ‘G’ before it, or even wired networks – we have always had to add adaptive bitrate technology and encoding to cater for any capacity problems,” says Charles Cheevers, CTO, Customer Premises Equipment at CommScope. “Because of this dilemma for live events, 3GPP is actively looking to extend eMBMS to 5G, and even solutions based on OTA/FTA ATSC3.0 are being considered for augmenting 5G devices for much more efficient broadcast and live services.
“ATSC3.0 on LTE towers as more cost-effective way to offload unicast traffic of live events from the 5G airways and core network (provided mobile device have an ATSC3.0 tuner). Equally eMBMS for 5G needs to be also added to the spec to ensure some fallback from reaching unicast capacity.”

Tuesday, 23 July 2019

Codecs: 4K and 8K

IBC
An 8K-ready badge will be the latest must-have accessory for products on the show floor this IBC. Among them will be solutions from Sony, Cinegy, SGO and Red.
It’s seen as premature by some but the industry is turning its attention nonetheless to a future beyond 4K. Among them is the DVB Project which has completed a study into the next steps towards an 8K broadcast standard.
“The next big thing in broadcasting will be 8K resolution,” says Erik Otto, CEO at Mediaproxy, a provider of software-based IP solutions. “Some broadcasters are already looking at 8K transmission as the next step on from both HD and 4K.”
There are multiple pieces of the puzzle that need resolving from both content production cost and business model perspectives. Not least are doubts about whether consumers will discern the visual difference of a vastly higher resolution without a vastly bigger living room TV.
But the biggest stumbling block lies in distribution.
“Physical media is on the decline; people are not buying Blu-ray as much as they used to, they want to stream or download content,” says Insight TV CEO Rian Bester.
The 4K-only channel is expanding rapidly and is already shooting some productions such as Endurance: 24 Hours of Spa, either whole or in part in 8K to understand production challenges and to future-proof its catalogue.
“8K requires a lot more bandwidth and this presents an even greater challenge,” Bester says. “These hurdles will really hamper 8K’s foothold."
VVC
The race is on to design a more efficient compression scheme to current standard HEVC that will deliver immersive media formats, like VR and AR, for which an 8K source is considered essential.
The frontrunner, and perhaps the only horse in the race, is Versatile Video Coding (VVC), a development of the Joint Video Experts Team and MPEG.
Currently under development, it is aimed at achieving up to 50% compression efficiency compared to HEVC while maintaining video quality.
Early signs are promising. In recent tests BBC R&D found that VVC performed 27% better than HEVC when processing HD and 35% better than HEVC for 4K UHD.
“The one thing that stands out and will make the biggest difference, not just for 8K but for 4K, is VVC,” says Bester. “It is the silver bullet that is really required to drive things forward because whether the content is 4K or 8K, it addresses the bottlenecks like CDN costs and the bandwidth required to deliver. If it can do that without deteriorating the quality then that is the silver bullet that we need.”
Thomas Wrede, VP of new technology and standards in the video business unit at satellite operator SES agrees: “For an economic broadcast of 8K television the industry needs the new VVC codec.”
NHK’s commercial 8K service uses 100Mbps, but recent trials have shown live sports content at 85Mbps and VoD at 65Mbps. Content-aware encoding, a system which examines the video source and optimises encoding at playback, can reduce the bitrate for OTT delivery to between 30Mbps and 35Mbps. Those are the bitrates that were measured and demonstrated in public, at the French Open in a demonstration organised by France Televisions, Orange and vendors including Harmonic.
“A new codec like VVC will decrease the bitrate by half, but we will have to wait until 2020 when the MPEG specification is finalised and then 2022 to see it implemented in the first devices,” says Thierry Fautier, VP of video strategy at Harmonic.
MediaKind SVP technology Matthew Goldman also points to better video coding efficiency to reduce the required distribution bandwidth.
“It will likely need to be two to three times that of compressed 4K, which in turn is already two to three times that of HD. Think Versatile Video Coding and beyond.”
Supposing that VVC does hit is 50% target improvement over HEVC there remain doubts about its cost to the user community.
Immersion
Since VVC is an evolution of standards and technologies already used in HEVC and other codecs it will not come for free. There are concerns that VVC will be equally burdened by royalties and patent pool opacity as HEVC.
What’s more it is highly unlikely that UHD-2 – the ITU specification for 8K – will be treated purely as a higher resolution format.
Far more important for most pundits, is a mix of attributes of which resolution is one designed for immersive experiences such as personalised broadcasts to mobile devices (where the user can pan and scan within the 8K content) and free viewport (such as Intel TrueView).
Top of the list is High Dynamic Range but this also includes higher frame rates (up to 120p) all of which push up bandwidth requirements.
Display devices need upgrading too with HDMI 2.1 a prerequisite to take 8K 120p content from a player device to the screen. Only the 2019 flagship TVs from brands like Samsung currently support this.
It is likely that 8K will start with satellite using the DVB S2X standard for optimising the transponder throughput then will quickly move to IP delivery to connected TVs where OTT providers see the format as a market differentiator.
“We need to agree on a standard for 8K,” urges Fautier. “Japan has done that for broadcast applications (for Super Hi-Vision via NHK), but a standard is needed that includes support for IP delivery (VoD and live) via all type of networks, including 5G, on all devices, including TVs, smartphones, and tablets.”
The entire end-to-end ecosystem needs to improve technologically for 8K to become viable en masse. IBC2019 will show that work has already begun.

Catching the Perfect Ride with Bethany Hamilton

Studio Daily
Director-Cinematographer Aaron Lieber Captured the Surfer Ripping the World’s Most Dangerous Waves
Since first making headlines in 2003 for surviving a shark attack when she was 13 years old, Bethany Hamilton has become one of the most recognizable surfers in the world. In 2011, she was the subject of the movie Soul Surfer, a dramatized account based on her autobiography.
Now, feature documentary Bethany Hamilton: Unstoppable highlights her ambition to compete at the highest level of the sport, riding some of the most dangerous waves in the world. Filming those mammoth waves is also no easy feat — but director-cinematographer Aaron Lieber made it look easy.
Lieber, who previously made a documentary about female surfer star Lakey Peterson, began shooting footage of Hamilton in 2014 and crowdfunded the initial short film into a 90-minute feature destined for theatrical release.
“I was on the road a lot of the time following Bethany, but I didn’t have the luxury of a big team, so I had to select a camera package that was lightweight and yet lent a cinematic film quality,” Lieber explains.
“I chose Red Epic Dragon for those reasons and, as importantly, because it enables me to do so much in post. Recording at 6K means I can shoot a bit wider than I normally would, then keyframe later.”
Lieber paired the Epic with Canon EF glass, housed in lightweight carbon fiber for filming in water, with interviews shot using Zeiss lenses.
For Unstoppable, Lieber shot 49 interviews, conducting them himself while running audio and pulling focus. “I tended to pull a little further back, knowing I can reframe or adjust in post to spice it up. I didn’t have the budget for a big lighting package either, so the dynamic range of the Epic also gave me more options in post to pull color and make the shot come to life.”
The ability to capture an action sport at variable frame rates was also vital. Lieber recorded sequences at 6K 72fps, 4K 120fps and even 2K 240fps. He also used a Panasonic GH4 and GoPro for run-and-gun shots and more intimate moments when a larger camera might have detracted from the moment.
“For me, Red is the backbone for cinematic presentation and to make the film feel big enough for that theatrical experience,” Lieber adds. “The quality of the footage is so high it carries other cameras that aren’t at that same level.”
One sweeping land-to-sea aerial shot captures the scale and skill of Hamilton’s achievement. It shows her ripping it to the end at Pe’ahi, also known as Jaws, on the island of Maui, where waves can reach upwards of 80 feet. “It’s one of the pinnacles of world surfing,” says Lieber.
The 90-second single shot begins far above in the clouds and drops down until it hits the surf below, all the while picking up Hamilton as a small point of focus and gliding down until she kicks into the huge wave.
“This was a critical moment in Bethany’s surfing comeback,” he explains. “Jaws has been filmed many times, so I wanted to capture the scale of the challenge in a way that had never been done before. I came up with the idea of using a helicopter. So, we hired a great heli pilot, Don Shear, and camera-operator Mike Prickett and put the Red on a Shotover gimbal.
“The night before we all had a meeting to talk about safety and the execution I had in mind. The idea was to start by hovering over the land and then, as Bethany begins her ride, to have the heli move from the cliffs over the water and track down to meet her on the wave then, as she kicks out, to finish above her.
“They confidently said yes — even though no one has ever done it!”
On the day, Hamilton had already surfed and was resting but decided to try for one last catch. Pilot Shear had made one pass overhead to get his line of approach just right.
Lieber himself was in the water shooting with a Red and had arranged additional angles from Red operators on a jet ski, as well as another one on the beach.
“With action sports, once things get going, there are no chances for any do-overs,” Lieber says.
When Hamilton went for it there was no time for communication between the helicopter and ground crew.
“It all came together in this perfect shot (in 5K 60fps). It was all done on instinct and skill.”
Bethany Hamilton: Unstoppable is currently in theaters.

Monday, 22 July 2019

This new FaceTime effect is both clever and freaky at the same time!

RedShark News
One of iOS13's new features is one that corrects your eye contact during FaceTime calls. It's most certainly clever, but is it a bit too freaky as well?
As a journalist I’m increasingly asked to make interviews via Skype, WhatsApp or FaceTime but two things really get my goat. One is the quality of the service which even over a decent WiFi connection still causes almost unworkable buffering and crashes (Skype being the worst culprit). The second is that I’m generally typing what my interviewee is saying. Even with my very best touch-typing skills (clue: not that great) I’m basically heads down over the keyboard which isn’t a good look when you are trying to elicit information from someone.
In short, I prefer a good old voice call.
Apple has come up with an answer, by artificially re-instating the line of sight between callers using FaceTime.
The new feature, FaceTime Attention Correction, makes it look like you’re staring directly at your front-facing camera during calls, rather than at the device’s screen. It simply looks like the person calling is looking right at you, instead of your nose or your chin.
Apparently, the effect is being achieved using ARKit to grab a depth map/position of your face, and then adjust the eyes accordingly.
If you didn’t know about it then you’d probably never guess the effect was being applied. Plus, you can turn the function off.
The feature appears to only be rolling out to the iPhone XS and iPhone XS Max but will get a wider release when iOS 13 officially goes live, later this year.
It isn’t something the internet has been clamouring for but now it’s here perhaps this will become the new socially accepted norm.
Except that of course you won’t be looking into someone’s eyes. The effect will be faked.
Will that interfere with social discourse? If eyes are the windows to the soul then meaningful conversation will grind to a standstill.
Extrapolating that, future AI/AR enhancements could make it appear as if we’re really truly listening to someone (a loved one?) when in fact we’re picking our nose or yawning.
Why not change the location from where we actually are, at someone else’s home or on the beach, to appear at home or on the train. It could change our clothing or remove other people from the background.
It need not even be you on the call but someone pretending to be you (I haven’t worked out why that would be needed but Mission Impossible has been trading off such deep fakes for years).
The truth is already up for debate so when we can manipulate and change any part of an image in realtime in pixel perfection where do we draw the line and how do we separate real from simulacra?
Or does the simulacra become the new truth?
We’re straying waaay too far from what is after all a tiny tweak to make video calls a little less weird.
Now, can someone sort out how to make video calls work consistently without crashing, bugs or delay my life will be complete.

Friday, 19 July 2019

BritBox Launch Will Pile More Pressure on Netflix

StreamingMedia

BritBox, the "Best of British" SVOD from ITV and the BBC, will launch in the UK by the end of 2019 as a last-ditch attempt for the broadcasters to mine their extensive back catalogue—but it could be too little too late.
With more than 10 million UK subs Netflix has a massive head start. Nonetheless, with popular content likely to be withdrawn from the service, it's possible that Netflix has the most to fear from the arrival of another competitor.
"The long-overdue move is too little too late," says independent analyst Paolo Pescatore. "However, Netflix has the most to lose. New providers will all want to pull their own programming off Netflix to differentiate their own offerings."
ITV will be the driving force behind the direct-to-consumer joint venture after taking a 90% stake.
BritBox will cost UK users £5.99 ($4.70) a month, undercutting the basic Netflix fee in the UK by £3. The streaming platform is already available in North America for $6.99 a month (with a different content catalogue).
Content will comprise titles such as popular reality show Love Island and acclaimed BBC drama Gentleman Jack with original programming promised.
"Pricing is punchy and the content offering looks attractive," says Pescatore. "It represents a great channel for British-produced content."
It is likely to include content currently on Netflix, including series such as the original The Office and the Emmy-nominated drama Killing Eve and comedy Fleabag.
ITV is expected to transfer content from catch-up service ITV Hub to BritBox after 30 days, while the BBC is likely to do so after shows have been available on iPlayer for 12 months.
This strategy risks being undermined if the BBC makes all its programming available for free for at least a year on iPlayer—a decision which was given a provisional greenlight by regulator Ofcom.
Claire Enders of Enders Analysis says, "The fact that shows will be on iPlayer for 12 months, plus the transition to a much longer licence period [for showing programmes for free] on ITV Hub and 4oD, poses the question how many people will have missed these shows first time around to want to pay to watch them again."
It's being pitched as a supplement to Netflix as video service stacking takes off.
"Key to success will be differentiation against their existing broadcaster VOD/catch-up TV services (ITV also has its ad-free service, ITV Hub+) and how it educates potential subscribers of these differences," says David Sidebottom, principal analyst at FutureSource. An obvious differentiator is the vast content libraries both broadcasters can make available. But with BBC's decision to extend content availability on iPlayer for up to 12 months after original broadcast, it will mean it can't rely on newer BBC content to bolster BritBox's proposition."
UK broadcasters have been seeking to stem the tide to SVODs for a decade, ever since the UK regulator denied them the chance to launch their own platform.
For commercial public service broadcaster ITV, such a move is more pressing, with TV ad revenue under threat from stagnant TV viewing audiences.
BBC iPlayer's share of the domestic market has declined from 40% to 15% over the last five years.
Futuresource estimates that there are currently around 21 million SVOD subscriptions in the UK. BritBox would need fewer than than 1 million subscribers to become the number four player behind market leaders Netflix, Amazon Prime Video and Now TV.
Imperative, though, will be a compelling content slate—the first exclusive commission won't drop until next year. The budget of £65 million ($51 million) over two years is peanuts compared to the multi-billion dollars of rivals. 
"BritBox is expected to eventually lead to the dilution of BBC and ITV title availability on leading SVOD platforms," says Sidebottom. "This further justifies these leading SVOD services' increased investment in original programming.
The service will also need wide distribution and partnerships with cable, pay TV, and telco providers. Talks with broadcasters Channel 4 and Channel 5 are ongoing, alongside those with potential distribution partners such as Sky Virgin and Talk Talk.
"To be truly successful BritBox will need more content from other UK broadcasters," says Pescatore. "[If it gets that] it will fare much better and generate far greater appeal among consumers.
"The bottom line is that Netflix has a huge lead in the UK. Users will think twice about signing up to another TV service. So, it needs more content, support from other broadcasters, pull programming off Netflix and partner with telcos for distribution. The latter has been key to Netflix's global success with an inferior local catalogue."
There are those wondering whether this be the thin end of the wedge for the BBC's wholesale move to a subscription model. The answer to that is that the BBC already has a subscription dynamic called the licence fee.
Says Sidebottom, "Both ITV and BBC will be mindful of the fine balance between providing added value to this subscription service and the performance of existing offerings, whilst appeasing license fee payers."
Says Enders, "The concept of [public service broadcast or PSB] is different to SVOD since it gives people more choice in terms of news and current affairs, radio services, and the BBC website. It creates culture across the UK.
"The UK has the highest viewing numbers for drama in the world," she adds. "BritBox will only compete with drama-driven services like Amazon Prime, Netflix, and Sky Now. It will never replace the PSB."