32 TVBEurope Wrap-Up
Tough Book brand touchpad with full 4K resolution. Another gem was Sony’s DCI compliant 30-inch 4K OLED, and one that every post house checked out was the 56-inch OLED launched at the CES, but now with professional electronics behind the consumer panel. So who said what about Ultra HD and broadcasters? Quantel had one of the best
show demos — Pablo Rio at 60fps, supported by the AJA Corvid Ultra card. Steve Owen, marketing director, said: “I have
as well, to make bandwidth sense. To deliver to the home, it will have to be HEVC.” Bluefish444 announced 4K SDI support for Adobe Premiere Pro, allowing editors to preview uncompressed 4K 60p files, and it had worked with Sony to create 4K 60p playout from its cards, and with Assimilate Scratch for 4K playout. MD Craige Mott said: “It is going to require new technology, and the whole industry is going to have to upgrade. Considering the state
But what do other players say? Darren Gallipeau, Digital
Rapids product manager for Kayak and Stream, explained: “H.264 took a long time to transition to from MPEG-2. H.265 is going to be quite a bit different. The transition will be quick. The consumer, who is demanding a mobile experience that has just the same quality you would expect from traditional broadcast, drives new media delivery. With the ratification of H.265 the industry is responding.”
“H.264 took a long time to transition to from MPEG-2. H.265 is going to be quite a bit different. The transition will be quick”
met several broadcasters at NAB that are interested in 4K. Quality is a really strong driver, and the drama people are already shooting on 4K cameras. They know the benefit of capturing a higher resolution and taking it into post and doing more with it. You get better HD quality at the end. And being able to exploit a 4K master that you can distribute via another route makes sound economic sense.” At Ericsson you could see an
excellent Quad HD (3960) live demo built round 4K 4:2:2 10-bit P60 encoding. This technology is aimed at sports applications. Fabio Murra, head of portfolio marketing, compression solutions, explained: “We see a drive from both the consumer electronics vendors and the operators and service providers to enable this system to be on air. Broadcasters have a challenge. It is costly to deploy a whole infrastructure, and they have massive bandwidth constraints. This is why 4K on the show floor is typically associated with the new compression standard
that it is in, it is not going to take one year, but maybe three or four.” Off the show floor and among the Hollywood fraternity, there were long discussions about higher frame rates (HFR), higher dynamic range (HDR) and working towards a practical 8K-camera system for mass content production. 300fps might eradicate all blurring, but more immediately HFR has to be thought about for projection (up to 240fps), for presentation (48-60fps) and for cameras (120fps); this rate is the best starting point for presentation frame rates.
HEVC: Fast transition
Leaving NAB last year several hundred companies were waiting on the bandwidth reduction/cheaper video delivery powers of HEVC, which runs on parallel processor architectures. It has a much broader impact than 4K content delivery, but is a crucial part of the last step to the home, and a crucial element for Ericsson’s compression business.
www.tvbeurope.com May 2013
‘Cloud simply means a computer somewhere else, owned by someone else’
Darren Gallipeau, Digital Rapids
Harmonic has put HEVC encoding into its ProMedia line of adaptive bit rate solutions for multi-screen processing and delivery, along with Ultra HD. It pulled big audiences for its demo of HEVC compressed Ultra HD, and on the booth it highlighted the first impact as being in Over The Top delivery. HEVC powers Harmonic’s
streaming technology for
smartphones and tablets, and already brings those mobile audiences resolutions up to Ultra HD. CEO and
president Patrick Harshman said that the march from general software clients to Smart TV 4K decoders will take a year, and that set-top HEVC deployment will come in 2015. “The next generation broadcast infrastructure will be high quality IP video delivery via HEVC. We very much believe it will be IP centered, and that we are at the front of the HEVC wave,” he said. Another HEVC expectancy comes from Telestream VP of marketing Barbara Dehart. “We have GPU accelerated H.264 encoding and when we look at HEVC it lends itself very well to GPU acceleration. We have introduced a port for HEVC, and it will be important for Over The Top.” Telestream was one of many
that launched a managed cloud solution (based on Amazon) and it integrated Aspera with Vantage to make it easier to move files. And Avid sells the Vantage transcode product as part of its active archive system. The huge number of ‘partner product’ deals has to be investigated carefully because the user must know who is trying to build the spine of anything.
PESA XSTREAM appliance delivers
By Jake Young PESA
PESA XSTREAM, a package for digitalmedia capture, processing, distribution, and storage, was unveiled at the 2013 NAB Show. Housed in a 1 RU form factor, PESA XSTREAM simultaneously encodes up to five independent video streams and eight audio streams concurrently from live or recorded video for multi-path H.264 IP distribution with no sync or latency issues. PESA XSTREAM captures H.264 IP camera streams, NTSC/PAL or SDI video up to 1080p resolution, video playback and computer-based content, and then prepares high-bandwidth MPEG-4/H.264 broadcast streams for distribution and archive. When multiple sources are captured simultaneously, the streams remain associated and synchronised during the event. With five individually
addressable video outputs as well as an integrated quad-view output, PESA XSTREAM enables operators to stream live content over IP while simultaneously transmitting live digital content to a quad-view display and/or full screen display. PESA XSTREAM can also synchronise discrete audio inputs to discrete video and IP video inputs, and offers adjustable audio delay. A web browser management and control interface provides remote capabilities, which can eliminate the need for on-site personnel to stream content to a production facility. PESA also provides access to
Avid Pro Tools V11 has double the processing power and a brand new 64-bit floating-point audio engine
its Application Programming Interface (API), enabling integrators to tailor applications to specific market segments.
www.pesaxstream.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60