4k Discussion Sony Pictures
4k Content Creation
Finish in 4k Digital 4k Files 4k Cinema Sony F65 – shoot in 4k Downscal Finish in Master in “Mastered Blu-ray e to 2k 2k HD in 4k” Scan in 4k 2k Digital Shoot on film Film Scanner Cinema Scan in 2k Master in Blu-ray HD Film in Archive Finish in 2k Digital 2k Files 2k Cinema Sony F35 – shoot in HD
Digital Camera Resolution
HD and 2k Cameras
4k Cameras
4k or not? F55?
Making 4k better than HD
Differentiating 4k from HD 4k has to be differentiated A consumer sitting further from the from HD in three ways: screen than the HD viewing distance cannot discern more detail in 4k than • Higher resolution in HD • Wider color gamut Diagonal HD Viewing 4k Viewing Inches Distance Feet Distance Feet • Display more colors 85 • 10.4 5.2 Higher dynamic range 65 8.0 4.0 • Better shadows and highlights
vxYCC color for 4k and HD
xvYCC Color • Background: – xvYCC is a color space that supports a gamut larger than the color space of HDTV which is called Rec 709 – xvYCC was proposed by Sony and published in January 2006 as an IEC standard – xvYCC makes use of code values that are not defined in Rec 709 – The Bravia XBR8 supported xvYCC but the feature was apparently removed later models • Blu-ray discs mastered in xvYCC will be watched by many consumers on TVs that do not support xvYCC – Blu-ray players will not convert from xvYCC to Rec 709 • Care has to be taken when mastering xvYCC content to ensure it looks good when displayed on a Rec 709 TV – The way that a Rec 709 TV displays xvYCC code values undefined in Rec 709 is not also not defined
Mastering xvYCC QC on xvYCC BD Master Transform display xvYCC P3 & Color Master Correction QC on Rec 709 display Notes: Rec • P3 is the color space for digital QC on Rec iTunes cinema and all theatrical content Transform 709 709 display Master is mastered in P3 Master • Rec 709 is the standard color space for HDTV • The xvYCC color space is larger than Rec 709 but smaller than P3
Content protection for 4k
4k Content Protection • 4k in the home is being driven by CE, not the studios • Studios show little interest in releasing 4k to the home • Studios can afford to wait for enhanced content protection before releasing 4k premium content • The enhanced content protection discussion started in DECE/Ultraviolet over a year ago – Most of the other studios are looking for enhanced content protection for HD in the home entertainment window – The latest proposal from the implementers in DECE is that enhanced content protection will apply to 4k, early window HD and 3D content Note: The security requirements for some content (e.g. sports events, reality entertainment) may be less than for premium content 4/7/15 14 Sony Pictures Confidential
AACS • AACS, the content protection for Blu-ray discs, has problems: – Vulnerable to “hack once, hack all”: when an AACS device key is exposed all content on BD discs manufactured before that key is revoked can be ripped – AACS security breaches can only be dealt with by revoking device keys – The AACS revocation process takes 3-6 months – Illegal Blu-ray ripping is now a cloud service offered by off-shore providers • The studios in the AACS founders agreed to compromises for CE device makers – AACS allowed high definition analog outputs on Blu-ray players until recently – HD analog outputs cannot be protected
DRAFT Content Delivery for 4k
Use Cases 1. Electronic Sell Through (EST) – Consumer purchases title through Online Account – Consumer downloads content to any device registered to Online Account – Device transparently obtains playback license DRAFT – Consumer plays content 2. Physical media with on-line activation – Consumer purchases title on physical media – Registered device responds to media insertion and adds to consumer’s Online Account – Device transparently obtains playback license – Consumer plays content – Directly from physical media – From copy on registered device
Use Cases 3. Physical media without on-line activation – Consumer purchases title on physical media – Consumer plays content directly from physical media DRAFT – Consumer cannot copy content, must have physical media – Requires different content protection scheme 4. Streaming – Consumer purchases title (ownership or rental) through Online Account – Device connects to streaming provider using Online Account – Device transparently obtains playback license – Consumer streams content to any authorized device
Physical Media Offering • Many consumers want to buy physical media with an electronic copy – Studios bundle a Blu-ray disc with a digital offering (e.g. UV, bonus digital copy, AACS managed copy, etc.) DRAFT – Studios are selling 2 copies for the price of one – Consumers keep the disc and use the digital offer – Consumers keep the disc and sell the digital offer – Consumer use the digital offer and sell the disc
Content Delivery • Use the same file format for download and physical media – Standardized file format such as the Common File Format (CFF) – Physical media and download are just two different ways to get the 4k file to the consumer DRAFT • Streaming with industry standard MPEG-DASH – Uses a file format that is similar to CFF • SPE is researching 4k delivery using H.264 (AVC) as an interim codec – Initial results are encouraging – Other companies are doing similar research – H.265 (HEVC) is the long term solution but completion of standard, resolution of IPR claims and implementation may make immediate adoption difficult – However, without an upgrade path to H.265 early adopters of 4k products will be unable to get new 4k content
Recommend
More recommend
