Sony plans 4K broadcasts over IP

TVB Europe

Sony is predicating the future of Ultra-HD broadcasts on IT and IP networking, rather than the traditional broadcast engineering protocols, the latest of which is 6G-SDI.

http://legacy.tvbeurope.com/main-content/full/sony-plans-4k-broadcasts-over-ip/fg40#.VL5ZUaDpBG4

“The question we are tackling is how do you develop and integrate 4K into the workflow of an IP domain,” said Olivier Bovis, Sony's head of AV Media. “We have the IP55. We are the only company doing this.”

The NXL-IP55 is a shipping video network unit that can transfer multiple HD image signals, audio signals and control signals over a single network cable. It has been tested by ITN in the UK and TV2 in Norway (pictures are from the production). It has also been tested over a 300km distance between Sarajevo and Belgrade, according to the company.

“We are reaching a stage when you could cover, for example, a basketball game in 4K without any physical outside broadcast infrastructure on location,” said Bovis. “You could position a pair of F65 or F55 cameras centrally above the court, plug in a studio adaptor and transfer the feed over an NXL-IP55-style of technology to a remote studio. There the operator would see an 8K x 2K picture and could remotely control the tally and CCU on a tablet device and, for example, zoom into that picture and make intelligent HD cut outs.”

This is a technology demonstration at this stage but it is becoming possible, he added. “The core technology of the NXL-IP55 is fundamentally 4K ready. Today we can take one HD feed in and deliver three HD feeds downstream. A future version of the product could take in and output 4K over IP.”

He maintains that the routing of 4K transport signals over IP is a superior infrastructure for an emergent Ultra-HD broadcast environment than 6G-SDI, which works over BNC cable.

The F55's can be made suitable for outside broadcast by adding a B4 mount, which would be able to optically convert standard OB lenses.

Beyond Definition

Sony's NAB is themed Beyond Definition, to highlight the range of equipment from cameras to consumer displays it has to produce and present 4K content.

“We're not bragging when we say Sony owns 4K just like we did with SD and HD,” declared Phil Molyneux, president Sony Electronics in an NAB press conference remarkably light on fresh product or sales announcements.

Highlighted product included the F5 and F55 4K cameras, of which 2,000 sets have shipped to dealers since February, and a technical exhibit of a 3840x2160 56-inch and a 4096x2160 30-inch 4K OLED panel for professional monitoring. There was no indication of timing for release or pricing.

Phil Squyres, SVP-Technical Operations at Sony Pictures TV was on hand at the conference to run down the list of programmes the studio is producing in the 4K format on F55 or F65 cameras. These include half-hour comedy Save Me for NBC and one-hour drama Masters of Sex for Showtime, as well as Michael J. Fox’s half-hour comedy pilot for NBC. All three are also being posted in 4K at Sony Pictures’ post facility Colorworks, which is based on its Culver City lot.

Previewed at the press conference and not being shown on the floor here was what seemed to be a prototype camera and range of complementary lenses loosely described as marrying high-end motion picture requirements with the design of a DSLR.

It represented, explained Sony, the embodiment of the company's future development “and a statement about our commitment and innovation” but teased with no more detail attached.

“Fundamentally the market is changing from a product design standpoint,” Bovis clarified. “From new DSLR products to cameras from GoPro, everything is up for grabs in terms of customers wanting to use them. We wanted to make sure that everyone is aware that Sony is thinking from every angle. We may be the largest camcorder manufacturer but we wanted to make sure that we are at the head of discussions about where the market is evolving. These products were illustrations only of that intent.”

Adrian Pennington

4K Broadcast Van Being Prepped for Confederations Cup

The Hollywood Reporter

One of the world's first 4K-ready outside broadcast vehicles is being readied to test run live Ultra-HD production of the upcoming FIFA Confederations Cup in Brazil, The Hollywood Reporter has learned.

http://www.hollywoodreporter.com/behind-screen/4k-broadcast-van-being-prepped-434824

The multimillion dollar outside broadcast vehicle currently being built in the U.K. for broadcast vehicle provider Telegenic by Sony's systems integration division could be ready and shipped to Brazil in time for the tournament's start on June 15.

It is likely to house equipment including a 4K-ready MVS-8000 production switcher, a set of PVM-X300 4K professional monitors and a number of Sony cameras including its 4K F65 and F55 models.

The latter can be used for live 4K production, says the company, when fitted with a B4 mount which can accommodate standard outside broadcast lenses.

The Sony F65 camera has already been used by broadcasters including Fox Sports, ESPN and BSkyB to shoot 4K, often with replay action of HD pictures derived from the 4K source image.

Telegenic also provides 3D outside broadcast vehicles. One of its trucks was airfreighted to South Africa in 2010 for Sony's 3D sponsored production of the FIFA World Cup.

The Confederations Cup will be a test run of Ultra-HD workflows, the success of which will determine to what extent an Ultra HD live broadcast of the FIFA World Cup in 2014 is possible.

NAB: NHK Demos 8K Broadcasting; Rules Out 8K Coverage of 2014 FIFA World Cup

The Hollywood Reporter
Japanese broadcaster NHK demonstrated for the first time outside Japan the real-time, over-the-air transmission and reception of 8K, which is 16 times the resolution of HDTV.
http://www.hollywoodreporter.com/behind-screen/nab-nhk-demos-8k-broadcasting-434897

Avatar 2 & 3 to use underwater performance capture & HFR

3D Focus

Avatar producer Jon Landau reveals that Avatar 2 and 3 will break new ground by being the first film to use performance captured actors filmed underwater writes Adrian Pennington from NAB

http://www.3dfocus.co.uk/3d-news-2/3d-film/avatar-sequels-to-use-underwater-performance-capture-and-high-frame-rates/12763
The next film will also revolve around the original's main characters Jake and Neytiri played by Sam Worthington and Zoe Saldana.

 

“We want to take advantage of technology to make the next two movies even more emotionally engaging and visually tantalising and to wrap up the story arc of our two main characters,” Landau said in a presentation in Las Vegas.

 

“We have kept a team of digital artists on from Avatar in order to test how we can create performance capture underwater. We could simulate water [in computer graphics] but we can't simulate the actor's experience so we are going to capture performance in a tank.”

He added wryly that we can expect filming to start “sometime this century.”

 

“There is a strong likelihood that we will use high frame rates for Avatar. Why? Because it is a better experience for the audience. Nobody should dictate to a filmmaker whether they should make films at 24, 48 or 60fps since the technology now exists and can be presented with the same cinema equipment.”

 

Landau underscored his and director James Cameron's belief that native captured 3D would always be superior to 2D to 3D conversion. “It will never be a comparable choice to native 3D shooting,” he declared. “As good as conversion can get, it's two and three quarters 3D and never true 3D.”

 

As Avatar 2 is being prepared Landau and Cameron are exploring new immersive sound systems such as Dolby Atmos at the facility of production outfit Lighystorm.

 

“Our machine room on the next Avatar looks like a NASA machine room with media stored on two continents for protection.”

 

Stories that could be conceived a few years ago could not be realised because the technology did not exist. Now, if someone can dream it, someone can find a way to realise it. But let's not to lose sight of why people go to the movies. They don't watch for technology they watch because they make an emotional connection to a story.”

 

He added: “3D is an evolutionary not revolutionary and it will take time to come to market. But look at Russia and China where the 3D screens market is phenomenal. In emerging markets communities are going to theatres for the first time and are experiencing film in 3D – that's what they think of as a cinema experience. To show them a 2D presentation is a step back from them.”

 

“When I go to watch a 3D movie I want to forget about it being in 3D – that should be the goal,” he said.

 

While Cameron and Landau are advocating higher frame rates and higher dynamic range (colour and light range) and higher resolutions for films like Avatar there is no reason he said why this should suspend audience disbelief by seeing pictures that look as if they place you next to the camera.

 

“We all go the theatre and suspend our disbelief even while we are see live actors performing on stage. Perhaps the role of the director working at high frame rates and higher resolutions will have to evolve to be more like that of a stage director.”

 

Landau also commented that Peter Jackson should not be criticised for using HFR on The Hobbit.

 

“Audiences went to The Hobbit expecting the same tone as the Lord of the Rings films but The Hobbit is a different film with a different story and a different tone and Peter Jackson made absolutley the right creative choice [in shooting 48fps] for him and should be respected for that.”

Sony Eyes 4K to Broadcast 2014 World Cup

The Hollywood Reporter

http://www.hollywoodreporter.com/behind-screen/sony-eyes-4k-broadcast-2014-433915

With 4K a big topic as the NAB Show opens, don't be surprised if Sony and FIFA announce that the 2014 FIFA World Cup soccer tournament in Brazil will be shot and broadcast, at least in part, in the higher-than-HD-resolution format.

The equipment manufacturer aims to drive adoption of 4K -- four times the resolution of today’s HD and what the consumer electronics industry refers to as “Ultra HD” -- just as it did with 3D, which was used at the 2010 World Cup.

The Hollywood Reporter has learned that Sony is exploring a test of the technology at the FIFA Confederations Cup in Brazil -- a sort of dress rehearsal for the World Cup -- beginning June 6 as well as at the Wimbledon tennis championships beginning June 24.

The Confederations Cup, which will be held in stadiums that will be used at the World Cup, would be a natural precursor to producing and transmitting a number of matches in Ultra HD when the World Cup kicks off on June 12, 2014.

Additionally, Sony has a three-year arrangement ending in 2013 with the All England Lawn Tennis and Croquet Club -- which hosts Wimbledon-- to test the new technology. In the past two years, Sony has put its efforts behind a 3D production of key matches from Centre Court, with the live feed taken by broadcasters including ESPN and the BBC.

Sony has confirmed to THR that five days of Wimbledon 2013 will be covered in 3D as it also explores Ultra HD testing. The two technologies are mutually compatible, and some say Ultra HD’s higher resolution could improve the 3D experience, particularly on emerging glasses-free screens.

3D coverage of the 2014 World Cup has yet to be ruled in or out by FIFA or its host broadcaster HBS, with the decision dependent on interest to broadcast the feed from rightsholders.

While Sony paid more than $10 million to produce 25 matches from South Africa 2010 in a separate 3D production, FIFA this time is understood to be seeking a new funding partner.

2014 is the last year of Sony’s eight-year, $305 million sponsorship of FIFA, and its professional services arm is the primary technical partner for HBS at next year’s tournament.

Sony is already supplying broadcast equipment to HBS for the World Cup, including 340 HD cameras, so it wouldn’t be a stretch to include a few of its 4K-capable cameras.

Its F65 model 4K camera has already been tested in live sports action by Fox Sports and ESPN in the U.S., Sky Deutschland in Germany and SIS LIVE and BSkyB in the U.K., primarily for extracting HD images from the higher-resolution 4K frame.

Other aspects of an Ultra HD live production have been tested and will likely be further discussed in Las Vegas. Broadcast equipment manufacturer EVS, for example, which will provide HBS with its servers and replay systems for 2014, has tested live 4K capability at soccer matches in Japan.

TV Globo, Latin America's largest broadcaster and the exclusive Brazilian rightsholder to the World Cup (which will share rights to the 2016 Summer Olympics in Rio de Janeiro), has been testing Ultra HD in anticipation of both events for two years, shooting the Rio Carnival with Sony’s F65 camera in 2012 and 2013.

The Japanese government has reportedly committed to launching an Ultra HD satellite service in July 2014, which would coincide with the World Cup final on July 13 at Rio's Maracana Stadium.

FIFA's priority, however, will be to safeguard the HD coverage of 64 matches, which up to 3.2 billion people (according to FIFA viewing figures for the past tournament) are expected to tune in to.

With all that said, a tiny number of households will have 4K TV sets by next summer. Futuresource Consulting, for example, thinks there will be 250,000 Ultra HD sets in U.S. homes by 2014, rising to about 1.6 million by 2016.

Select matches from Brazil also could be beamed directly to public viewing sites and digital cinemas – as with the 2010 World Cup 3D broadcast – provided the rights to do so are agreed.

NAB Preview: HEVC Is the Next Big Thing

Streaming Media

Encoding and video processing specialists are highlighting their H.265/HEVC solutions at next week's NAB show in Las Vegas

http://www.streamingmediaglobal.com/Articles/Editorial/Featured-Articles/NAB-Preview-HEVC-Is-the-Next-Big-Thing-88807.aspx

RGB Networks Launches Next-Gen MPEG-2/H.264 Transcoder

StreamingMedia

Company says Video Multiprocessing Gateway Gen 2 increases video quality and operational efficiency by doubling the capacity of each transcoding module

http://www.streamingmediaglobal.com/Articles/News/Featured-News/RGB-Networks-Launches-Next-Gen-MPEG-2-H.264-Transcoder-88777.aspx