BEAVERTON, Ore.—HDR10+ Technologies LLC, an industrywide consortium with more than 180 adopter companies, has been selected to administer the certification program for Eclipsa Video, a new open source video standard.

Eclipsa Video is based upon SMPTE 2094-50, the recently developed specification created by the Society of Motion Picture and Television Engineers (SMPTE), with experts from Google, Apple and NBCUniversal leading this initiative.

Roshan Baliga, Google Product Lead for Eclipsa Video explained that "we decided to leverage HDR10+ Technologies LLC’s proficiency in premium video standards, making their organization the ideal partner to administer the Eclipsa Video program.”

The Eclipsa Video program helps to ensure the highest-quality video on compatible smartphones other and next-generation devices. This latest effort marks the second time that the HDR10+ Technologies LLC has been selected to administer a program for Eclipsa. Last October it was selected to administer the Eclipsa Audio certification program

“For years, HDR10+ has been at the forefront of video innovation by delivering a spectacular viewing experience,” Bill Mandel, co-manager of HDR10+ Technologies LLC said. “With Eclipsa Video, we can now expand our pioneering work in Eclipsa Audio certification, in order to deliver a more seamless and immersive audio/video environment”.

Eclipsa Video seamlessly integrates with the broadly supported HDR10+ standard. Devices certified for both standards may utilize the name Eclipsa Video powered by HDR10+.

The new Eclipsa Video program will initially address smartphones, with other devices to follow. The first Eclipsa Video approved devices are expected to be introduced later this year.

For more information on licensing and testing Eclipsa Video, please visit www.eclipsamedia.org

BEAVERTON, Ore.—HDR10+ Technologies, a multi-industry association that encompasses more than 170 adopters and nearly 20,000 certified devices, is reporting that the France 2 UHD TV channel will be broadcasting the Milan-Cortina Winter Olympics in 4K Ultra HD which utilizes HDR10+ metadata technology to optimize video image quality on a scene-by-scene basis.

The broadcasts, which will run February 6 to 22, are just the latest example of how HDR10+ is being used for a variety of applications in the entertainment industry, the group said.

In addition to providing superior video quality, France 2 UHD will be offering three different immersive audio mixing options on compatible televisions: a traditional mix balancing commentary and ambient sounds; a mix where the commentary volume is increased by 6 dB for greater voice intelligibility; and a mix that contains ambient sounds only, without any commentary.

According to Bill Mandel, co-manager of HDR10+ Technologies, LLC “We are pleased to work with France Télévisions Group to utilize HDR10+ to help the Olympic Games enthusiasts to enjoy the highest quality video and audio possible”.

Jacques Donat-Bouillud, director of distribution, France Télévisions Group added that “France 2 UHD is proud to deliver the Milan-Cortina Winter Olympics in native UHD. This exceptional image quality and more immersive sound will enable our viewers to experience these Olympic Games as if they were on the slopes or ice rink.”

For more information on HDR10+ please contact info@hdr10plus.org

BEAVERTON, Ore.—HDR10+ Technologies, LLC has announced that they will soon begin the licensing and certification of devices, content, and services that support HDR10+ ADVANCED dynamic meta data technology, the latest in a series of enhancements that are part of the rapidly expanding HDR10+ ecosystem.

HDR10+ Technologies, which develops specifications for HDR10+ applications and operates a certification, licensing and logo program, is a multi-industry association that encompasses more than 170 adopters and nearly 20,000 certified devices.

HDR10+ dynamic metadata offers a number of benefits, including outstanding brightness and contrast, robust standardization, easy implementation, worldwide certification, and no licensing fees, the group reported.

It also works seamlessly with HDR10 standard metadata and is future ready. HDR10+ video supports implementations from 10-bit to 16-bit and up to 10,000 nits of brightness. HDR10+ ADVANCED has been specifically designed to elevate HDR10+ performance to a whole new level, the group said.

According to Bill Mandel, co-manager of HDR10+ Technologies, LLC “With the development of HDR10+ ADVANCED dynamic metadata, content creators and entertainment enthusiasts can finally realize the ultimate video experience, no matter how demanding their needs. We’re confident this new technology will be embraced by consumers and professionals alike, across a variety of businesses and applications”.

HDR 10+ also underscored growing support in the consumer electronics and creative community for HDR10+ and reported that the introduction of HDR10+ ADVANCED has been eagerly anticipated by companies like MediaTek, Panasonic, Roku, Samsung and TP Vision; as well as leading content providers like Amazon Prime Video.

"HDR10+ ADVANCED marks a transformative leap in streaming picture quality, and we're thrilled to pioneer support for this new technology on Prime Video," said BA Winston, vice president of technology at Prime Video. “We will offer HDR10+ ADVANCED on select titles from Prime Video's extensive catalog of award-winning programming, with plans to expand availability across our library in the future."

The group described the key new features for HDR10+ ADVANCED as follows:

• HDR10+ ADVANCED provides creatives with a number of exciting new features and benefits that can be enjoyed on compatible products.
• Enhanced Overall Brightness - Extended statistical metadata is provided to produce better image tonality. Adopters can utilize this to achieve greater brightness that can be experienced on today's most advanced televisions.
• Intelligent Motion Smoothing – This metadata feature is used to address the effects of visible “judder” in a given scene, by allowing compatible displays to dynamically adjust the amount of motion “smoothing “that is applied.
• Local Tone Mapping - Allows creators to achieve greater brightness control in specific areas of the screen, adding more overall depth and detail.
• Genre-based Optimization – A new metadata tool enables content providers and encoders to create “customized” genres dynamically. The display can then optimize picture processing and tailor it to each type of content.
• Advanced Color Control – HDR10+ ADVANCED also enables content creators to dynamically calculate color gamut data, for more accurate color reproduction.
• Adaptive Cloud Gaming – In addition to compatibility with HDR10+ GAMING picture mode, HDR10+ ADVANCED supports cloud-based games with real-time ambient light adaptation, creating a more engaging user experience.

Makoto Morise, co-manager of HDR10+ Technologies, LLC, added that “All of these new features and benefits are why HDR10+ ADVANCED provides more creative possibilities and opportunities than ever before”.

For more information on HDR10+ ADVANCED, please contact info@hdr10plus.org.

To learn more about the HDR10+ consortium, license and logo program, please visit: www.hdr10plus.org/

Sure, HDR (aka high dynamic range) is better than SDR (standard dynamic range, a term we didn’t even need until we had HDR), but why?

SDR is regular television—it can produce a maximum luminance level of around 100 nits limited to Rec.709. HDR gives a maximum luminance of 1,000 to 10,000 nits (and a minimum of 400 nits), with brighter brights, more detailed darks and more saturated colors with Rec, 2020 (Fig 1). The more realistic color is due more to WCG (wide color gamut) than to HDR itself. 

Three Formats
There are three main display formats for HDR: HDR10, HDR10+ and Dolby Vision. As you would expect, each handles HDR differently.

HDR10 is open standard, typically mastered between 400 to 4,000 nits. It’s a PQ (perceptual quantizer) transfer function with static metadata, delivering the same brightness and tone mapping for the entire program. 

HDR10+ is royalty-free for the content creator. TV/display manufacturers pay an annual license fee. Dolby Vision, similar to HDR10+, is proprietary from Dolby Laboratories. Both are mastered from 1,000 to 4,000 nits using dynamic metadata that adjusts the brightness and tone mapping per scene. 

For HDR10+ and Dolby Vision, most content is mastered at around 1,000 nits. While seemingly the same, Dolby Vision is considered better than HDR10+ in areas such as peak brightness minimum, tone mapping, TV support and content availability, according to a number of sources.  

Stretching the Truth
Marketing & PR are one-half truth, one-half half-truths and one half omitting the truth—it all depends on what’s being sold. But sometimes, the people doing the selling don’t really understand what they’re selling.

In a recent “Consumer Reports”’ story, “How to Watch Super Bowl LVII in 4K HDR,” buried deep in the story, there’s an image appearing to be from DirecTV to promote 4K HDR, comparing two images of a colorful parrot to show the better quality of “4K
HDR 2160p.” (Fig. 2)

But that image is being compared to “Full HD 1080p”—not exactly an apples-to-apples comparison with only one image being HDR. The message is clear: This is how great the Super Bowl will look, compared to your old fashioned 1080p SDR TV, if you can get it in 4K. But if the 1080p image had HDR, the difference wouldn’t be so… different.

Do We Really Need 4K if HDR is So Good?
SMPTE Life Fellow Mark Schubin has compared formats, frame rates and HDR to show what provided the best data option.

“HDR offers the most bang for the bit,” Schubin said. Preliminary HDR data that he presented at the annual HPA Tech Retreat in 2016 from EPFL (École polytechnique fédérale de Lausanne/Swiss Federal Institute of Technology in Lausanne) from 2014 showed a “tremendous improvement and very, very little additional bits required, anything from zero to maybe something around 20%.” 

That improvement was in peak brightness. Schubin compared it to EBU quality comparisons from 2013 between HD (720p, 1080i and 1080p) and 4K showing “very little improvement” in quality, as well as high frame rates up to 240Hz, which showed “a significant improvement [in quality], but you also have to double the bitrate for every doubling of the framerate.”

The greater brightness and contrast range of HDR is key. “What makes it more realistic is the human visual system because we perceive more contrast as spatial resolution,” said Matthew Goldman, senior director, Media Engineering & Architecture for Sinclair Broadcast Group. “It looks more real.”

Returning to Fox’s Super Bowl 4K upconversion, I asked Schubin: “What is
your opinion of the viewer’s quality difference between 1080p60 HDR and 2160p60 HDR on a 4K TV that would upconvert the 1080p
to 2160p?”

“Without knowing the specific equipment involved, I really can’t say which is better, but I’d say the difference is probably negligible,” Schubin said. “It’s not clear that Fox’s technology would necessarily be better than what’s in a TV. Yes, it costs more, but the TV stuff is integrated and amortized over tens of millions of sets. But the production in HLG could be significant. 

“When HDR has been perceived as problematic—such as the very dark ‘Game of Thrones’—the production has not been HLG,” he added. “In the dark areas, HLG is essentially the same as SDR; it’s in the bright areas that it offers much more range, so it’s probably good to use for the live
Super Bowl.”

Schubin didn’t watch this year’s Super Bowl in HDR, but added: “Having watched football in HLG HDR, I think it offers a substantial advantage, visible even on a small screen from across the room. Having watched football in HD, upconverted to 4K, and true 4K, on side-by-side monitors, I’d say differences are perceptible, but just barely—definitely not the big kick added by HDR.”

More Comparisons
1080p HDR, upconverted 4K HDR or native 4K HDR: which is better?

What do you mean by “better?”

Tim Walker, senior product manager (HDR image analyzers, frame syncs, routers, scaling and scan converters), at AJA Video Systems, puts it this way: “There’s broadcasters that are being bullish doing and promoting HDR,” he said. “Others question the extra expense in producing HDR. But for a top-end broadcaster, you’re investing in your archive for generations to come from the moments captured today.” 

That means producing the best possible imagery today: 4K HDR. 

“Doing [less expensive] upconversion at distribution gets you that 4K banner,” Walker added. Upconverters do an exceptional job—that’s one reason people do 1080p HDR and not worry about 4K in the truck.”

Walker, Goldman and Schubin are firmly in the “better pixels, not more pixels” camp.

“Having HDR makes for a better viewing experience from home,” said Walker. “Plus, you can absolutely see a benefit of down-mapping or tone-mapping to SDR. Viewers benefit from the entire signal processing chain using HDR. In live sports, you won’t get the highlights off the helmets, but you will get more detail in the image in the darks and brights. SDR will benefit from a native HDR production.”

Then There's Sinclair
Sinclair is doing HDR 24/7 with ATSC 3.0 over the air broadcasts in more than 30 markets nationwide (and growing).

“We absolutely see it as a business advantage at the end of the day, improving the viewing experience of our viewers,” said Goldman. ”Other than sports, it just looks more realistic—the screen pops. You don’t know you’re missing it until you’ve got it. All I have to do is show it to you. Consumers may not know what HDR is, but they know they like it, so there’s definitely a commercial advantage.”

What makes Sinclair unique is the HDR they’re using is not HDR10. “We’re using part of the ATSC 3.0 standard, A/341, and use Advanced HDR by Technicolor [SL-HDR1], as a transmission format,” said Goldman. “It’s not a new HDR format. What SL-HDR1 lets us do is send SDR video as a base layer plus an enhancement layer for HDR as part of the metadata stream. 

“The reason we do this is that it doesn’t matter how you get to the TV, it’ll display a useable picture,” Goldman added. “It’ll do great SDR—and with the SL-HDR1 metadata reconstruction—HDR with the SDR video without having to rely on the TV. We guarantee that the original artistic intent is maintained for both SDR and HDR.”

Every HDR TV uses HDMI with EDID (Extended Display Identification Data)—that’s part of the handshake between the TV and the signal device. But what are the capabilities of the display? Is it HDR? What formats? What’s the minimum light level, peak white level, colorimetry? The HDR is then adapted for that display. If it’s SDR only, that’s all it gets. Sinclair uses SL-HDR1 because, according to Goldman, it’s the only transport format that’s TV set-independent and delivers a useable picture. 

I asked both Goldman from Sinclair and Walker from AJA the same visual quality question: With all things being equal, on a scale from 1 to 10, if 1080p SDR is a 1 and 4K HDR is a 10, where would you place 1080p HDR and 4K SDR?

Both answered exactly the same: 1080p HDR sits at 8, while 4K SDR sits at 4 (Fig. 3). 

That’s the power of HDR, but it doesn’t negate shooting to archive in 4K HDR. The question is: How do you want your production perceived by viewers today… and in the years to come? 

LOS ANGELES—Google, Roku and Paramount+ are now among the companies and services providing HDR10+ technology to their customers. They join more than 100 companies that now support HDR10+ and are helping to raise HDR awareness.

Paramount+ is now delivering shows like “The Stand” to certified HDMI devices. Amazon Prime Video, Google PLay and YouTube are among some of the other services that support HDR10+ for TV shows and movies.

Google and Roku have certified HDR10+ products and are expected to offer compatible devices. Google expects to us HDR10+ with Chromecast for Google TV as well as other platforms in the future. Roku, meanwhile, has enabled HDR10+ on its new Roku Express 4K+, the Roku Express 4K and Roku Ultra products.

In addition, HDR10+ has published a new white paper, “Understanding the HDR10 Ecosystem.” To receive a copy of the white paper, visit HDR10+’s website. 

Streaming provider fuboTV announced that it plans to carry Fox Sports’ (FS1) UHD-HDR coverage of selected NCAA football games starting with San Diego State-Stanford matchup on Aug. 31.Other games to be covered in ultra-high definition, high dynamic range include W. Michigan vs. Michigan Sept. 8 and Fresno State at UCLA on Sept. 15, as well as other PAC12 and Big 10 games during the season.

The collaboration extends fuboTV’s relationship with Fox Sports when fuboTV launched its 4K HDR Beta service carrying FS1’s coverage of the World Cup in July as well as FS1’s coverage of a recent Yankees-Red Sox duel in UHD HDR. This is the second year FS1 has covered NCAA football games in UHD HDR. 

[Read: Dish Kicks Off 4K Broadcasts Of Fox Sports College Football]

To view the games in fuboTV’s 4K HDR10 Beta format, subscribers will need to have a 4K HDR-enabled television, HDMI 2.0/HDCP 2.2 compatible cable and run the fuboTV app on a streaming device that supports the format, which includes Android Mobile Phones with HDR10 displays and Apple TV, Chromecast, Fire TV and Roku devices. Bandwidth speeds of 30Mbps-40Mbps or higher are recommended. 4K HDR-capable TVs may also need calibration to present the content correctly. For subscribers without 4K HDR hardware, this content will continue to be available in its usual formats.

fuboTV says it will also offer additional sports and, for the first time, entertainment programming in 4K HDR Beta in the coming months. 

Like most manufacturers, Samsung answers to two audiences: end users and the folks who sell them their stuff.

To ensure it’s attuned to the needs of both constituencies, the company commissioned a Consumer and Customer Insights survey last fall. What it found was that shoppers and sales associates are pretty much on the same page when it comes to TVs.

Given today’s surfeit of 75-inch and larger displays, size is no longer an issue for shoppers. Instead, topping the list of consumer wants is a TV that provides “a great picture” under all room-lighting conditions, the survey showed.

For dealers, the desire was more generalized: they simply want to be able to offer their customers the “best technology” available today.

Another beef for shoppers is the actual form factor of today’s large-screen panels, with respondents decrying “the huge black rectangle” in their rooms, Samsung said.

Retailers, on the other hand, put it more diplomatically, asking for new design approaches that can fit more home decors.

Consumers are also peeved by the spaghetti nest of wires and cables coming out of their sets, and said they dislike the clutter caused by multiple remotes.

Similarly, retailers called for “convenient installation options” on models and simple controls for their customers.

Shoppers also complained of difficult and time-consuming set ups of their new sets, and retailers said those challenges often lead to store returns.

Samsung said it managed to address those pain points with its 2018 QLED line through innovations like:

• A single combined connection and power cable, and Bixby voice control, to reduce clutter;

• An “invisible” ambient mode on all QLED models, and the painterly-inspired The Frameline, for improved TV aesthetics; and

• HDR10+ compatibility, and full-array direct backlighting on its top-of-the-line Q8F and Q9F sets, for better contrast in all lighting conditions.

What’s more, for the subset of consumers consumed by gaming, the QLEDs’ adaptive refresh technology provides stutter-free game play.

Perhaps as a result, the survey found that 33 percent of consumers own a Samsung TV, representing the highest brand penetration of any of the company’s product categories (mobile was second at 28 percent), and suggesting the sets are also top-of-mind with retail sales staffs.

The survey findings were shared by Samsung senior product training manager Scott Cohen at a tech media presentation this week in New York.

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To date, we’ve discussed many of the technical aspects of HDR, including brightness and color gamut. Now it’s time to discuss how we get the signal to the viewer so that they can enjoy the step change improvement in the viewing experience. For that, we need delivery standards — and luckily for us, there are a number of them (that’s the great thing about standards — there are so many to choose from!).

INCREASED BIT DEPTH

The first thing to note in all of the delivery standards is that without exception, they use a higher number of bits to carry each component, the minimum being 10-bit. A subtle point here is that we have dramatically increased the gamut of colors that the system has to reproduce, so of course we need more bits in order to be able to numerically represent that wider color space.

EOTF

Many of us are well versed in the idea of gamma. This was the term for the nonlinear curve that was applied to the linear light output of video sources to account for nonlinearities in the delivery and display systems. The idea is simple, and illustrated in Fig. 1: if the display output is nonlinear, then by applying the inverse nonlinearity to the signal, the output to the viewer would then be linear (there is way more to it than this, but this explanation will do for now).

This assumes, of course, that all display devices have the exact same nonlinearity: a generalization to be sure, but it stood the test of time pretty well. You could have put this correction in the TV set itself, but that would have increased the cost of every TV set ever made, so it was more economical to do this at the source. In the HDR world, this correction is called the “Electro Optical Transfer Function,” or EOTF for short. SMPTE has published a standard for this transfer function in ST-2084 (commonly referred to as “Perceptual Quantization” or “PQ” for short), and this has been adopted by three of the delivery standards.

Other transfer functions have also been proposed and adopted — specifically HLG, or “Hybrid Log Gamma.” The idea behind HLG is to offer some level of backwards compatibility with SDR displays (PQ is not backwards compatible with SDR displays). It offers somewhat reduced luminance capabilities, but retains all of the color detail — of course, the SDR set needs to understand Rec.2020 color space in order to reproduce all of those colors.

METADATA

Modern displays have different properties and capabilities, depending on their underlying technologies. It is therefore crucial that we give the display information about the image, so that it can maximize its ability to produce the best possible picture. The minimum metadata set that the display needs are: (1) The RGB values of the black point, (2) The RGB values of the white point, (3) “MaxCLL” — Maximum Content Luminance Level — the value (in nits) of the brightest pixel in the entire clip and (4) “MaxFALL” — Maximum Frame Average Luminance Level — the value (in nits) of any single frame. MaxFALL is generally smaller than MaxCLL, and is a parameter used by the display to prevent damage if a frame exceeds its safe handling capability — OLED pixels, for example, can burn out if run at maximum intAppliensity for a period of time.

There are two versions of this metadata: Static (for the entire clip) and Dynamic (can change scene-by-scene or even frame-by-frame). Static metadata was adopted first, but, of course, is “set and forget.” Dynamic metadata allows the colorist to adjust settings on a scene-by-scene basis and therefore gives greater creative freedom.

We now have the information we need in order to be able to compare the individual formats.

HDR10

This is the base level standard. It uses 10-bit resolution (hence the name), the PQ transfer function and static metadata, and is targeted at broadcast, Blu-ray and VOD applications. It is not compatible with SDR displays, so any media company who wishes their content to be available in both HDR and SDR must process the media through two separate paths (or at least a final conversion stage).

HDR10+

This is HDR 10 with the addition of dynamic metadata. The clip will still contain the static metadata, though, so HDR10 displays that lack the dynamic capabilities can still reproduce the image

HLG

This format is being championed by the BBC and Japan’s NHK. It does not use metadata at all, relying on the HLG transfer function to manage the image. It is particularly targeted at live broadcast, but its main advantage is that it is backwardly compatible with SDR. The HLG transfer function can result in color shifts or desaturation, however.

DOLBY VISION

This format uses 12-bit quantization (which in theory means that a compatible display could go as bright as 10,000 nits!), so it has quite a bit more resolution than the other formats. It uses the PQ transfer function and provides both static and dynamic metadata. This is a proprietary, licensed system however.

Paul Turner is founder of Turner Media Consulting and can be reached at pault@turnerconsulting.tv.

Other articles in this series:

HDR and the Science of Color

The Practical Side of HDR

Candelas and Lumens and Nits – Oh, My!!

How We See: The Human Visual System

HDR: What Is It And Why Do We Need It?

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LOS GATOS, CALIF.—Netflix has said it is "open to" supporting HDR10+ but that it isn't "on their roadmap at the moment."

In an interview with TechRadar, Netflix's senior product manager of its Partner Ecosystem, Richard Smith said the company would be open to supporting other HDR formats beyond HDR10 and Dolby Vision.

"We do already support HDR10, not the HDR10+ variant, there’s a possibility we’ll support that in the future but it’s not something that’s on our roadmap at the moment," he said.

HDR10+ allows for scene-by-scene HDR mastering using dynamic metadata—similar to what Dolby Vision already offers.

However, HDR10+ does not offer the same 12-bit color offered by Dolby Vision, instead it has the same 10-bit depth as HDR10

"Our aim is to not necessarily dictate your choice as a consumer but rather embrace it, and whichever technology you choose to buy we want to give you the best picture we can on that," said Smith.

This story first appeared on TVT's sister publication TVB Europe. 

RIDGEFIELD PARK, N.J.—Samsung and Amazon are teaming to deliver a higher standard of high-dynamic-range (HDR) performance to the video market.

The Samsung-backed HDR10+ technology (based on the SMPTE 2094-40 standard) is an updated open standard that leverages dynamic metadata to produce enhanced contrast and colors on an expanded range of televisions. Samsung is positioning the standard as a royalty-free dynamic-metadata alternative to Dolby Vision, which uses dynamic metadata but requires a licensing fee. Since this is an open standard that anyone can adopt, Samsung sees it as expanding dynamic metadata to low- and mid-priced 4K TVs.

Amazon Video is the first streaming video service that will implement HDR10+ technology to deliver a new source of high-quality digital video to Prime Video customers, the company said.

In May 2015, Samsung and Amazon Video brought HDR to the market using the HDR10 open standard, the first in the field.

HDR10+ elevates the HDR10 open standard with the addition of Dynamic Tone Mapping. The current HDR10 standard utilizes static metadata that does not change during playback despite scene specific brightness levels. As a result, image quality may not be optimal in some scenes. For example, when a movie’s overall color scheme is very bright but has a few scenes filmed in relatively dim lighting, those scenes will appear significantly darker than originally envisioned by the director.

HDR10+ incorporates dynamic metadata that allows an HDR TV to adjust brightness levels on a scene-by-scene or even frame-by-frame basis.

All of Samsung’s 2017 UHD TVs, including its premium QLED TV lineup, support HDR10+. In the second half of this year, Samsung’s 2016 UHD TVs will gain HDR10+ support through a firmware update.

“As an advanced HDR10 technology, HDR10+ offers an unparalleled HDR viewing experience — vivid picture, better contrast and accurate colors — that brings HDR video to life,” said Kyoungwon Lim, Samsung's visual display division VP. “We’re excited to work with world-class industry partners, including Amazon Video, to bring more amazing HDR content directly to our 2017 UHD TVs, including our QLED TV lineup.” 

This story originally appeared on TVT's sister publication TWICE.