Introduction Technology Development Group
Who we are • We are a group of technologists dedicated to providing enabling technology to help the divisions be more profitable. • We are largely focused on production and delivery: how we produce and master content, how and what we deliver to the consumer, and how we protect the assets. • We work closely with the technical people in each division and with those in IT. • Like IT, we are a corporate group.
● Spencer Stephens Chief Technology Officer Culver London City Tim Wright Scot Barbour VP, Worldwide New Media and VP, Production Technology Technology New Hire Andrew Livingston VP, Security and Media Technology Manager, Digital Policy Yoshikazu Takashima Exec Director Advanced Technology Masaki Nakayama Dawn Branch Executive Director, Technology Administrative Assistant Operations
Basics
4k or UHD • Ultra High Definition (UHD) is 3840 x 2160 • UHD is being called 4k, 4k UHD, Ultra HD 4k, … • Digital cinema definition of 4k is 4096 x 2160 • SPE’s definition of 4k UHD content • Shot and mastered in 4k • Not up-scaled from lower resolution • It’s the highest quality version of a movie or TV show • 4k movies & TV is shot on 35mm film and on new digital cinema cameras like the Sony F65
8’ > 7x SH 26” SD SH
8’ > 3x SH < 7x SH S H 50” HD
8’ > 1.5x SH < 3x SH SH 85” UHD
8k Quiz 1. What’s the ideal viewing distance for an 8k TV? H S x 5 7 . 0 260”, 1 9 feet wide 2. What size 8k would you want if your sofa is 8’ away from it?
Increased spatial resolution isn’t enough • Picture specifications for high def are based on CRT TV capabilities • With 4k there is an opportunity to improve other picture parameters • These new parameters can improve HD too but will need new players. Parameter Comments Larger color space (ITU-R Rec 2020 or • Colors that cannot be reproduced on a CRT TV XYZ) High dynamic range (HDR) aka extended • More details in the highlights, darker shadows. dynamic range (XDR) • Brighter screens for better color display • HD is 100 nits, new XDR TVs are 1,000 nits, studio target is 4,000 nits but there are power considerations. 10 or 12 bits color depth • 8 bit used in HD can cause “contouring” of the image. (10 vs 12 bits still being debated) Higher frame rates • 48 fps or 60 fps for high frame rate movies • 100 fps or 120 fps sports broadcast
Increased spatial resolution isn’t enough • Picture specifications for high def are based on CRT TV capabilities • With 4k there is an opportunity to improve other picture parameters • These new parameters can improve HD too but will need new players. Parameter Comments Larger color space (ITU-R Rec 2020 or • Colors that cannot be reproduced on a CRT TV XYZ) High dynamic range (HDR) aka extended • More details in the highlights, darker shadows. dynamic range (XDR) • Brighter screens for better color display • HD is 100 nits, new XDR TVs are 1,000 nits, studio target is 4,000 nits but there are power considerations. 10 or 12 bits color depth • 8 bit used in HD can cause “contouring” of the image. (10 vs 12 bits still being debated) Higher frame rates • 48 fps or 60 fps for high frame rate movies • 100 fps or 120 fps sports broadcast
Not all 4k is created equal Sony F65 4096 green pixels 8k pixels 2048 red pixels True 4k output 2048 blue pixels Red Epic 2560 green pixels 5.5k pixels 1280 red pixels 4k output 1280 blue pixels Sony F55 2048 green pixels 4k pixels 1024 red pixels 4k output 1024 blue pixels Arri Alexa 1440 green pixels 2.8k pixels Bayer pattern and CMOS sensors 720 red pixels 2.8k output 720 blue pixels
Acquiring 4k content – features and episodic Camera Type Maximum Resolution Comments In 4k? HDR use? ? 35mm Film Scanned at 4k Most features and all episodic Yes Yes Yes that are shot on film 65mm Film Scanned at 6k “Lawrence of Arabia” No Yes Yes 35mm CCD Digital 1920x1080 Sony F35, Genesis (2005) No No No Cinema Cameras Arri Alexa 2880x1620 or 2880×2160 CMOS RAW or ProRes Yes No Yes* depending on format Red Epic & Dragon Up to 5.5k & 6k CMOS RAW Yes Yes Yes* respectively Sony F55 4096x2160 CMOS RAW or XAVC Yes Yes Yes* Sony F65 Normally 4096x2160, CMOS RAW Yes Yes Yes* 8192x2160 possible CGI effects Typically 2k Resolution is rendering cost Yes Option Option issue. * These cameras are, in varying degrees, capable of HDR but production decisions may mean footage isn’t HDR
Consumer Services
Delivering 4k to the consumer • AVC encoded 4k is 2-3 time larger than HD • 4k delivery becomes practical with HEVC (H.265) codec • Perhaps 35-40% more efficient • Hardware decoders in shipping devices • Sony Pictures is requiring significantly stronger content protection for UHD/4k than for HD
Availability of 4k in the consumer market • Sony shipped server loaded with 11 4k movies with the 84” 4k TV in late 2012 • Sony 4k Video Unlimited service launched 1st September 2013 • Preload and download 4k movies and TV shows • Second gen 4k player and TVs have Netflix 4k • Netflix started 4k streaming SPE content to Sony and Samsung TVs in June 2014 • Adaptive streaming means instantaneous resolution may be less than 4k or content is heavily compressed • A lot of interest by broadcasters in UHD • BSkyB and Sky D are shooting football in UHD and with HDR • Korean broadcasters have linear UHD channels. • DirecTV will launch using RVU – 4k HEVC decode in TV, not in STB
TV series delivering to Netflix in 4k • Blacklist • Breaking Bad • Masters of Sex • House of Cards
Market Deployment Timeline What we expected What’s happening 1. Sony pre-loaded players 1. Physical media 2. Streaming 2. Download 3. Linear 3. Streaming 4. Download 4. Linear 5. Physical media
Enhanced Content Protection
Starting Point •No content protection system is impenetrable, but the system has to be hard to crack. •You just got hacked, what are you going to do? • Rapidly re-secure the content protection • Contain the breach to a single title/copy •Learn from the Condition Access (CAS) industry for cable, satellite, etc. • Security system providers whose reputation is at stake • Both a technology and a service • Software running in Trusted Execution Environments • Rapid proactive and reactive renewability • Breach and hacker monitoring • What are people trying to hack the system working on?
SPE Requirements for 4k/UHD Content •HDCP 2.2 output protection • No other digital outputs currently offer appropriate security •On line authentication • Check for current content protection version • Prevent pre-street date piracy •Title diversity • When one title/copy is compromised, incremental hacking is required to compromise the next title •Decode in trusted execution environment (TEE) with hardware protected video path. •Forensic watermarking identifying player model/version •Content protection technology/implementation from expert companies with appropriate practical experience
TV makers have rapidly SPE Requirements for 4k/UHD Content realized this is a necessity Challenging for linear - use return •HDCP 2.2 output protection path through TVs Internet • No other digital outputs currently offer appropriate security connection •On line authentication Requirement for • Check for current content protection version off-line playback • Prevent pre-street date piracy •Title diversity • When one title/copy is compromised, incremental hacking is required to compromise the next title •Decode in trusted execution environment (TEE) with hardware protected video path. •Forensic watermarking identifying player model/version •Content protection technology/implementation from expert companies with appropriate practical experience State of the art in new devices
Movielabs specifications http://movielabs.com/ngvideo/index.html
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