April 2018 CREATION 23
IP will form the backbone of live 4K / UHD production workflows
The realisation of 4K / Ultra HD ( UHD ) workflows in live production settings has provided content producers with more control and increased freedom in the pursuit of “ immersive and stunning ” footage , said Hiroyuki Takahama , assistant general manager , content creation solutions marketing , Professional Solutions Company ( PSAP ), Sony Corporation of Hong Kong .
Speaking with APB , Takahama also identified some of the challenges associated with 4K / UHD live production . These include : n The need for a scalable and flexible remote infrastucture that is costeffective . n A sturdy and reliable network infra structure that allows 4K / UHD content to be captured and distributed in a live environment . n The availability of equipment and workflows that integrate with existing production infrastructure and accessories . n The capability of real-time conversion into numerous broadcast and delivery formats .
Takahama continued : “ At Sony , we understand the true value and possibilities that 4K / UHD brings to viewers in a live setting . In order to accomplish the full functionality of 4K / UHD , content producers can turn to IP as the backbone of their live production workflow . This results in a thriving ecosystem that is driven by truly open standards , and promotes seamless inter-working across all aspects of the live production workflow — now and into the future .”
And Taiwan was where Sony was recently involved in a number of 4K / UHD projects . For the 29th Summer Universiade held from August 19-30
in Taipei , Sony worked with Infinity Multimedia Production to realise “ true 4K / UHD live feeds ”, Takahama revealed .
A total of 21 units of 4K / UHD-ready cameras from Sony were used to shoot the opening and closing ceremonies of the games in 4K / UHD 60p , a “ first ” for Taiwan ’ s broadcast industry , according to Infinity Multimedia Production .
Sony also recently worked with the Taiwan Public Television Service Foundation ( PTS ) to integrate Sony ’ s IP Live production system into the heart of PTS ’ IP 4K / UHD outside broadcast ( OB ) truck .
“ At Sony , we view IP as a key enabler , allowing content producers to change the way they produce and deliver content ,” said Takahama . “ With the rising adoption of IP , the technology is an operational reality in live 4K / UHD production environments globally . We
Sony cameras were used to shoot the opening and closing ceremonies of the 29th Summer Universiade in Taipei last year in 4K / UHD 60p .
believe 4K / UHD over IP is the future , because it is inherently future-proof , and delivers tangible cost and efficiency benefits for leading content producers worldwide .”
With the ratification of the first standards in SMPTE 2110 , things have started to pick up , says Patil , although he believes cost will continue to be a concern in developing countries . “ When the 4K / UHD requirement is mandatory or delivers significant benefits to the viewers in these countries , they are offsetting the cost by putting huge pressure on equipment pricing .”
With the acquisition of Snell Advanced Media ( SAM ) by Grass Valley ’ s parent company , Belden , and the subsequent product integration , expect Grass Valley to be even more efficient in spreading costing across multiple products , according to Patil , who also reveals that replay systems will now be a “ significant addition ” to Grass Valley ’ s offerings .
One company that is paying particular attention to signal processing requirements for 4K / UHD productions is Lynx Technik , whose greenMachine titan platform with 12G processing is now shipping . greenMachine titan is a four-channel hardware device that provides 12G processing , as well as the ability to convert between single-link 4K / UHD video ( 12G ) and quad-link 4K / UHD video ( 4x3G ).
Grass Valley provides an end-to-end 4K / UHD solution that includes camera , switcher , router and infrastructure based on IP . One of its recent customers is Shanghai Media Tech , whose new IP 4K / UHD OB truck is equipped with GV equipment .
Seen something wonderful ? Joehan Tohkingkeo , Asia regional sales director , Lynx Technik , highlighting how the company ’ s greenMachine titan is equipped with the signal processing needs of 4K / UHD productions , and more .
Joehan Tohkingkeo , Asia regional sales director , Lynx Technik , adds : “ The flexibility of greenMachine gives broadcasters the edge to compete in today ’ s marketplace , even if they are not working in 4K / UHD yet . They can always get a titan with 4K / UHD options , so when they are ready for 4K / UHD , they just need to download the apps to support a 4K / UHD workflow .” titan , he describes , is essentially a single box that can manage up / down / crossconversion , frame synchronising , fibre-optic transmission , as well as embedding and de-embedding of audio . “ We are also hearing customer feedback on what exactly they need to make things easier for them , and will add more features to titan in time to come , in order to meet our customers ’ requirements in the 4K / UHD arena .”
As for the uptake of 4K / UHD in Asia-Pacific , Tohkingkeo identifies Japan , South Korea , China and Australia as countries that are leading the way . For many other countries in the region , 4K / UHD adoption is still at a very preliminary stage , with cost being a key factor . “ I would say price point is the main consideration because everyone is looking at their budgets and 4K / UHD encompasses a lot of factors , including content .”
He continues : “ Everybody expects to enter the 4K / UHD arena that offers affordable pricing . In the broadcast industry , I always try to say that every spec has a price tag — you can ’ t have the best spec at the lowest price .”
Earlier this year , Lynx Technik also announced its membership into the Alliance for IP Media Solutions ( AIMS ), which continues to push towards IP interoperability and the adoption of common standards . Tohkingkeo concurs that the broadcast industry is moving towards IP . The challenge , he cautions , is doing it right , because there are many considerations in terms of bandwidth , redundancy and security .
As to whether IP or 12G-SDI is better suited for 4K / UHD , Tohkingkeo emphasises : “ For every technology decision made , there is a price tag to it . What kinds of budget do broadcasters have , and how much are they willing to pay ? Technology crossroads are always challenging and , of course , the bigger companies play a part , especially the manufacturers , as well as the end-users themselves .
“ At the end of the day , it is still about affordability , availability of the products , and how easy it is for broadcasters to embrace the technology .”
Rather more bullish about the prospects for IP is Ideal Systems ’ Mc Kiernan , who declares : “ 12- SDI for 4K / UHD is a temporary solution while IP gets out of the starting blocks . So , investment should be expendable when IP is ready to rumble .”
Sharing Mc Kiernan ’ s optimism is Grass Valley ’ s Patil , who cites the example of China , where he says the prevailing trend favours the adoption of IP instead of 12G-SDI . “ In Asia-Pacific , only Japan and South Korea have shown a particular interest in 12G-SDI ,” he adds .
Any conversation surrounding 4K / UHD will also perhaps , inevitably , include HDR , which Patil says gives better pixels and produce “ stunning results ” in 4K / UHD . As to whether HD + HDR can be a viable option for broadcasters , he responds : “ Wellproduced HD in HDR is a really good solution . However , staying with HD infrastructure and thinking it is easy to just start using HDR is a mistake , especially in live production .
“ There is a new skillset that needs to be learnt , especially in how cameras are set up and the lighting requirements to get the best out of HDR .”
HDR opens up new creative possibilities for immersion that just by increasing pixel density cannot achieve . What is holding the technology back , suggests Ideal Systems ’ Mc Kiernan , is the multitudinous standards available . There is Dolby Vision , a proprietary HDR format ; and HDR10 and HDR10 +, the latter building out on the former and is supported by the newly formed HDR10 + Alliance comprising of Amazon , Samsung , Panasonic , 20th Century Fox and Warner Bros . There is also Hybrid Log Gamma ( HLG ), which is jointly developed by the BBC and Japanese public broadcaster NHK .
Mc Kiernan says : “ The range of current standards is giving manufacturers a lot to think about in terms of the creation of HDR equipment and solutions to support HDR workflows , conversion of standard dynamic range ( SDR ) to HDR , HDR editing and colour correction , as well as HDR playout and monitoring . So , watch this ( colour ) space !”