22 TVBEurope The Workflow “The industry,
the encoding of the signal for HEVC decoders in new Ultra HD TVs. Under licence, CE manufacturers will need to integrate Dolby Vision decoding and display mapping software into their equipment. Sets from Sharp, Vizio and TCL will have that capability this year. How Ultra HD will be
presented at retail is up for debate, with the Digital TV Group in the UK hoping to avoid the confusion that surrounded the badging of hardware with the HD-ready logo. Dolby says it expects to place
a separate Dolby Vision logo on consumer equipment (and possibly on content augmented with its system) alongside a 4K/UHD/Ultra HD logo “as a clear indicator of performance and quality. “We believe Dolby Vision is the perfect compliment to UHD,” says Vlaicu. “The combination of higher frame rate and higher resolution creates a true-to-life viewing experience.” Display brightness is
measured in nits and the Dolby Vision system can describe a
peak of 10,000nits. That’s way more capacity than the average 400nits most TVs can display, but Dolby believes that by allowing more information to flow through the chain the better the final picture quality. Dolby has built prototype 4000nit professional reference monitors and is looking to licence the technology to begin to populate facilities. A first set of plug-ins can be expected at NAB for colour grading systems from Filmlight and Blackmagic. The process is already in action on 25 legacy and in- production titles. “New movies are our goal, which will then supply to OTT aggregators to stream,” says Vlaicu. “We are enabling post facilities, primarily in Hollywood, to create Dolby Vision grades with the necessary plug-ins in for colour grading software.” “The post workflow doesn’t
need modifying,” says Vlaicu. “Today in a lot of cases, the DP and colourist will reference grade to [Dolby’s] PRM 200 monitor in Rec 709 for 100nit displays. We’d prefer that they look at the new
Dolby Vision reference display and make creative decisions that enable them to create a Dolby Vision master. “The process is largely
automatic and built into the capability of the plug-ins. With a single pass master versions can be derived for Dolby Vision, rec 709 and DCI-compliance. If the director/DP wants to fine- tune they can make manual decisions with the tools provided,” says Vlaicu. Here’s Morrod’s verdict: “Extra colour is a serious improvement, but while the Dolby technology makes things ‘pop’ and look more real, the major benefit of additional colour information at transmission is the subtle shading around the edge of things — the slow and accurate transition of bright to dark — which makes things ‘look’ 3D. It’s one of the main visual cues to 3D objects in space, shading. This can’t be ‘created’ by HDR very well, but is what makes 4K demos ‘look 3D’ — they are using additional colour subsampling to place a colour within the display- able colour-space, making it look more realistic.”
including standards
bodies like MPEG, need to set up a continuous
scale and define a point below which we can
term LDR (low dynamic range) and above
which is HDR” Cristina Gomila, Technicolor
Technicolor also bets on brightness Technicolor is working on a similar set of HDR tools and workflows and will bring two versions of its dynamic range expansion to market. The first is for high-quality legacy content from studios and will be a mix of automatic processes and artistic interactions. Initially these will feed the library of M- Go, the movie rental streaming service it runs with DreamWorks and which will debut a 4K option shortly.
“These projects
will be individually regraded by a colourist often with involvement of the DP,” explains Cristina Gomila, director of Technicolor’s Rennes Research and Innovation Centre. “Inverse tone mapping allows us to stretch the dynamic range of all legacy catalogue and make the images brighter for new displays. We’ll try to stretch the range in a way that conveys the true image the DP wanted to create but in such a way we don’t want flush the user with
www.tvbeurope.com March 2014
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