A

Seminar Report

On

4K UHD – Opportunity or Hype?

By

Sumit Dinkarrao Pople

ME (Electronic & Telecommunication)

Under the guidance of

Prof. - S. S. Jadhav

Department of Electronics & Telecommunication Engineering

MSS‘s CET, Jalna

Department of Electronics and Telecommunication Engineering

MSS’s, College of Engineering and Technology, Jalna

For Academic Year

2013-14

MSS’S,

COLLEGE OF ENGINEERING & TECHNOLOGY, JALNA

CERTIFICATE

This is to certify that Mr. Sumit Dinkarrao Pople has successfully completed

seminar work entitled “4k UHD – Opportunity or Hype” in partial fulfillment of the

requirement for the award of the degree of MASTER OF ENGINERRING (ELECTRONICS

& TELECOMMUNICATION ENGG.) of Dr. Babasaheb Ambedkar Marathwada University,

Aurangabad-431004.

The matter embodied in this seminar report is a record of his own independent work

carried out by him under my supervision and guidance.

Guide

Prof. S. S. Jadhav

PG CO-ORDINATOR H.O.D. Principal

Prof. M. R. Saundade Prof. J. N. Mohite Dr. C. M. Sedani

INDEX

I. List of Figures I

II. List of Tables II

III. Abbreviations III

IV. ABSTRACT

Sr. No. Contents Page No.

1. INTRODUCTION 1

1.1 Introduction 1

1.2 Commercial and Consumer Need 2

1.2.1 Achieve human visual acuity 2

1.2.2 Large display 4

1.2.3 Enhance post production effect 4

1.2.4 Modern cinema theater layout 4

1.3 Objective of 4K UHD 5

1.3.1 Higher resolution for visual acuity 5

1.3.2 Large display with wide angle at home 6

1.3.3 Long distance projection and close eye clearance 7

2. LITERATURE SURVEY 9

2.1 Standard Definition 9

2.2 High Definition 10

3. SYSTEM DESCRIPTION 11

3.1 4K Ultra High Definition 11

3.2 Development in 4K UHD 12

3.2.1 2003-2011 12

3.2.2 2012 14

3.2.3 2013 16

4 PERFORMANCE ANALYSIS 19

4.1 Post-production in video

4.1.1 Zoom Factor

4.1.2 Frame rate

4.2 Parameter difference between HD and UHD 21

5. ADVANTAGES AND DISADVANTAGES 22

5.1 Advantages 22

5.1.1 Viewing experience of Viewer 22

5.1.2 Post production effect 22

5.1.3 More access at home 22

5.1.4 Benefits for broadcast 23

5.1.5 Conversion from 4K UHD to HD 23

5.1.6 Much higher resolution 23

5.1.7 Brilliant colors 24

5.1.8 Stay connected 24

5.2 Disadvantages 25

5.2.1 Technical challenges for shooting and delivering 4K 25

5.2.2 View 4K Videos 25

5.2.3 Infrastructure requirement 26

5.2.4 Conversion for HD 27

5.2.5 Other Technical Issues 27

6. CONCLUSION 28

6.1 Conclusion 28

6.2 Future scope 28

6.2.1 8K UHD 28

6.2.2 Glass-less 3D 29

6.3 Applications of UHD 30

6.3.1 In TV Broad cast 30

6.3.2 In Cinemas 30

REFERENCES

ACKNOWLEDGEMENT

DECLARATION

I

List of figures

Figure

No.

Name Of Figure Page No.

Fig 1 Typical Snellen chart used for visual acuity testing. 3

Fig 2 Screen projection 4

Fig 3 Resolution comparison 5

Fig 4. Comparative viewing angle and distance of SD/HD/4KUHD 6

Fig 5. Projection distance/view angle and distance comparison 8

Fig 6. Comparatively 4 time pixel than 1080p Or Quad HD 11

Fig 7. This exaggerated view depicts the effect of stairstep "jaggies"

and screen door effect that become visible when you're sitting

sufficiently close to a digital projection.

19

Fig 8. Quality zoom for post-production 20

Fig 9. Comparison of SD, HD, 4KUHD, and 8KUHD 29

II

List of tables

Table No. Name Of Table Page No.

Table 1 SD video components comparison 9

Table 2 HD video components comparison 10

Table 3 Video parameters of SD, HD, and UHD 21

III

List of abbreviations

Abbreviation Full Form of Abbreviation

HD High Definition

UHD Ultra High Definition

UHDTV Ultra High Definition Tele- Vision

CES Consumer Electronics Show

SIS Satellite Information Service

FCC Federal Communications Commission

NHK Nippon Hōsō Kyōkai official English name: Japan Broadcasting Corporation

DVB Digital Video Broadcasting

CES Consumer Electronics Show

ITU International Telecom Union

FPS Frame Per Second

HFR High Frame Rate

DWDM Dense Wide Dimension Medium

CMOS Complementary Metal Oxide Semiconductor

ATSC Advanced Television Systems Committee

SMPTE Society of Motion Picture and Television

ABSTRACT

Audio-Visual has built its history on the fundamental desire of human beings to

extend their audio-visual senses spatially and temporally. HD is one of the great

achievements of audio-visual. People in many countries are now enjoying the benefits of HD

in form of HDTV, HD movie Theaters and HD games, and people in the rest of the world

will soon benefit in the near future.

The definition of HD is state of high-definition is as : A high-definition system is a

system designed to allow viewing at about three times the picture height, such that the system

is virtually, or nearly, transparent to the quality of portrayal that would have been perceived

in the original scene or performance by a discerning viewer with normal visual acuity. Such

factors include improved motion portrayal and improved perception of depth.

The popular example of HD is HDTV‘s. Many broadcasters have established HDTV

productions and serve their audiences with at least one HDTV channel via Satellite,

Terrestrial, Cable or IP networks to complement their regular SDTV distribution bouquets.

The attainment of this goal is limited in some aspects; e.g. the field of view of HD is

only 30 arc-degrees. Our natural desire to overcome such limitations has led us to the concept

of UHD;

Many television brands introducing 4K UHD TV in this year. UHD is an application

that is intended to provide viewers with an enhanced visual experience primarily by offering

a wide field of view that virtually covers all of the human visual field with appropriate sizes

of screens relevant to usage at home and in public places.

This Report contains the results of the study on ultra-high definition (UHD) and

describes the present state of UHD. It addresses the baseband image format and the

derivation of system parameter values in particular.

The objective of this document is to provide general information about HD and newly

proposed ―four times HD resolution‖ format, abbreviated as ―Quad-HD‖ or (more

imprecisely) ―4K‖. This ―four times HDTV resolution‖ format (3840 x 2160 pixels)

corresponds to the Level 1 (format) of NHK‘s Super High Vision system (Level 2, with 16

times HDTV resolution is also being developed in Japan). For the purpose of this document

we use the term 4k although the reader should be aware that there is a broad family of slightly

different image formats.

1

1. INTRODUCTION

1.1 Introduction

4K UHD is a high resolution picture format (3840 × 2160 pixels per frame) which is

emerging as the standard for new multimedia services. It has huge artistic advantages

compared to conventional SD and HD production, both for content acquisition and special

effects (such as zoom).

4K UHD offers opportunities for new service development and differentiation to

broadcast and media organizations, many of whom have already started experimental

production and services or announced their 4K UHDTV plans. For example, Netfl ix has

announced plans for a 4K UHDTV movie service ―within a year or two‖, Sky TV carried out

a 4K multi-camera live field test for a soccer match in February 2013, and Japanese

broadcasters have committed to start 4K UHDTV services in time for the soccer World Cup

in 2014.

However, catching the 4K UHDTV wave is not without its difficulties, not least of

which is knowing what equipment to invest in while standards have not yet been fully agreed

between industry players, and knowing how to take advantage of the new format. .

4K UHDTV has generated a lot of excitement and press attention since the start of

2013. At the 2013 Consumer Electronics Show (CES), all the major display vendors

announced and demonstrated 4K UHDTV consumer displays. In parallel, global broadcasters

and media organizations have been testing 4K UHDTV production including Sky, Netfl ix,

and RAI, with transmission tests supported by SIS Live, Ericsson and others.

4K UHD technology is already used for movies Warner Bros. has released this

summer The Dark Knight Rises in 4K. Taking the movie experience way beyond High

Definition (2K) resolution, screenings in Sony Digital Cinema 4K-equipped theatres have

been widely acclaimed for their ground-breaking visuals and special effects that are

considered as some of the best ever seen on screen.

Men in Black III, originally shot in 2D and later converted to 3D using a 4K Digital

Cinema projection technology, has offered an immersive visual experience allowing viewers

to get incredible detail and clarity, something which is absolutely essential for this action-

packed blockbuster. Samsara‘s ―emotional impact‖ was due to a film shot entirely in 70mm

2

and presented in 4K digital projection to allow for mesmerizing images of unprecedented

clarity.

1.2 Commercial and Consumer Need

The digital revolution which is impacting the cinema and TV industry began by a

format known as 2K, and is continuing with 4K for very large screens. In parallel, many

leading filmmakers recommend using a ―high frame rate‖ (HFR) by increasing the image

frequency from 24 to 48 and possibly even 60 frames per second (fps), to improve visual

comfort when viewing high-velocity shooting.

1.2.1 Achieve Human visual acuity

Visual acuity (VA) is acuteness or clearness of vision, which is dependent on

the sharpness of the retinal focus within the eye and the sensitivity of the interpretative

faculty of the brain.

Visual acuity is a measure of the spatial resolution of the visual processing

system. VA is tested by requiring the person whose vision is being tested to identify

characters (like letters and numbers) on a chart from a set distance. Chart characters are

represented as black symbols against a white background (for maximum contrast). The

distance between the person's eyes and the testing chart is set at a sufficient distance to

approximate infinityin the way the lens attempts to focus.

Normal visual acuity is commonly referred to as 20/20 vision, the metric

equivalent of which is 6/6 vision. At 20 feet or 6 meters, a human eye

with nominal performance is able to separate lines that are 1.75 mm apart. A vision of 20/40

is considered half as good as nominal performance. A vision of 20/10 is considered twice as

good as nominal performance.

In the expression, 20/40 vision, the 20 is the distance in feet between the

subject and the chart. The 40 means that the subject can read the chart (from 20 feet away) as

well as a normal person could read the same chart from 40 feet away. This is calculated by

finding the smallest opt type they can identify and calculating the distance at which it has

a visual angle of 5 arc minutes.

3

Fig 1 - Typical Snellen chart used for visual acuity testing.

4

1.2.2 Large Display

There‘s also the issue of encouraging consumers to desire a large display

(anything from 55‖ to 84‖) in their living rooms. It is clear that there‘s a technical push for

4K UHDTV underway, but commercial success will only follow if there is a real market

demand.

1.2.3 Enhancing post production effect

With 4K UHDTV, enhanced post-production effects, such as very high quality

zoom, become possible, where a viewer may concentrate on a specific part of the action

chosen by the program director, or, in the case of interactive services, chosen by the viewer‘s

themselves.

Zoom effect in sport like cricket is used for close view. Ultra-slow-motion is another

post production issue which achieved using large frame rate (FPS).

1.2.4 Modern cinema theater layout

2K digital cinema provides an image container roughly 2000 pixels across

(2048 x 1080 or 2.2 million pixels). 4K digital cinema doubles those dimensions to 4096 x

2160. This equals 8.8 million pixels, exactly four times the count of 2K projection. On paper,

4K is obviously the superior solution. But what about the real world? Will the ticket buying

public actually be able to perceive the benefits of 4K resolution in actual theaters?

Fig 2 – Screen projection

5

1.3 Objective of 4KUHD –

1.3.1 Higher resolution for visual acuity

4K resolution is a generic term for display devices or content having

horizontal resolution on the order of 4,000 pixels. Several 4K resolutions exist in the fields

of digital television and digital cinematography. In the movie projection industry, Digital

Cinema Initiatives is the dominant 4K standard.

The television industry has adopted ultra-high definition television as its 4K

standard. As of 2013, some UHDTV models are available to general consumers. However,

due to lack of available content, 4K television has yet to achieve mass market appeal. Using

horizontal resolution to characterize the technology marks a switch from the previous

generation, high definition television, which categorized media according to vertical

resolution (1080i, 720p, 480p, etc.). The top-end regular HDTV format, 1080p, qualifies

as 2K resolution, having a horizontal resolution of 1920 pixels, with a vertical resolution of

1080 pixels.

Some modern smartphones are capable of recording video at 4K resolution.

Fig 3 - Resolution comparison

6

1.3.2 Large display with wide angle at Home

Fig 4 - Comparative viewing angle and viewing distance of SH/HD/4KUHD

Fig 4 shows how viewing angles and distance from the screen vary, in SD

(left), HD (center) and Ultra HD (right) To appreciate the difference with Full HD, 50-inch

TV sets or more are ideal but the UHD difference can be seen on anything from a 40-inch

display upward. According to researchers, while viewers may initially think that even higher

resolutions would result in larger screens in already cramped living rooms, that is not the

case. Higher resolutions could bring a more immersive experience to the home theater as

viewers enjoy a wider field of view watching 4K video. The simple way to understand this is

to think of today‘s personal computer monitors where the viewing distance is typically 18- to

24-inches for a 27-inch, 1080p monitor. If the resolution of that monitor is set at 640-by-480

pixels (standard definition TV resolution), the picture is not very sharp or pleasing. On the

other hand, the picture looks fantastic if the resolution is set at 1920-by-1080 (2K) pixels.

This concept applies to television and theatres as well. Consumers should be able to sit close

to a 4K television enjoying a wider field of view and a more immersive experience. The

recommended viewing distances shown in the diagram below are based on the picture

resolution and the height (H) of the picture. With several 4K movies in production, a content

evolution has begun. ―This new model redefines what consumers should expect from their

television‘s performance,‖ said Brian Siegel, vice president of Sony Electronics‘ TV Group.

―Our professional division continues to see the migration toward 4K content creation with

major film and broadcast productions.‖

7

Incorporating proprietary up-scaling technology, the new TV sets will be able

to ensure that every frame offers 4K resolution regardless of the content source, delivering a

viewing experience that exceeds Full HD resolution.

1.3.3 Long Distance Projection and close eye clearance

Since the 1940s, just about everything in movie theaters has been transformed,

including auditorium design. Through the 1990s, new theater designs moved to progressively

wider-angle projection lenses, which suggest that seats became progressively closer to the

screen.

By 1994, viewing distances that had once been considered the minimum were

now close to the maximum. The renamed Society of Motion Picture and Television Engineers

(SMPTE) issued Engineering Guideline EG 18-1994, which recommended that the screen

subtend a minimum horizontal angle of 30 degrees for viewers in the back of the room. This

corresponds to a distance of 3.45 Picture Heights (using the contemporary picture

proportions of 1.85:1). EG 18-1994 proved to be a snapshot of best practices at the end of the

era of sloped-floor auditoriums. It was withdrawn in 2003 as inappropriate for the new era of

stadium seating auditoriums, which bring the audience even closer. In stadium seating, the

back of the house is about three Picture Heights from the screen while the closest seats are

less than one Picture Height away.

Any specified viewing distance also enables us to calculate the angle of view

that the picture occupies. In the sample 104-seat auditorium, the front row is roughly one

Picture Height from the screen while the back row is roughly three Picture Heights. The most

desired seats for the most enthusiastic ticket holders are roughly 1.5 Picture Heights from the

screen. At this distance, the vertical angle of view is 37°.

It is possible to simulate the difference between 2K and 4K projection. The

following page provides side-by-side images14 for your evaluation. View a color printout of

this page from 8 feet, 7 inches (2.6 meters) to simulate first row seats at 0.86 Picture Heights.

From close viewing, you can easily see the difference between the two images, especially in

the windows and archways. As you would expect, the further back you move, the less distinct

the differences become. To Simulate View from (feet) View from (meters)

8

Fig 5 - Projection Distance / View angle and distance Comparison

9

2. LITERATURE SURVEY

2.1 Standard Definition

From a historical perspective, the first electronic scanning format 405 lines was the

first "high definition" television system as the previous mechanical systems had far fewer

scanning lines.

From 1939, the US and other European countries experimented with 441 lines and 605

lines until, in 1941, the Federal Communications Commission (FCC) mandated 525 lines for

the US. In wartime France, Rene Barthelme experimented with higher definitions, reaching

1015 and even 1042 lines. Official French transmissions finally began with 819 lines in late

1949; however, this standard was abandoned in 1984 upon the adoption of 625-line color on

the TF1 network.

Video

Format Resolution

Pixel Aspect

Ratio

After Horizontal

Scaling

576i 4:3

704×576

12:11 768×576

720×576

(horizontal blanking

cropped)

720×576 (full frame) 786×576

576i 16:9

704×576

16:11 1024×576

720×576

(horizontal blanking

cropped)

720×576 (full frame) 1048×576

480i 4:3

704×480

10:11 640×480

720×480

(horizontal blanking

cropped)

720×480 (full frame) 654×480

480i 16:9

704×480

40:33 853×480

720×480

(horizontal blanking

cropped)

720×480 (full frame) 872×480

Table 1 – SD Video components Comparison

10

2.2 High Definition

Modern HD specifications date to the early 1970s, when Japanese engineers developed

the HighVision 1,125-line interlaced TV standard that ran at 60 frames per second. The Sony

HDVS system was presented at an international meeting of television engineers in Algiers,

April 1981 and Japan's NHK presented its analog HDTV system at a Swiss conference in

1983. These are analog HD

Europe developed HD-MAC (1,250 lines, 50 Hz), a member of the MAC family of

hybrid analogue/digital video standards; however, it never took off as a terrestrial video

transmission format.

The FCC process, led by the Advanced Television Systems Committee (ATSC)

adopted a range of standards from interlaced 1,080-line video (a technical descendant of the

original analog NHK 1125/30 Hz system) with a maximum frame rate of 60 Hz, and 720-line

video, progressively scanned, with a maximum frame rate of 60 Hz.

In the end, however, the DVB standard of resolutions (1080, 720, 480) and respective

frame rates (24, 25, 30) were adopted in conjunction with the Europeans that were also

involved in the same standardization process. The FCC officially adopted the ATSC

transmission standard (which included both HD and SD video standards) in 1996, with the

first broadcasts on October 28, 1998.

Video

mode

Frame size in

pixels (W×H)

Pixels per

image

Scanning

type Frame rate (Hz)

720p 1,280×720 921,600 Progressive

23.976, 24, 25, 29.97, 30,

50, 59.94, 60, 72

1080i 1,920×1,080 2,073,600 Interlaced

25 (50 fields/s), 29.97 (59.94

fields/s), 30 (60 fields/s)

1080p 1,920×1,080 2,073,600 Progressive

24 (23.976), 25, 30 (29.97),

50, 60 (59.94)

Table 2 – HD Video Component Comparison

11

3. SYSTEM DESCRIPTION

3.1 4K Ultra High Definition

Definition: 4K refers to one of two high definition resolutions: 3840 x 2160 pixels or

4096 x 2160 pixels. 4K is four times the high definition resolution of 1080p (1920x1080

pixels) that is one of main current consumer high definition resolution standards. The other

high definition resolution currently is use is 720p and 1080i. 4K is now officially

designated for consumer products as Ultra HD or Ultra High Definition, but is also referred

to at times, such as in professional or commercial settings as 4K x 2K, Quad High

Definition, or 2160p. 4K resolution is now being employed in an increasing basis in

commercial digital cinema projection using the 4096 x 2160 pixel option, where more and

more films are shot or mastered in 4K, or upscale from 2K (1998x1080 for 1.85:1 aspect

ratio or 2048 x 858 for 2.35:1 aspect ratio).

Also definition of 4K television depends on who you ask, but boils down to a digital

video resolution with a horizontal dimension approximately 4,000 pixels across. The most

common definition for 4K high-definition television — sometimes dubbed Quad Full HD

or 4K UHDTV, for ultra high-definition television — is 3,840 pixels by 2,160 pixels —

exactly double the dimensions of a standard 1080p high-definition display.

Fig 6 – Comparatively 4 time pixel than 1080p OR Quad HD

12

That seems like an incredible amount of resolution — and it is. A 4K UHDTV display

has 8,294,400 pixels. An eight megapixel display might not seem incredibly high-tech when

inexpensive point and shoot cameras these days routinely boast resolutions of 10, 12, and 14

megapixels, but it‘s important to put that 4K resolution in context. Check out how a 4K

display compares to the size of other 16:9 video formats: That seems like an incredible

amount of resolution — and it is.

A 4K UHDTV display has 8,294,400 pixels. An eight megapixel display might not

seem incredibly high-tech when inexpensive point-and shoot cameras these days routinely

boast resolutions of 10, 12, and 14 megapixels, but it‘s important to put that 4K resolution in

context. Check out how a 4K display compares to the size of other 16:9 video formats.

One possible point of confusion is that the 4,000-ish pixels in a 4K display are

measured horizontally, where the 1,080 (or 720) pixels on an HDTV display are measured

vertically. A 4K display is double the width of a 1080p high definition display (which are

1,920 pixels across) and offers four times as many total pixels, but it‘s not four times taller.

The 3,840 by 2,160 resolution is the only resolution possible for 4K displays: Folks

might also see references to 4K displays running at 4,096 by 2,160 pixels (that 4,096 numbers

is one of those powers-of-eight numbers computers love). For the most part, however, those

will be limited to professional digital cinematography.

3.2 Development in 4KUHD

3.2.1 2003–2011

NHK researchers built their own UHDTV prototype which they demonstrated

in 2003. They used an array of 16 HDTV recorders with a total capacity of almost 3.5 TB that

could capture up to 18 minutes of test footage. The camera itself was built with four 2.5 inch

(64 mm) CCDs, each with a resolution of only 3840 × 2048. Using two CCDs for green and

one each for red and blue, they then used a spatial pixel offset method to bring it to 7680 ×

4320.

Subsequently, an improved and more compact system was built using CMOS

image sensor technology and the CMOS image sensor system was demonstrated at Expo

2005, Aichi, Japan, the NAB 2006 and NAB 2007 conferences, Las Vegas, at IBC 2006

and IBC 2008, Amsterdam, Netherlands, and CES 2009. A review of the NAB 2006 demo

was published in a Broadcast Engineering e-newsletter. The final goal is for UHDTV to be

13

available in domestic homes, though the timeframe for this happening varies between 2015 to

2020 but Japan and China may get it in the 2013–2014 time frames.

On November 2, 2006, NHK demonstrated a live relay of a UHDTV program over a

260 kilometer (km) distance by a fiber-optic network. Using dense wavelength division

multiplex (DWDM), 24 Gbit/s speed was achieved with a total of 16 different wavelength

signals.

On December 31, 2006, NHK demonstrated a live relay of their annual Kōhaku Uta

Gassen over IP from Tokyo to a 450 in (11.4 m) screen in Osaka. Using a codec developed

by NHK, the video was compressed from 24 Gbit/s to 180–600 Mbit/s and the audio

was compressed from 28 Mbit/s to 7–28 Mbit/s. Uncompressed, a 20-minute broadcast would

require roughly 4 TB of storage.

The SMPTE first released Standard 2036 for UHDTV in 2007. UHDTV was defined

as having two levels called UHDTV1 (3840 × 2160 or 4K UHDTV) and UHDTV2 (7680 ×

4320 or 8K UHDTV).

In May 2007, the NHK did an indoor demonstration at the NHK Open House in

which a UHDTV signal (7680 × 4320 at 60 fps) was compressed to a 250 Mbit/s MPEG2

stream. The signal was input to a 300 MHz wide band modulator and broadcast using a

500 MHz QPSK modulation. This "on the air" transmission had a very limited range (less

than 2 meters), but shows the feasibility of a satellite transmission in the 36,000 km orbit.

In 2008, Aptina Imaging announced the introduction of a new CMOS image sensor

specifically designed for the NHK UHDTV project. During IBC 2008 Japan's NHK,

Italy's RAI, BSkyB, Sony, Samsung, Panasonic Corporation, Sharp Corporation, and Toshiba

(with various partners) demonstrated the first ever public live transmission of UHDTV, from

London to the conference site in Amsterdam.

On September 29, 2010, the NHK partnered up and recorded The Charlatans live in

the UK in the UHDTV format, before broadcasting over the internet to Japan.

On May 19, 2011, SHARP in collaboration with NHK demonstrated a direct-view

85 in (220 cm) LCD display capable of 7680 × 4320 pixels at 10 bits per pixel. It was the first

direct-view Super Hi-Vision-compatible display to be released.

Before 2011, UHDTV allowed for frame rates of 24, 25, 50, and 60 fps. In an ITU-R

meeting during 2011, an additional frame rate was added to UHDTV of 120 fps.

14

3.2.2 2012

On February 23, 2012, NHK announced that with Shizuoka University they

had developed an 8K sensor that can shoot video at 120 fps.

In April 2012, NHK (in collaboration with Panasonic) announced a 145 in

(370 cm) display (7680 × 4320 at 60 fps), which has 33.2 million 0.417 mm square pixels. In

April 2012, the four major Korean terrestrial broadcasters (KBS, MBC, SBS, and EBS)

announced that in the future, they would begin test broadcasts of UHDTV on channel 66

in Seoul. At the time of the announcement, the UHDTV technical details had not yet been

decided. LG Electronics and Samsung will also be involved in the test broadcasts of UHDTV.

In May 2012, NHK showed the world's first ultra-high-definition shoulder-

mount camera. By reducing the size and weight of the camera, the portability had been

improved, making it more maneuverable than previous prototypes, so it can be used in a wide

variety of shooting situations. The single-chip sensor uses a Bayer color-filter array, where

only one color component is acquired per pixel. Researchers at NHK have also developed a

high-quality up-converter, which estimates the other two-color components to convert the

output into full resolution video.

Also in May 2012, NHK showed the ultra-high-definition imaging system it

has developed in conjunction with Shizuoka University, which outputs 33.2-megapixel video

at 120 fps with a color depth of 12 bits. As ultra-high-definition broadcasts at full resolution

are designed for large, wall-sized displays, there is a possibility that fast-moving subjects

may not be clear when shot at 60 fps, so the option of 120 fps has been standardized for these

situations. To handle the sensor output of approximately 4 billion pixels per second with a

data rate as high as 51.2 Gbit/s, a faster analog-to-digital converter has been developed to

process the data from the pixels, and then a high-speed output circuit distributes the resulting

digital signals into 96 parallel channels. This 1.5 in (38 mm) CMOS sensor is smaller and

uses less power when compared to conventional ultra-high-definition sensors, and it is also

the world's first to support the full specifications of the ultra-high-definition standard.

During the 2012 Summer Olympics in Great Britain, the format was publicly

showcased by the world's largest broadcaster, the BBC, which set up 15 meter wide screens

in London, Glasgow, and Bradford to allow viewers to see the Games in ultra-high definition.

15

On August 23, 2012, UHDTV was officially approved as a standard by

the International Telecommunication Union (ITU), standardizing both 4K and 8K resolutions

for the format in ITU-R Recommendation BT.2020.

On September 15, 2012, David Wood, Deputy Director of the EBU Technology and

Development Department (who chairs the ITU working group that created Rec. 2020),

told The Hollywood Reporter that Korea plans to begin test broadcasts of 4K UHDTV next

year. Wood also said that many broadcasters have the opinion that going from HDTV to 8K

UHDTV is too much of a leap and that it would be better to start with 4K UHDTV. In the

same article Masakazu Iwaki, NHK Research senior manager, said that the NHK plan to go

with 8K UHDTV is for economic reasons since directly going to 8K UHDTV would avoid an

additional transition from 4K UHDTV to 8K UHDTV.

On October 18, 2012, the Consumer Electronics Association (CEA) announced that it

had been unanimously agreed on by a vote of the CEA‘s Board of Industry Leaders that the

term "Ultra High-Definition", or "Ultra HD", would be used for displays that have a

resolution of at least 8 megapixels with a vertical resolution of at least 2,160 pixels and a

horizontal resolution of at least 3,840 pixels. The Ultra HD label also requires the display to

have an aspect ratio of at least 16 × 9 and to have at least one digital input that can carry and

present a native video signal of 3840 × 2160 without having to rely on a video scaler. Sony

announced that their 4K products will be marketed as "4K Ultra High-Definition (4K UHD)".

On October 23, 2012, Ortus Technology Co., Ltd announced the development of the world's

smallest 3840 × 2160 pixel LCD panel with a size of 9.6 in (24 cm) and a pixel density of

458ppi. The LCD panel is designed for medical equipment and professional video equipment.

On October 25, 2012, LG Electronics began selling the first flat panel Ultra HD display in the

United States with a resolution of 3840 × 2160. The LG 84LM9600 is a 84 in (210 cm) flat

panel LED-backlit LCD display.

On November 29, 2012, Sony announced the 4K Ultra HD Video Player, which is a

hard disk server preloaded with ten 4K movies and several 4K video clips that will be

included with the Sony XBR-84X900.

Examples of preloaded 4K movies will be The Amazing Spider-Man, Total

Recall (2012), The Karate Kid (2010), Salt, Battle: Los Angeles, The Other Guys, Bad

Teacher, That’s My Boy, Taxi Driver, and The Bridge on the River Kwai.

16

Additional 4K movies and 4K video clips will be offered for the 4K Ultra HD Video

Player in the future. November 30, 2012, Red Digital Cinema Camera Company announced

that they were taking pre-orders for the US$1,450 REDRAY 4K Cinema Player which is

capable of outputting 4K resolution to a single 4K display or to four 1080p displays arranged

in any configuration and connected using four HDMI 1.4 connections. Video output can be

4K DCI (4096×2160), 4K Ultra HD, 1080p, and 720p at frame rates of up to 60 fps with a bit

depth of up to 12-bits with 4:2:2 chroma subsampling. Audio output can be up to 7.1

channels. Content will be distributed online using the ODEMAX video service. External

storage can be connected using eSATA, Ethernet, USB, or a Secure Digital memory card.

3.2.3 2013

On January 6, 2013, the NHK announced that Super Hi-Vision satellite

broadcasts could begin in Japan in 2016. January 7, 2013, Eutelsat announced the first

dedicated 4K Ultra HD channel. ATEME uplinks the H.264/MPEG-4 AVC channel to the

EUTELSAT 10A satellite. The 4K Ultra HD channel has a frame rate of 50 fps and is

encoded at 40 Mbit/s. The channel started transmission on January 8, 2013. On the same

day Qualcomm CEO Paul Jacobs announced that mobile devices capable of playing and

recording 4K Ultra HD video will be released in 2013 using the Snapdragon 800 chip.

January 8, 2013, Broadcom announced the BCM7445 which is an Ultra HD

decoding chip capable of decoding High Efficiency Video Coding (HEVC) at up to 4096 ×

2160p at 60 fps. The BCM7445 is a 28 nm ARM architecture chip capable of 21,000

Dhrystone MIPS with volume production estimated for the middle of 2014. On the same day

THX announced the "THX 4K Certification" program for Ultra HD displays. The

certification involves up to 600 tests and the goal of the program is so that "content viewed

on a THX Certified Ultra HD display meets the most exacting video standards achievable in a

consumer television today".

January 14, 2013, Blu-ray Disc Association president Andy Parsons stated that

a task force created three months ago is studying an extension to the Blu-ray

Disc specification that would add support for 4K Ultra HD video. January 25, 2013, the BBC

announced that the BBC Natural History Unit will produce Survival which will be the first

wildlife TV series to be filmed in 4K resolution. This was announced after the BBC had

experimented with 8k during the London Olympics. On January 27, 2013, Asahi

Shimbun reported that 4K Ultra HD satellite broadcasts will start in Japan with the 2014

17

FIFA World Cup. Japan‘s Ministry of Internal Affairs and Communications decided on this

move to stimulate demand for 4K Ultra HD TVs.

On February 21, 2013, Sony announced that the PlayStation 4 will support 4K

resolution output for photos and videos but games cannot be rendered at that resolution.

On March 26, 2013, the Advanced Television Systems Committee (ATSC)

announced a call of proposals for the ATSC 3.0 physical layer which states that the plan is for

the system to support video with a resolution of 3840 × 2160 at 60 fps.

On April 19, 2013, SES announced the first Ultra HD transmission using the HEVC

standard. The transmission had a resolution of 3840 × 2160 and a bit rate of 20 Mbit/s.

On May 9, 2013, NHK and Mitsubishi Electric announced that they had jointly

developed the first HEVC encoder for 8K Ultra HD TV, which is also called Super Hi-Vision

(SHV). The HEVC encoder supports the Main 10 profile at Level 6.1 allowing it to encode

10-bit video with a resolution of 7680 × 4320 at 60 fps. The HEVC encoder has 17 3G-

SDI inputs and uses 17 boards for parallel processing with each board encoding a row of

7680 × 256 pixels to allow for real time video encoding. The HEVC encoder is compliant

with draft 4 of the HEVC standard and has a maximum bit rate of 340 Mbit/s.

The HEVC encoder was shown at the NHK Science & Technology Research

Laboratories Open House 2013 that took place from May 30 to June 2. At the NHK Open

House 2013 the HEVC encoder used a bit rate of 85 Mbit/s which gives a compression ratio

of 350:1. May 21, 2013, Microsoft announced the Xbox One which will support 4K

resolution (3840×2160) video output and 7.1 surround sound. Yusuf Mehdi, corporate vice

president of marketing and strategy for Microsoft, has stated that there is no hardware

restriction that would prevent Xbox One games from running at 4K resolution. On May 30,

2013, Eye IO announced that their encoding technology was licensed by Sony Pictures

Entertainment to deliver 4K Ultra HD video. Eye IO encodes their video assets at 3840 ×

2160 and includes support for the xvYCC color space.

On June 11, 2013, Comcast announced that they had demonstrated the first public

U.S. based delivery of 4K Ultra HD video at the 2013 NCTAshow. The demonstration

included segments from Oblivion, Defiance, and nature content sent over a DOCSIS 3.0

network. June 13, 2013, ESPN announced that they would end the broadcast of the ESPN

3D channel by the end of the year and that they will "experiment with things like UHDTV".

18

On June 26, 2013, Sharp announced the LC-70UD1U which is a 70 in (180 cm) 4K Ultra HD

TV. The LC-70UD1U is the world's first TV with THX 4K certification.

On July 2, 2013, Jimmy Kimmel Live! recorded in 4K Ultra HD a performance by

musical guest Karmin and the video clip will be used as demonstration material at Sony

stores.

In September 2, 2013 Acer announced the first smartphone dubbed Liquid S2 capable

of recording 4K. September 4, 2013, the HDMI Forum announced the release of the HDMI

2.0 specification which can support 4K resolution at 60 fps. On the same day Panasonic

announced the Panasonic TC-L65WT600 which will be the first 4K TV to support 4K

resolution at 60 fps. The Panasonic TC-L65WT600 will have a 65 in (170 cm) screen,

support for Display Port 1.2a, support for HDMI 2.0, an expected ship date of October.

In October 4, 2013, DigitalEurope, announced the requirements for their UHD logo in

Europe. The DigitalEurope UHD logo will require that the display support a resolution of at

least 3840×2160, a 16:9 aspect ratio, the Rec. 709 (HDTV) color space, 8-bit video,

24p/25p/30p/50p/60p frame rates, and 2 channel audio.

On October 29, 2013, Elemental Technologies announced support for real-time 4K

Ultra HD HEVC video processing. Elemental provided live video streaming of the

2013 Osaka Marathon on October 27, 2013, in a workflow designed by K-Opticom, a

telecommunications operator in Japan. Live coverage of the race in 4K Ultra HD was

available to viewers at the International Exhibition Center in Osaka. This transmission of 4K

Ultra HD HEVC video in real-time was an industry-first.

On November 28, Organizing Committee of the XXII Olympic Winter Games and XI

Paralympic Winter Games 2014 in Sochi chief Dmitri Chernyshenko stated that 2014

Olimpic Winter Games are to be filmed in 8K Super Hi-Vision.

19

4. PERFORMANCE ANALYSIS

4.1 Post production in videos

We can multiply the vertical angle of view by the number of pixels per degree to

determine the number of vertical pixels required to produce a visibly seamless image for a

viewer with good eyesight. The "relaxed" reference of 44 pixels per degree multiplied by 37

degrees vertical equals 1628 pixels vertical. How does this number compare to 2K? The

typical modern movie has a picture width-to-height proportion ("aspect ratio") of 1.85:1. 2K

projection accommodates this aspect ratio picture with 1998 pixels horizontal by 1080 pixels

vertical. (Different aspect ratios use different accommodations.12) The 1080 pixels of 2K

projection fall 34% short of the 1628 pixels required to create a seamless picture.

Fig 7 - This exaggerated view depicts the effect of stairstep "jaggies" and screen door

effect that become visible when you're sitting sufficiently close to a digital projection.

Of course, this 2K shortfall varies according to viewing distance. Sit closer and the

shortfall becomes more severe. Sit further and the shortfall will diminish, eventually to zero.

The shortfall is also linked to the reference for visual acuity. Using 60 pixels per degree,

20

which corresponds to recognizing the "E" on the 20/20 line of the eye chart, 2K projection

can only provide half of the required 2220 pixels.

Assuming appropriate content and a 2K projector that's in focus, the 2K shortfall can

create a problem for viewers in contemporary stadium seating theaters. At practical viewing

distances, the drawbacks of 2K presentation will be visible. These limitations can include the

visibility of individual pixels, which can undermine the illusion of reality. Stairstep "jaggies"

can add unwanted texture to diagonal lines in the picture. And gaps between pixels can put a

fine mesh of black lines across the entire image, as if the picture were viewed through a

screen door. (And if a projectionist were to deliberately put a 2K projector out of focus to

conceal these artifacts, the picture would lose even more detail.) For many audience

members, the benefits of 4K projection will be visible.

4.1.1 Zoom factor

High quality zoom effects can be integrated into the programming, this helps

user to zoom on particular areas. For example, in cricket match if a close decision of caught

behind is forward to third umpire then he can zoom the image at that portion frame by frame.

Other example in an interactive mode, a consumer or the program director could choose an

area of a 4K UHDTV scene for a close-up, as the simple example of Figure 7 shows.

However, it is also possible for sophisticated image analysis systems to identify the most

dynamic or most relevant area of a 4K UHDTV scene to offer the viewer an automatic close-

up.

Fig 8 – Quality zoom for post-production

21

4.1.2 Frame Rate

In 4k UHD frame rate is above 60 fps, so in post-production effect like slow

motion is achieved more closely.

Example of this same for cricket, close decision for run out is more closely

analyzed with 120 FPS than 24/30/60 FPS.

4.2 Parameter Difference of HD and UHD

Following table 3 shows parametric advantages and comparison between

several forms of SD Videos, HD videos and UHD videos in respect to frame sizes, pixel per

image, scanning type and Frame rate in PFS or Hz.

Video

Standars

Video

mode

Frame size in

pixels (W×H)

Pixels per

image

Scanning

type Frame rate (Hz)

SD 576i 720×516 368640 Interlaced 25,27,30

SD 576i 700×516 361200 Interlaced 30

SD 480i 640×480 307200 Interlaced 25,30

SD 480i 720×480 346500 Interlaced 30

SD 640i 720×640 460800 Interlace 30

HD 720p 1,280×720 921,600 Progressive 23.976, 24, 25, 29.97,

30, 50, 59.94, 60, 72

THD 1080i 1,920×1,080 2,073,600 Interlaced

25 (50 fields/s), 29.97

(59.94 fields/s), 30

(60 fields/s)

THD 1080p 1,920×1,080 2,073,600 Progressive

24 (23.976), 25, 30

(29.97), 50, 60

(59.94)

FHD 2000p 2,048×1,536 3,145,728 Progressive 24

UHD 2160p 3,840×2,160 8,294,400 Progressive 60, 120

UHD 2540p 4,520×2,540 11,480,800 Progressive

UHD 4000p 4,096×3,072 12,582,912 Progressive

UHD 4320p 7,680×4,320 33,177,600 Progressive 60, 120

Table 3 - Video parameter of SD,HD and UHD

22

5. ADVANTAGES AND DISADVANTAGES

5.1 Advantages

5.1.1 viewing experience of viewers

Ultra HD displays include four times as many pixels as Full HD – meaning

Traditionally, Full HD images begin to break up on TV screens over 140 cm (55"). But with a

Toshiba Ultra HD TV, you get incredible 3840 x 2160 resolutions. Combined with advanced

upscaling technology, so you can enjoy uncompromisingly crisp, clear visuals for a fully

immersive cinema quality TVs experience in the comfort of your own home

– Even if you‘re sitting close to the screen.

- They deliver stunning picture quality, regardless of screen size.

- Wide angle achieved so viewer can any angle for view movies,

- Short distance eye also give better picture quality,

5.1.2 Post production Effect

With 4K UHDTV, enhanced post-production effects, such as very high quality zoom,

become possible, where a viewer may concentrate on a specific part of the action chosen by

the program director, or, in the case of interactive services, chosen by the viewer‘s

themselves.

- Effect like Zoom is more effective for particular area,

- High FPS more closely response slows motion,

- Most interaction programs can be telecasted to increase user interest,

- 3D contents can be enhanced,

5.1.3 More access at home

When high bandwidth delivery services to the home are launched, 4K UHDTV viewers

will be able to enjoy exceptionally high quality pictures, with a much higher degree of

involvement in the program. In addition, most of the 4K UHDTV displays targeted at

consumers also support 3D, so the consumer is likely to feel more confi dent that their

spending is a good investment. Since many consumers also use their TV monitor as their

23

games display, there will be additional incentive from the greater immersive experience when

4K UHDTV games are available.

5.1.4 Benefits for broadcasters

Broadcast and media companies can use 4K UHDTV as an opportunity to create new

services and differentiate their existing services. 4K UHDTV gives a stimulus to viewers to

start new subscriptions. Improved quality of content delivered to large displays in the home

gives program producers new artistic scope and freedom to create stunning new material.

Similarly, where a content provider wants to offer both 4K UHDTV and conventional

HD services, it would be possible to format convert the entire scene from 4K to HD to show

the HD viewer the whole content, and then later in the program, the director could choose to

show only an HD close-up, tracking specific program detail.

5.1.5 Conversion from 4K UHD to HD

Similarly, where a content provider wants to offer both 4K UHDTV and conventional

HD services, it would be possible to format convert the entire scene from 4K to HD to show

the HD viewer the whole content, and then later in the program, the director could choose to

show only an HD close-up, tracking specific program detail.

5.1.6 Much Higher Resolution

The most obvious advantage of 4K UHDTV is the much higher resolution than HDTV

which enables producers to capture much more detail in their scenes.

This provides a more immersive experience, bringing to life spacious wildlife

panoramas as well as offering the most detailed action at a sports game. The opportunity to

capture a wider field of view enables producer‘s greater freedom in camera placement,

thereby enabling more artistic license, and hence closer engagement with viewers.

24

5.1.7 Brilliant Colors

Treat your eyes to Pure Color Reproduction, simply put - superior clarity, brilliant

color, and the illusion of objects reaching out and inviting you in their story. LED technology

brings vibrant colors and a new level of picture clarity by constantly adapting to the images

on the screen, producing great detail. The precision and accuracy in the colour range will

open up your eyes to what landscapes are supposed to look like. Thanks to the Hisense's Pure

Color Reproduction, colors are meant to be exactly what they are supposed to be… beautiful

shades of colors.

5.1.8 Stay Connected

Entertainment thrives beyond live TV and your digital library, with Hisense Smart TV,

doors swing wide open to access of online videos, games and music. Browse through over a

billion hours of video content on YouTube, see what your friends are up to on Facebook and

follow the latest worldwide trends on Twitter. Video chat via Skype to brings your friends

and family closer to home wherever they are.

25

5.2 Disadvantages

5.2.1 Technical challenges for shooting and delivering in 4K

Firstly, the file sizes are enormous - 8.6m pixels in a frame; at 16bit colour depth,

means 1.7TB/hour! This is HUGE! An example of this was given recently by Nicholas

Recagno who provided technical support for the final online of The Hobbit. The final online

master at 48 fps, stereoscopic 3D of uncompressed 16 bit 4K files required 2.2GB/second of

data – this is 2x faster than a fully loaded RAID drive equipped with thunderbolt can

eliver… It really is at the limit of what current computing technology can provide.

Plus you have to find a way to archive this data. The current LTO6 backup tape

format only has a lifetime 25 years and therefore needs to be copied to new media every 3rd

hardware generation, so this is a very important consideration, as there is no helpful HDCAM

SR system at present which can capture and archive these files in true 4K yet.

So if we acknowledge the need to compress images, which will by definition be a

‗lossy‘ form of compression, then isn‘t there an argument that it might be better to record a

lower rate of compression but in 2K/HD perhaps? Especially if you had at your disposal a

way of capturing images at 48P instead of just 24P? HDCAM SR and existing technology

can cope with this now in full uncompressed format without spending any extra in expensive

infrastructure…

5.2.2 View 4K videos

Firstly, you need a lot of money for ah HD TV set. Until Sony released sets in April

2013 for $5,000, you needed $40,000 for an 86‖ UHD TV and the larger sets are still the

price of an executive car!. OK, the prices will come down in time but having spent such a

vast sum on a screen, how can you ensure that you will see the images properly?

26

There was a study some years ago in the US, which found that most people sit too far

from their TVs – the average distance was 9ft. Under optimal view conditions for 20/20

vision, the optimal viewing distance has been calculated to be 1.8x the width of the screen, so

9ft distance is required for a 70‖ diagonal to distinguish detail for

UHD. Displays are becoming bigger and this is the basic argument for 4K but houses are not

– especially in the UK!

5.2.3 Content memory Size

But where does the 4K content come from? The gigantic files are way beyond the

capability of internet presently and we will require more bandwidth for terrestrial, cable or

satellite, whichever is the designated vehicle for 4K transmission. First, we will require a

new compression standard to be universally adopted and the present H.264 will become

H.265, though this will take years to adopt and will still give a large level of compression too.

Blu-ray disks are possible but a 2K film currently uses all 50GB, so a 4K film would need a

3rd

and a 4th

layer to shoehorn a 4K film onto a Blu-ray disk and the technology isn‘t here to

achieve this… yet.

Finally, all cabling for the ―last mile‖ to all houses would need to be replaced in order

to work for 4K images, not to mention a complete replacement of all equipment in the

production and post-production process to be able to edit, route, post produce, copy, archive

4K images…

5.2.4 Infrastructure requirement

Additionally, who is going foot the bill to do this infrastructure replacement in these

cash-strapped times?

4K will come though, so if we acknowledge this, just how long will it take to

penetrate to the mass consumer?

27

The best guide is the penetration of HDTV. The first American nationwide broadcast

of an HD programmed was John Glenn‘s lift-off in the Space Shuttle in 1998. It took another

12 years for HDTV to go mainstream so by that reckoning it should be 2025 before UHD 4K

is in half of all American homes.

5.2.5 Conversion for HD

Similarly, where a content provider wants to offer both 4K UHDTV and conventional

HD services, it would be possible to format convert the entire scene from 4K to HD to show

the HD viewer the whole content, and then later in the program, the director could choose to

show only an HD close-up, tracking specifi c program detail.

5.2.6 Other Technical Issues

If higher resolution is the goal, then shoot at higher frame rate, which will achieve

this at lower cost.

At best the benefits of 4K are subtle on existing display equipment.

Also there are clear disadvantages to 4K – not least of which is the extra cost of

moving around and processing the massive amounts of data that 4K involves.

I would like to finish on a case study of a theatrical feature shot with VMI‘s

cameras in 4K. ‗Fast Girls‘ was shot at 4K on the RED EPIC however the film

was never finished in 4K because of the cost. The film went to theatrical release

and it still looked fantastic despite not having been finished as intended.

28

6. CONCLUSION

6.1 Conclusion

4K UHD is a very promising new opportunity for broadcast and media organizations.

It opens up the possibility to develop new revenue streams from innovative new services,

with much scope for new artistic freedom for program producers. Many elements in the

equipment chain from production to consumer are already available or are in development by

manufacturers, bringing the move to 4K UHDTV within the reach of many broadcast and

media organizations. Consumer displays are on sale now, setting an expectation of services to

come.

4K UHDTV is a serious option, and the issue isn‘t about whether 4K UHDTV is

commercially important but more about how soon regular consumer services will start.

6.2 Future Scope

6.2.1 8K UHD

Yes, they are already thinking beyond 4K - how about 8K? 8K is 16 times the

resolution of 1080p. For more on this development, read my article 8K Resolution, as well as

a peak at an8K TV prototype that was on display at CES 2012.

Definition: 8K resolution represents 7680 x 4320 pixels (4320p - or the

equivalent of 33.2 Megapixels) and is effectively 16 times more detailed than current 1080p

resolution TVs. One of the leaders in developing 8K resolution for television broadcasting is

NHK of Japan which has proposed its Super Hi-Vision broadcast format, which is not only

intended for 8K resolution video, but also for up to 22.2 channel audio.

However, with billions of dollars having already been invested by broadcasters,

manufacturers, and consumers on currently available HDTV technology, any widespread

implementation of 8K resolution TVs and Super Hi-Vision TV broadcasting is still almost a

decade away (about the year 2020) as current broadcasting and video format infrastructure

cannot handle the extended bandwidth requirements - unless new breakthroughs in

compression technology would be able to address this.

8K is not only a ways off, but 4K is just know beginning to make inroads. Also,

while 8K resolution may be applicable for very large screen applications, 8K resolution on

smaller screen sizes would be overkill - and then there is issue of finding or producing 8K

29

resolution content, and, finally the cost for both broadcasters and consumers for not only the

TV upgrade, but other components.

On the other hand, where 8K resolution is seeing use now is in film restoration

and mastering, where some movie studios, are taking select classic films and preserving them

as 8K resolution digital files to be used in Blu-ray disc and other high-definition mastering

applications. Even though current high definition formats are 1080p, mastering from an 8K

master insures the best quality transfer available. Also, mastering a 8K means that films or

other content would not have to be premastered every time a new high definition format

comes into use for either theatrical or consumer applications.

Fig 9 – Comparison of SD,HD, 4KUHD and 8KUHD

6.2.2 Glass-less 3D

3D content without glass can be archive using 4KUHD. Except displaying

even and odd frames alternately one can display both camera captured frame in 2K format at

same time. Due to this shutter glass is not need so.

3D is reimagined with use of the latest Ultra High Definition technology. Be part of

the hottest action, fantasy or kids movie as you dodge projectiles and characters coming to

life on your screen. The clarity and realism of the images will make you realize how truly

30

accurate your in-home experience can get. The Hisense UHD with 3D makes watching your

favourite movies or TV shows into a truly unmatched viewing experience.

6.3 Applications of 4kUHD

6.3.1 In TV Broadcast

4K UHDTV has generated a lot of excitement and press attention since the start of

2013. At the 2013 Consumer Electronics Show (CES), all the major display vendors

announced and demonstrated 4K UHDTV consumer displays. In parallel, global broadcasters

and media organizations have been testing 4K UHDTV production including Sky, Netfl ix,

and RAI, with transmission tests supported by SIS Live, Ericsson and others.

However, experienced industry players may be asking themselves if this is just a

repeat of the hype generated around 3D displays a few years ago, which didn‘t achieve the

expected consumer take-up. With estimates of the cost to broadcasters of creating a 4K

UHDTV channel in the range of $10 million to $15 million, i.e. five times that for a new HD

service, according to Deloitte, the decision to upgrade existing equipment and infrastructure

will not be taken lightly. Nevertheless, at Snell we believe that 4K UHDTV is a serious

option, and we would suggest that the issue isn‘t about whether 4K UHDTV is commercially

important but more about how soon regular consumer services will start.

6.3.2 In Cinemas

4K: already in the movie theatres, facilitated by satellite infrastructure. To understand

how 4K images will revolutionize the TV viewing experience, we must effectively refer to

4K in the Digital cinema world. Although Digital Cinema differs slightly from TV (a 4K

cinema frame has 4096 pixels per line compared to 3840 for 4K TV), ―more films than ever

are post-produced in 4K, either based on 35mm negative film or digital 4K shoots, which will

now be made available to cinemas in 4K‖, says Oliver Pasch, Head of European Digital

Cinema Sales at Sony Professional.

All Hollywood studios are already embracing 4K as the ultimate theatrical presentation

format, making eight-megapixel 4K images the next big thing in cinema. Recent examples

include The Dark Knight Rises, Men in Black III, Spiderman 4 and Samsara.

31

REFERENCES

Web –

1. www.wikipedia.org

2. www.definitionmagzine.com

3. www.arris.com

4. www.hdtvexceprt.com

5. www.itu.in

Book –

1. Video Basics 6 Edition by Zettl

2. Video Demystified by Keith Jack 5th

Edition

Magazines –

1. Ultra HD

2. Definition

3. PC

32

ACKNOWLEDGEMENT

With deep sense of gratitude i would like to thanks all the people who have lighted

our path with their kind guidance. I am very grateful to these intellectuals who did their best

to help during my work.

It is my proud privilege to express deep sense of gratitude to, Dr. C. M. Sedani,

Principal of MSS College of Engineering and Technology, Jalna, for his comments and kind

permission to complete this Seminar. I remain indebted to Prof. J. N. Mohite, H.O.D,

Electronics and Telecommunication Department for their timely suggestions.

The special gratitude goes to my guide Prof. S. S. Jadhav, for their expensive,

excellent and precious guidance time to time to make it possible with fluency. I also thank to

M.E. Coordinator Prof. M. R. Saundade and all staff members, technical staff members, of

Electronics and telecommunication Department. I thanks to all the colleagues for their

appreciable help for my working.

I am also thankful to my parents who have provided their wishful support for

completion of our work successfully.

And lastly I thanks to all our friends and the people who are directly or indirectly

related to my work.

Mr. Sumit Dinkarrrao Pople

(ME ETC – 1316)

33

DECLARATION

I hereby declare that this seminar report entitled

“4K UHD Opportunity or Hype”

is written by me and is my own effort and that no part has been plagiarized without citations.

Sign - ________________

Student: Sumit Dinkarrao Pople

Date: _________________

Sign - ______________________

Guide – Prof . S. S. Jadhav

Date - _______________________