Over the years we have all gone through numerous video content format introductions with new formats raising the bar as the world moved from black and white to color and then the subsequent format and technology increases in quality—sometimes major and at other times incremental—in resolution, frame rate, color sampling, dynamic range, overall color palette and so forth. Some have been easier than others depending on what is needed at each step in the path from content creation to viewing on the display at the end of the chain.

That said, they all involved a collection of components to hold up the advancement’s three-legged stool. One is the bucket of things needed to create content, including cameras, mixing/processing, post and editing. Another is the devices needed to display the content for audio and video; amps speakers and display screens and projectors.

The third leg is often overlooked, but without it the other two can’t hold things up. After all, even when the content is superbly created and devices are available to show it with pristine clarity, you have to have a means of distribution. Imagine farmers, bakers or ranchers with all the things needed for meals and a restaurant on other end ready to cook, prepare and a table to serve without the trucks and other transportation routes to get everything from one end to the other.

The Missing Link
That brings us to 8K. It’s not new. All the elements of the content side and display sides of the stool are there, but for the consumer market that middle segment has for the most part been missing: the delivery playback means to get the content to its end destination.

Now, that has changed with the introduction of the Kaleidescape Strato K Movie Player, the first consumer storage and playback product that can deliver 8K content as part of an ecosystem that will offer a wide range of content in resolution up to 4320/30p. Equally important, with Kaleidescape’s new 4K Cinematic format, this is the first consumer device capable of playing back content in 4K with full 4:4:4 chroma sampling and up to 2160p/60/12-bit delivery.

Fine, you might say, but you’re reading TV Tech from the perspective of a professional, and likely high-end, content creator, not as a home entertainment purveyor or installer so why should you care about this new device? Let’s go into the details before answering the question and hopefully the answer will reveal itself.

If you are not familiar with Kaleidescape they are a 25-year-old company that offers high-end content playback devices that deliver reference quality video and lossless audio with a huge library that includes movies, concerts, TV series and more that are downloaded to the device rather than played from an optical disc or streamed.

Using a “rental or purchase” model, once downloaded, the content is stored locally so there are no compression artifacts, no buffering, and course, no ads. Combined with a masterfully simple user interface, Kaleidescape products have become the de facto standard for content playback in high end home theaters.

The product in question is the new Strato K Movie Player from Kaleidescape.

The Strato K Movie Player’s ability to deliver two media playback formats to consumers that have not previously been available outside of your control and mastering suites is important as it helps justify the complaints about the added file size requirements for 8K and 4:4:4 versions of the content you are involved. It enables the Premium Large Format experience beyond specialized theatrical exhibition that we see with the likes of Dolby Cinema, PRIME and XL at AMC venues and PRX and PLF at Regal Cinemas. What is in large part is now driving the theatrical side of the distribution market is now available in the home.

The Details
As you will see going forward in my new “From The Other Side” articles in TV Tech starting next month, there is another important reason to bring this to your attention. As a content business professional you are someone that friends, relatives, co-workers and those C-Suite executives that depend on you will look at for expert knowledge on how they can get the best images and sound not only in the office and facilities you work in, but also in their homes. For that reason, some additional details on this breakthrough product are in order.

The Strato K is available now and 8K content will soon be available in SDR and HDR10. For the 4K Cinematic format there are already well over 150 movies already available, and it is worth noting that the 4:4:4 material is newly rendered out to 4:4:4 and is NOT interpolated.

The Player itself, can play out immersive audio formats as Dolby Atmos and DTS:X along with other lossless audio such as Dolby TrueHD and Dolby MAT, DTS-HD High Resolution and linear PCM at 96kHz/24 bit. On the video side there is HDR10 up to 8K (SMPTE ST 2084 and ST 2086) and Dolby Vision up to 4K (of course, all formats are dependent on the specific content). Color spaces up to BT.2020 are supported as are a variety of aspect ratios including 1.78:1 and 2.35:1 with automatic or user interface selectability.

For those already familiar with Kaleidescape, while the 4K Cinematic 4:4:4 titles will obviously have a larger file size, the rental or purchase price is the same as the standard 4:2:0 versions. Even better, if a current Kaleidescape owner upgrades to a Strato 4K there is no extra charge to download the newer version. 8K titles will, however, require a new download at a higher price.

On the storage side, the Strato K has enough onboard storage to hold seven 4K Cinematic files or 10 standard 4K files on its internal drive. Additional storage may be added via the Terra or Terra Prime servers or previously downloaded movies that were purchased, rather than rented, from Kaleidescape may be downloaded again.

There is no front panel display as most installations will use Kaleidescape’s own control system over ethernet through the likes of Crestron, Control4 or other systems or with a smartphone app or an optional remote. From an installation standpoint note that the Strato K requires a wired Gigabit network connection drop for the main unit and any additional Strato K or other Kaleidescape players in a multi-zone system.

By providing the needed third leg of the 8K ecosystem stool as well as giving home viewers higher quality image reproduction thanks to the 4K Cinematic mode, professionals may now have yet another rationale for 8K or high-color sampling content creation as a means of playing it back in the home—or in your viewing rooms—is now available.

The price? At $5,000 US, with availability in Canada at $CN7,05, the UK at £4500 GBP or in Australia at $AUS $7,999. For applications that don’t require 8K or 4:4:4 content delivery/display, the price of the existing Strato V has been reduced to $3,995.

Since its introduction, 8K has been derided by some as having great pictures that can be displayed on large projectors, dvLED walls or the growing segment of 88-to over 100-inch flat panel displays but no way to get native or new 8K scanned transfers, not upscaled, content.

The arrival of the Kaleidescape Strato K puts that objection to rest once and for all as those displays now have viable, certified, way to have a library of that long sought after 8K content delivered. For you, as a TV professional, the excuse no longer holds water. 8K as an end-to-end ecosystem is truly complete and those beautiful displays and projectors will no longer be starved for feature content.

Researchers in the U.K. have confirmed what many in the broadcast industry have known for years: most viewers have trouble detecting 8K—or even 4K—video resolution.

According to the researchers at the University of Cambridge and Meta Reality Labs, the human eye has a resolution limit: in other words, there are only so many pixels the eye can see. Above this limit, a screen is giving our eyes more information than they can detect.

To calculate the resolution limit, the researchers conducted a study that measured participants’ ability to detect specific features in color and greyscale images on a screen, whether looking at the images straight on or through their peripheral vision, and when the screen was close to them or further away.

The precise resolution limit depends on a number of variables, including the size of the screen, the darkness of the room, and the distance between the viewer and the screen. However, for an average-size U.K. living room, with 2.5 meters (~8 feet) between the TV and the sofa, a 44-inch 4K or 8K TV would not provide any additional benefit over a lower resolution Quad HD (QHD) TV of the same size.

The researchers have also developed a free online calculator where users can enter the size of their room and the dimensions and resolution of their TV to determine the most suitable screen for their home. Their results are reported in the journal Nature Communications.

Display resolution is considered equally important for the many other screens consumers use, on phones or computers, whether they’re used to take pictures, watch films or play video games, including games in virtual or augmented reality. Even car manufacturers are offering higher and higher resolutions for in-car information displays and satnav screens.

“As large engineering efforts go towards improving the resolution of mobile, AR and VR displays, it’s important to know the maximum resolution at which further improvements bring no noticeable benefit,” said first author Dr Maliha Ashraf from Cambridge’s Department of Computer Science and Technology. “But there have been no studies that actually measure what it is that the human eye can see, and what the limitations of its perception are.”

“If you have more pixels in your display, it's less efficient, it costs more and it requires more processing power to drive it,” said co-author Professor Rafał Mantiuk, also from Cambridge’s Department of Computer Science and Technology. “So we wanted to know the point at which it makes no sense to further improve the resolution of the display.”

The researchers created an experimental set-up with a sliding display that allowed them to measure exactly what the human eye can see when looking at patterns on a screen. Instead of measuring the specifications of a particular screen, they measured pixels per degree (PPD): a measurement of how many individual pixels can fit into a one-degree slice of your field of vision. Measuring PPD helps answer a more useful question than ‘how high is the resolution of this screen?’ Instead, it answers the question ‘how does this screen look from where I’m sitting?’

The widely accepted 20/20 vision standard, based on the Snellen chart that will be familiar to anyone who has ever had their vision checked, suggests that the human eye can resolve detail at 60 pixels per degree.

“This measurement has been widely accepted, but no one had actually sat down and measured it for modern displays, rather than a wall chart of letters that was first developed in the 19th century,” said Ashraf.

Participants in the study looked at patterns with very fine gradations, in shades of grey and in colour, and were asked whether they were able to see the lines in the image. The screen was moved towards and away from the viewer to measure PPD at different distances. PPD was also measured for central and peripheral vision.

The researchers discovered that the eye’s resolution limit is higher than previously believed, but that there are important differences in resolution limits between color and black-and-white. For greyscale images viewed straight on, the average was 94 PPD. For red and green patterns, the number was 89 PPD, and for yellow and violet, it was 53 PPD.

“Our brain doesn’t actually have the capacity to sense details in color very well, which is why we saw a big drop-off for color images, especially when viewed in peripheral vision,” said Mantiuk. “Our eyes are essentially sensors that aren’t all that great, but our brain processes that data into what it thinks we should be seeing.”

The researchers modelled their results to calculate how the resolution limit varies across the population, which will help manufacturers make decisions that are relevant for the majority of the population: for example, designing a display which has retinal resolution for 95% of people rather than an average observer.

Based on this modelling, the researchers developed their online calculator, which enables people to test their own screens or help inform future buying decisions.

“Our results set the north star for display development, with implications for future imaging, rendering and video coding technologies,” said co-author Dr Alex Chapiro from Meta Reality Labs.

Over the past several decades as many television markets worldwide transitioned to higher definition video, BBC, NHK, EBU and ITU all conducted research that agreed with these findings.

LAS VEGAS—The use of 8K scanning is taking off in new films as well as in the restoration and remastering of old films. The technology, which scans each negative of a film one at a time, can greatly improve the quality of the image while reducing noise.

At the “8K Technology and Its Emerging Role in the Creative Process” panel at NAB Show on Monday, Mike Smith of Wavelet Consulting said Warner Bros. Discovery has 8,000 films in its archives and 500 have been scanned in 4K or 8K. In the past three years, they have added 20 films scanned in 8K. “We treat it like it is the last time you will be able to touch the negative” when scanning because negatives can deteriorate or be lost.

When determining if a film should be scanned for 8K, a blind scan test is done in both 4K and 8K and then the samples are shown to industry groups to determine if the difference justifies the cost and file sizes required for 8K work.

The actual scanning process takes a picture of each negative, but sometimes multiple exposures are taken as a way to filter out film grain and scanner noise. The results are then averaged to reduce the scanner noise.

Recent theater releases using 8K include “Purple Rain” and “Oppenheimer” and the technology was also used on the recently released Talking Heads, Led Zeppelin and Queen films. Next up are the “Dirty Harry” titles.

But 8K isn’t a one-size-fits-all solution to restoration. Filmmakers have found that often you get a better 4K master even if you scan it at 8K. And even though there are still limited ways to show films in 8K, the industry wants to be future-ready for when 8K technology comes to more theaters and in-home televisions.

“Not all titles have that detail — maybe it’s the lens they used or film stock,” said Greg Ciaccio, vice president of original content, Post & Image Capture, at IMAX. And showing a film at a higher resolution isn’t just about more pixels and resolution — but better pixels, he said.

A recent re-release of “2001: A Space Odyssey” is the first time an 8K film has gone not to theaters but over the air and into homes. But the home experience won’t pick up until more televisions can handle the technology and bandwidth, Ciaccio said.

As for the future of 8K, the numbers just keep getting higher. Smith at Wavelet said they have a scanner capable of 13.5K, and Ciaccio said IMAX has a scanner capable of 16K. But there is a working group that hopes to have industry standards in place this year concerning the technology, and more 8K-compatible camera lenses are being made.

“Using a poor lens on a high-resolution camera doesn’t make a great film,” said Smith.

Ciaccio says that right now they want to make sure the system is future-ready so they are scanning in 8K release even though the 4K version might be used. “When users are ready for 8K, the scans have already been done and cleanup costs already covered,” he said.

Copyright 2025 NAB

BEAVERTON, Ore.—The 8K Association will present a panel of Hollywood experts discussing a range of 8K workflow topics as well as demonstrations of the advanced technology during the 2025 NAB Show, April 5-9, at the Las Vegas Convention Center.

“Over the past year, the 8K Association has continued to work tirelessly to promote all of the key aspects of the 8K content ecosystem,” said 8K Association president Bill Mandel. “During this year’s NAB Show, we’re pleased to share the latest news about this with everyone across the industry”.

The panel, “8K Technology and its Emerging Role in the Creative Process,” includes Brad Collar, senior vice president of global archives and preservation services at Warner Bros. Discovery; Chris Gillaspie, film scanning director at Warner Bros. Discovery; and Greg Ciaccio, vice president of post-production for original content and image capture at IMAX. Juan Reyes, executive director of the 8K Association will moderate.

The panel will be held Monday, April 7, as part of the NAB’s Creator Lab presentations in Theater A of the South Lower Hall (SL9823).

The 8K Association is also sponsoring an exhibit and demonstration area in the West Hall. Participating companies include Samsung with its 8K televisions; AMD with its 8K 120Hz gaming over HDMI; 4BY4 with its 8K upscaling and video optimization; BZB GEAR with its 8K splitters, switchers and extenders; and WyreStorm with its 8K HDMI certified cables.

Working in cooperation with SAVG Studio and 4BY4, the association has created two 8K sizzle reels that will be available for industry use.

Attend the Creator Lab presentation at 2025 NAB booth SL9823 and see the 8K Association exhibits at booth W3942.

More information is available on the association’s website.

MELVILLE, N.Y.—Nikon has released a new firmware version for its flagship full-frame/FX-format mirrorless camera, the Nikon Z9, that are designed to further enhance its capabilities for professional video productions.

While much of the coverage around Nikon’s aggressive efforts in recent years to ramp up its video capabilities have revolved around its acquisition of RED, the Z9 has emerged as an innovative video camera, thanks to a series of firmware updates that have expanded its video capabilities.

As a result, its standout features now include N-RAW and the ability to shoot up to 8K 12-bit video. It also allows for “unlimited internal capture of 8K 30p without overheating and is notable in that it offers 12-bit shooting in ProRes Raw HQ”, according to Nikon. Other capabilities, include the ability to record 10-bit 4K footage at 24, 25 and 30p as ProRes HQ or H.265 video. It can also record 8-bit footage as H.264 4:2:0 and H.265 (HEVC) 4:2:0.

The Z9 was the first mirrorless camera to shoot ProRes Raw.

The newest Z9 firmware version 5.10 adds features designed for the needs of professional-level video recording, Nikon said. A new shutter mode has been added, allowing the user to set the shutter angle to one of 15 steps between 5.6 degrees and 360 degrees. Users don’t need to select a shutter speed whenever the frame rate is adjusted, allowing them to always achieve optimal motion blur at the desired frame rate.

In addition, users can now change the color of the zebra pattern display, as well as customize the transparency and display position of brightness information displays along with their size, such as the histogram and waveform monitor. These capabilities were incorporated to make video recording easier by allowing the user to confirm appropriate exposure, even when recording high-contrast scenes.

BEAVERTON, Ore.—The 8K Association (8KA) has announced completion of performance specifications and the launch of a certification program for 8K projectors.

The work on 8K projectors was conducted by the 8KA’s technical and certification committees whose members include representatives from AUO, Google, Hisense, Intel, MediaTek, Novatek, Panasonic, Samsung, TCL, TPVision and Xperi. Those committees focused on several factors, including critical performance areas that help define the overall 8K visual and aural experience. The resulting new specifications, which ensure that users who purchase a certified product will have a premium end-user experience, include:

• Full 8K resolution, which reproduces faithfully all of the details found in the original image.
• Brightness and Contrast, which ensures that details remain vivid, even in the brightest highlights and deepest shadows.
• Wide Color Gamut, that defines the range, accuracy and consistency - of the colors a projector can reproduce.
• High Dynamic Range (HDR), which complements these attributes by enhancing the projector’s brightness and contrast even further.
• 8K Upscaling, which leverages advanced algorithms to convert lower resolution content to near 8K quality.
• Immersive Audio, which utilizes the latest multichannel Next Generation Audio (NGA) formats to create sound fields that complement 8K video.

To further underscore the importance of this, the 8KA will also administer a performance certification and logo program which will help promote the key benefits that 8K projectors can provide, to both manufacturers and consumers alike.

“Over the past year, experts from some of the industry’s leading companies worked tirelessly to develop these 8K projector specifications and certification program,” 8K Association president Bill Mandel said. “Their work will help to ensure that future 8K display devices deliver an unparalleled level of super realism and immersion.”

The nonprofit trade organization composed of key technology companies in the consumer and professional 8K ecosystem also issued a year-end wrap-up and outlined its accomplishments in advancing 8K technologies in 2024.

These included its expanded efforts in bringing the 8K message to thousands of attendees of such major global trade shows as CES, NAB Show, CEDIA Expo, IFA and IBC.

During these events, a number of 8KA member companies participated in a variety of activities, including product exhibits, content demonstrations and trade ads, as well as panel discussions and interviews.

Additionally, the 8KA worked closely with \the Consumer Technology Association on the development of a new UHD glossary which has been specifically designed for use by retailers.

This extensive 8KA education and promotion campaign culminated last September with the release of a new 18-page white paper titled “Seeing the Bigger Picture.” It takes a detailed look at the technology, science, content, and business strategies behind the 8K ecosystem and viewing experience.

These and many other 8K Association initiatives have been led over the past two years by Mike Fidler, the organization’s executive director, who has announced his retirement effective the end of this year.

During his long and distinguished career, Fidler has been closely involved in nearly every aspect of the entertainment ecosystem, from content and services to hardware and retail. He also held senior executive positions at Sony and Pioneer where he helped drive the adoption of such important technologies as DVD, Blu-ray Disc, HDTV and 4K.

Fidler will be succeeded as 8KA Executive Director by Juan Reyes, who currently serves as the organization’s Director of Operations and Certification Program Manager. With more than two decades of experience in media and entertainment, Reyes has worked on the development and implementation of emerging technologies and is skilled in building new relationships with stakeholders from across the industry. He has also been an active participant in a number of certification and compliance programs.

“Mike Fidler has been an incredible resource for the 8K Association and is largely responsible for elevating our outreach efforts to a whole new level. We wish him an enjoyable retirement” 8K association president Bill Mandel said. “We’re confident that the tradition of leadership that Mike established will continue under Juan Reyes’s direction and will help to make the 8K Association even stronger in the future”.

SUWANEE, Ga.—Hisense, the second largest maker of TV sets in the world announced today that it has joined the 8K Association (8KA), a cross-industry group promoting the growth of the 8K ecosystem. 

“Hisense’s membership in the 8K Association marks a significant step in our ongoing mission to  enhance the home entertainment experience,” said David Gold, President of Hisense Americas  and Hisense USA. “We are eager to contribute to the 8K ecosystem and collaborate with other  industry leaders to accelerate the integration of 8K technology into the home entertainment  experience.” 

Hisense says it has been investing in  R&D to improve the resolution and image quality of its televisions and that its membership in the 8K Association “will further strengthen Hisense’s position as a leader in the television industry and  will allow the company to have a more significant influence on the development and deployment  of 8K technology.”

Currently, the only 8K Hisense TV on the U.S. market is the U800GR Roku TV.  

“Hisense’s addition to the 8K Association expands our collective of industry leaders,” said Mike  Fidler, Executive Director of the 8KA. “Their dedication to innovation and excellence in  consumer electronics will be instrumental in our shared efforts to promote 8K technology and its  benefits.” 

CUPERTINO, Calif.—Blackmagic Design has announced that it will be launching an end to end solution for producing cinematic Apple Immersive Video for Apple Vision Pro. The company is billing the Blackmagic URSA Cine Immersive offering as the world’s first commercial camera system designed to capture Apple Immersive Video. 

Apple Immersive Video for Apple Vision Pro is a brand-new storytelling format that leverages 8K, 3D video with a 180-degree field of view, and Spatial Audio to transport viewers to the center of the action. 

For the new solution, Blackmagic Design announced updates to DaVinci Resolve, the industry-leading post-production software, that will give professional filmmakers the ability to edit Apple Immersive Video for the first time. Blackmagic URSA Cine Immersive and a new version of DaVinci Resolve that supports Apple Immersive Video for Apple Vision Pro will be released later this year.

“We are thrilled to announce the first-ever commercial camera system and post-production software that supports Apple Immersive Video, giving professional filmmakers the tools to create remarkable stories with this powerful new format pioneered by Apple,” said Grant Petty, Blackmagic Design CEO. “Built on the new URSA Cine platform, URSA Cine Immersive features a fixed, custom, stereoscopic 3D lens system with dual 8K image sensors that can capture 16 stops of dynamic range. With this innovative system, filmmakers can record remarkable moments like action-packed scenes, unique perspectives, stunning landscapes, intimate performances, and more, all with incredible fidelity, offering viewers an unparalleled sense of realism and immersion.”

Blackmagic URSA Cine Immersive features a fixed, custom lens system pre-installed on the body, which is designed specifically for Apple Immersive Video, the company reported. 

The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronization and an incredible 16 stops of dynamic range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file. The custom lens system is designed specifically for URSA Cine’s large format image sensor with extremely accurate positional data that’s read and stored at time of manufacturing. This immersive lens data — which is mapped, calibrated and stored per eye — then travels through post production in the Blackmagic RAW file itself, the company explained. 

In addition, an updated version of DaVinci Resolve will introduce powerful new features to create a comprehensive workflow for immersive video on Apple Vision Pro. Blackmagic customers will be able to edit Apple Immersive Video shot on the URSA Cine Immersive camera. A new immersive video viewer will let editors pan, tilt and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience. Transitions rendered by Apple Vision Pro will also be able to be bypassed using FCP XML metadata, giving editors clean master files. Export presets will enable quick output into a package which can be viewed directly on Apple Vision Pro, Blackmagic reported. 

The evenly weighted camera body is built with a robust magnesium alloy chassis and lightweight carbon fiber polycarbonate composite skin to help filmmakers move quickly on set. Customers also get 12G‑SDI out, 10G Ethernet, USB-C, XLR audio, and more. The fold out monitor has a large 5″ HDR touchscreen on one side and an external color status LCD on the other. The right side of the camera features a dedicated assist station with a second 5″ HDR touchscreen that allows crew to work around the camera without needing external monitors.

An 8-pin Lemo power connector at the back of the camera works with 24V and 12V power supplies, making it easy to use the camera with existing power supplies, batteries, and accessories. Blackmagic URSA Cine Immersive comes with a massive 250W power supply and B mount battery plate, so customers can use a wide range of high voltage batteries from manufacturers such as IDX, Blueshape, Core SWX, BEBOB, and more. Customers will also receive a top handle, antennas for high speed Wi-Fi, baseplate, 24V power supply and high voltage B mount battery plate for quick set up, the company said. 

Blackmagic URSA Cine Immersive comes with 8TB of high performance network storage built in, which records directly to the included Blackmagic Media Module, and can be synced to Blackmagic Cloud and DaVinci Resolve media bins in real time. This means customers can capture over 2 hours of Blackmagic RAW in 8K stereoscopic 3D immersive, and editors can work on shots from remote locations worldwide as the shoot is happening.

The new Blackmagic RAW Immersive file format is designed to make it simple and easy to work with immersive video within the whole post production workflow, and includes support for Blackmagic global media sync. Blackmagic RAW files store camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post production, the company explained. 

Blackmagic URSA Cine Immersive is also the first commercial, digital film camera with ultra fast high capability Cloud Store technology built in. The high speed storage lets customers record at the highest resolutions and frame rates for hours and access their files directly over high speed 10G Ethernet. The camera also supports creating a small H.264 proxy file, in addition to the camera original media when recording. This means the small proxy file can be uploaded to Blackmagic Cloud in seconds, so media is available back at the studio in real time.

Blackmagic Media Dock accelerates post production workflow by making it faster and simpler to start editing and performing color correction. Customers can mount up to three Blackmagic Media Modules for high speed access to media from multiple URSA Cine Immersive cameras all at the same time. The four high speed 10G Ethernet ports allow up to four separate edit workstations to connect directly and is extremely fast, even when a lot of users are connected at the same time.

Blackmagic URSA Cine immersive features include: 

• Dual custom lens system for shooting Apple Immersive Video for Apple Vision Pro.
• 8K stereoscopic 3D immersive image capture.
• 8160 x 7200 resolution per eye with pixel level synchronization.
• Massive 16 stops of dynamic range.
• Lightweight, robust camera body with industry standard connections.
• Generation 5 Color Science with new film curve.
• Dual 90 fps capture to a single Blackmagic RAW file.
• Includes high performance Blackmagic Media Module 8TB for recording.
• High speed Wi-Fi, 10G Ethernet or mobile data for network connections.
• Optional Blackmagic URSA Cine EVF.
• Includes DaVinci Resolve Studio for post production.

DaVinci Resolve immersive features include: 

• Support for monitoring on Apple Vision Pro from the DaVinci Resolve timeline.
• Ability to edit Blackmagic RAW Immersive video shot on Blackmagic URSA Cine Immersive.
• Immersive video viewer for pan, tilt and roll.
• Automatic recognition of Apple Immersive Video (left and right eye) for dual file stereo immersive content.
• Option to bypass transitions rendered by Apple Vision Pro.
• Export and deliver native files for viewing on Apple Vision Pro.

Blackmagic URSA Cine Immersive and the update to DaVinci Resolve will be available later this year from selected Blackmagic Design resellers worldwide.

PARIS—Intel has announced that its plans for the Olympic and Paralympic Games Paris 2024 will include using artificial intelligence technology powered by Intel processors and software to create new experiences and to help create 8K live productions of the Paris games. 

“The Olympic and Paralympic Games are the world’s biggest showcase for the best athletes to push the boundaries of possibility and do things we never thought possible,” said Sarah Vickers, leader of Intel’s Olympic and Paralympic Games Office. “This summer, Intel will accelerate its mission of bringing AI Everywhere using Intel solutions at Paris 2024, showcasing the powerful potential of technology and AI to create immersive and interactive experiences at the Olympic and Paralympic Games Paris 2024 for millions around the world.”

Intel reported that key AI implementations of technology will include: 

• An immersive sports experience that will allow fans to experience innovative technology used to measure athletic potential.
• The first Olympics to showcase an end-to-end 8K live streaming experience.
• Advancements in universal accessibility at selected Olympic and Paralympic facilities.

Paris 2024 is set to be one of the largest events ever organized in France, with close to 15,000 athletes, millions of spectators and billions of viewers worldwide across linear television and digital platforms. 

As part of the games, Intel reported that the International Olympic Committee (IOC) will embed Intel AI platform technology throughout the Olympic and Paralympic Games experience. 

One of those experience will be what Intel is calling a "revolutionary 8K live OTT broadcast workflow delivery and tailored viewing for fans."

Paris 2024 will be the first edition of the Olympics to utilize Intel Xeon processors to showcase an end-to-end 8K livestreaming experience, providing a visible pathway for the future of low-latency, 8K resolution livestreaming over the internet. 

Broadcast servers powered by the latest Intel Xeon Scalable processors with Intel Deep Learning Boost technology will encode and compress the live signal produced by Olympic Broadcasting Services (OBS) at 8K/60FPS/HDR “More/Faster/Better Pixels” (48 Gbps RAW to 40-60 Mbps distribution using VVC standard) in milliseconds. An 8K over-the-top (OTT) signal will be delivered to the latest Intel-based PCs and laptops connected to 8K TV to selected locations worldwide in just seconds. This will pave the way for viewers around the world to enjoy future Olympic action through a high-resolution livestreaming experience with the highest broadcast-grade quality.

Intel also reported that AI automation will enable broadcasters to bring more customized digital content to viewers faster than ever. Olympic Broadcasting Services Automatic Highlights Generation, trained on the Intel Geti platform, can package tailored highlights across multiple disciplines and distribute to fans instantly, creating efficiencies in production and editing.

Intel technologies will also power what the company is calling "first-of-its-kind on-site immersive AI experiences."

AI applications powered by Intel processors and software solutions will demonstrate the potential of technology to benefit athletes, coaches and spectators leading up to and during the Olympic and Paralympic Games.

Intel will also create an interactive, AI-powered fan activation to take spectators on a journey of becoming an Olympic athlete. Trained on Intel Gaudi accelerators, running on Intel Xeon processors with built-in AI acceleration and optimized with OpenVINO, Intel's AI Platform Experience, in collaboration with Samsung, will use AI and computer vision to analyze athletic drills and match each participant’s profile to an Olympic sport, Intel said. 

During the Games, Intel’s technology will also be driving advancements in accessibility for the visually impaired throughout the Olympic and Paralympic Games Paris 2024. Leveraging AI built on Intel Xeon, 3D models of both the Team USA High Performance Center in Paris and the International Paralympic Committee headquarters in Bonn, Germany, allow indoor and voice navigation via a smartphone application.

In addition, Intel also will be working to help continue the legacy of the Olympic Games with neural object cloning that will transform video of Olympic collections into 3D digital artifacts. This solution, developed by Intel’s Emergent AI Lab, is being tested to enable the Olympic Museum to bring some of its collections into interactive digital environments where viewers can rotate and explore pieces of Olympic history, as if they were in their hands.

Intel also reported that it will continue to develop and roll out new implementations of AI technology in the lead-up to the Olympic Games, with additional activations expected in the coming months.

Intel said that these technologies build on a history of innovation at the Olympic and Paralympic Games, using 5G, VR, drones and AI technology platforms to enhance the experience. 

This began with the Olympic Winter Games PyeongChang 2018, highlighted by the Intel Shooting Star drone display, and continued at Tokyo 2020 where Intel Premium drones took to the sky to symbolize global solidarity following the pandemic. Intel also introduced 3D athlete tracking and VR training in 2020, while helping enable the first live broadcast over 5G at Beijing 2022.

“Our partnership with Intel has propelled us into a realm where emerging technologies, powered by artificial intelligence, are reshaping the world of sport for spectators, athletes, IOC staff and Partners,” said Ilario Corna, chief information technology officer at the International Olympic Committee. “Through their AI-powered solutions, Intel has enabled us to deploy AI faster than ever before. Together, in Paris 2024, our collaboration will create an Olympic experience like never before, embodying our shared commitment to building a better world through sport.”

The Olympic Games Paris 2024 will be July 26 to Aug. 11, 2024. The Paralympic Games will take place Aug. 28 to Sept. 8.

FOOTHILL RANCH, Calif.—RED Digital Cinema has released the new V-RAPTOR [X] 8K VV and V-RAPTOR XL [X] 8K VV cameras with RED Global Vision. 

The new cameras feature the acclaimed low-light performance, dynamic range, resolutions, high frame rates and form factor of its V-RAPTOR predecessor. 

The V-RAPTOR [X] introduces RED Global Vision, which includes an all new 8K VV global shutter sensor, enabling innovative features including Extended Highlights and Phantom Track. Additionally, the V-RAPTOR [X] and V-RAPTOR XL [X] systems offer increased exposure times, a further optimized optical cavity and improved audio performance, the company said. 

The standard V-RAPTOR [X] is priced at $29,995, with the XL version at $44,995.

"Ever since our sensor team cracked the code for a no-compromise global shutter sensor design in the original KOMODO, customers have been pushing us hard to bring our global shutter technology to our large-format sensors, and today we are happy to deliver beyond our wildest expectations” said RED Digital Cinema President Jarred Land. “We are very proud to not only be at the forefront of global shutter technology but also to be the first company delivering large format global shutter cameras to filmmakers.

“Creating a global shutter sensor while maintaining dynamic range is almost impossible and then on top of that is the addition of an optional Extended Highlights mode,” he added. “It shows we are pushing image processing far past the limits that were once believed and exceeding 20 stops of dynamic range. V-RAPTOR [X] and V-RAPTOR XL [X] are the result of years of incredibly difficult work internally by our world leading engineers and from the ongoing collaborative work with preeminent partners who bring invaluable experience and perspective to the process from cinema technology to virtual production, volumetric capture and live sports.” 

RED Global Vision uses the global shutter sensor in V-RAPTOR [X] and V-RAPTOR XL [X] to open unprecedented capabilities, the company said. 

Global Vision’s Extended Highlights mode allows the camera to see color and detail into extreme highlights like never before, providing even softer and more subtle highlight roll-off when in uncontrollable environments, and an overall dynamic range of over 20 stops. Phantom Track dual-capture streamlines any virtual production environment employing GhostFrameTM or frame-remapping, capturing distinct R3D clips per LED wall view, as well as allowing for monitoring of either view live on-set over each SDI, the company said. 

The V-RAPTOR [X] compact body is built with the keystone features found in the original V-RAPTOR platform, now bolstered by newly engineered in-camera audio pre-amps and an optimized sensor cavity for improved contrast. The V-RAPTOR [X] has 2x 12G SDI’s, capable of unique monitoring views, a locking Canon RF style lens mount for rigid and flexible lens selection, and CFexpress Type B media for up to 800MB/s formats such as 8K at 120fps.

The V-RAPTOR XL [X] is designed to support high-end television and motion picture productions, as well as storytellers requiring an elite all-in-one solution. It features dual-voltage battery support compatible with a wide range of common batteries found on set today, including both 14 V batteries and high-voltage 26 V V-Lock or Gold Mount options. A premier feature remains the built-in electronic ND which allows cinematographers to precisely select their density in 1/4, 1/3, and full-stop increments, providing unrivaled control of exposure and depth of field.

The [X] sensor capabilities reach the exceptional frame-rate performance levels of the V-RAPTOR line even with its global shutter readout. Capturing 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at an incredible 600 frames per seconds. As with the other cameras in RED’s ecosystem, it harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools.

Along with the introduction of these cameras, RED remains committed to its upgrade programs available for current V-RAPTOR and V-RAPTOR XL owners to advance into the [X] systems featuring RED Global Vision. Current V-RAPTOR and V-RAPTOR XL owners can upgrade directly via RED. The upgrade program is priced at $12,500 for both V-RAPTOR 8K VV and V-RAPTOR XL 8K VV customers.

“Fundamentally important sensor capabilities, Global Vision, internal ND filter, and improved audio, are all why the [X] camera is going to give storytellers in motion pictures and other high-end productions the images they desire," said RED executive vice president Tommy Rios. “We are thrilled to put these innovations into the hands of our users, and we are equally enthusiastic about our upgrade program for current DSMC3 V-RAPTOR and V-RAPTOR XL shooters, which should allow them to take advantage of these latest breakthroughs."

RED also announced all new accessories including the RED Compact EVF Pack and V-RAPTOR® Advanced V-Lock Plus & Gold Mount Adapter Plus battery adapters. The EVF Pack, currently available to order at $4,950 (standalone EVF: $3,450), is a single cable monitoring solution for all DSMC3 camera systems, featuring a 1080p micro-OLED display, and user assignable buttons to quickly access tools such as peaking and magnify or assignable to control the camera’s setting such as ISO, FPS and White Balance. 

The Advanced Adapter Plus, available soon for $1,768, will be sold with the V-RAPTOR Tactical Top Plate and includes all new features including a 6-Pin DC-IN port for continuous power to camera and auxiliary power outputs for additional flexibility and use with external power sources.

Additional information is available at www.RED.com. 

ORLANDO, Fla.—LG Business Solutions USA has announced that its InfoComm 2023 booth (#1642) will highlight a number of commercial display technologies as well as demos of their use in a dozen distinct product zones. 

“Our largest presence ever at InfoComm will present the pinnacle of digital display technology,”  David Bacher, head of marketing for LG Business Solutions USA said, “and the multiple large-scale displays facing the show floor give attendees a taste of what they can experience walking through the booth. We are offering a first-hand look at how our digital signage solutions and related technologies elevate the experience in boardrooms, retail stores, restaurants, education, virtual media production studios, control rooms, public art installations and more.”

The 10,400 square foot booth, includes a Virtual Production zone where LG will demonstrate advanced display solutions for broadcasters, production studios and digital content creators with displays that allow for live-action footage to be shot against a realistic virtual backdrop. Attendees can learn how a virtual production studio works and how they are being used to dramatically increase media creation opportunities while reducing the cost of content production for film, TV and in-house corporate needs, LG said. 

From outside the booth, visitors will be able to see the Digital Art Zone’s massive 272-inch LG MAGNIT 8K Micro LED display. Showing a variety of 8K footage that captures the beauty of the natural world, integrators will be able to envision how such a show-stopping display could be used in public spaces, corporate or hotel lobbies, LG said. 

The rear side of the Digital Art display wall highlights additional opportunities for these spaces with a new 163-inch All-in-One DVLED display and a custom-designed digital sculpture that combines eight 55-inch transparent OLED displays, resembling a giant prism, LG said. 

As they enter the booth, visitors will be able to see the MAGNIT 8K Micro LED display synchronize with a Transparent OLED Signage banner comprising 26 55-inch displays. Covering one side of the LG exhibition hall’s entrance, the overhead solution will create an incredibly immersive media art experience while showcasing the technology’s versatility and creative application opportunities.  

Another large MAGNIT display, measuring 163-inches diagonal and featuring a remote power supply option, will grace the Control Room Zone. Integrators will see for themselves how the minute pixel pitch, high brightness and color accuracy offered by MicroLED MAGNIT displays provide ultimate clarity and accuracy for critical Control Room operations, LG reported. 

The Meeting Room and Board Room Zone is where visitors will encounter the widest variety of displays, centered around the 21:9 All-in-One DVLED displays optimized for widescreen video conferencing platforms. This zone will also show how LG’s One:Quick Works and One:Quick Flex displays offer enhanced operations in office settings. 

The versatility of LG’s Transparent OLED solution will be spotlighted in the Retail Zone, where a 30-inch screen serves as the draw and centerpiece of a shoe display and a 55-inch watch kiosk entices shoppers and provides key product information. This zone also includes multiple other transparent OLED displays and a fine-pitch LED display. 

The Software Solutions Zone demonstrates a variety of digital signage software solutions, including the LG Cloud Platform, SuperSign Cloud and Pro:Centric Cloud for content management, ConnectedCare for remote management and LG Smart Cam Pro for 4K smart cameras.

Moving into the Education Zone, visitors will be presented with the LG CreateBoard (model TR3DK), which shows how modernized classrooms can engage, inform and inspire students while enabling and encouraging greater collaboration. The latest model provides LG CreateBoard Lab for content creating and writing, and LG CreateBoard Share for wireless content and screen sharing. 

The Food and Beverage Zone will demonstrate a variety of digital signage displays, including a 37-inch ultrawide Stretch display that’s ideal for advertising on shelves and pick-up desks, and ultra-bright 22-inch and 55-inch weatherproof models optimized for drive through applications.

LG power-saving and green technologies will be featured in the ESG and EV Charging Zones. In the ESG zone, visitors will learn about LG’s focus on environmental sustainability, exemplified by hundreds of ENERGY STAR certified displays and supported by noteworthy international certifications for electromagnetic emissions, safety, security, accessibility, compatibility, and durability. The EV Charging zone will point to the future, showing how LG’s high-brightness outdoor displays can be incorporated into partner-manufactured EV charging kiosks.

“InfoComm is one of our greatest chances to meet and discuss possibilities with commercial integration professionals eager to offer their clients cutting-edge solutions,” Bacher said. “We want them to know we are investing in innovations that open new avenues of expression, offering new opportunities to win bids and increase business success.”

More information is available at https://www.lg.com/us/business.  

FOOTHILL RANCH, Calif.—RED Digital Cinema has launched the RED Connect Module for RED’s V-RAPTOR and V-RAPTOR XL cameras, enabling the cameras to support up to 8K live cinematic streaming.RED Connect allows users to real-time stream RAW R3D files direct from the V-RAPTOR and V-RAPTOR XL camera systems over IP to a camera control unit (CCU), opening an extraordinary range of creative applications from live broadcast to virtual production to true 8K VR, the company said. 

The RED Connect Module is a robust and turn-key solution for customers to access the wide-ranging capabilities of RED Connect. With a compact form-factor and easy connectivity, the module attaches securely to the back of the V-RAPTOR or V-RAPTOR XL via the camera’s V-Lock battery mechanism. The high-speed data connection is created by connecting the module to the camera’s CFexpress media slot. 

The module allows for live streaming of up to 8K at 120FPS or 4K at 240FPS, as well as all other frame rate and resolution combinations offered by the camera. It also supports simultaneous streaming and recording from the CCU. The module offers Genlock and timecode synchronization of multiple cameras using PTP (SMPTE ST 2059-2) and up to 10 Gbps connection via a single-mode LC connector.

“We are extremely excited to officially launch RED Connect and the new module,” said Jeff Goodman, RED Digital Cinema vice president of Product Management. “Live streaming of full-quality R3Ds over IP at every resolution and framerate, combined with RED’s sensor capabilities, creates an entirely new paradigm for content creation and broadcast. In early release testing, our customers have been blowing us away by what they have been able to produce. We’re excited to see what’s next creatively now that RED Connect’s flexible, open ecosystem is available to take content creation to the next level.” 

The RED Connect system extends the camera’s capabilities in virtual productions and new production environments such as live XR. Users can simplify their camera setup by reducing SDI cables, timecode and genlock devices, and other connections to a single ethernet cable to reduce points of failure. In the world of XR, users can stream 8K 60p content straight from the camera to any end device. The increased resolution pushes the visual experience into an entirely new immersive world, especially when viewed in a VR headset environment, according to RED. 

RED partners COSM, Media.Monks, and NVIDIA, have been deploying and testing RED Connect and the module in real-world applications over the past 18 months. 

"The opportunity to leverage uncompressed 8K end-to-end presents a tremendous opportunity for broadcasters, filmmakers and immersive video in particular," notes Lewis Smithingham, Media.Monks SVP of Innovation. "Uncompressed 8K delivers on the promise of VR, and when combined with stereo lensing, produces a sense of presence never experienced before."  

For varying use cases, the RED Connect Module can be deployed by adapting the CCU design. The flexibility of the CCU allows for real-time AI processing using RED’s SDK and NVIDIA professional GPUs for graphic intensive workflows with complete SMPTE 2110 implementation or options for one to two frames of latency for 8K and 4K IP broadcast and everything in-between.

The RED Connect Module is priced at $14,995, with RED Connect licenses available for one year or as a perpetual license. A one-month option will be available soon. Pricing for the RED Connect feature varies based on the length of licensing agreement. 

RED will showcase RED Connect with the module in the Microsoft booth (W1529) in the West Hall of the LVCC during the NAB Show, April 16-19 in Las Vegas. The demos will include live streaming of 8K60P to VR headsets enabled by Microsoft and Meta. 

BEAVERTON, Ore—In advance of one of the busiest times of the year for the media and entertainment tech market, the 8K Association announced that it will participate in a number of strategic events throughout the year, including both panel discussions and technical demonstrations at the upcoming EnTech Fest and NAB Show. 

Under the theme “8K – Leading the Way,” the organization plans to highlight the wide range of 8K content projects currently being developed, along with the number of leading companies and creators who are driving this 8K content ecosystem.

According to its newly installed executive director Mike Fidler, “One of the goals of the 8K Association is to educate and excite the trade about the wide range of 8K content initiatives that are already underway. Our participation in well-known events like EnTech Fest and NAB will enable us to bring more awareness to these projects, along with the leading executives and companies behind them”. 

At EnTech Fest in Los Angeles on March 29, Fidler will moderate a panel session featuring Jonathon Lee, Head of Media Engineering and Innovation at Amazon Studios; Greg Ciaccio. Senior Director, Post Production Original Content at IMAX; and Uday Mathur, Chief Technology Officer at RED Digital Cinema. The discussion will focus on the various ways that 8K technology is elevating the creative entertainment experience.

Additionally the 8K Association will offer demonstrations throughout the day that illustrate the key aspects of the 8K ecosystem. To learn more about a complimentary registration for EnTech Fest, go to About - Event Page | EnTech Fest 2023 (accelevents.com) and enter 8KGuest23.

The 8K Association will also be highly visible during the NAB Show in Las Vegas, April 15-19.  A number of the organization’s member companies will be joining to promote and demonstrate the latest video compression technologies for 8K content on the Show floor. These demonstrations will be conducted on an ongoing basis in the West Hall at Booth W4015.

The 8K Association will also be sponsoring a special panel discussion, "Next Generation Video Codecs for 8K," which will highlight the most recent advances in video codecs for 8K content delivery and their key advantages over legacy video codecs.

The panel, scheduled for Monday April 17 from 2:30-3:20 p.m. PT in the floor theater in the West Hall next to Future Park, will be moderated by Ravi Velhal of Intel and features Mauricio Alvarez Mesa, CEO and co-founder of Spin-Digital; Thomas Kramer, VP Strategy and Business Development at MainConcept; Thomas Burnichon, VP of Innovation Strategy for Ateme and Abdul Rehman, CEO at SIMMWAVE.

To learn more about these 8K Association activities, contact Diana Oh at press@8kassociation.com.

WALTHAM, Mass.—Spin Digital has integrated the Zixi Software-Defined Video Platform into its live encoding and playback solutions. 

Together, the solutions offer the live encoding, compute efficient playback and transport performance to unlock new immersive viewing experiences, including up to 8K/HDR resolution, efficient HEVC and VVC compression and VR/AR optimized video delivered with error-free reliability and ultra-low latency, Zixi said.

Spin Digital’s live encoding and playback solutions enable ultra-high resolution 4K, 8K and 16K video processing with support for high dynamic range, high frame rate, wide color gamut and 360-degree video and virtual reality. 

Integration of Zixi with the Spin Enc Live, Spin Player HEVC and Spin Player VVC products, enables reliable transport of these high-performance streams that can leverage network bonding, enabling live video to span seamlessly across multiple networks to maximize available bandwidth and add resiliency and enhanced protections, including Datagram Transport Layer Security (DTLS) connection security and live content encryption support, it said.

Users leveraging the Spin Digital live encoders can now accept as well as broadcast from Zixi-enabled live sources and to Zixi Broadcaster target destinations. This enables users to deliver high-quality content with greater bandwidth efficiency at lower latencies and with increased reliability. Dynamic Forward Error Correction (FEC) and Automatic Repeat Request (ARQ) combine to ensure reliable delivery without adding significant latency while maximizing available bandwidth for content delivery. The bandwidth efficiency and error-free delivery included with the integrated solution are vital for supporting advanced UHD/8K video applications, it said.

"Spin Digital is leading the charge in to the next generation of media and entertainment applications, and we are thrilled to be able to deliver this joint best-of-breed experience," said John Wastcoat, senior vice president of alliances and marketing at Zixi. "Spin Digital has an excellent reputation for next-generation innovation with their dynamic, feature rich offerings, and we look forward to a successful partnership.”

More information is available on the Zixi website.

CESSON-SEVIGNE, France—Broadpeak this week launched its new BkS450 high-performance video streaming software, bringing cost savings and energy efficiency to video streaming infrastructures.

Running on a new high-performance Intel Xeon scalable processor, the software enables video service provides to deliver low-latency 4K and 8K video streaming services, VR content and other bandwidth-intensive offerings for a lower cost while consuming less power than traditional video servers, the company said.

"Introducing the next-gen BkS450 software to our solutions family underscores our commitment to enabling greener video streaming while ensuring a superior quality of experience for consumers at a reasonable cost," said Nivedita Nouvel, vice president of product marketing at Broadpeak.

"Working with Intel, we have achieved a giant leap forward in video streaming performance and energy efficiency, helping our customers deliver advanced video streaming services with increased agility, a smaller hardware footprint and a reduced impact on the environment."

Offering performance and sustainability improvements, the new software leverages ultra-efficient use of hardware resources. It delivers video services at 725 Gbps in HTTP on servers consuming 900 Watts—a fourfold reduction compared to previous generations of video streaming solutions, it said. (The figure comes from a sophisticated benchmarking tool Broadpeak created with Intel.)

The two companies will continue to work together on improving performance-per-Watt to address sustainability, it said.

Available as a container running on off-the-shelf hardware, the BkS450 eliminates the need for operators to use proprietary components. The BkS450 video streamer is future-proof, natively supporting all of the latest HTTP protocols — as well as DASH and HLS low-latency streaming formats — to ensure flawless video streaming, it said.

The new caching software engine built into the BkS450 also extracts maximum performance from more modest and cost-effective hardware configurations, including existing CDN deployments. This innovation unlocks CDN capacity across the board and better uses resources, it said.

More information is available on the company’s website.

EDEN PRAIRIE, Minn.—Sanus, a leading provider of mounts and accessories for TVs and smart devices, has added 8K and 4K HDMI cables to its lineup. 

The Sanus 8K Ultra High Speed and 4K Premium High Speed HDMI cables, which are now shipping, provide a throughput for home theater audio and video in a single-cable solution. Offering an ideal way to connect devices such as streaming boxes, Blu-ray players, and gaming consoles to HDMI-enabled displays and projectors, the cable options include 8K, 4K, and in-wall-rated versions to fit any project, the company said. 

"The Sanus mission is to create premium products that allow customers to get the most out of their audio and video technology. This includes providing them with everything they need to complete their TV or projector install, whether that's a mount, stand, furniture, or cabling," said Garrett Humphrey, product marketing content specialist at Legrand | AV. "Our new 8K and 4K HDMI cables are superior, feature rich, rugged, and help complete the one-stop-shopping AV experience."

Sanus' new 2.1 8K Ultra High Speed HDMI cables support 8K at 60Hz and 4K at 120Hz, providing the fastest refresh rates and highest resolution, while the 2.0 4K Premium High Speed HDMI cables transmit 4K at 60Hz. 

Both the 8K and 4K HDMI cables feature low EMI cable design and shielding to prevent interference with other signals, Dolby Atmos to take surround sound to the next level by delivering a true 3D audio experience, gold-plated connectors for the highest level of signal conductivity resisting corrosion, sure-grip connectors, a cotton-braided jacket that protects the cable and maintains flexibility, and cable ties to secure the cable to a TV mount or other components. 

The 8K cables also boast an enhanced audio return channel (eARC) that supports high bitrate audio formats — including DTS-HD Master Audio, DTS:X, Dolby TrueHD, and Dolby Atmos — and variable refresh rate (VRR), delivering fast video frames and fluid video by preventing display lags, judder, and tearing, Sanus reported. 

The HDMI cables come in a variety of lengths. Both are available in 3.28 feet (1 meter), 6.56 feet (2 meter), 9.84 feet (3 meter), and in-wall-rated 13.12 feet (4 meter) lengths. Additionally, the 4K cables are available in in-wall-rated lengths of 16.40 feet (5 meters) and 22.96 feet (7 meters).

More information on Sanus' entire family of 8K and 4K HDMI cables is available at www.sanus.com/en_UM/products/accessories/#cables.

The Kanagawa Institute of Technology (KAIT) will conduct an experiment to edit and distribute 8K uncompressed video in real-time using edge devices supporting 400 Gbps installed in the network at the National Institute of Information and Communications Technology (NICT) booth (#3247) at SC22, Nov. 14-17 at the Kay Bailey Hutchison Convention Center in Dallas.

KAIT previously conducted the demo at Interop Tokyo 2022 in June 2022, in collaboration with Daido University, University of the Ryukyus, and Michal Communications; the NICT demonstration at SC22 is the first international experiment.

Video format conversion, which requires high-speed processing, is achieved by chaining software for video processing functions within the edge device. When the producer requests video switching by pushing the button, the system instantly switches to the format-converted video, and by operating the color adjustment knob, it is possible to adjust the color and create and distribute video with natural connections.

Kanagawa Institute of Technology, in collaboration with Daido University, University of the Ryukyus, and Miharu Communications Inc., is developing a practical technology for high-speed network computing, which includes a terminal, edge device, and cloud computing. This enables real-time editing and distribution of 8K ultra-high-definition (UHD) videos without having to use a compression tool and at the same time sacrificing UHD streaming video quality.

When the academic network operated by the National Institute of Informatics (NII) migrated to SINET6 in April 2022, it  built an edge device connected to a high-speed network of 400 Gbps in a rack at the Sagamihara DC in Kanagawa for its research project.

In June at Interop Tokyo 2022, a network technology exhibition held in Makuhari, Japan, KAIT demonstrated its virtualized video-handling function (VVF) technology by processing uncompressed 8K real-time videos using an edge device configured in the Sagamihara DC mentioned above. The VVF enables the edge computer to execute a single real-time video process, such as video transcoding, without degradation. To adopt multiple video processes, multiple VVFs can be chained.

The test proved the successful switching of several 8K video sources freely via a network using the edge device, and color conversion was performed and distributed. Specifically, it instantly switches between 8K uncompressed videos in different formats (8K dual green: 8K-DG 24Gbps, 8K full resolution 48Gbps, etc.) from multiple locations, including cameras in the booth, an 8K camera at KAIT, an 8K camera at Ginoza, Okinawa, and two 8K stored video materials in StarBED in Hokuriku. At the same time, the system provides format conversion of the switched 8K video without degradation and performs color correction (color correction) in real-time.

VVFs have been developed using the data plane development kit (DPDK) in a software-based framework for edge devices that require high-speed processing. In addition, AVX-512, Intel's single instruction, multiple data parallel processing model, can be used for transcoding and color conversion. 

By chaining multiple VVFs located at the edge of the network and by performing video processing at high speeds, the local video editing base that was previously essentially becomes unnecessary. We aim to enable 8K video editing and distribution by connecting a computer directly to the network.

In the SC22 venue, KAIT will show an uncompressed 8K live video stream from an edge device in Japan, configured in the SINET6 Sagamihara data center of the NII. The video is processed by chained VVFs in the edge system in Japan before KAIT shows it in the venue.

LONDON—No sooner than broadcasters began transmitting HD programming in earnest, it felt as if equipment manufacturers began trumpeting the benefits of 8K – 16 times the resolution of HD.

Although that’s a bit of an exaggeration, Japan’s NHK, who started the R&D work on their Super Hi-Vision system in 1995, first screened 8K video in 2005, only one year after the launch of the first HD channel in Europe. For several years a decade ago, the network demo-ed SHV on giant displays in specially-designed stands at the NAB Show and IBC.

The first public showcase of the technology was a collaboration between NHK and the BBC to transmit the opening ceremony and selected events from the London 2012 Summer Olympics to giant screens in Broadcasting House in London, Pacific Quay in Glasgow, and the National Media Museum in Bradford.

Responses to the presentation were very positive with audience members remarking on the sense of intimacy created through seeing the athletes at that size and level of detail. More than one person remarked that being close enough to read the emotion on the faces of the participants made what is usually the most boring part of the ceremony—the entrance of the athletes—into the most moving part of the entire event.

The Current State
Ten years on, where does 8K sit in the media landscape?

Firstly, it now shares the acronym UHD (Ultra High Definition) with 4K. Its approach to dynamic range has been given its own acronym HDR (High Dynamic Range) and is also applied to HD, 4K, and still photography.

It has its own industry body—the 8K Association, who have defined basic specs for what an 8K TV should offer, including: 7,680 x 4,320 pixel resolution; input frame rates of 24p, 30p, 60p; more than 600 nits peak brightness; HEVC support; and HDMI 2.1.

When the 2012 London Olympic project was undertaken, there were only three 8K cameras in the entire world. Now there are good 8K cameras available for under $7,000, and 8K TVs for under $2,000; even smartphones now boast 8K capabilities.

There have been a few 8K projects in the broadcasting world, mostly focussed on sports production, but adoption has not been huge.

In early 2020, BT Sport and Samsung screened the UK’s first public live 8K sports broadcast, with a presentation of a match between Arsenal and Olympiacos which was made available in 8K to select fans inside Arsenal’s Emirates stadium. 

This was followed by a transmission of a Premiership Rugby match sent live in 8K to selected homes. The game was produced entirely remotely allowing BT Sport to explore OB and production workflows for future live 8K broadcasts.

NHK launched BS8K, an 8K satellite television service in 2018 and produced about 200 hours of 8K video during the Summer Olympics in Tokyo.

As a Broadcast Format
The challenge facing proponents of 8K is consumer adoption. Market research firm Omdia anticipates that just 2.7 million households worldwide are expected to have an 8K TV by the end of 2026. According to the firm, shipments of 8K TVs only accounted for 0.15% of all TV shipments in 2021. The CTA forecasts 479,000 8K-capable TV sets in the US by 2023—out of an overall market of 38 million sets—that’s a market penetration of only 1.26%.

The logistics of transmission are a significant obstacle to 8K becoming a broadcast format. The HEVC 8K codec used for the Tokyo Olympics required a bitrate of 85 Mpbs.  Advances in the efficiency of the coding algorithm allowed a bitrate of 40 Mbps for an 8K trial at the 2019 French Open.

Putting these numbers in perspective: the transmission bitrate of terrestrial broadcast HD channels averages around 6 Mbps—from as low as 1.1 and bursting up to 11.0 Mbps. To deliver equivalent quality for a 4K broadcast, a bitrate of 9 Mbps is needed. 8K requires a significant leap up to 48 Mbps, which is 8 Mbps greater than the entire bitrate available in the UK’s HD multiplex, which currently carries 9 HD and two SD channels. 

In a world in which over-the-air bandwidth is scarce and the subject of intense competition for access, it is turning out to be difficult to create a business case that justifies replacing 11 channels with one to service only 1.26% of the market.

In Production
Although the uptake of 8K as a consumer format has been slow, the technology has been making inroads as a production tool. 

Panasonic sells what it calls an 8K “Region of Interest” camera that can be configured to output 4 HD video feeds that can be panned, tilted, and zoomed via software. The system allows up to eight of the cameras to be linked in a single integrated system, effectively creating 32 virtual HD camera positions.

8K LED walls are starting to replace the use of green screens in feature productions like Disney’s “The Mandalorian.” This approach allows the actors to actually see and interact with the CGI environment in real time. This approach can be simpler to light than green screen sets, easier and more flexible to shoot, and can lead to cost savings.

In the Future
In a futuristic twist, the first 8K console game for the PS5 has been released, but only the console’s processor can see it in that resolution. 

Shin’en’s “Touryst” was released for the PS5 in an 8K version last year, however PS5 doesn’t currently support 8K output for games, and has to render it internally at 8K and then downscale the output to 4K. Sony has promised to enable 8K output in a future update, but has not named a date for that to happen.

Seventeen years after its first appearance, the jury is still out on 8K as a consumer format. It could end up being a non-starter like 3DTV, or it might follow the path of other repurposed consumer products like Betamax and MiniDisc as a useful production tool.  As William Gibson wrote, “the street finds its own uses for things.”  

Samsung has announced that it is working with Amazon’s Prime Video to offer fans access to exclusive 8K content from the upcoming “The Lord of the Rings: The Rings of Power” series, which is set to bow on Prime Video on Sept. 2. 

As part of the collaboration, Samsung hosted an exclusive sneak-peek screening event featuring 25 minutes of content from the series’ first two episodes on its three-story LED video wall at Samsung 837 – its flagship experience center in New York City. 

Content from the series will also debut on Samsung’s LED digital screens overlooking New York City’s Times Square, London’s Piccadilly Circus, and Milan’s Piazza del Duomo.

At some as yet undisclosed time, Samsung also said it will be the first to offer “The Lord of the Rings: The Rings of Power” series content in 8K resolution through a custom trailer with exclusive scenes. The content will be available on Samsung Neo QLED 8K TVs and “The Wall” 8K Micro LED displays. 

“Collaborations such as this mark a major milestone in bringing 8K – the most premium display technology – to the forefront for viewers,” said Simon Sung, executive vice president and head of the sales & marketing team of the Visual Display Business at Samsung Electronics. “For the first time, fans can experience the stunning imagery of The Lord of the Rings: The Rings of Power on Samsung Neo QLED 8K TVs.”

“When considering how to immerse our global fans in the world of The Lord of the Rings: The Rings of Power, Samsung’s exceptional technology and screens felt like a natural fit,” said Andrew Bennett, vice president of global device partnerships at Prime Video. “Samsung’s depth, detail, and incredible passion for the series has started us on an amazing journey together – one we can’t wait for audiences to experience.”

For more details, please visit www.samsung.com.

AMSTERDAM—Cinegy has announced that it will return to IBC 2022 between September 9 and 12 to showcase its portfolio of 8k and cloud-optimized solutions and provide demos of such products as Cinegy Air PRO, Cinegy Capture PRO, Cinegy Multiviewer, Cinegy Convert and Cinegy Archive, within which the Daniel2 codec is an integral part. 

“While the cloud is the ultimate destination for the industry, not every customer is ready to make the transition at the same time,” explained Jan Weigner, managing director at Cinegy. “Our role as a technology partner is to meet customers where they are today and show them how they can evolve their business to take on the challenges they face in a dynamically shifting market. We have created a highly flexible approach that allows broadcasters to migrate their workflow – in parts or wholesale – in a way that aligns with their business and operational requirements. We are excited to be back at IBC and showing customers how we can help them solve the issues facing their businesses.”   

The company also noted that visitors will see first-hand how Cinegy solutions simplify workflows and allow production teams to work smarter and more efficiently. As an early adopter of the open source SRT (Secure Reliable Transport) protocol, Cinegy has SRT baked into its technology, including the license, which removes any concerns about whether users have the legal right, proper subscription, or adequate bandwidth to deploy the software.  

This will include a clear demonstration of how Cinegy Air PRO simplifies multi-channel delivery, allowing customers to run many channels with flexibly configurable features from a single unit. 

In addition, it will show how Cinegy Capture PRO allows operators to work with a rich client interface running anywhere on the network, simultaneously generating all versions needed for archive, editing and remote working. 

Cinegy Multiviewer, which runs as a service operating on commodity IT equipment, displays and analyzes signals from multiple sources, raising alerts for any detected signal problems.   

Designed to perform repetitive export and conversion tasks by “printing” material to predefined formats and destinations, Cinegy Convert saves time that can be applied to higher value creative tasks, while Cinegy Archive delivers advanced logging and metadata accumulation over the entire lifecycle of the media assets, making these easily searchable and reusable, and saving time and money, the company said. 

Underpinning the Cinegy software range is the newly optimized Cinegy Daniel2 codec, the only way to play professional quality 8k streams on affordable, commodity hardware or even a consumer-grade laptop.  

The company will be exhibiting at stand 7.A01 during IBC 2022. 

Japanese researchers have set a new data transmission speed record, sending 1.02 petabits of data per second over fiber over a distance of 51.7 km. (32 miles). The feat doubles the most recent record, set a year ago when the same researchers sent 319 terabits per second over fiber using  wavelength division multiplexing technology.

Although the recent record was set in the lab of Japan’s National Institute of Information and Technology, the difference this time around is that the new record was achieved with technology compatible with existing cable infrastructure. NICT said the amount of data is equivalent to sending 127,500 GB of data every second, or as they characterized it, enough capacity for more than “10 million channels of 8K broadcasting per second," and 100,000 times faster than what is promised to be the next generation of high-speed GB connections to the home.

Researchers used wavelength division multiplexing (WDM) technology that allowed a record optical bandwidth exceeding 20 THz over a multi-core fiber (MCF) with a standard diameter of 0.125 mm. It incorporates the commercially adopted optical fiber transmission windows known as C and L-bands and extends the transmission bandwidth to include also the recently explored S-band. 

“Two kinds of doped fiber amplifiers along with Raman amplification with pumps added in a novel multi-core pump combiner, enabled transmission of 801 wavelength channels over the 20 THz optical bandwidth,” NICT said in its announcement. “The large number of wavelength channels were transmitted in each core of a 4-core MCF that is notable for having the same cladding diameter as a standard optical fiber. 

“Such fibers are compatible with current cabling technologies and do not require the complex signal processing needed for unscrambling signals in multi-mode fibers, meaning conventional transceiver hardware may be used. 4-core MCFs are thought to be the most likely of the new advanced optical fibers for early commercial adoption,” NICT added. “This demonstration shows their information carrying potential and is a significant step toward the realization of backbone communication systems that supports the evolution of Beyond 5G information services. 

More information is available in NICT's press release. 

LONDON—New consumer research suggests that 8K TV is failing to appeal to consumers, with Omdia reporting that  8K TVs only accounted for 0.15% of all TV shipments in 2021 and predicting that only  2.7 million households worldwide are expected to have an 8K TV by the end of 2026.

Omdia senior director, media & entertainment, Maria Rua Aguete presented the data in a research note.  

“In 4Q21, 95,500 8K televisions were shipped, an increase from 81,900 in 3Q21 due to seasonality,” she reported. 

“It appears that 8K TVs have lost momentum,” she added. There is “no convincing reason to buy 8K TVs (very little native content is available) the marketing is failing, numbers-wise."

“ We see no convincing market demand of further 8K service development,” she said. “Even in Japan, where there is a true 8K channel (from NHK) uptake has been minimal….No regions hit the level of 1% of households with a large enough audience to become commercially interesting. With TV providers struggling with the economics of 4K UHD, it really seems that 8K TVs small audience appears unattractive to content producers. It will be interesting to see how the market develops over the coming year.”

The 2022 NAB Show features a host of new technologies likely to transform the industry in the next decade, including demonstrations of new equipment and technologies for stunning 8K video, which offers 16 times the resolution of HD and four times the resolution of 4K.

“If you have ever viewed immersive 8K content, especially paired with phenomenal audio, it is an experience that is unmatched,” said Hugo Gaggioni, CTO, Sony Electronics, Imaging Products and Solutions Americas — Professional, which supplies the Venice 2 camera and other equipment that is being used in 8K productions.

Most people are unlikely to have that experience anytime soon, however. Only 1 million 8K TVs were sold globally in 2021, according to Strategy Analytics, which is predicting that about 72 million households worldwide will have an 8K set in 2025, a tiny fraction of the 1.7 billion homes with TV sets in the world.

“We are still in the early days of 8K,” said Bob Caniglia, director of sales operations, Americas at Blackmagic Design, which is showing the Blackmagic URSA Mini Pro 12K and other 8K-capable technologies at the show.

But Caniglia, Sony’s Gaggioni and others who are showing 8K-capable equipment are quick to add that there are already many appealing use cases for 8K in virtual productions, post-production, virtual reality, replays, events and other areas where the content may end up being shown in 4K or even HD.

Multicamera film productions needing very high resolution for CG and virtual productions, for example, are two promising illustrations of how 8K technologies can be utilized today, explained Charlie Dunn, senior vice president, Telestream.

LIMITED EARLY ADOPTION

Currently, 8K content offerings are extremely limited, with some streaming services like YouTube TV and Roku and some broadcasters, mainly in Japan and China, regularly offering 8K video.

“Our 8K cameras are used for major sporting events, music programs, and are broadcast live on Japan’s NHK BS8K [an 8K satellite channel],” said Hiroshi Akiyama, marketing executive at Ikegami Tsushinki Co., which is showing its fourth generation of 8K cameras.

In addition to NHK producing about 200 hours of 8K video during the Summer Olympics in Tokyo, Chinese broadcasters have also embraced the format. “A leading Chinese broadcaster officially launched an 8K channel early last year and went live for 8K production for major events like the … Winter Olympics,” added Xuan Zhang, product manager, Matrox Video, which supplied cards and a CDV graphic system for 8K UHD graphics.

There have also been some notable efforts to make it easier to create and distribute 8K content.

“A Leader LV5900 HD/4K/8K multistandard waveform monitor was chosen to monitor the signal feed of an hour-long, live 8K broadcast by BT from Northampton England to Amsterdam,” said Moriharu Ide, president of Leader Instruments Corp.

“During the Olympics we saw HEVC 8K [content delivered and] encoded at 85 Mpbs,” said Thierry Fautier, vice president of video strategy at Harmonic, which is an active member of the 8K Association and has supplied equipment for 8K productions. “With more modern software-based encodes we can go below 40 Mbps as was demonstrated during the 2019 French Open tennis tournament” that used Harmonic technologies.

THE FUTURE IS NOW

More importantly, 8K technologies are playing a growing role in efforts to improve the way HD, HDR and 4K content is produced today.

“We are already seeing a lot of 8K and even 12K in virtual production,” said Caniglia at Blackmagic Design. “The extra resolution you get on LED walls gives you more detail and allows you to shoot in higher resolution.”

Another promising application is in live sports. “For live sport, 8K cameras or higher can be used to provide a panoramic view of a stadium, which can be cropped in software to the lower resolutions used today in broadcast,” said David Mitchinson, head of strategic initiatives at Appear. This provides a panoramic view that can be cropped to follow an individual player and is ideal for remote productions because it requires no camera movement.

Producers are also increasingly using 8K to shoot action scenes because the higher resolution allows them to reframe shots in post-production.

“Users are choosing [Sony’s] Venice 2 8K camera because of the image quality and [they] may shoot in 8K because of the flexibility in post-production,” added Gaggioni at Sony. “We have seen many productions down res to 4K or 5.7K and still use the VENICE 2-inch camera from Sony.

Creating 8K masters protects the long-term value of content that might be distributed in HD or 4K today, vendors say. “Content producers will inevitably advance from HD and 4K-UHD to 8K to maximize the shelf life of their programs,” said Ide at Leader Instruments.

Copyright NAB Show Daily

LAS VEGAS—Cinegy will demo its digital video processing, asset management, video compression and automation, and playout services tools at the 2022 NAB Show, April 23-27. Highlighted products will include Cinegy Air PRO, Cinegy Capture PRO, Cinegy Multiviewer, Cinegy Convert and Cinegy Archive, within which the Daniel2 codec is an integral part. 

In addition, Cinegy will highlight how it has optimized its entire product line to be 8K-ready and deployed in the cloud. One of the early adopters of the open source SRT (Secure Reliable Transport) protocol, Cinegy has SRT baked into all technology, including the license, which removes any concerns about whether users have the legal right, proper subscription, or adequate bandwidth to deploy the software the company said. 

 “The last two years have accelerated migration to technologies—such as the cloud—but customers still need to adopt these new ways of working in alignment with their unique strategic vision,said Jan Weigner, Managing Director at Cinegy. "We understand that every customer is at a different point on their journey, so our highly flexible approach means broadcasters can migrate all or parts of their workflow in a way that works for their business. NAB is something the whole industry is looking forward to and we are excited about meeting customers and partners face-to-face once again.”  

Demonstrations will cover:

• Cinegy Air PRO, which simplifies multichannel delivery, allowing customers to run many channels with flexibly configurable features from a single unit;  
• Cinegy Capture PRO for acquisition and transcode, allows operators to work with a rich client interface running anywhere on the network, and simultaneously generate all versions needed for archive, editing and remote working;  
• Cinegy Multiviewer, which runs as a service operating on commodity IT equipment and displays and analyzes signals from multiple sources, raising alerts for any detected signal problems;  
• Cinegy Convert—designed to function like a network-based print server—is ideal for performing repetitive export and conversion tasks by “printing” material to predefined formats and destinations to save time that can be applied to higher value creative tasks; 
• Cinegy Archive media asset management manages and delivers advanced logging and metadata accumulation over the entire lifecycle of the media assets, making these easily searchable and reusable, and saving time and money, and 
• Cinegy Daniel2, which plays professional quality 8K streams on affordable, commodity hardware or even a consumer-grade laptop. Now further optimized, the codec is ubiquitous through the software product range. 

Cinegy will be in Booth C3931. For more information about the NAB Show, visit nabshow.com/2022.

POWAY, Calif.—Delkin Devices has announced a new addition to their line of memory-based products, CFexpress Type A memory cards, that support UHD 8K recording.  

The latest high-speed memory card format, Delkin CFexpress Type A cards boast recording speeds reaching up to 790 MB/s for flawless cinema-quality video capture, including UHD 8K at 30fps (400 Mbps) in the Sony a1 camera. They also support RAW continuous-burst shooting without delay.

“Smaller and even more powerful than SD cards, CFexpress Type A memory cards are establishing a new standard for future storage solutions” says Jenn Sherry, Delkin's retail sales and marketing manager, “With mirrorless cameras slowly moving more into the cinema realm, offering modes that are extremely data-heavy, it has become even more essential to provide a memory card that can meet these demands. The market is small at the moment, but we are optimistic about the potential growth of CFexpress Type A and its future adoption in the next-generation of cameras.”

Delkin BLACK CFexpress Type A memory cards are also capable of offloading data at speeds reaching up to 880 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production start time. Each CFexpress Type A memory card has undergone extensive testing to ensure full functionality and performance in today’s high-end cinematic hosts, including the Sony a1, a7S III, a7 IV, FX3 & FX6, Delkin reported. 

In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48-Hour Replacement Guarantee.” Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends—in the U.S. and U.K.), prior to receiving the non-working card. 

Cards can also be replaced over-the-counter at any authorized Delkin BLACK reseller. Additional information on Delkin BLACK CFexpress™ Type A memory cards can be found here: www.delkindevices.com/cfexpress-type-a.

Delkin is also offering an alternative option under their POWER line. Delkin POWER CFexpress Type A memory cards provide the same pro-level performance as BLACK, but do not include the added benefits of serialization or the company's 48-Hour Replacement Guarantee. These cards have also undergone the same testing as the BLACK cards.

PHILADELPHIA, Pa.—Comcast NBCUniversal has launched the NBC Olympics VR by Xfinity app, which will offer for the first time 8K resolution of virtual reality Olympic coverage. 

The app will feature more than 150 hours of live and on demand interactive virtual reality (VR) coverage of the Beijing Olympic Games, including VR Coverage of Opening and Closing Ceremonies, Figure Skating, Ice Hockey, Snowboarding and More 

“We strive to create innovative viewing experiences so immersive it rivals being at the Winter Olympics live,” said Sophia Ahmad, executive vice president, Xfinity Consumer Services. “Our robust network makes it possible for Xfinity customers to get closer to the action than ever before, experiencing for the first-time ever, the Games in 8K VR.”

The app was developed in collaboration with product and technical teams across NBCU and Comcast. 

“Partnering with global colleagues  across Comcast, our 8K virtual reality experience for the Winter Games will offer fans a one-of-a-kind viewing experience where they feel as if they’re fully immersed in their favorite sports, cheering Team USA athletes to victory,” said Gary Zenkel, president, NBC Olympics.

The app can be used by all pay TV customers in the U.S. They can use their TV Everywhere credentials to authenticate their access to the app. The 150 plus hours of immersive 8K coverage includes: 

• Live and on-demand coverage of six popular sports including figure skating, hockey and snowboarding in an immersive 180-degree environment. Select events will offer viewers the option to switch between different cameras to get alternative vantage points.
• Live and on-demand coverage of the Opening Ceremony, where viewers will have an athlete-level view of the event and get to experience the rush of walking for their country as an Olympian.
• Features and highlights from 10 additional sports throughout the Games, including alpine skiing, bobsled and speed skating.
• Live and on-demand coverage of the Closing Ceremony.
• Pre-Games features leading up to the Opening Ceremony.

Viewers can also host a virtual Olympics watch party and invite up to three friends to join their virtual suite where they can interact together and enjoy immersive live coverage of Olympic events as if they were in the same room.

The NBC Olympics VR by Xfinity app is now available to download from the Meta Quest 2 app store. 

The 8K Association has published an updated performance specification with new decoding requirements to promote broader 8K streaming availability, new image quality metrics and a game mode for the 8K Association Certified mark program. 

TV shoppers looking for 8K televisions will benefit from the new certification requirements, which will be applied to 8K TVs that launch this year. Eighty models to date are certified, the association said.

The association also is pioneering use of Ambient Contrast Ratio (ACR) to help ensure a good picture in various ambient lighting conditions. The 8K Associations ACR Test measures the reflectivity of a TV with a test pattern in both bright and dim illumination conditions and sets levels for performance in each case that the TV must pass, it said.

At the moment, passing the ACR spec is optional for certification. However, association members are required to provide data so the association can optimize pass-fail criteria for the future, said K.G. Lee, chair of the association’s technology work group. 

“Using ACR as a metric allows us to better manage the experience of viewers in different ambient light conditions that we all have in the home, noted Pete Sellar, chair of the association’s certification work group. “These and other efforts we are putting into developing of Certified Specification should give consumers confidence that 8K Certified TVs support the latest developments in TV viewing.”

The new specification’s gaming mode requirement includes support for Auto Low Latency Mode (ALLM) and Variable Refresh Rate (VRR) via the HDMI 2.1 interface. 

The association also announced new members, including: Prime Video; 4By4 Inc., a Korea-based visual technology company that produces 8K demo and promotional video and manages the KEYCUTstock platform to license video clips up to 8K resolution; UL (underwriter Laboratory), which currently is being audited to become an 8K Association-certified test lab to measure 8K TVs for its logo program; and TV manufacturer Changhong, which has rejoined the organization.

More information is available on the association’s website. 

SUWANEE, Ga.—Hisense has announced that the 8K U800GR Hisense Roku TV is now available for purchase online at Amazon and BestBuy.com

"Alongside growing screen sizes, the prospect of enjoying the best possible picture continues to intrigue many consumers,” says David Gold, president of Hisense USA. “Hisense’s ability to bring an 8K option to the table for the early adopter group is also crucial in creating even better TVs and pushing the industry forward. We’re proud to combine our high-performing and high-quality products with Roku’s massive selection of free, live, and premium TV, and be at the forefront of premium TV offerings.”

Hisense’s latest ULED Series TV model combines extraordinary 8K streaming and display, three-dimensional Dolby Atmos sound and the Roku OS, America’s #1 TV streaming platform, Hisense said. 

The U800GR Series features 8K ULED technology, Quantum Dot technology, Dolby Vision, up to 1000 nits peak brightness, and 180 local dimming zones to bring a new depth of realism to the TV watching experience. 

It also noted that viewers also experience smoother gaming sequences and scenes with the TV’s 480 Motion Rate, native 120Hz panel and auto low latency game mode and Variable Refresh Rate. 

With the 8K Upscaler, the TV analyzes content frame-by-frame and automatically adjusts the displayed image to deliver greater clarity and depth, regardless of the content resolution, Hisense said. 

The U800GR Series ships with the new Roku Voice Remote Pro.

The 75” U800GR is available now for $2,699.99 MSRP at Amazon and BestBuy.com, Hisense said. Amazon was, however, listing the TV at $2399.99. 

More information on the set’s features is available at Hisense-usa.com. 

CORONA, Calif.—Consumer electronics manufacturer TCL has announced that Roku has added The Explorers 8K Channel to the entertainment lineup on TCL’s 6-Series 8K TCL Roku TVs.

Earlier this year, TCL launched its first 8K TV in North America with Roku with the 6-Series 8K TCL Roku TV models. Those TVs are currently the only 8K smart TVs built around the Roku platform and operating systems in the U.S. 

The launch of The Explorers 8K premium nature documentary channel adds to the 8K resolution videos from YouTube that were already available to owners of the 6-Series 8K TCL Roku TVs. 

TCL also indicated that more 8K content was on the way. 

Chris Larson, senior vice president of TCL explained that “launching TCL’s first 8K resolution TVs in North America this year in partnership with Roku was very significant. We’re making 8K more accessible with our premium televisions, and we are also making bold moves with Roku to ensure there is 8K resolution content out there for our users to enjoy. And with the growing availability of 8K content such as The Explorers, TCL’s deep vertical integration of TV panel production allows the easily-accessible 6-Series 8K TV to deliver powerfully sharp picture performance with impressive immersion. As consumers continue to adopt larger screens for their homes, the need for greater screen resolution becomes more apparent. So TCL will continue to innovate, work closely with the 8K Association, and serve entertainment enthusiasts advanced technology as we enter this next stage of 8K discovery, with new game consoles and streaming services rolling out.”

Available in 65” (65R648) and 75” (75R648), the 6-Series 8K TCL Roku TV have received several prestigious product review awards, including Editor’s Choice in both Digital Trends and TechHive.

The Explorers, supported by Kering, is a global project that takes inventory of the natural, cultural and human heritage of the Earth, in Ultra High Definition (8K / 4K / HD) images, the companies said. 

The Explorers 8K premium subscription service – normally priced at $2.99/month, with 10% of revenues donated to The Explorers Foundation to protect biodiversity – is available through an exclusive limited-time offer to owners of 8K Roku TV models at no cost for the first three months, the companies said. 

“We are excited to know that the transformative beauty of The Explorers Earth Inventory will now be available at the maximum resolution and quality in homes through the TCL 6-Series 8K Roku TV,” said Olivier Chiabodo, CEO of The Explorers. “A company like TCL bringing televisions with 8K resolution to the market at a compelling value is transformative – it means a bigger audience could have access to our growing 8K content library. I believe the decision to partner with an accomplished leader in TV display technology and enabling those viewers to experience the visual majesty of our beautiful planet captured by The Explorers will be very rewarding.”

LONDON—Synamedia has achieved 8K real-time encoding and streaming without compromise using its VIVID Compression platform powered by AMD EPYC 7763 processors, one of the highest performance x86 server CPUs, the company announced.

Use of the AMD processors eliminates the need for screen splitting and other tricks that can compromise video quality. Synamedia built the compression algorithms involved to remove the need to make technology trade-offs, the company said.

Synamedia leverages the full codec toolset, powered by the AMD EPYC 7763 processors, to achieve this level of performance. There is no need to split the 8K signal into 4K quadrants nor a need for dedicated GPU memory or other hardware acceleration. Thus, issues with memory communications, throughput and local video quality variations are eliminated. These advancements and the use of Synamedia’s VIVID-AI Artificial Intelligence technology have produced a breakthrough in 8K video, the company said.

The company also has expanded its cloud-based video quality analysis to encompass 8K resolution. Video-Quality-as-Service (VQaaS) offers an objective measurement and subjective visualization analysis, which makes it simple to measure improvements in 8K video quality, it said.

Harnessing the power of 3rd Gen AMD EPYC processors, Synamedia’s advanced compression algorithms offer operators and multiple video programming distributors (MVPDs) significant savings of capital and operational costs by reducing footprints and power consumption, while creating consumption-based business models based on VIVID Video Workflows-as-a-Service, it said.

“We are experiencing a technology shift here, combining our unique and one-of-a-kind compression algorithms, advanced video analytics, and proven expertise with the incredible speeds of the AMD EPYC 7763 processors. The flexibility of using one CPU without a single technological compromise allows us to provide our customers with the high-quality video content they expect from us. By combining our team’s expertise with the performance of AMD EPYC processors, we are able to bring more 8K content to the market at an affordable price to enable the 8K economy,” said Elke Hungenaert, vice president of product management at Synamedia.

More information is available on the company’s website. 

SAN FRANCISCO—Digital video technology provider Bitmovin has announced that Globo in Brazil used its encoding technology to deliver 8K streams from the Tokyo Olympics.

Using Bitmovin, Globo debuted the Tokyo 2020 Olympics 8K VOD content on Globoplay for free, as a limited experiment. This marked the first time the Olympics have been streamed in 8K outside of Japan.

“With the industry moving to a TV 3.0 model, we wanted to work with a partner to debut 8K in a high-visibility cultural moment,” said Lucas Stephanou, video platform product owner at Globo. “Globo’s Olympic Games broadcast presented a unique opportunity to showcase 8K HDR to the widest possible audience, and help subscribers maximize their experience on the platform.”

The cloud-based system provided the elasticity needed for a job that demands tremendous processing power in a short period of time to preserve the quality while transforming the content offered in Ultra HD 8K HDR into a size that can be transported over broadband internet connections, Bitmovin said.

Bitmovin has over 400 customers across the globe including BBC, ClassPass, DAZN, discovery+, fuboTV, Globo, and Hulu Japan.

MELBOURNE, Australia—Atomos has announced the availability of a firmware update for the Ninja V+ enabling the unit to record 8Kp30 ProRes RAW from the Canon EOS R5 full-frame mirrorless camera.

Apple ProRes RAW 8K provides the combination of real-time, multi-stream editing performance and image quality preservation. The recently announced new features of white balance (WB) and ISO in Final Cut Pro gives creators even greater flexibility and control over their image processing during post-production.

The Atomos Ninja V+ coupled with the Canon EOS R5 full-frame mirrorless camera offers an affordable solution that democratizes 8K without compromising quality, the company said.

Redesigned with a stealth gray bezel and expanded processing power, the Ninja V+ delivers more options for creators. Using the new Atomos Silicon chip, the AtomIC3, and AtomOS 10 technology, the Atomos team re-engineered the Ninja V+ to increase its power to record ProRes RAW at even higher frame rates and resolutions, it said.

ProRes RAW continues to build momentum in 2021 with more than 30 cameras supported by Atomos. The format combines the visual and workflow benefits of RAW video with the real-time performance of ProRes, the company said.

The format gives filmmakers wide latitude when adjusting the look of their images and extending brightness and shadow detail, making it well-suited for HDR workflows. Manageable file sizes speed up and simplify file transfer, media management, and archiving, it said.

ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro and Avid Media Composer, along with a collection of other applications, including Assimilate Scratch, Colorfront, FilmLight Baselight and Grass Valley Edius.

AtomOS 10.68 for Ninja V+ available online.

TOKYO—When the 2021 Tokyo Olympics Opening Ceremony begins, Japan’s public broadcaster NHK will achieve a major milestone on its roadmap for 8K UHDTV as it presents the international spectacle to Japanese viewers on its BS8K (Broadcast Satellite 8K) channel in 8K.

Delayed a year by the COVID-19 pandemic, the games represent another significant achievement for the broadcaster, which made television history 57 years ago with live international satellite distribution of the 1964 Summer Olympics and domestic coverage of some Olympic events in color.

For the 2021 Summer Olympics, NHK plans about 200 hour of 8K UHD coverage, including broadcasts of the opening and closing ceremonies and seven events, including swimming, athletics and judo. It also plans 8K coverage of four Paralympics events: athletics, swimming, badminton and wheelchair rugby.

(NHK previously has conducted tests of its Super Hi-Vision technology, including uses during the 2012 Olympics in London and the 2016 Rio Olympics but downconverted much of that footage because so few 8K displays existed.) 

The broadcaster plans separate 2K Summer Olympics coverage on its General TV 2K terrestrial channel and a simulcast of the 2K presentation in 4K UHD on BS4K. 

Coverage of the Olympics in 4K and 8K will be the first on NHK’s BS4K and BS8K since it launched the satellite channels in December 2018. “We hope to provide viewers with a fully immersive experience that makes them feel like they are watching the events at the venues,” said NHK executive director of broadcasting Masagaki Satoru. 

NHK began work on its Super Hi-Vision 8K television system in 1995, showing the world the incremental progress it was making on development of the concept and technology at special exhibits during major international industry gatherings, such as the NAB Show and IBC. 

8K UHD is the pinnacle of the TV viewing experience. From a resolution point of view, it creates pictures with four times more pixels than 4K UHD (7,680 x 4,320 pixels vs. 3,840 x 2.160 pixels, or 33 million pixels vs. 8 million) and 16 times more than HDTV. 

Both 4K and 8K present video with High Dynamic Range (HDR); HDTV as broadcast does not. They also offer a wider color gamut than broadcast HDTV (ITU-R Rec. 2100 vs. ITU Rec. 709). While these qualities taken together deliver the highest visual TV experience to viewers, 8K’s 22.2 multichannel sound system extends the system’s superior quality to the aural arena.

Millions of viewers in Japan have the opportunity to enjoy NHK’s 4K and 8K coverage. According to Statista Research, there were about 8.8 million Japanese households that owned a 4K or 8K UHD TV as of fiscal year 2019, a figure the research firm forecasted to grow beyond 16 million this year.

An NHK spokesperson declined to provide details about specific 8K production technology to be used for its 8K coverage. However, the broadcaster previously has deployed an 8K camera system of its own design for major sporting events, debuting its use for coverage of the Rugby World Cup in 2018.

NHK’s 8K UHDTV coverage of the 2021 Summer Olympics will only be available to viewers in Japan.

The 2021 Summer Olympics from Tokyo run from Friday, July 23, to Sunday, Aug. 8. The 2021 Paralympics are scheduled for Tuesday, Aug. 24 to Sunday, Sept. 5.

In the U.S., NBC will begin live coverage of the Opening Ceremony at 6:55 a.m. EDT and re-air the opening at 7:30 p.m. EDT.

BOSTON—The 8K Association is launching its own YouTube channel, where it will share 8K-related content meant to promote the growth of the 8K ecosystem.

The 8K Association YouTube channel will feature comment that falls under three playlists: 8K entertainment, which will include 8K native videos for playback on 8K TVs; 8K Products and Reviews, showcasing consumer and professional 8K products; and Learn About 8K, where 8K Association will present educational seminars for professional interested in the 8K ecosystem.

Some of the educational content will include sessions from the SMPTE 2020 conference, a review of the State of the 8K Ecosystem, two panel discussions from NAB Express 2020 and more.

8K Association member companies also on YouTube can be accessed through the 8K Association channel as well.

In addition, 8K Association has created new Facebook and LinkedIn accounts to go along with its existing Twitter account.

For more information, visit www.8Kassociation.com.  

BOSTON—8K TVs could go big over the next few years, according to a new report from Strategy Analytics, shared by 8K Association. By 2025, 72 million homes around the world will own an 8K TV, with the hi-res TVs taking ownership of the market for TVs 70 inches and larger.

In 2020, about 350,000 8K TVs were sold, said Strategy Analytics. Sales were slowed by the cancellation of the Tokyo Olympics. Those numbers are expected to reach 1 million in 2021 with the Olympics expected to take place (though some concerns still remain). That figure is then projected to grow to 4 million in 2022.

For TVs 70 inches are larger, 8K TVs will likely makeup 40% of the market in 2023, before jumping to more than 90% in 2025, Strategy Analytics estimates. Projections have 8K TVs making up just under half of the market for 60-69-inch TVs and under 10% for TVs 50-59 inches in 2025.

“Overall, the penetration of 8K TVs will lag the rate that 4K penetrated the market as the screen sizes for 8K will be bigger and therefore a more limited market,” David Watkins, service director, Connected Home Devices, for Strategy Analytics told the 8K Association.

A  potential issue in the near-time for the sale of 8K TVs is the price increase that may occur as a result of shortages in TV panel supply, though Strategy Analytics still projects single digit growth.

Chinese brands like TCL and Hisense could continue to focus on value pricing, which Watkins says could help get 8K TVs to a $2,000 price point by the end of 2021.

“Ultimately, we see the panel makers as the key to driving down 8K TV prices,” said Watkins. “If one or two switch over entire lines to 8K, that could initiate a stampede among other suppliers.”

MADRID—As the push for 8K content continues, Spanish-based SAPEC has been testing UHD content compression techniques for encoding 8K resolution content with HEVC standards and existing hardware.

With a resolution of 7680x4320, 8K has four-times the number of pixels that 4K content does. While there are already UHD 8K TVs on the market, there are still challenges when dealing with 8K content throughout the entire transmission chain. To help with this, SAPEC is focusing on the compression of 8K content.

SAPEC believes that HEVC (H.265) compression is currently the best available option to compress 8K video. According to its first tests, the bitrate needed for 8K transmission when using HEVC is slightly more than double than that of 4K. This could exceed the maximum conditions of some live broadcast media infrastructures. SAPEC found that these required bitrate values can be reduced by applying different compression techniques offline.

SAPEC also looked at live or real-time compression of 8K video, where the compression speed must be equal to or greater than the rate of images per second. To address these challenges, SAPEC used spatial and temporal parallelization techniques offered by the HEVC standard.

Spatial parallelization divides the image into smaller fragments so they are processed in parallel, with the results of each fragment later received to form a single output stream. 

Temporal parallelization executes the work of compression of images that do not have dependencies between them at the same time. These sequences can also be divided into fragments corresponding to one or more group of pictures.

SAPEC has detailed the results of its tests in a technical article. 

NEVADA CITY, Calif.—China Central TV (CCTV) recently conducted a live test of an 8K UHD TV channel broadcast, using multiple Telestream systems for the test. CCTV says that this was the world’s first 8K UHD TV live broadcast across a 5G network.

CCTV, supported by China Mobile, China Telecom, China Unicom and China Radio and Television, broadcast the 8K UHD signals over 5G from the Beijing National Grand Theater and Shanghai International. To do so, it utilized Telestream’s full 2110 IP solution, including the Inspect 2110 IP monitoring system, PRISM waveform monitor and SPG8000A precision multiformat video signal generator.

The Inspect 2110 and Prism monitors help CCTV monitor IP 2110 8K signals in real-time. Telestream also provides IP 2110 network health protection and automatic alarm functions, and checks the main consistency of the main and backup channels. 

The images were broadcast in public places on more than 30 UHD large screens and China’s first consignment of 8K TVs across Shanghai, Guangzhou, Shenzhen, Chengdu, Hangzhou, Jinan, Haikou and Qingdao.

CCTV has plans for additional 8K UHD broadcasts, including one for its Chinese New Year’s Eve celebrations. In 2022, CCTV expects to start broadcasting 8K UHD channels in the run-up to the Beijing Winter Olympics, with plans to implement 8K UHD as the standard production format for the games. This will include 8K Telestream live monitoring from content production to editing and broadcasting.

 For more information, visit www.telestream.net.  

LAS VEGAS—The 8K Association has announced publication of an updated performance specification for the 8K Association Certified logo program.

The mark is intended to alert shoppers looking for 8K TVs that a set bearing the logo meets the highest performance standards. The mark will be available for qualifying 8K televisions launched in the market this year, the association said.

To qualify for the logo, vendors must meet new program requirements enabling access to advanced multi-dimensional surround sound formats in addition to existing requirements for resolution, luminance, color and connectivity. The program now also recognizes more video decoding standards, it said.

PLUS: Deloitte: 2021 Will be 8K TV's First Million-Unit Year

“During this difficult time when a communal movie theater experience is not possible for many, the availability of big-screen TVs with super-sharp 8K resolution offers an alternative cinematic option at home,” said Dan Schinasi, director of Product Planning at Samsung Electronics America.

“With the 8K Association’s support to promote performance standards that include audio-video performance and interface standards, we expect that more homes will choose 8K TVs and more 8K content will be increasingly available in those homes in the year ahead, offering a safe and exceptional home theater experience.”

The 8K Association also announced it will focus efforts this year on educating video content creators on the benefits of 8K.

More information is available on the association’s website.

WASHINGTON—The International CES electronics extravaganza historically held in Las Vegas in early January, was once a “TV show”—that is, a massive annual exposition and convention to showcase the latest, greatest television receivers and consumer video equipment.

This year, the “All-Digital CES 2021” is a pandemic-induced virtual exhibit and conference taking place Jan. 11–14, (with a month of “reruns”). Registration opened on Dec. 3 (three months later than usual and after this issue went to press), and the Consumer Technology Association, which produces CES, is initially predicting that up to 150,000 people will tunein—approaching the 180,000-attendee range of recent years.

Although the number of exhibitors has dropped (about 1,500 vs. 4,500 last year), CES 2021 will maintain its exhaustive range of categories—from advanced TV, audio and gaming systems to automotive, health/wellness, smart cities and artificial intelligence.

TV technology will still be a major feature—although skeptics are already wondering how 8K, NextGen TV, HDR and foldable/flexible displays will play out in the current virtual setting.

VIRTUAL MEETINGS

Karen Chupka, CTA’s executive vice president for CES, explained that the show’s structure involves exhibitors, whose virtual booths will offer a variety of “activations,” as she calls the types of presence: a digital listing, short-form videos, brochureware and product images to showcase their devices and services plus a chat component. The ersatz showoor will have links to companies’ microsites, where the exhibitors can offer in-depth demonstrations or private conversations. There are also longer-form “activations,” which include open presentations.

CES will use an array of Microsoft strategic cloud platform tools (Microsoft Azure, Microsoft Teams and Microsoft Power Platform) to deliver the exhibitor showcase, media events, conference programming and networking events.

“Microsoft has the bandwidth to handle as much as necessary,” Chupka said, referring to peak online attendance loads. CTA will do advance credential checking to limit the show to bona fide industry participants who will have access to the Microsoft secure platform. She explained that CTA chose Microsoft’s Teams because of its scalability: Capable of connecting with ve or six people or several hundred people at one time. The association has not disclosed how much it is paying Microsoft, a member, to operate the technology for All-Digital CES.

CTA planned to release a full exhibitor list in early December when it revealed other registration and conference details; several major video exhibitors have already confirmed their intent to participate, including LG Electronics, Samsung and Sony.

Chupka expects some large exhibitors—which run many shows annually—will want to use their own platforms once visitors pass through the CES portal into the individual booths.

Reflecting on the decision to go all digital, Chupka said, “At rst we were planning for both live and digital.” But, she continued, by July CTA recognized that it would have to be “totally virtually” so “we had to rethink formats.”

FROM THE ANCHOR DESK IN REDMOND

The TV show prototype starts with the “CES Live” anchor desk at a studio in Microsoft’s Redmond, Wash., headquarters. Two anchor teams of broadcast professionals will offer continual updates during the extended show hours of 7 a.m. to 9 pm. ET each day. They’ll talk about “what’s new and hot” at the exhibits and conference sessions and “talk through the complexity,” Chupka said, using “story lines we’ll select” dynamically, with the assistance of CTA media partners.

The setup also uses AI to “help people find what they’re looking for,” Chupka said. “Going beyond the usual directory of keywords, the AI software will enable convention-goers to set up appointments with each other and then nd a virtual place for a face-to-face conversation.”

Attendees will be able to begin scheduling appointments for specific booths and with individual colleagues by mid-December.

“We want to use technology to produce the serendipity you’d get while walking through the show oor—to encounter things based on your areas of interest, to see what’s important to you,” Chupka explained. CTA’s goal is to “make things you’re interested in easier to find.

“We expect to have a digital arm to anything we’re doing,” she added, noting that CTA expects to learn lessons from the all-digital 2021 show that it will be able to use in the future.

SHOWING OFF 8K, HDR, HFR

Brian Markwalter, senior vice president, research & standards for CTA, expects that, “every TV maker will have 8K” on display. During CES, CTA will present its new sales forecasts, and Markwalter hinted that it will show 8K is starting “moderate growth now that the technology is fully available in the supply chain.” TV sets featuring advanced HDR technology will also be on display.

The CTA outlook also foresees “TVs with newer HDMI features, higher frame rates and gaming-specific modes.” He expects more exhibits on advancing technologies such as micro LEDs and foldable/flexible screens.

“We expect strong representation from Central Hall stalwarts,” Markwalter said, referring to the Las Vegas Convention Center venue where the major TV/electronics makers traditionally show their wares.

As for demonstrating features of 8K and other advanced display technology, Markwalter anticipates that exhibitors will use the same kinds of creativity they’ve demonstrated in TV commercials for 4K. “There are ways to explain the differences between HD, 4K and 8K,” he said.

The CES technology conference program will include sessions on 8K and other new display technology.

Other technologies on the CES exhibit menu include 5G, gaming (fueled by a slew of new consoles) and robotics. Markwalter observed that 5G technology is “hitting its stride and ramping so quickly,” citing more than 170 different 5G phone models available worldwide (although the current number of models available in the U.S. is considerably smaller).

He also pointed out that robotics is taking a big upward leap this year, thanks in part to the pandemic, which has generated more interest in such devices. “We’ll see if anyone leverages that.”

NEXTGEN TV

More NextGen TV receivers will be showcased on the virtual CES exhibit area, according to representatives from the Advanced Television Systems Committee (ATSC). Additional manufacturers—as yet unnamed, possibly some of the large Chinese manufacturers—are expected to introduce TV sets for ATSC 3.0, while LG, Samsung and Sony plan to expand their lines.

After hosting their rst ever CES booth showcasing ATSC 3.0 at the 2020 show, the ATSC will return in 2021 with a virtual exhibit. According to ATSC President Madeleine Noland, at presstime the group was still working on details of how Sinclair/ONE Media 3.0, Pearl TV, device makers and other member organizations will present their services and products within the ATSC booth—with links to their own exhibit sites.

In addition to its virtual booth, ATSC will host two webcasts Tuesday, Jan. 12. The 7 p.m and 8 p.m. (ET) time slots were chosen to make the live programs convenient for Asian viewers to tune in, according to Noland. Working titles for the sessions are “What’s Next for NextGen TV” aimed at manufacturers and “Television Gets Better and Better” focusing on what broadcasters are doing with advanced video and audio. The sessions will be available for on-demand playback.

The goal is to “engage with memberships” including global standards organizations so that visitors are aware of the devices coming to market and “the progress we’ve made,” Noland said. “We want to make sure we aggregate and highlight the progress we’ve made and what we expect for NextGen TV in the coming year.”

Noland expects that ATSC’s presentations—which will be hosted independently from the CES agenda—will attract viewers from TV networks, stations and the content creation community seeking a NextGen TV update.

ONE Media 3.0 and Pearl TV have replaced their snazzy NextGen TV demonstration suites at Wynn’s Hotel with virtual exhibits online.

ONE Media 3.0, the Sinclair Broadcasting subsidiary focused on ATSC 3.0, will explore business applications enabled through ATSC 3.0, which is being deployed in every market where Sinclair is transmitting in 3.0, according to ONE Media 3.0 President Mark Aitken. For the virtual CES demonstrations, ONE Media 3.0 has built an online ATSC 3.0 receiver to do “live demonstrations on the net using our application,” Aitken said.

The virtual CES demonstration will also feature radio-related services, hybrid internet microsites and OTT content from Sinclair’s STIRR.com free, ad-supported streaming service.

“We’ve taken our STIRR app and built 3.0 functionality into it,” Aitken said. The company is working on a brand name for the hybrid service, possibly to be unveiled in January.

Pearl TV, the NextGen TV consortium, plans to exhibit an applications framework for additional services including HDR transmissions, some of which have been tested in its model markets, according to Anne Schelle, Pearl TV’s managing director. At CES, Pearl will unveil details about its accelerated outreach to retailers as more TV set makers begin to market NextGen TV receivers. It also is expected to announce additional stations participating in the Pearl TV consortium.

Schelle hinted that Pearl TV will discuss business applications for NextGen TV outside the traditional broadcast realm.

“Automotive is also a big push,” Schelle said, hinting that Pearl TV will announce “new opportunities” with carmakers following what she called the success of pilot programs in Detroit. During CES, Pearl TV will talk to more vendors in connection with the consumer-awareness campaign that the group has been running in selected markets to familiarize viewers with NextGen TV. Schelle also said that more details will be announced about opening Pearl’s applications framework to third-party developers.

Pearl TV’s demonstrations and presentation will remain accessible on demand after the original webcasts.

To register for the 2021 International CES, visit ces.tech.

LONDON—More than one million 8K TV units are expected to be sold globally in 2021, passing that benchmark for the first time according to estimates from Deloitte. Even with surges in 8K TV sales, Deloitte still estimates that they will make up less than 1% of the 200 million-plus sets sold annually.

Even though 8K TVs will make up a small percentage of the total number of new TV units sold, 8K TVs are projected to garner more than $3.3 billion in global revenue, per Deloitte. That is because currently the average selling price for an 8K TV is more than $3,000.

Like 4K and HD TVs before it, Deloitte predicts that as prices for 8K TVs come down, their sales will go up. In 2017, the average sale price for an 8K TV was about $8,000, which then dropped to about $5,500 in 2018. By the end of 2021, Deloitte estimates that 8K TV prices will drop to about $1,300, helping to spur sales.

This surge in 8K TV sets will occur even as less than 0.1% of video content created in 2021 will be in native 8K, Deloitte says. This fits a trend, as Deloitte cites that more than half of TV sets sold in 2021 are projected to be 4K TVs, though less than 5% of content on SVOD and less than 1% of broadcast program hours will be 4K.

PLUS: TVs Likely to Lead 8K Content Push

There are ways for viewers to watch 8K content on their 8K TVs, though. Deloitte points to 8K TV sets ability to upscale 4K content; remastered 70mm movies are equivalent to 8K; and some content has been shot in native 8K but was released 4K. The 2021 Olympics are also expected to capture some events in 8K.

Deloitte also highlights that 8K TVs can host applications beyond entertainment, including remote working capabilities, online exercise classes and digital wallpaper.

More information on Deloitte’s 2021 8K predictions are available on its website. 

ATSC 3.0 quietly achieved a significant milestone in South Korea Sept.14-18 and again Oct. 19-23 with over-the-air transmission of 8K television.

A trial, led by Dr. Sung-Ik Park, principal researcher at the country’s Electronics and Telecommunications Research Institute, made use of MIMO (multiple-input and multiple-output) technology, an option available in the 3.0 standard, to deliver 113Mbps over-the-air—a data rate that’s more than sufficient to support 8K.

ETRI, working with engineers from Korean Broadcasting System, installed a special 2x2 MIMO array on KBS’s tower in the Paju and Yeoncheon area on Gamak Mountain in Gyeonggi-do province near the border between South and North Korea.

The ETRI and KBS team tested several MIMO data rates, including 60, 90, 105 and 113Mbps, and observed their reception performance with a specially equipped test van taken to multiple locations. The test was conducted on UHF channel 56 (765-771MHz) at low power to avoid the possibility of interfering with other broadcasters in the area.

I reached out to Dr. Park to learn more about the ATSC 3.0 MIMO test, its implications for broadcasters that might at some future point wish to deploy MIMO, what a MIMO 3.0 service would mean for early adopters of NextGen TVs and what other research is underway at ETRI examining 8K television delivery via 3.0.

(An edited transcript.)

TVTechnology: ETRI and KBS conducted a couple of over-the-air tests to demonstrate the feasibility of transmitting 8K via ATSC 3.0 using a MIMO RF infrastructure. Tell me about transmission-receiver setup for the trial. 

Sung-Ik Park: ETRI and Cleverlogic developed the ATSC 3.0 MIMO transmitter and receiver together. This MIMO system is 100% compatible with the ATSC 3.0 standard.

The current system supports a maximum of 5kW ERP [each horizontal and vertical antenna has 5kW ERP] because it was just developed for small-scale field trials. Cross-polarized transmitting and receiving antennas were used. 

TVT: And the receiver?

SP: The MIMO receiver supports not only all the ATSC 3.0 mandatory and optional technologies, but also accurate field measurement, [including parameters such as] signal-to-noise ratio (SNR), Modulation Error Ratio (MER), Bit Error Ratio (BER), Frame Error Ratio (FER), spectrum, Channel Impulse Response (CIR) and frequency response.

TVT: Did you receive the 8K 3.0 MIMO signal in different locations?

SP: We selected six reception points and measured several parameters, like field strength and Threshold of Visibility (ToV) at each point.

TVT: Besides ETRI, KBS and Cleverlogic, who else was involved in the testing?

SP: KaiMedia provided an 8K-UHD video/audio encoder and decoder and AGOS provided a total measurement solution and related equipment for the field trial.

TVT: If I understand MIMO properly, it sends the same data as several signals via multiple transmission antennas. If so, how was that leveraged in an ATSC 3.0 context to achieve the data throughput needed to enable 8K OTA delivery of IP packets?

SP: ATSC 3.0 supports 2x2 MIMO optionally. Two vertical and horizontal antennas were used at the transmitter and receiver, respectively. If ATSC 3.0 can deliver 57Mbps at 6MHz with a single transmit and receive antenna, two cross-polarized TX and RX antennas can achieve 113Mbps at 6MHz throughput, almost double the data rate compared to a single antenna case.

At the transmitter side, 113 Mbps data is divided by two, and then transmitted through each vertical and horizontal antenna. At the receiver side, each data [stream] from the vertical and horizontal antenna is combined to make a 113 Mbps data stream. Due to several technical reasons—mainly the lack of a feedback channel from the receiver—ATSC 3.0 only supports two cross-polarized—horizontal and vertical—antennas.

TVT: I know MIMO offers other benefits, but in the trial, it was used because of this ability to increase data throughput, right?

SP: Yes, you are right. The primary advantage of MIMO is to increase data throughput so that 8K-UHD or multiple 4K-UHDs can be delivered by OTA.

TVT: How big is an 8K HEVC-encoded signal? I’m trying to get a sense of whether you were barely able to achieve 8K or if there was sufficient bandwidth to make it happen.

SP: Of course, the higher the bitrate, the better the quality. But around a 90 to 100Mbps HEVC encoded signal is more than enough for 8K-UHD quality.

TVT: I understand that this was a trial, and that there is no commercially available system for broadcasters to deploy at the moment. But best guess, what would the cost look like to deploy ATSC 3.0 MIMO from an RF infrastructure point of view?

SP: I am not sure when this MIMO [broadcast system] could be commercialized. However, if there is a strong interest in free OTA 8K-UHD or multiple 4K UHD deliveries, broadcasters and consumer electronics companies will be able to consider ATSC 3.0 MIMO or channel bonding.

In terms of the broadcaster, some infrastructure, such as MIMO exciter, an amplifier for horizontal and vertical and MIMO antenna, will need to be added. So, that MIMO-8K infrastructure cost will be 50% more than a typical 3.0 deployment.

TVT: Would a future ATSC 3.0 MIMO deployment require a station to replace its existing transmitters and antennas?

SP: Yes, MIMO needs MIMO antennas and a new transmitter [exciter]. However, a high-power amplifier (HPA) can be reused. Note that the MIMO system uses two HPAs—one for horizontal and another for vertical. So, one existing HPA can be reused. 

TVT: So, it sounds like there is the possibility of at least a bit of a retrofit by adding, for instance, a second antenna.

SP: This is quite an important question. In ETRI’s field trial, we installed a new 2x2 commercial MIMO antenna on the tower.

However, an antenna expert has informed me that we could also add another antenna to the existing one. For example, assuming that a horizontal antenna [in Korea] is already installed on the tower, adding an additional vertical antenna can work as a MIMO antenna.

However, we should be cautious because the isolation between cross-polarized horizontal and vertical is quite a critical performance factor. Furthermore, installation space for an additional antenna is also a consideration.

TVT: As is weight, wind load and other factors related to an existing tower. That makes me wonder if a second, future MIMO antenna has to be on the same tower as the original antenna or could it be another nearby structure?

SP: No, it should be installed on the same tower.

TVT: Is OTA delivery of 8K via ATSC 3.0 simply a science project, or is there real interest at ETRI in this for the future of OTA TV?

SP: ETRI is quite interested in 8K-UHD delivery, and we are considering three possible ways to deliver 8K-UHD. They include the ATSC 3.0 MIMO system based on two vertical and horizontal antennas; an ATSC 3.0 channel bonding system based on two separate RF channels; and an ATSC 3.0 broadband convergence system where ATSC 3.0 delivers OTA 4K-UHD and broadband—whether it’s 4G, 5G, Wi-Fi or other service—delivers metadata to make 8K-UHD.

Each method has pros and cons, but ETRI wants to show the feasibility and benefit of ATSC 3.0 for efficient 8K-UHD delivery.

TVT: Tell me a bit more about the channel bonding solution. Do they have to be adjacent channels? If not, could a VHF and UHF channel be bonded from a data delivery point of view?

SP: ATSC 3.0 supports channel bonding optionally as well. It only supports two RF channel bonding but doesn’t restrict which RF channel should be used.

Two contiguous or two separate RF channels can be used. If one VHF channel and one UHF channel are bonded, it can further provide frequency diversity because VHF and UHF have different frequency features. 

For example, the VHF channel for mobile-oriented service and the UHF channel for other-targeted services like UHD. The VHF channel delivers a part of the content, and the UHF channel delivers another part of the same content. A channel bonding receiver decodes the content delivered by the VHF channel and that delivered by the UHF channel so that it has better reception performance due to frequency diversity. 

TVT: Let’s get back to the viewer at home. Granted, you conducted a trial, but if 8K 3.0 MIMO were to be deployed in the future, will the NextGen TV sets of early 3.0 adopters be obsoleted?

SP: Yes, unfortunately it is true. However, if a MIMO-supported STB is available, early NextGen TVs can be reused, I think.

TVT: OK, but what about preventing this obsolescence by doing some sort of data split as is done with SHVC where a base layer and enhancement layer are combined in receivers capable of using the enhancement bits to—in this hypothetical case—support 8K without affecting those with existing NextGen TVs, which would simply ignore the enhancement bits?

SP: Unfortunately, MIMO is not backward-compatible with existing ATSC 3.0-ready TVs. If broadcasters adopt MIMO, a new TV or STB will be required. Assuming that you have a MIMO-supported TV, a vertical antenna can provide OTA HD or 4K, and a horizontal antenna can provide metadata to make 8K service. For example, the base layer of SHVC is delivered by the vertical antenna, and enhancement-layer data of SHVC is delivered by a horizontal antenna.

If a MIMO-supported TV or STB receives a vertical base-layer only, you can watch at least OTA HD or 4K service. This is a possible scenario for mobile service as a mobile terminal typically uses a vertical antenna.

If a MIMO-supported TV or STB receives both vertical base-layer and horizontal enhancement-layer, you can watch 8K by combining two layers. This is the same as channel bonding. RF1 delivers the base-layer, and RF2 delivers the enhancement-layer.

TVT: Is there anything else you would like to add about 8K via ATSC 3.0 OTA or other ETRI 3.0-related projects?

SP: ETRI has conducted several projects aimed at helping ATSC 3.0 to succeed. Among them are ATSC 3.0 SFN optimization; development of MATV (master antenna TV) technology for an apartment building; on-channel repeater development for an SFN; professional measurement receiver development for ATSC 3.0; and convergence of ATSC 3.0 and 5G. These all are essential for ATSC 3.0 and are widely used in the industry.

Recently, ETRI and Lowasis started field verification of ATSC 3.0 diversity receivers. Since a diversity receiver provides significant gain compared to a single antenna receiver, it is crucial for ATSC 3.0 mobile. However, since it requires enough space for multiple antenna installations, we are focusing on public transportation systems like a city bus. In ETRI’s preliminary trial in Seoul, the diversity receiver’s performance was more than perfect.

WALTHAM, Mass.—Zixi, using the AWS Wavelength on the Verizon 5G Edge, is testing live and linear 4K and 8K broadcast media workflows for 5G distribution. Zixi, an AWS partner, says that it is working with a global broadcaster on these tests.

Zixi uses AWS Wavelength to power its Software Defined Video Platform (SDVP) to help content providers deliver new kinds of live streamed sports and entertainment experiences. SDVP uses ultra-low latency access to AWS compute and storage services enabled by AWS Wavelength at the Verizon 5G Edge to process UHD videos and compress it for delivery to mobile devices.

The SDVP also utilizes AWS Wavelength’s ability to support a range of remote and distributed production scenarios for increased production workflow efficiency, Zixi says.

According to Eric Bolten, vice president of business development for Zixi, the field tests currently underway are showing latency below 10 ms over an 80-100 Mbps pipe.

“The goal for us—AWS, Verizon and Zixi—is to address the three main elements of live streaming success: latency, overhead and uptime,” said Bolten. “The industry is now ready to go. The industry has evolved from science experiments to real-world production deployments today, not next year.”

For more information, visit aws.amazon.com/wavelength/. 

Even though 4K is still establishing itself with consumers, the 8K revolution is coming, with TV the likely avenue for most viewers to get their first taste of it. This was one of the key takeaways from the 8K Association panel “The Creative Perspective on 8K” during SMPTE2020.

The panel featured a group of filmmakers, including Erik Messerschmidt and Peter Mavromates, the cinematographer and post producer, respectively, for David Fincher’s upcoming Netflix movie “Mank.” The panel discussed how and why they are choosing to shoot in 8K, even though at the moment there are no simple methods to transmit 8K to large TV audiences. 

However, as Bruce Markoe, senior vice president of post-production/operations and DMR at IMAX, pointed out, filming in 8K now will make things easier when 8K becomes more readily available later.

When 8K distribution and display technology is widely available, audiences are going to demand content that can take full advantage of the available resolution. If you shoot in 4K or even 2K now, that will be more difficult to upconvert to 8K later on. As Markoe puts it, “skimping on resolution doesn’t serve you well downstream.”

While the panel discussion was largely based around the film community’s use of 8K, Markoe recognizes that home viewing of this content is crucial to its longevity. TV is well prepared to meet that eventual demand, he claims.

With most TVs now capable of displaying HDR, today’s TVs are brighter, have better contrast and are bigger than ever before, Markoe says, providing the highest-quality presentation of content. While 8K TVs are not yet prevalent on the market, they are coming, he says—even if their initial introduction to the market was slowed because of the pandemic and the postponement of the 2020 Olympics. And when the price points begin to come down, consumers are likely to begin adding them in droves.

At that point, being able to say that something was shot and mastered in 8K will help draw interest in the content, even if it is still only displayed in 4K, the panel concluded.

To register for SMPTE2020, visit 2020.smpte.org/ 

BERLIN—Spin Digital has released a new HEVC/H.265 software real-time encoder designed for 8K live video applications, the Spin Enc Live. With the new encoder, users can generate live UHD resolutions for broadcast and internet streaming applications.

Spin Enc Live can compress 8K content in real time at low bitrates. It features an optimized HEVC encoder, as well as modules for input capture and output streaming.

The new encoder fulfills the requirements for 8Kp60 broadcasting and streaming applications, per Spin Digital, including:

• Real-time operation mode
• HDR model compliance 
• Broadcast-level rate control 
• HDR and wide color gamut support 
• Input capture based on SDI 
• Simultaneous output for broadcasting (TSoIP) and internet streaming (HLS) 
• Audio encoding up to 22.2 channels 

Spin Digital also says that the encoder provides minimal latencies in both high-efficiency (long GOP) and low-delay (short GOP) operation modes.

The Spin Enc Live encoder is also able to be used for other live applications, like 4K with High Frame Rates or immersive live experiences with ultra-high resolution 360-degree video, according to Spin Digital. The company says that as more computing resources become available, higher resolutions and frame rates will be achievable.

Spin Digital is now offering the Spin Enc Live encoder for licensing, either as a complete application or as a module as part of the Spin Digital SDK. For more information, visit www.spin-digital.com. 

OYSTER BAY, N.Y.—Much like the rest of the world, 8K TVs are not having the 2020 they expected. Manufacturers of TV panels capable of displaying the high-resolution had hoped for a strong showing of sales, but as ABI Research reports, those numbers were impacted by the COVID-19 pandemic.

ABI’s latest report reveals that the overall flat-panel TV market is sluggish in 2020 because of economic uncertainties. There was expectation that 8K-capable TVs would help boost the market, but the one-year delay of the 2020 Olympics, which was going to consist of 8K content, is among the key factors that have led to low 8K TV unit shipments for 2020.

Flat-panel TV makers are still pushing 8K TV sets, though. Samsung and LG are reportedly aiming to increase 8K TV sales to generate higher revenues and profit margins. Samsung has offered promotional prices for its 8K TV sets as a way to counteract many consumers’ economic challenges from the pandemic, ABI says.

“Although 8K TV set price points have declined from a year ago, the cost of most 8K TV sets is still relatively high, ranging from $3,500 to $30,000,” said Khin Sandi Lynn, industry analyst at ABI. “High cost and lack of content will delay 8K TV set adoptions.”

ABI estimates that just 1% of worldwide flat-panel TV shipments in 2021 will be 8K TV sets.

For more information, visit ABI’s website. 

MONT-SAINT-GUIBERT, Belgium—Compression solutions provider intoPIX has released its 8K TICO-XS encoder and decoder IP Cores. 

“8K seems out of reach and requires very high throughput bandwidth, unreasonably larger memory buffers, high-end cables or 100GbE network interfaces,” says Justine Hecq, product owner of the TICO-XS IP-cores. “Our new cores enable manufacturers to manage and transport seamlessly 8K on COTS infrastructure.”

The new IP-cores make it unnecessary to compromise on quality using lower frame rate, irreversible data-loss technics with heavy processing and additional delays, the company said.

The cores support the JPEG XS ISO standard and can be used with mid-range FPGA families from Intel and Xilinx or on ASICs with low gate counts, said intoPIX.

The cores offer:

• visually lossless quality as defined in the JPEG XS standard;
• support for the complete UHDTV2 specification; 
• imperceptible encoding/decoding delay of less than 1 millisecond; 
• low memory use with the light line buffers handled in internal RAM; 
• embedded two-level downscaler in the decoder enabling HD and 4K resolutions to be extracted from the compressed 8K stream without the need for additional processing; and  
• manageable streams down to 2.5Gb or 10Gb Ethernet

Latency throughout the workflow is imperceptible with the cores’ maximum of 32-line delay end-to-end. Artifact-free 8K quality is achieved with a compression ratio of 16:1, it said.

The cores are so small that manufacturers can already have an FPGA where the 8K cores will fit, and they will not require memory controllers or external DDR, the company said. 

The 8K cores cover various needs and uses cases offering support for 8192x4320, 60fps or 120fps, 4:4:4, 4:2:2 and monochrome, it said.

With CPU and GPU implementations, the new 8K IP-Cores are shipping now.

More information is available on the company’s website.

MADRID, Spain—Spain’s RTVE has carried out what it says is the world’s first broadcast of an UHD 8K signal in DVB-T2.

The test was conducted in conjunction with University of Madrid, Cellnex, Dolby, Sapec, Sony, SGO and Samsung.

The display of the signal was carried out by Samsung, which prepared an adapted Samsung QLED 8K model for the test.

The text faced a number of challenges, including:

• Compressing the UHD-8K signal that represents more than 33 Gbps of video, in less than 33 Mbps, and maintaining the video quality that such a signal requires. This data gives a compression ratio higher than 1000:1. This challenge meant Sapec had to to perfectly adjust all the parameters that improve HEVC coding and optimize them to achieve it.
• Handle the huge amount of bits that a UHD-8K signal (48 Gbps) generates, since UHD-8K generates 50 images of 32 Mpixels (32 times more than the HD signal).
• The computing capacity was estimated to be greater than about six-times that necessary to encode UHD-4K.

The signal itself included new technologies such as:

• HDR with Hybrid Log-Gamma transfer function approved in the STD-B67 standard by the ARIB (Association of Radio Industries and Businesses).
• 50 frames per second frame rate.
• Extended color gamut, meeting recommendation of the ITU-R BT.2020, 10-bit depth and 4:2:0 subsampling.
• 5.1.4 multichannel audio.

In terms of compression, the text used HEVC for video coding, Dolby’s AC4 audio coding format and the DVB-T2 standard for the transmission of content.

The binary rate resulting from the audiovisual content was around 32 Mbps. The parameters of the COFDM modulation used for transmission via DVB-T2 from the UPM were: 32k extended, guard interval 1/128 and pilot pattern PP7.

The test also included a single PLP, with modulation of 64QAM and FEC of 5/6. With this configuration, a maximum binary rate of around 36 Mbps was reached, proving it to be a valid means to transmit the content without any issues. On the part of the UHD channel broadcast by Cellnex Telecom, the modulation parameters used for DVB-T2 transmission were: 32K Ext. 256QAM 2/3 GI 1/8 PP2 SISO. It is also a valid configuration to support bit rate requirements.

UHD-1 (i.e., 4K) has been in the market for more than eight years, and according to the Ultra HD Forum there are more than 150 4K live and on-demand services. 4K channels are being deployed by broadcasters all around the world. On the OTT side, SVOD platforms have demonstrated their commitment to 4K. Out of the Netflix catalogs, 17% are in 4K, and reportedly 30% of Netflix’s 193 million subscribers have the UHD package, making it the largest 4K platform in the world with 57 million subscribers.  

4K STATUS UPDATE

4K technology has been around for almost a decade. 4K was first streamed by Netflix in 2014, and the Rio Olympics was the first large event to broadcast 4K live, although at that time not many operators could distribute it due to the lack of 4K-capable STBs. As of today, the Ultra HD Forum estimates there are around 189 UHD services, with 79% of the services being live and 21% on demand. Taking a closer look at those services, 47% support High Dynamic Range (HDR) and 22% support Next-Generation Audio (NGA).  

While 4K is popular, has it truly peaked? The answer is: not really. In some countries such as the United States, there is still not a single 24/7 live UHD service, and ATSC 3.0 is just being deployed by broadcasters. Korea took a more voluntary approach by first broadcasting 4K 24/7 using ATSC 3.0 in the 2018 PyeongChang Winter Olympics. 

UHD-2 (i.e., 8K) is the primary focus in Japan and was supposed to be demonstrated at the 2020 Tokyo Olympics, which is now postponed to 2021 due to COVID-19. China deployed 4K at the end of 2019 and is planning more 4K channels in 2020. As the host of the Beijing 2022 Winter Olympics, China expressed interest in providing 8K coverage, demonstrating its technology leadership. 

In addition, broadcasters in France, Brazil and Italy are planning 4K terrestrial deployments for the 2024 timeframe. Having content in 4K will incentivize distributors on the broadcast and OTT sides to deliver the long-awaited 4K experience.

8K PROGRESS AND CHALLENGES

UHD-2 is the natural evolution of UHD-1, as it proposes using more pixels and the same techniques as UHD-1, including Wide Color Gamut (WCG), HDR, High Frame Rate (HFR), NGA and Content-Aware Encoding (CAE). Figure 1 depicts the technology roadmap for UHD-1 and UHD-2. 

In 2019, 8K was introduced by TV manufacturers, with very limited content available. In Japan consumers can enjoy 8K NHK via satellite, while some OTT services such as The Explorers are offering 8K VOD services on connected TVs. At the 2019 CES conference, the 8K Association was formed to promote the adoption of 8K. 

Content providers are still trying to assess the impact of the 8K format on the consumer experience. There are several key challenges the industry needs to address for 8K to become a mainstream format.

First, the industry needs to have content, or the willingness of content providers to produce in 8K. At the 2020 HPA conference, Warner Media presented the results of 8K testing versus 4K content displayed on an 8K OLED TV. The panel of users noticed very little difference between 4K and 8K while watching a variety of content, including movies and documentaries. Neither broadcast nor sports content was produced, and the content that was shown was at 30 fps. Therefore, more testing will definitely be needed to cover additional use cases. 

With current technologies on the production and display side, the Hollywood community is not convinced about investing in 8K production. It’s important to note that with 8K, new writing rules will exist, similar to what happened during the transition from HD to UHD. For instance, a wide viewing angle is now possible to cover a complete soccer field. In light of those observations, Harmonic has decided to produce its own 8Kp60 HDR soccer content that will be used for further 4K vs. 8K comparisons. 

The workflow is also important. Typically, 8K would require 48 Gbps, either using 4x12G SDI infrastructure or delivery over IP using ST 2110, which is still not fully interoperable for UHD-1 (12 Gbps). Needless to say, the 8K live production workflow, especially over IP, will not be ready for prime time for several years. It is interesting to note that BT Sports, after a live demonstration of 8K at IBC 2019, has decided to deliver some 8K EPL matches to connected TVs for the 2020-2021 season, meaning it has a live 8K production workflow ready. 

Distribution is another critical aspect of 8K. Today, 8K delivery is done either via satellite, like in Japan, or over IP to connected TVs. Operators want to deliver 8K at the lowest possible bitrate. Today, the deployed 8K services are using HEVC, and the bitrate is between 85 Mbps for satellite and 65 Mbps for OTT. 

At IBC 2019, Harmonic demonstrated single pass file-based cloud encoding, showing promising results in HEVC using Content Aware Encoding (CAE)  at bitrates between 25 Mbps and 35 Mbps, depending on the content complexity. The biggest benefit of HEVC is that it is deployed on all 8K devices. The arrival of new codecs like VVC promise a 50% reduction compared with HEVC. In around two to three years, it’s expected that the VVC 8K bandwidth range will be below 20 Mbps using CAE. This will bring 8K down to 4K bitrate values. Of course, VVC devices are needed as well as more clarity on the VVC licensing terms. This is being handled by the Media Coding Industry Forum. 

Furthermore, the industry needs consumer devices at an affordable price. Since 8K requires large display panels, the “8K wow effect” will only be visible for 80 inches and above, keeping the price high and limiting the adoption of 8K devices.

UPCONVERSION SOLUTION

If 8K content is not going to be produced before some time, 8K large size panels need a few more iterations to reduce in price and new codecs will not be available for several years to keep the bitrate down, what is the best way to deliver 8K to consumers in the coming years? 

There is a large consensus in the industry that the solution is to send 4K to an 8K TV that will upconvert the content to 8K with a high-quality upconverter. Samsung has introduced its ScaleNet system that produces metadata to assist with upconversion on the TV side. Other TV manufacturers rely either on AI or super resolution techniques to produce the best 8K quality, without any assistance. This is a win for content providers who do not have to invest in 8K production, network operators who do not need to build additional infrastructure and TV manufacturers who can sell 8K TVs. 

The drawback of this approach is that not all 8K TVs are equal, and the content quality is not controlled by the content provider. Another route is to start with a 4K production and upconvert to 8K at the headend side. This guarantees that 8K quality is the same for all devices, and it can be delivered today using HEVC or tomorrow with VVC. Harmonic will show the potential of such super resolution schemes at the RG Lab 2020 with France Télévisions. 

CONCLUSION

4K deployments are not yet mainstream, although around the world there are about 189 UHD services. More broadcasters will deliver UHD content in the coming years, and important events in 2022 (Beijing Winter Olympics/Qatar FIFA World Cup) and in 2024 (Paris Summer Olympics) are expected to boost UHD adoption. 

After 2024, the technology maturity, the arrival of new codecs, the cost reduction of large size 8K panels combined with the availability of resources to deploy a new system, will align for 8K to take off. In the meantime, upconversion technology at the headend or on the TV side is the best short-term solution. 

Thierry Fautier is vice president of Video Strategy at Harmonic.

WASHINGTON—Looking back at the advancements in resolution, since the leap from SD to HD, the progression to a higher-quality image has occurred about every seven years, based on data from IHS now Omdia. By 8K Association’s calculations, the transition from 4K to 8K is right on time with this trend.

This was one of the many details about 8K revealed during a recent webinar hosted by Chris Chinnock, executive director of 8KA and president of Insight Media. Chinnock, in a presentation that was based off an 8KA report authored by industry experts, detailed where multiple facets of the 8K ecosystem currently stand and the challenges that stand in the way of its progress. For professionals and consumers, 8K has a lot of parallels to what 4K was dealing with during this particular moment in its evolution.

8K PRODUCTION

There’s an increasing number of options for capturing 8K images, as professional equipment is in a good spot to move in sync with 8K as it becomes more commonplace. Specifically for broadcast, Chinnock detailed how brands like Sharp, Sony, Hitachi, Panasonic and Ikegami already have 8K-capable cameras; with Blackmagic already working on 12K cameras. There is also equipment for handling both 8K live and off-line production workflows.

PLUS: 8K Ecosystem Is Ready for Implementation

A good example of these technologies being put to work is in sports production. Many major sporting events have conducted trials with 8K equipment. Had COVID-19 not delayed the 2020 Summer Olympics in Tokyo, they would have been one of the largest sporting events to showcase 8K resolution thus far—Chinnock reported that it is believed that 8K will still be a part of the delayed Tokyo games in 2021, as well as the 2022 Winter Olympics in Beijing and the 2024 Summer Olympics in Paris.

However, challenges remain on the production front when it comes to 8K, primarily processing power, memory and storage, and transport and bandwidth, according to the 8KA report. Still, “trends are all in the right direction” on these issues, said Chinnock.

DISTRIBUTION

As for distribution of 8K, more work is needed, Chinnock said. NHK, which has been broadcasting in 8K since December 2018, uses HEVC compression and 80-100 Mbps satellite service, a method that Chinnock believes is not ultimately sustainable.

Satellite, over-the-air and internet delivery (streaming or downloading) all have their current limitations. Even ATSC 3.0 is not currently ready to bring 8K to viewers, as it has limited bandwidth and no 8K definition, per Chinnock.

It’s streaming that is likely to be the leading platform for 8K in the immediate future, though. Chinnock believes that there may be 8K content streaming as soon as 2020/2021, with major streamers adding the capability in 2022/2023. 

PLUS: The Ongoing Evolution in Video-Capture Resolution

WATCHING 8K

What are consumers’ options for viewing 8K? All major TV brands have models that are capable of displaying 8K, but there are currently no set-top boxes or USB streaming sticks that can handle it; gaming systems like PlayStation 5 and Xbox Series X are slated to have 8K support when released, likely by the end of the year.

Consumers still need to be educated about 8K, which is one of the key missions of 8KA and is supported by its recent launch of the Discover8K.com website. But seeing content and the advantages of 8K resolution will be the biggest component to getting consumers interest.

Many of the same hurdles were laid out before 4K six or seven years ago, and Chinnock and 8KA believe that the industry is ready to meet these demands and continue the resolution evolution.

8KA’s “8K Ecosystem Is Here: Is It Time to Embrace 8K?” webinar is available to watch on-demand online.

TOKYO—Get ready to see Mars in 8K, as Japanese broadcaster NHK and the Japanese Aerospace Exploration Agency (JAXA) are collaborating on a “Super Hi-Vision Camera” that would shoot 4K and 8K images of JAXA’s Martian Moons eXploration (MMX) mission. JAXA claims that this would be the first time 8K images of Mars and its moons would be taken in close proximity.

The camera is meant to capture UHD images and broadcast them widely with cooperation from JAXA. The images will be taken at regular intervals and partially transmitted to Earth to create a smooth image. The original image data is planned to be stored in a recording device in MMX’s return capsule.

JAXA and NHK have collaborated on different projects dating back to 1992 when it conducted a live broadcast from a space shuttle. This collaboration’s goal is to visualize the actual behavior of the spacecraft with the Super Hi-Vision Camera, combining 4K/8K images with MMX’s flight data. These can also be used for the operation of the spacecraft, JAXA says.

“JAXA and NHK will work together to convey the appeal of a new horizon that has never been seen in detail before, to many people in a vivid and inspiring way,” said JAXA in the announcement.

MMX is expected to launch in JFY 2024.