High Dynamic Range (HDR)
Join IBC365 on Thursday 30 May to explore how pixels, higher frame rates, wide colour gamut and high dynamic range are transforming the production process.
Netflix has boosted the quality of its Dolby Atmos audio in a bid to “bring viewers closer to the story.”
Disney has confirmed its streaming service will launch in November with new originals and a host of favourites from Disney and Pixar, as well as The Simpsons and Star Wars.
NAB 2019: Executives from the IABM, SMPTE and IET on the big talking points at this year’s Las Vegas show.
4K, IP and immersive audio are among the technologies impacting dramatically on the design and build of new OB units, writes David Davies.
The Society of Motion Picture and Television Engineers has opened its call for technical manuscripts focussed on the future of media distribution and developments with forward-thinking cutting edge technology applications.
The 4K/UHD expectations of some leading streaming services mean that the home viewing experience could soon rival that encountered in commercial cinemas, writes David Davies.
Vendors are helping broadcasters to rise to the challenge of 4K/HDR production while maintaining best-quality for existing HD/SDR workflows.
The fight against FAANG, the rise of niche OTT disruptors and the potential of 5G were among the most-read Delivery articles in 2018.
The first instalment of a two-part round-up of the main talking points of 2018 includes the battle for net neutrality, 5G advances at the Winter Olympics, the Premier League rights battle and a Facebook scandal that still haunts the social media giant.
Andrew Dunne brought unique perspectives about high dynamic range and distribution to the IBC Big Screen session ‘HDR focus: Blue Planet II and The Grand Tour’. George Jarrett was able to dive deep and explore his point of view.
The SMPTE 2018 Annual Technical Conference & Exhibition provides an opportunity to take a deep dive into the latest techniques and technologies shaping the media and entertainment industry, writes Aimée Ricca
Satellite has a vital role to play in the distribution of UHD programming, especially the delivery of high-value live content to large audiences.
Solid-state satellite uplink amplifiers: Where specialist development pays rich dividends for the operator
Signal linearisation is critical within satellite uplink amplifiers, writes Rohde & Schwarz Vice President Transmitter and Amplifier Systems Cornelius Heinemann.
Over the past several months, it has become clear that, in many ways, far from being a distinct sector, the satellite industry is a microcosm of the larger broadcast industry in which it operates.
Advances in 4K and UHD live production, fresh solutions for OTT content, an array of cloud-based ‘big data’ workflow sharing solutions and remote collaboration tools were the main themes in Halls 9, 13 and 15.
The desire to bring more content of higher quality to more people has been driving, and will continue to drive, activity in the satellite industry.
In this Tech Talk and accompanying technical papers we hear from researchers and vision scientists - from the BBC, RheinMain University and Technicolor - on how they are ensuring the precision of HDR and colour in image capture.
The capability of cameras and displays to reproduce small differences in luminance levels is constantly growing. However, we are still dealing with a limitation of the human visual system (HVS) known as the simultaneous contrast range (SCR).
In this paper, the author presents current work undertaken by the BBC to look at the representation of human skin tone in ITU-R BT.2100 High Dynamic Range (HDR) video systems.
Professional media continues its inexorable march towards component-based workflows, where the elements of a presentation - audio, video, timed text - are stored and processed individually, to be assembled just in time to meet the specific needs of each distribution channel, writes IMF User Group chair and partner at Sandflow ...
The DVB is working hard on the next phase of OTT delivery, writes DVB Project Head of Technology Peter Siebert.
Two years from now, the broadcasting world will probably think of 2018 as the year High Dynamic Range (HDR) television came of age, writes EBU Senior Project Manager Frans de Jong.
Public service media are again leading in innovation for media production and distribution in the age of software, internet technologies and OTT, writes EBU Senior Manager Hans Hoffmann.
The Society of Motion Picture and Television Engineers (SMPTE), which has led the development of industry standards and progressive work in HD, Ultra HD, 4K and 8K for the advancement of the moving image, will be out in force at IBC.
Don’t mention the HDR standards war to Jeremy Booth because he is happily distanced from it. The compositing TD from Jellyfish Pictures is much more concerned with the bigger picture around colour and VFX.
Watch on demand as IBC365 previews the anticipated themes and highlights of IBC2018.
BBC Studios Chief Executive Tim Davie on the need for talent, a ready supply of content and the importance of co-productions as scale becomes vital for broadcasters.
Ultra High Definition (UHD) and High Dynamic Range (HDR) are set to be two of the hottest topics at IBC2018.
With more dramas and films now delivering in HDR, IBC365 asks leading colourists to reveal all about the pros and cons of grading in the format.
BBC R&D has scooped the Best Conference Paper Award for its research into practical uses of AI for production.
UHD, HDR, AI, VR and social media expansion make debut for FIFA’s World Cup.
Post-production companies, long considered to be the ‘last stage’ in the broadcast and film chain, are often the most enthusiastic early adopters of cutting edge technology.
For almost 20 years Sky Sports Innovation Manager Mike Ruddell has been at the cutting edge of sports and broadcast technology, but this team player has always had one goal in mind - to give the viewers the best possible experience.
Coverage of the UEFA Champions League Final is set to be another UHD and VR 360 spectacular, while chances seem high that the BBC will commit to UHD HDR live streaming of FIFA World Cup in Russia.
Delivering new methods and codecs for working with large-scale data, particularly VR and HDR, is high priority for the media and entertainment industry.
As the media technology industry gathered in Las Vegas for NAB, the IABM produced a regional report on one of the world’s largest broadcast and media markets.
NAB 2018: The range of cameras with larger sensors from the likes of Arri, Panavision, Red and Sony offer more choice than ever when it comes to acquisition formats and lens options.
NAB 2018: A glut of statistics on consumer interest in UHD, as well as the unveiling of kit from the likes of Sony, Blackmagic, Canon and Panasonic point to the steady uptake of UHD.
Multi-platform delivery, 4K/UHD, IP infrastructure and artificial intelligence (AI) are the growth areas of investment in media technology according to the latest analysis from the IABM released at NAB.
NAB 2018: The Ultra HD Forum has released its Phase B guidelines demonstrating at the Las Vegas trade show the developments of UHD and HDR formats to enhance viewing experiences.
Not everything that happens in Vegas stays in Vegas: IBC365 is joined by a panel of industry experts to review what went on, what was hot, and what happened at the NAB 2018 conference and show floor.
The Cannes MIPtv programming market in April will see plenty of 4K/UHD programming available. IBC365 looks at some of the anticipated highlights.
From AI to M&A, Dick Hobbs picks his way through the marketing buzz to predict what visitors might be talking about at NAB 2018.
Belden’s decision to buy SAM and combine it with Grass Valley continues a long history of acquisitions for both companies, but what are the challenges in merging the firms and what does the deal mean for the wider industry?
In this exclusive report, we examine how some of this year’s key trends are likely to evolve in 2018.
The availability of BBC natural history series Blue Planet II in UHD HDR has been one of the more high profile recent HDR releases, but have the variety of industry standards and approaches hampered rollout?
This whitepaper explores in detail the historical background as well as present and future developments in picture quality.
Last month, NEP UK opened its doors to students, showcasing the world of outside broadcast with experts from across the industry offering career advice.
Papers on ultra high definition (UHD), high dynamic range (HDR) and wide colour gamut (WCG) featured prominently at this year’s show.
With a new high-dynamic-range (HDR) and wide-colour-gamut (WCG) standard defined in ITU-R BT.2100, display and projector manufacturers are racing to extend their visible colour gamut by brightening and widening colour primaries.
The industry is taking its first steps in HDR production, as standards for a complete high dynamic range (HDR) television ecosystem near completion.
HDR will need a higher bit-rate because of its minimum quantisation and the fact that the images have much more details in the highlights and shadows.
The new Ultra High Definition (UHD) TV standards define a container which allows content creators to offer the consumer a much more immersive visual experience.
HDR will soon be just as much about delivering great video experiences to tablets and smartphones as it is about delivering to the UHD TV in the living room.
Tools for creating enhanced and immersive TV, film and commercials in the form of HDR, VR and 360-degree content were on display across the halls 6 and 7.
IBC2017: Deep dive into a new generation of audio, better HDR and HFR were on the agenda when executives assembled during the Ultra HD Forum Masterclass.
There are now more than 50 commercial Ultra HD services worldwide, but for many broadcasters, moving to UHD is a more distant aspiration.
NBC has said that it is excited about the potential of 5G to offer its sports fans a better user experience over mobile.
The M&E industry is going through fundamental changes as consumers demand immediate access to content. By utilising the right technology, this demand can be met – and monetised.
The demand for greater quality images means that those crafting UHD and HDR content need to do so in a reliable and cost-effective way.
Ultra HD and VR might make all the headlines but when it comes to pushing the boundaries of sports production, but better use of data and artificial intelligence are likely to be the big winners, suggests David Shield.
Overcoming a fragmented technology eco-system will be key to widescale take up of advanced formats such as UHD, writes Dr. Hans Hoffmann, EBU.
HDR, which recreates an image that’s close to what we see with the human eye, is gaining traction in the broadcast environment, says INSIGHT TV CEO Rian Bester.
The advent of UHD and HDR has made the need for accurate monitoring in the field and post production suites more acute than ever before.
A London UHD conference, organised by satellite operator SES, heard speakers endorse High Dynamic Range as the de-facto production standard, especially for high-end drama.
With the range of tools available for acquiring HDR content greater than ever, productions are embracing the opportunity to create “natural and life-like images”.
The growing importance – and complexity – of VoD platforms has required vendors and service providers to provide sophisticated solutions.
Change is inevitable in any industry, but the pace of technological change is accelerating and shows no sign of slowing, say Richard Welsh and Barbara Lange.
The technology to support end-to-end production of high dynamic range (HDR) and wide colour gamut (WCG) content is now proven and readily available.
IP-based solutions for broadcasters are paving the way for flexibility in business models with new capabilities and transparent workflows, said AIMS Chairman Mike Cronk.
Two years ago, in October 2015, Insight TV launched its all-UHD entertainment channel.
Executives at the DTG Summit agreed the future of broadcasting will be led by technology and innovation.
In the search for the next big thing after HD, first came 4K. It was a simple concept to grasp: four times as many pixels must give a much better picture, surely?
Amazon and Netflix are not only acquiring documentaries and films, but are also heavily involved in producing their own content using ultra high definition (UHD) technologies, according to a white paper – 4K and UHD: So much more than just HD Video – released by IHS Markit.
Dolby and the BBC have led the development of two very different standards for creating an HDR image.
8K Super Hi-Vision (UHDTV) is a broadcasting medium featuring 16 times the number of pixels as Hi-Vision (HDTV) and 22.2 multichannel sound to provide a highly realistic “you are there” sensation.
Curt Behlmer and his team are responsible for advancing the possibilities of cinema sight and sound, ensuring that Dolby technologies, including Dolby Atmos and Dolby Vision, fit into the industry’s content workflows.
Although exciting, we don’t have the vocabulary for talking about VR, yet we must ensure it works across multiple devices and delivers what consumers expect.
As well being SVP, Chief Architect and CTO of Engineering at Cisco Systems, Dave Ward also has ownership connections with both a vineyard and a tomato farm.
UHD and HD will forward together as technology advances to enable different frame sizes, frame rates and colorimetry on programmes.
The specification for HDR has been some time in the making as technology changed and stakeholders juggled their varying constraints.
As CTO at Globo, Raymundo Barros is responsible for overseeing engineering and technology operations. He led and spearheaded major initiatives such as the transition to digital TV and the creation and distribution of 4K, 4K HDR and 8K content.
As VP of Technology, Warner Bros. Michael Zink is responsible for exploring the emerging technologies that could enhance Warner Bros.’ capabilities in production, post production and distribution.
Next-generation video technologies include a variety of features – 4K resolution, high frame rates, wide color gamut, and high dynamic range.
4K Ultra High Definition (UHD) TV displays were introduced in 2012, with the promise of fundamentally changing television through having four times the spatial resolution of High Definition TV (HDTV), with 3840x2160 pixels.
With improvements in technology, television with greater impact, more “presence”, deeper “immersion”, a “wow factor”, or, in short, better pictures, is now possible.
One of the main goals of future television is to create a more immersive experience. The viewer should get the feeling that he or she is inside the action.
Image adaptation requirements for High Dynamic Range video under reference and non-reference viewing conditions
High Dynamic Range video (HDR) is a relatively new technique which allows the content producer to more accurately reproduce an image without the suppression of highlights usually associated with conventional video.
The arrival of the High Efficiency Video Coding (HEVC) standard enables the deployment of new video services with enhanced viewing experience, such as Ultra HD broadcast services. In addition to an increased spatial resolution, Ultra HD can bring a wider colour gamut (WCG) and a higher dynamic range (HDR) than ...
UHD televisions are now retailing in significant numbers, and UHD services are starting to appear in the market.
Broadcast production today utilises a single colour volume workflow, as majority of footage is captured in one format: SDR (gamma non-linear curve and ITU-R BT.709 (1) colour primaries).
Digital video compression has transformed the way in which television has been consumed and delivered to consumers for more than 25 years.