12 TVBEurope
Beyond HD: 4K Challenges
The technical set up was very similar to that of a live sports event
Soho Digital Cinema managing director David Margolis. “If 8.5 million pixels weren’t enough resolution, seeing them dance at 50fps results in the smoothest, most immersive digital cinema content we’ve ever seen.” In the UK, approximately
500 screens showed War Horse
week before War Horse overseeing a 4K production for Turkish satellite broadcaster Digiturk of a Galatasaray and Besiktas match in which four F55s and two upconverted HDcams were fed through a MVS-8000X and linked back to a hotel for a VIP screening.
“There were no significant game-changing differences versus HD” Chris Bretnall, Creative Broadcast Solutions
“4K live to a projector had
never been done before so we had to do a lot of testing to get the suitable video bitrate,” says Bretnall. “Typical HD relays that go to cinemas use approx 18- 19Mbps within a 36Mhz carrier. Now we are getting over 100Mbps within the same bandwidth.” The incoming signal was
downlinked at the Curzon via a 1.8M Links Broadcast receive antenna which was fed into Adtec RD70 receiver decoders and delivered to the projector.
Audiences will be able to view
the performance recorded in Ultra HD with a live feed encoded standard Digital Cinema Initiatives (DCI) compliant DCP. In charge of this were SDC who were presented with a huge challenge. Currently 4K HFR is only a proposal in the recommendations of the DCI, the governing body that sets digital cinema standards. The Hobbit 3D films, for
example, were shown at 24p for each ‘eye’, whereas War Horse was able to shoot and screened as
a single eye 50p. To get there SDC had to devise a new workflow in order to work with Sony’s latest SRMaster format. This included ingesting 4K 50p material from SR-R1000 decks and encoding using a new specially programmed beta version of DVS Clipster. SDC, Sony and NT Live successfully tested a 4K DCP from Sony’s SRMaster, which is currently confirmed to work with Sony’s SRX-R320 4K projectors. “4K HFR is an incredible spectacle to behold,” comments
live with many also showing a delayed version. In the US, around 300 screens took the live feed and another 100 showed delayed. Canada featured 100 showings; Europe approx 80, and in the rest of the world, including Australia, Russia, Mexico, and Japan, there were 80 delayed shows.
The technical set up was
very similar to that of a live sports event. In fact, Andy Hotten, Sony’s technical project manager, was in Turkey the
“After War Horse we will
have established a proven workflow for 24p 4K distribution with an option for cinemas to take it to 50p 4K,” says Bretnall. “We know that many cinemas are capable of showing 4K and we know a small number capable of showing it live with few additional high hurdles than for last the 35 NT Live productions.”
www.creativebroadcastsolutions.com www.nepinc.com www.sony.co.uk
www.tvbeurope.com April 2014
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