108 Saturday 14.09.13 theibcdaily Get ready: 4K is on its way Opinion
Processing 4K content demands versatile solutions according to Bernhard Reitz, head of product management, Rohde & Schwarz DVS
With 4K or Ultra-HD being so much more than just mere buzz words, the chances of four times HD-resolution arriving right on TV screens at home are high. Today, consumers get an unprecedented viewing experience thanks to the high pixel density of their smartphones and tablets. Being spoilt by this, they
may expect a similar viewing experience soon on their TV screens at home. Looking at the latest camera models and displays on the market, the foundation for a future 4K ecosystem is already provided. There are some aspects that must be considered. For one
thing, production processing and distribution have different requirements on the 4K content. There is also more than one resolution linked to 4K: either 4096x2160 or 3840x2160 are typically used. 4096x2160 is mainly seen in digital cinema environments whereas 3840x2160 has its origins in 4 x HD (quad HD). Sharpness is also related to the frame rates: commonly used for digital movie productions are 24fps or 48fps, and for broadcast purposes 50 or 60fps. Current 4K cameras in the
market use different codecs and RAW formats. With new codecs on the way for 4K
usually four 3Gbps SDI interfaces are used. So far, these streams have been stored as separate files. In order to streamline the
Bernhard Reitz: ‘The foundation for a 4K ecosystem’
productions, broadcast stations face extensive organisational efforts having to handle a large amount of assets and a variety of formats. Therefore, the processing of 4K content demands versatile solutions to handle a large variety of codecs and resolutions. For live recording in 4K,
workflow to facilitate the further processing of the data and to achieve optimum quality, it makes sense to immediately merge the four separate HD streams into one 4K image/file during recording. On the other hand, for playout the 4K stream is automatically distributed in four HD streams via the 3Gbps SDI interfaces. Both the Clipster DI workstation and the Media Venice Media Production Hub handle these tasks. With the introduction of the
Interoperable Master Format (IMF), a file-based contribution format for B2B usage has been established that can be used to create all kinds of distribution formats such as video on demand (VoD). Major studios have already started to
introduce IMF in their 4K workflows by using Clipster. It follows that flexible high- performance storage solutions with redundant setup are needed. In order to be future- ready, 4K storage solutions have to be scalable both in capacity and performance. Capturing in 4K, processing
multi-format content up to 4K, generating a contribution file format like IMF in 4K, storing the content on high- performance storage solutions as well as managing it are all tasks that ask for versatile and flexible systems in a 4K ecosystem to provide a high pixel density view experience on a home TV set. Together with Rohde & Schwarz, DVS is showcasing innovative solutions for the 4K ecosystem with Clipster, Venice and SpycerBox at IBC. 7.E25
RTP’s old-time OB Highlighting the Lynx effect and more BTS By David Fox
Anyone nostalgic for the days when digital meant a button you pushed with your fingers, can visit Europe’s oldest fully- functional outside broadcast van on the BTS stand in the outdoor exhibit area. Built in 1957 for RTP, the Portuguese public broadcaster, and operational until 1980, the Mercedes- based van underwent a complete, year-long restoration by RTP and Mercedes Benz Portugal in 2006. It is now a highlight at RTP’s Museum in Lisbon. The interior has been restored as faithfully as
Front Porch Digital
State of the art… for the 1950s: RTP’s 1957 OB van
possible to the era, with much of the original television equipment, which was the most advanced available at the time. It has a six-cylinder, 110-horse power diesel engine capable of up to 76km per hour. In February 1958, the van did its first exterior broadcast, a football match between Sporting Lisbon and FC Austria at the José Alvalade Stadium. OE115
By Carolyn Giardina The Lynx cloud-based content storage management system, plus version 5.2 of DIVAdirector and version 7.1 of DIVA Archive are being highlighted by front Porch Digital.
This line-up includes LYNXdr
and LYNXlocal. LYNXdr is a hosted disaster recovery service that allows global media enterprises to centralise assets and consolidate operations, and LYNXlocal is an extension to LYNX that operates locally as an appliance, caching cloud content and providing integration to specialised systems if needed. DIVAdirector V5.2 is the latest
Taking control: The DIVAdirector V5.2
organisation and shot lists
version of Front Porch’s media asset management system, a permission-based web application that enables access to file-based content stored by DIVArchive content storage management systems. With support for multiple audio channels for different language tracks, users can provide multiple language options for a given video file. V5.2 also gives users more
quality control options in the form of graphical metadata charts from Front Porch’s SAMMA ingest system. The charts show graphical representations of metadata for video files in order to illustrate visual information such as colour, brightness, and luminance. In addition, a new QC import and analysis feature supports third-party quality-control metadata. Version 7.1 of DIVArchive includes a new AXF Explorer that offers an interface for parsing Archive eXchange Format (AXF) objects, with operations that are performed using drag-and-drop procedures. DIVArchive V7.1 is also directly integrated with Telestream’s Vantage Transcode and Vantage Transcode Pro. 7.D14
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