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Eight reasons why #8K does matter

Is #8K yet more hype to push TV set sales to unsuspecting viewers or an unstoppable new trend that is already coming? For over a year now I’ve been itching to get to off the fence.

However, ever since I read Daniel Kahneman’s Think Slow Think Fast(thanks for the recommendation @Arnaudb92) I lost faith in expert predictions on any subject including my areas of expertise and especially in my own predictions. However, I’m nevertheless going to stick my neck out because I see so many wrong reasons used to dismiss 8K. I know I’ll look foolish if you out dig this blog in a decade, and 8K is still nowhere, but I’ll take that risk because I believe 8K will be bigger well before then, and many will have joined NHK that has had been running a commercial service since December 2018. Here are eight reasons why:

1. TV manufacturers have always been incredibly efficient at pushing any new tech to consumers (ask any 3D set owner) — this doesn’t imply that the tech is viable, just that the market will try it, if set-makers put enough effort into marketing it, and CES 2019 announcementsand demos confirmed that this would likely happen.

2. Is 8K enough of a differentiator over 4K to justify the expense? From a resolution-only point of view, the enhancement of 4K over HD has a subjectively lower impact on user experience than the move from SD to HD had at the turn of the century. Moving from HD to 8K will provide at least as big a wow factor as moving from SD to HD did in its time.

3. Indeed, resolution is only one of many dimensions that create Video User Experience. So even if alone it does not move the market, user enthusiasm may come with a combination of factors such as High-Frame rate (above 100 fps) and 8K.

4. Even if it takes a few years to reach mass-market, early opportunities already exist in niche areas like, for example, in luxury stores.

5. Screen size and viewing distance are only a blocking point in traditional TV viewing experiences. This issue will recede as growth in average screen size remains unabated at around an extra inch of screen-size per year in most markets.

6. Furthermore, having whole walls made from screen is no longer science fiction. Samsung has been pushing modular screen technology for several years where modules are simply plugged into each other. At the same time, LG has brought screen thickness downto just a millimetre over three years ago so screens can be stuck onto a wall. In this context, overall screen resolution will need to be significantly higher than any single item it displays, including a video stream.

7. Experts are not yet consensual on this, but much of the considerable 35mm film archive around the world can be rescanned delivering resolutions higher than 4k, 70mm film can be rescanned at at least 8K.

8. 3D-video in the living room is a failure many would like to forget. It turned out just too complicated, needing special glasses and new content for a few fleeting moments of a wow effect. More 3D would make people sick. A major driving force that got so many people excited was the immersive effect. If you haven’t yet seen an 8K demo up close, you need to get to a store where they have one. If you just let your senses take over, it is a truly immersive experience. The extreme level of detail gives a sense of depth that regular video cannot compete with. It has the potential to do this for any piece of content for however long the filmmaker wants.

But will 8K offer another hype wave to ride?

Like most industry observers I believe the hype cycle exists, but I have also observed occasions where it didn’t materialise. I became a software engineer in the 80s. Relational databases had taken over the corporate world. In the 90s, Java became the next best thing, well since coffee. It was based on object-orientation (OO), and I expected OO to become the next upwardly mobile hype cycle to ride. I proudly pushed the concept on my CV assuming that was my career path. Nothing happened. OO penetrated the whole of IT, but slowly, without the buzz and hype I expected.

When HD changed the world of video, it was a massive hype generator. It’s looking like 4K is a significantly less potent marketing tool than HD was. I guess that 8K will be even more of a damp squib in terms of hype. That doesn’t change the fact that it will permeate through video workflows, just a bit more quietly.

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Pre-NAB 2018 thoughts and questions

Although my first NAB was over 15 years ago, I’m still keen to get out to Vegas this year - OK not for Vegas the place, which gives me the creeps, but to catch up with the people, the trends and the tech. It remains one of my favorite conferences despite its gargantuan scale. Here are some of the questions I'll be looking to shed light on this year.

UHD

When I can get time off the Ultra HD Forum booth that I’ll be busy on, I’ll be looking into how the first generation of mature UHD technologies are doing. The debate as to whether 4K resolution was needed for a true UHD experience was all the rage just after the trailblazers were deploying UHD around 2014. Now that the paint has dried on the static metadata-based HDR solutions (HDR10/PQ and HLG), the battle seems over. Proponents of 1080p/HDR are grinning and claim they have won this round: we are already seeing some such content appearing on Netflix… For me the jury is still out, but I’ll be nosing around on people’s true intentions here.

But what’s next for UHD? I’ll be gaging the readiness of the next set of technologies, and as my friend Ian Nock says, how they might be deployed without breaking what’s already there. In the dynamic metadata space, Dolby Vision is already out there. Does there have to be a winner and a loser with HDR10+ or is there room in the market for both? As an audiophile I’ll be keen to find Next Gen Audio demos and here again fathom whether the existence of several standards (Dolby Atmos, MPEG-H, DTS:X, …) is holding things back.

Encoding

If one of my friends from the encoding space is kind enough to explain to me what's going on, I'll try to catch up on the encoding wars which have confused me with too many competing stakeholders to understand on my own. HEVC was supposed to be represent smooth transition from H264, now I don't know who to believe. The moving parts range from imploding patent pools, to Google, Apple, Amazon and Microsoft without forgetting the streaming people like DASH, H26x, disruptive start-ups, etc. Thierry, help! Decode it for me, tell me what's going on.

VR360

Having just published an eBook on VR360, that doesn’t predict 2018 is the year of lift-off but does explain why it’s the year to get involved, I’ll be eagerly looking how much we got right and if the hype has finally hit bottom, so we can now start to start to do business … I’ll do my best to get to the VR-IF masterclass on day 1 and if I'm lucky get an update from Rob Koenen.

Streaming Delay

I’ve been commissioned to do some work on OTT streaming delay, under the assumption that operators really care about reducing It. I’ve been very surprised that in my investigations so far, this is not the case. Sure, they’d like to reduce delay, but it’s low down their priority list. It’s got me wondering, as OTT streaming becomes more prevalent if the “norm” might, quite a few years from now become a 10-20s delay, where whatever broadcast is left, gets delayed so as to be synced with the crowd … probably science fiction but I’ll test out the idea.

Driven by Data, at last?

When I joined France Telecom (now Orange) in 2001, I remember a meeting where it was explained to me that our unique access to amazing data on subscribers and what they did, meant we would become the kings of data driven UX, data-driven decision making and data-driven just about everything … That vision of analytics was spot on, just too early and focussed on the wrong kind of operator. The Silicon Valley giants now dominate the world with Data and AI (which we didn’t see coming back then). So, have we truly entered the data era where other operators can get some of the pie? The recent Facebook/election scandals seem to say so. I’ll be looking around at vendors in the ecosystem are on the holy data grail. Is the market taking off for real or is it still vendor fantasy?

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My 10 does-the-emperor-have-any-clothes-on questions for IBC17

To get the most out of my annual pilgrimage to Amsterdam, I’ve sat down and had think about the big questions I don't believe we have answers on in late 2017.

I came up with 10, which only represent what I've been working on not necessarily the complete picture. Clearly we need to take ourselves less seriously sometimes. I for one would never trust an expert who has straightforward answers to all these questions, because the honest truth is that we don't know.

From new to old topics:

1.   What will mainstream HDR look like in 2018?

Continue reading My 10 does-the-emperor-have-any-clothes-on questions for IBC17

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No, UHD won’t go the way 3D went!

Last month IHS Media & Technology Digest published a report authored by Richard Cooper on UHD stating that it could be the next 3D if the industry doesn’t get its act together.

I was an early critic of 3D arguing as early as 2009 that the 3D emperor didn’t have any clothes on. Hopefully that will legitimize my total disagreement with the idea that UHD might go the same way.

In my work at the Ultra HD Forum, we compiled a list of over 50 live commercial UHD services at the end of 2016. This was never the case for 3D.
Continue reading No, UHD won’t go the way 3D went!

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UHD will change living room TV forever, if we fix customer-facing interop issues first (Update: Atmos working)

HDR and some NGA are here (well almost). Demos will blow your mind and ears, but beware - it can take a geek a couple of hours to get it working at home.

Here is my personal account, as a simple user, of my road to UHD nirvana in my living room. I wrote this in early September 2016, and just updated it at the end of the month as I finally got Dolby Atmos working and it was worth the wait).

My setup

When I moved to my new flat in central Paris 8 months ago, I immediately got access to an Orange Fibre connexion with speeds of up to 800 Mbps. With all the work I’ve been doing on UHD as a member of the Ultra HD Forum, I saw this as an opportunity to test some streaming services in the real world of my sitting room.

I’ve had my Samsung SUHD TV (UE55SJ8500) for 6 months now. First demos were with still images from the UHD Zoo app, as it took me a while to get a 4K video that I could effectively stream to my TV. Of course, Netflix was available, and although some 4K series have some stunning shots that show up all the new pixels, many don’t, even though they’re in the 4K section.

After having completed a white paper on Object based sound and getting excited about DTS:X (see here), I went for a mid to high-range Onkyo A/V receiver (TX-RZ 810 B ) that was already Dolby Atmos-capable and will be software upgradable to DTS:X.

Having spent 1,200 € on the receiver, I was no longer ready to splash out on the high-end Atmos speaker system I’d been eying. Amazon had a 400€ set of speakers available for next day delivery so I went for an Onkyo SKS-HT588(B) system, knowing that once my system is stable, I’ll have to invest in real speakers.

Sound first

A first hurdle for many viewers will be that the TV set-top-box is usually set by default to stereo sound. So before getting anything like 5.1 output from that source one must find the appropriate sub-menu and set HDMI audio output to what in my case Orange calls Home cinema.

Im1

The other option (yes, it’s well known that two options make things simpler!) is to use an optical output from the STB, which is always in pass-through mode, and then configure the AV receiver to associate that with the video, from the Orange STB in my case.

The Orange TV service has had a single Dolby Atmos sports transmission but I couldn’t find any next-gen audio in the VoD library so to get some fancy sound demos, back to the Internet where I found Dolby demo files with difficulty on http://www.demo-world.eu/2d-demo-trailers-hd/.

It turned out none of my devices or software was able to send the Dolby Atmos sound track to my AV receiver. I found on an obscure geek chat that the Kodi video player could decode Atmos. So I installed that onto my Mac and Eureka!, the Dolby Demos played on my TV (connected with HDMI to my Mac). It sounded beautiful, but the Onkyo receiver never had the word ‘Atmos’ appear so I’m guessing it just considered it was Dolby 7.1, but hey, it sounded really immersive with the rain falling literally overhead, so who cares? [see update at end of blog, I did finally get the Atmos to work from the Orange VoD store].

Now for some HDR video

Amazon and Netflix have some UHD content but on their own interfaces, it is so far impossible to tell whether there’s any HDR, and I understand Netflix chooses the HDR mode dynamically, so for the next demo, it seems like physical media is the only way.

Which UHD Blu-ray player?

After waiting for UHD capable Blu-Ray players for a year, I decided to go and get one of the two available in France (The Samsung at 500€ or the Hitachi at 800€). But when I got to the retail store, the sales guy suggested I get an Xbox One S for 400€. That would also hopefully get my sixteen-year-old interested, so I went for that option.

Back home with the Xbox unpacked, my next objective was to get UHD Blu-Ray disks to play and at-long-last see some real HDR.

Im2

Inside the Xbox parameters, to select HDR, there is no mention (yet) of HDR itself. You need the knowledge that we are looking for 10-bit colour and so must select the 30 (!?) bits per pixel option (I later used the top 36 (12) bits options, which the TV accepted fine, and the video looked a bit better, strangely I had a better sense of very high resolution rather than amazing colours. There was no HDR wow effect with the Man-of-Steel blue ray I got for free with my Xbox, it just looked very nice.

Im3

I then got into the Xbox One S’ advanced video parameters and all of a sudden the HDR word appears. And so now, going into the 4K TV submenu (note the confusion it should be a UHD sub-menu as we’re talking HDR and a bit of HFR too), I was all excited to see all the new possibilities:

Im4

But let’s not run away with ourselves, there was a last hurdle to cross. The Xbox’s Blu-ray player said I had the wrong kind of TV for UHD. It turned out that the AV Receiver through which my HDMI signal was passing, was not HDCP 2.2 enabled.

Im5

In the Inputs sub-menu of the Onkyo AV receiver, I discovered that only HDMI 1 through 3 were HDCP 2.2-capable. That required pulling the TV away from the wall yet again and reassigning the X-Box One S to one of the 3 first ports (and of course reassigning whatever was already there that didn’t need HDCP 2.2 somewhere else). I’ll spare you the screen shot of doing that in the AV receiver’s menus.

Im6

Finally, on my Samsung TV I had to hunt down to the 14th menu item of the main Picture menu, called HDMI UHD Color, which everyone else calls HDR.

Im7

Then within the Samsung TV submenu I turned on the HDMI ports that are connected to HDR sources. For each value you change here, the TV needs to reboot (no kidding it really does).

Im8

A couple of hours after had I started, my Samsung TV finally tells me I’ve succeeded: full UHD with HDR AKA UHD Color. I am of course too hot and bothered at this stage to want to watch anything, but when I have since shown off my new 4K/HDR/NGA setup, I’ve persistently got the most wows for the immersive audio demos. Hmmm, maybe I should have just bought a new stereo… nah, just kidding 😉

Wrapping up

Putting my professional hat on, I’m  still a true believer in UHD and all its promises, but despite having often written about “This being the year for UHD”,  I do see that there is a potential blocking point with these customer-facing issues. I trust that at the Ultra HD Forum and the UHD Alliance folks will get to grips with these interoperability teething problems so that the true benefits of UHD aren’t confined to the tech-savvy. I see a great opportunity for operators and their call centres to fix wires problems today but also for the CPE suppliers to work on processing HDR and one day NGA locally. UHD has to be plug and play to truly take off.

[Update Sept 29 2016: I spent 10€ on a digital copie of Salt (Angelina Jolie) from the Orange VoD store that had about 9 other movies with Atmos at time of writing - so Yeah! I finally got my expensive A/V receiver to actually recognise an Atmos audio stream and generate the right output. The sense of immersion is clearly improved, you really can't tell what's coming out of what speaker any more and I heard sounds that seemed to come from "in front of a given speaker".

If on an imaginary quality scale 1 is bad mono (i.e. the phone), the a jump to good stereo would bring a real wow-effect probably scoring maybe 5, moving from stereo to 5.1 is another similar wow-effect say doubling the score to 10. Object based sound on top of 5.1 (or 5.1.2 in my case) brings another really noticeable improvement, but less of a wow-effect, so I'd subjectively  say my current system scores 12 on my imaginary scale.]

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@nebul2’s NAB 2016 Journal (UHD, HDR, VR, All-IP)

Las Vegas was again focused on UHD in 2016, at least through my eayes. The four Keywords I came away with were 1: UHD (again), 2: HDR, but also 3: VR and 4: All-IP production. Of course other things like drones were important, but I'm not a real journalist, I don't know how to write about things I don't know.

NAB Parking Day1

We got in from Europe on the Saturday evening and this year I was on a budget so we stayed in an Airbnb apartment with my colleague Marta. It turned out to be just behind the main LVCC parking lot. On Sunday morning, you can see on thE right what the parking looked like when you arrive before the show is really underway.

Size and growth of the industry

On the Sunday I sat for a moment through the "Media Technology Business Summit" run by Devoncroft and learned abit about the industry trends:

  • Starting with radio shows this year’s NAB is the 94th annual Show, so I suppose in 6 years we’ll have a big bonanza, I wonder if we’ll have something like Augmented Reality in 8K by then.
  • Devoncroft sees the global media being market worth 49bn in 2015 with the US Media industry having pushed revenue per user to the limit. 3000 vendors make up their industry panel and 2009-2015 CAGR was 1,9% with 2014-2015 OpEx spend at -4.2% and CapEx spend at -4.4%.
  • Despite the OTT craze and losing traditional subs, ESPN still gets 7$/Month from linear subscriptions, but only 0,42$/Month from OTT viewers, so hold your hats, linear pay-TV ain’t dead quite yet. Beyond sports, Devoncroft argues that even though there is growth, digital revenues are insufficient to replace linear ones. The big issue is how the ad market can transition.
  • 4K and UHD make up the third most import topic for respondents of Devoncroft's 2016 Big Broadcast Survey the results of which will soon be released. But Demand for UHD is less for “more pixels” than one for “better pixels”. So according to Devoncroft, like Ericsson, the HDR Vs. 4K debate is all but over.

Virtual and Augmented Reality

I then popped into an Augmented Reality (AR) conference where Gary Acock and Juan Salvo were discussing how to add live content to the UnReal video gaming engine. AR is seen as bringing the real world into Virtual Reality (VR). Stitching 360° video is still apparently a “pretty unpleasant experience” and French startup VideoStitch was mentioned as one of the key players working on fixing this. Currently 360° production design is limited by how effectively you can stitch video. But with AR there are also Inherent UX limitations like parallax issues with head movement or camera movement when there’s no head movement. With AR one needs to always know where the head is and how it's positioned as head movements affect the content that is being created.

The amount of data to process for VR can be well over 1TB / hour so the coming (?) VR/AR revolution needs powerful GPU and CPU.

AR, VR and any immersive experience are still moving targets in 2016. But neither AR nor VR are isolated from the broadcast experience anymore. Indeed VR is less of an isolating and lonely experience, but a new way of engaging, a bit like coming to a conference and interacting with social media on a smartphone at the same time. Content is still king and creating compelling content remains the goal where AR & VR are just other tools. As we still don't have toolsets like an « Adobe for AR/VR » we need to jerry-rig existing tools.

A VR demo that was not at NAB intrigued me. Frauhoffer’s Stephan Steglich told me about FAME. It’s the simple idea of navigating the 360 video with a remote control. 2 key advantages are removing the isolation aspect of having to wear something over the eyes and moving all the processing to the cloud, allowing for future-proof deployments. It sounded convincing but I’ll wait for a compelling demo before making an opinion.

Showstoppers

Sennheiser Mic

I had been told great things about the CES Showstoppers being a big event, at my first experience at NAB, it was a very focused affair where great food and wine seemed to be as attractive for the media as the companies to visit.

German manufacturer Sennheiser was showing off their latest MKE440 DSLR microphone, which they say is the first mini-shotgun for HQ stereo sound image in one take. I was more taken by the beautiful design of the prototype VR microphone that goes under VR camera.

I met up with V-Nova’s Fabio Murra who was showing their two OTT deployments based on their Perseus codec. FastFilmz launched on March 26 in India offering SVoD to a mobile-only Tamil customer base with a potential of 120m subs. There were 350 titles at launch and according to V-Nova, Perseus made the business case possible in southern India where only 2G is available in some areas, offering a 64-128 kbps bandwidth. The demo I saw was watchable at 120kbps using 14 fps (I had to point that out though). The Perseus codec is described as “hybrid on top of H264” with a metadata stream on top of H264. I’ll be looking to dig into this a bit more as I no longer understand exactly what this means after a heated discussion several analysts. Content is protected with DRM I couldn’t find out by who.

I only glimpsed the other demo of a 4K STB using OTT delivery. It was showing Tears of Steel at 4mbps and looked fine but without any wow effect at least for what was on screen then, or maybe it was just that I was too far away for the small screen.

V-Nova had already announced a contribution deal with Eutelsat and promised another one for the next day (which turned out to be Sky Italia).

brother

The Japanese company Brother that I wrongly thought of as a printer maker (does any Japanese company do only one thing?) was displaying « Airscouter », a surprising head-mounted monitor designed for cameramen in difficult positions. You see a 720p resolution image in the corner of one eye. It was a bit disconcerting and I guess limited to some very specific use cases. I felt a bit nauseous with it on my head but it does really work and felt maybe like what Iron Man might feel.

Ultra HD Forum

Monday was taken up with Ultra HD Forum activities for me. We had our own press conference in the morning and in the after noon I made a tiny presentation during the Pilot press conference in the Futures Park. I discussed, the forum’s reason for being, it’s history, our Plugfest #1, the Guidelines 2016 and the general « Work in Progress » aspect of live UHD.

« Pilot » is new name for « NAB Labs » that was started in 2012. We were among 30 exhibitors in Futures Park, which aims to promote « Edge of the art » concepts that are not yet commercialized. ATSC 3.0 was the star with 15 companies focusing on that alone. Other stuff is very diverse ranging from commercial R&D, government to academic research. NHK 8k Super High Vision was prominent as usual and the Nippon public broadcaster is still scheduled to launch commercially in 2018 « so people can enjoy in 2020 Japanese Olympics » in glorious 8K HDR with HFR.

Security and analytics

Monday night was over-booked and I chose the Verimatrix media dinner. I had some animated discussions on UHD and the extent to which HDR might be the only big game-changer (I still believe in 4K but am feeling more and more lonely on that front). Tom Munro the CEO gave me a great update on the company strategy and how the move towards analytics, which I now understand can be a logical progression for a security vendor. If the financial transactions are precious enough to secure, then private usage data is worthy of the same efforts. More on that in a dedicated blog soon.

Satellite industry on edge of a cliff and might UHD save it?

On Tuesday I got myself to the Satellite industry day. I have this vision on the industry (at least the broadcast and the Telecoms parts of it) sitting on the edge of a cliff wondering when fiber, 5G and delinearization will push the off the edge.

Despite a great lineup with Caleb Henry of Via Sat Mag, Steve Corda VP Bizdev SES, Markus Fritz Eutelsat, Dan Miner AT&T and Peter Ostapiuk of Intelsat, the opening panel didn’t really give me any new ideas to tackle that problem.

AT&T in particular sees similarities between the move from SD to HD and that from HD to UHD, but IntelSat sobered the audience asking how the content industry will make money from upgrade to UHD. SES’s Steve Corda made it scarier still reminding the audience that during the upgrade from SD to HD we didn't have competition from OTT as we do now with most early UHD coming from OTT suppliers.

The satellite industry panel agreed that demand for UHD channels is growing especially from their cable operator clients and that the bottleneck is still available content. AT&T's Dan Miner noted that a key change in OTT delivery in the coming 18 months is that US data plans will enable the TV Everywhere on cellular networks.

The consensus is that to have a monetizable UHD offering you need a bouquet of at least 2 channels, ideally at least to 5 including sports.

When the panel went round enumerating their live 4K services, I counted about a dozen UHD linear channels and as many demo channels as well as a few events based channels.

One of Viasat’s founders Mark Dankberg gave an inspirational talk reassuring the audience that the satellite industry’s future is safe, at least if they copy Viasat. The merger of AT&T and DirecTV is an indicator to him that Satellite without broadband is no longer viable in the long term. Viasat started 1986 in defense, during the 90's they got into VSAT (Data Networking) just on the B2B side. Dankberg believes high –orbit geostationary is still the way to go (instead of mid of low-orbit (LEO)) because it’s the best way to optimize resources with thousands of beams. He points out that as 95% of demand is in 15% of geography; LEO that orbit the earth can't do that. I was enthused by his talk and hoping to get home and write a blog about it, but when I looked through my notes I realized that in the end there wasn’t any new information, just the charisma and communicative beliefs of an industry veteran.

TV Middleware on Android

Beeniuis, the middleware guys from Slovenia that I’ve written about a few time caught me in the south hall so I went to have a look.

In demonstrating their new version 4.2 core product, Beenius told me that the EPG is dead but still went ahead to show me theirs. Navigation is via genres with favorite channels on top of a carousel that mixes live and VoD. Recommendation currently uses their own algorithms but can be based on Think Analytics with « Trending » content on second line.

beenius

The company is very Google-centric, although they still have a Linux offering with a Hybrid DVB solution. They clarified to me how GooglePlay apps can be controlled by the TV operator with three different approaches:

  1. 1. Preinstalled apps and an open GooglePlay
  2. 2. « Walled Garden » where the user chooses apps from the operator’s list typically among a dozen including YouTube, Netflix, etc.
  3. 3. Apps already embedding into the UI, which is also a closed model.

VoD also benefits from integrated recommendation but is open to extra info from the Web such IMDB content.

Beenius haven’t had much interaction with 4K yet, although they say they are ready. As with any competitive TV middleware you can fling content from screen to screen.

The operator-controlled UI can be updated from a central server so that a new version of the App gets automatically pushed to STB via GooglePlay as soon as it's closed and reopened. Playing in the google arena has enabled a full-featured app for Android powered smart TVs, Beanies just needs Google to finally get it right in the living room.

Automatically generated HDRB-COM

Ludovic Noblet of French institute of research B<>Com showed me a tool to up-convert SDR content to HDR. He sees it as a gap-filler for legacy setups which is already available for offline, with a real-time version planed for IBC 2016. The current version introduced a latency of just 3 images and was convincing even if it didn’t carry that amazing wow-effect of some native HDR content. He was very secretive about the first customers but seemed very confident.

The pull of social media

On the last day I had a quick stop at Texas Instrument’s tiny booth, simply because they engaged with me on twitter ;o)

The LMH1219 is a 12G SDI card shown above enables SDI cables to be up to 110m without any signal attenuation, instead of the usual 20-30m. Its UltraScale processing equalizes and Improves the signal. The TI chip is agnostic to metadata so should work fine with HDR for example.

Another hardware innovation they showed me was a single chip for receive (Cable EQ) or drive mode (TX) that makes BNC connectors more versatile as they needn't be just IN or OUT but can be either. The device isn’t available yet nor does it have a product name. Launch is expected in Q1 2017.

Note that I didn’t interact with any of the All-IP production vendors, but just noted it as a buzzing theme in conferences and on booth signage.

NAB Day 3

Oh and the Convention Centre car park looked like this from our apartment window by 9:30 am Monday through Wednesday:

That’s all for now folks.