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The 4K/UHD Symposium: Next-Gen Image Formats: More, Better, or Faster Pixels?” Symposium Will Address Technical, Business, and Practical Aspects of 4K/UHD Roll Out. The program is shown below:
What is the consumer value proposition?, Will consumers buy a UHD TV if they don’t have access to UHD content? Is upconversion good enough to start the market? What 4K content will be available? How should UHD TVs and UHD content be marketed to consumers? How will consumer get native 4K content? What investments are needed at content creation and in distribution to deliver 4K content? Will those investments be made? What will drive adoption – gaming, sports, movies, something else? How will UHD TV makers differentiate themselves? What is the market forecast? Do lessons learned in HD roll out apply to 4K/UHD? What are other adoption hurdles and solutions?
Are HEVC and DASH the key to efficient distribution to consumers? Is greater Internet bandwidth required? Will Netflix, Roku, TiVo, Amazon, Google, Microsoft and others dominate 4K/UHD consumer delivery? Can over the air, cable and satellite distribution compete? Will it take 10 years to reach critical mass with these technologies? What is the business case for making distribution investments? If there is consumer pull for 4K content, who will invest and what is the ROI?
What genres are best suited for 4K capture? Where in the workflow process does 4K processing end? What investments are needed? How will these be paid for and is it worth it? When will the cost of special effects for 4K become affordable? What is the value proposition for shooting and producing in 4K for archival purposes? Where does deriving a 2K output from a 4K shot make sense?
Session will look at other markets where 4K can gain acceptance like theatrical, digital signage, rental and staging, visualization and simulation, graphics design, medical, and more. What is the value proposition? Is there a clear ROI? How do you market 4K in cinemas? Does it make sense to show 4K content in theatrical? Will applications that see close interaction with a 4K display drive adoption?
Who wins as 4K is adopted in various applications? Chip makers? Connectivity providers? Content creators? Display makers? Infrastructure providers? This session will explore this from a pure investment perspective
This session explores the value proposition of adding 3D, wide color gamut, high frame rate or wide dynamic range to a 4K/UHD display. Can TVs add all these features? Can broadcast and film production support it? What do content creators, exhibitors, broadcasters, distribution partners, TV makers, and consumers want? What will each constituency pay for?
Attendees welcome and an overview of the Symposium’s Agenda
A tutorial overview of Next-generation image formats, including brief descriptions of proposals for higher resolution rasters, higher frame rates, increased luminance dynamic range, increased color resolution, wider color gamut, and other improvements. Topics to cover include color space and color volume, human visual system capabilities, real world luminance values, human resolution limits, frame rate versus blur.
Great consumer experiences are created by a convergence of sight, sound, and story. This presentation will provide an in-depth, quantitative analysis of the neurobiology and optics of sight, including the psychophysical concepts of simple acuity, hyperacuity and Snellen acuity. More specifically, the presentation will examine how principles of vision science can be used to predict the bit rates and video quality needed to make ultrahigh-definition television a success
In 2012, the administrations of the ITU-R agreed the major parameters for a two level UHDTV standard, UHD-1 and UHD-2, in BT. 2020, and the DVB Project set about developing a broadcast profile based on BT. 2020. The paper will describe the elements of the ITU-R standard and the current direction of discussions in the DVB Project on parameter values for broadcasting. The first development will be UHD-1 (’4k’). A critical issue is the choice of frame rate where a difficult trade off is involved between motion portrayal and manageable decoder complexity. A solution is needed that will neither close the doors to higher frame rates when practical, nor later to the UHDTV upper level, UHD-2 (’8k’). Delegates will be invited to consider whether the current plan is workable
This tutorial will begin with a report from the ITU-R working group evaluating extensions to its BT. 2020 document on the topics of peak luminance and “human perception-based” (rather than gamma-based) EOTFs. The session will then review the basics of colorimetry and the importance of absolute intensity range of each color, including white, to define a “color volume” that is a complete palette of all colors and their intensities used to render artistic intent. A perceptually based EOTF and its benefits will be explained. Trade-offs in bit-depth representations versus quantization errors will also be described, as well as the challenges of mapping between different color volumes, including XYZ, Rec. 2020 and Rec. 709.
In August 2013, members of the BTF from the BBC, RAI, IRT and EBU, with assistance from NHK, collaborated to conduct tests to explore the visible effects of higher frame rates (up to 240 frames per second), using both uncompressed and compressed material. The results of these tests will be presented, and the implications for broadcasters and their approach to the priorities for the technical improvements offered by the various different aspects of UHDTV will be discussed
In the transition from SD to HD, up-, down- and cross-conversion have become commonplace. Technologies such as AFD combined with evolved conversion algorithms have made inter-format conversions straightforward and high quality. The advent of 4K and UHDTV brings new challenges. Upconversion of HD material will become common, and deinterlacing and very high-quality spatial filtering will be required. Framerate conversion up to High Frame Rate will require care to offer optimal quality, and downconversion from HFR will require care to provide a naturally flowing image. This paper discusses the issues surrounding format conversion in the evolution to the 4K/UHD world. Specific issues around deinterlacing, scaling, colorspace conversion, gamut management, audio processing and the handling of cinema content are discussed in detail. Practical examples of each type of processing are shown, and the reader is provided with an in-depth overview of the technical challenges involved and how they may be solved
With the improvements of more, better, and faster pixels, MovieLabs and its Hollywood member studios have developed a proposed feature set for UHD formats. In this session, representatives from Fox, Warner, Disney, and Paramount will present their thoughts on the important technical features for next generation video formats and how they will impact mastering and distribution
Broadcasters from around the world provide reports on the current status and near-future plans for deployment of UHD systems and services. Challenges facing their efforts and proposals to overcome them will be highlighted
Ultra high-definition TV is here. While most of the push for 4K displays is coming from the world of consumer electronics, there are enough commercial applications for UHDTV to ensure that it is a viable platform for next- generation TV viewing and not just another “gimmick” to sell televisions. But stepping up from 2K to 4K displays isn’t just a simple exercise in adding pixels. Which direct-view and projection technologies can support 4K now? How will we switch and distribute the massive amounts of data needed to drive a 4K display? This paper will provide an overview of the current UHDTV display marketplace; highlight new 4K reference and commercial displays for acquisition and post that were introduced at the 2013 CES, NAB, and InfoComm trade shows, and detail the challenges of interfacing 4K through HDMI and DisplayPort connection
Having learned about core contributions of more, better, and faster pixels to UHD, what about the interactions between them? And what other technical issues need to be addressed before these improvements can be brought to the market? Hear a summary of the issues and prognositications on the answers to remaining questions from this all-star panel
Wrap-up and closing remarks
Business Track Program Committee
Chris Chinnock, is the President & Founder of Insight Media, a company he started in 1998. Insight Media is a display-focused market research, publishing, consulting and event production company. With a team of world-class display experts, the company publishes free news and subscription news and analysis (Large Display Report and Mobile Display report on its news portal site, www.display-central.com. It offers various technology/market reports on emerging parts of the consumer and professional display market, offers strategic and tactical consulting services and produces event like Megapixel Summit, Projection Summit and the 4K/UHD Symposium. Mr. Chinnock is the co-founder of the 3D @ Home Consortium and is a frequent speaker at trade shows across the globe.
Pete Ludé is prominent engineering leader in broadcast and digital media. He has been involved in designing and implementing hundreds of broadcast and media systems, including the launch of digital video for DirecTV, pioneering HDTV systems for network broadcast and recent 4K workflow systems for motion picture production. Most recently, Pete was Senior Vice President of Sony’s Silicon Valley R&D labs, where his work included workflow software for movie production, stereoscopic imaging and the next generation of 4K laser projectors for digital cinema.
Mr. Ludé is past president of SMPTE – the Society of Motion Picture and Television Engineers — and a SMPTE fellow. Pete is also co-founder and past Chairman of the Laser Illuminated Projector Association, and is a frequent speaker on the future of broadcast, Ultra HD television, stereoscopic 3D and laser displays. His blog can be found at http://digidrivel.blogspot.com/
Marty Shindler is CEO of The Shindler Perspective, a husband & wife consulting practice with Big 4 (C of PWC) professional service firm and top 5 (Sloan @ MIT) business school credentials. The firm has worked all along the entertainment and entertainment technology value chain, and as a result, has deep insight into the inner workings of the various industry segments and the many businesses and niches that intersect with the value chain. The practice consults on business, economic, strategic and operational matters in a diverse set of market segments and companies in areas such as development and previs, production, post production, distribution and exhibition for movies, TV and other content across a wide range of second screens, platforms and delivery methods.
Mr. Shindler’s unique vision and perspective provides clients with a first-hand sense of the direction in which the industry segments are heading and the challenges and rewards that lie ahead. Speaking engagements have included a wide range of industry conferences and events representing the many industry segments where the practice has been involved. Marty Shindler’s prior employment includes 20th Century Fox, Lucasfilm’s Industrial Light & Magic, Kodak’s Cinesite and Coopers & Lybrand (PriceWaterhouseCoopers).
Michael Devalue is Director of Advanced Technology at the Walt Disney Studios, where he is responsible for Standards, as well as researching new technologies related to content distribution such as 3D, 4K and High Dynamic Range. He has co-chaired several groups related to 3D in the home for SMPTE and presented a session on Captions in Stereoscopic 3D at the 2010 SMPTE Technical Conference.
In addition to SMPTE, he is an active participant in the Blu-ray Disc Association (BDA) and Digital Cinema Initiatives (DCI) and is also the current Chairman of the International 3D and Advanced Imaging Society.
Pete Putman is the president of ROAM Consulting L.L.C. and provides training, marketing, and product testing/development services to manufacturers, dealers, and end-users of displays, display interfaces, and related connectivity products.
Pete is a contributing editor for Sound and Communications magazine, the leading trade publication for commercial AV systems integrators. He also edits and publishes HDTVexpert.com, a Web blog focused on HDTV, digital media, wireless, and display technologies.
Pete holds a Bachelor of Arts degree in Communications from Seton Hall University, and a Master of Science degree in Television and Film from Syracuse University. He is an InfoComm Senior Academy Instructor for the International Communications Industries Association (ICIA), and was named ICIA’s Educator of the Year for 2008. He is a member of both The Society of Motion Picture and Television Engineers (SMPTE) and Society for Information Display (SID).
Geoffrey Tully is president of a consulting firm specializing in entertainment technology. Based in Los Angeles, the firm assists clients in formulating product, marketing, and technology strategies for multimedia and digital entertainment products and services.
While on staff at THX Ltd., Mr. Tully managed a team of entertainment and engineering specialists that developed, integrated and promoted technology for optimizing the presentation of digital content throughout a broad ecosystem of Consumer Electronics and component manufacturers, Hollywood studios, and content creation and distribution facilities.
Mr. Tully served as senior vice president of production for DIVX Entertainment, a subsidiary of Circuit City Stores. The company developed and marketed a unique DVD-based home video rental system. He was co-inventor of a portion of the underlying DIVX technology (awarded US patent), and managed the video production for the extensive library of DVD titles that DIVX manufactured for retail distribution. He subsequently served as a technology consultant to Cinea, a subsidiary of Dolby Labs, that developed and deployed systems for secure delivery of movie screeners and other high-value entertainment content.
Mr. Tully worked for Pioneer Electronics for eleven years. As Senior Vice President of the Multimedia Systems Division, he managed the sales, marketing, and engineering support for Pioneer’s industrial LaserDisc, CD-ROM, and professional videodisc recorder products in the United States. Mr. Tully is currently a member of the Hollywood Post Alliance, MESA and SMPTE. He holds a Bachelor of Science degree in Systems Science from Michigan State University and a Master of Science in Educational Policy Studies from Florida State University.
Aldo Cugnini is President of AGC Systems LLC, a video and audio technology-consulting firm, with capabilities including technology development, market research and analysis, intellectual property analysis and defense, project management, and industry standardization. Clients have included Fortune-500 companies in the broadcast and consumer electronics arenas, patent and other law firms, market research and independent primary research firms.
Aldo is also co-founder of a company developing services for interactive wireless devices, and has eight patents in the fields of broadcasting and consumer electronics. He had leadership roles in the development of the ATSC Digital Television System now deployed in the United States, as well as the DTV transition converter box program.