High Dynamic Range Master Class Matthew Goldman Senior Vice President Technology, TV & Media Ericsson & Executive Vice President, Society of Motion Picture & Television Engineers
High Dynamic RangeMaster Class
Matthew GoldmanSenior Vice President Technology, TV & Media
Ericsson&
Executive Vice President, Society of Motion Picture & Television Engineers
© Ericsson 2016 | 2016-08-31 | Page 2
Do we see or do we “make”?
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Are these cubes
A) All straight
B) Some curved or
C) All curved?
Let’s find out….
try this …
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What color are the tiles?
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Surprised?We “make” color we don’t “see” color
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› UHDTV discussions often don’t consider the
human visual system (HVS)
› The eye is relatively low resolution, so the
HVS builds detail over time via saccadic
motion and eye tracking and using contrast
and color, combining input data with internal
reference models based on memory
› This is not at all how cameras work
wE “make” imageswe do not “see” them like a camera
© Ericsson 2016 | 2016-08-31 | Page 7
Recap: 5 Ultra-HD Immersive Viewing Image Technologies
High Dynamic Range
Wide Color
Gamut
10-bit Sampling
8b = Visible Banding
High Frame Rate
Image Resolution
8K UHD 7680x4320
4K UHD 3840x2160
HD 1920x1080
SD
© Ericsson 2016 | 2016-08-31 | Page 8
Visual perception - Resolution
1 arc minute*
*limit of Fovea Centralis 0.5 arc minute
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Proper Viewing Distance to “See” Spatial Resolution
HDTV field-of-view ~30°
4K UHDTV field-of-view ~60°
H
H
Proper Viewing Distance (D)HD (1080p) ~= 3H
4K UHD (2160p) ~= 1.5H
x°x°
WD
D = (W/2)/tan(x)
Screen size = √(H2+W2)
1 arc minute
© Ericsson 2016 | 2016-08-31 | Page 10
Screen Size vs. Viewing Distance
Source:
http://www.rtings.com/info/4k-ultra-hd-uhd-vs-1080p-full-hd-tvs
(2160p)
© Ericsson 2016 | 2016-08-31 | Page 11
High Dynamic Range (HDR)› HDR immersion not limited to strict viewing distance
– Benefits large screens (including HD) and tablets and phones
› From transmit side, HDR is potentially more economically viable to deploy than
4K UHDTV
› Once you have seen HDR, you realize how much better than current TV it is
› Cameras can capture HDR now, but we can’t see it at home
Pictures are richer, more lifelike and sharper with HDR. Seeing is believing.
© Ericsson 2016 | 2016-08-31 | Page 12
HDR and perceived resolution
Low contrast image looks ‘softer’ as
some detail is harder to see
More dynamic range can reveal more
detail – especially edges – and looks
sharper (although the pixel resolution
is the same)
Which image has higher resolution?
© Ericsson 2016 | 2016-08-31 | Page 13
HDR and perceived resolution
Low contrast image looks ‘softer’ as
some detail is harder to see
More dynamic range can reveal more
detail – especially edges – and looks
sharper (although the pixel resolution
is the same)
© Ericsson 2016 | 2016-08-31 | Page 14
Contrast effects on resolution
Pelli-Robson chart:
Impact of contrast on resolution
Snellen chart:
Impact of size/distance
on resolution
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This is (simplistically) how it works
SD/HD/4K TV Today:
Low dynamic range means subtle
contrast differences in the original
content (and which many cameras
can capture) are not maintained –
detail is missing.
HDR TV:
High dynamic range means
subtle contrast differences in
the original content can be
captured and transmitted to
the consumers, revealing
previously hidden detail.
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Dynamic range and the HVS
Light
Grey
Dark
Grey
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Dynamic range and the HVS
Light
Grey?
Dark
Grey?
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Is ‘A’ or ‘B’ lighter?
Another example
50//60, 100/120 fps
10/12 bit sample depth
30 fps
8 bit sample depth
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They are the same
Another example
50//60, 100/120 fps
10/12 bit sample depth
30 fps
8 bit sample depth
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“HDR+” … for any image resolution
High Dynamic Range
Wide Color Gamut
10-bit
Sampling
8b = Visible Banding
The combination of HDR, WCG and higher sample precision technologies – acts as a single feature!
3840 x 2160p 1920 x 1080p
or
Whether
© Ericsson 2016 | 2016-08-31 | Page 21
Candela per square meter
(cd/m2) or “nit”
Cinema today: 48 cd/m2
– In dark viewing environment
Reference white for TV
production: 100 cd/m2
– Rec. ITU-R BT.1886
– Based on 1930s CRT!
Typical LCD TV today
(standard dynamic range, SDR): 300-400 cd/m2
HDR TVs, now to future: 1,000 to 4,000 cd/m2
Luminous Intensity
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Comparing SDR to HDR
Standard Dynamic Range,
Lowlight Exposure
High Dynamic Range,
(simulated by tone
mapping)
Images source: K. McCoy. Licensed under CC BY-SA 3.0 via Wikimedia Commons
Standard Dynamic Range,
Highlight Exposure
© Ericsson 2016 | 2016-08-31 | Page 23
› SDR: Video generally ≤ 1.25x; Cinema generally ≤ 2.7x
› HDR: May be up to 100x
HDR is not about brighter display!
Source: Report ITU-R BT.2390
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HDR: Specular light ImpactImages courtesy of Dolby Laboratories
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Human Visual System Capability
10-610-8 10-4 10-2 100 102 104 106 108
cd/m2 (nit)
TV today
Simultaneous dynamic range
Digital Cinema
Light Level
Cinema: 48 cd/m2 peak white
in dark viewing environment
Television: 100 cd/m2 peak white
(Rec. ITU-R BT.1886)
Based on 1930s CRT
© Ericsson 2016 | 2016-08-31 | Page 26
Human Visual System Capability
10-610-8 10-4 10-2 100 102 104 106 108
cd/m2 (nit)
TV today
Simultaneous dynamic range
Digital Cinema
Light Level
Cinema: 48 cd/m2 peak white
in dark viewing environment
Television: 100 cd/m2 peak white
(Rec. ITU-R BT.1886)
Based on 1930s CRT
HDR TV4Q15: 1000-1200 cd/m2
Future: Likely much higher
© Ericsson 2016 | 2016-08-31 | Page 27
Wide Color Gamut (WCG)Capture more of reality – richer colors
Outer triangle: UHDTV primaries
Rec. ITU-R BT.2020
Inner triangle: HDTV primaries
Rec. ITU-R BT.709
Source: Report ITU-R BT.2246
© Ericsson 2016 | 2016-08-31 | Page 28
WCG & HDR are closely linked
X
Y
Y X
Z
Outer triangle: UHDTV primaries
Rec. ITU-R BT.2020
Inner triangle: HDTV primaries
Rec. ITU-R BT.709
BT.709
+ Z
BT.2020 + Z
© Ericsson 2016 | 2016-08-31 | Page 29
› Today, all direct-to-consumer digital TV uses 8-bit sampling
› Banding (posterization) with 8b, especially in plain areas
– Sky, backgrounds, graphics, logo
– Very noticeable with slow changes, such as fades
› Significantly improved PQ with 10-bit sample bit depth
– No bandwidth cost in the compressed domain
– HEVC Main-10 Profile allows 8-bit or 10-bit operation
› HDR and WCG exacerbates issues with 8-bit sampling
Visual Quality: sample Bit depth
Visible banding
8-bit 10-bit
© Ericsson 2016 | 2016-08-31 | Page 30
› To see what’s happening from a far distance, the scene needs to be captured, transmitted to a remote location, then reconstituted
› Cameras convert scene light to an electrical signal, suitable of being transmitted over long distances, using an opto-electronic transfer function (OETF)
› Display convert an electrical signal back to scene light using an electro-optical transfer function (EOTF)
› For over 60 years, the cathode ray tube (CRT) was the universal display technology used
› The response of a CRT to an input signal is not linear and its EOTF is commonly known as gamma
Television = tele + visionFrom camera to display
Transmission MediumScene
Capture
Scene
Display
OETF EOTF
L = Vγ
where γ = 2.35
for HDTV
(ITU-R BT.709)
© Ericsson 2016 | 2016-08-31 | Page 31
› Step size / Luminance (dL/L) is the measure of visibility
› Levels below the Barten’s contrast sensitivity function (dashed curve) are masked from the HVS
› Mapping signal levels to display luminance (EOTF) is known as the gamma curve (a straight line in log space)
› 8-bit gamma-coded has large, visible steps across the range
› 10-bit gamma-coded reduces this dramatically
Sample Bit Depth
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› ST 2084:2014 – High Dynamic Range Electro-Optical Transfer Function of Mastering Reference Displays
– Defines “display referred” curve with absolute luminance values based on human visual model– Called Perceptual Quantizer (PQ)
› ST 2086:2014 – Mastering Display Color Volume Metadata Supporting High Luminance and Wide Color Gamut Images
– Specifies mastering display primaries, white point, and min/max luminance
› Draft ST 2094-x – Content-Dependent Metadata for Color Volume
Transformation of High Luminance and Wide Color Gamut Images– Specifies dynamic metadata used in the color volume transformation of source content mastered with
HDR and/or WCG imagery, when such content is rendered for presentation on a display having a smaller color volume
› New project: HDR & WCG Signaling on Streaming Interfaces– To define a signaling representation & carriage mechanism for real-time interfaces to identify HDR and
WCG content so that it is properly processed in a production facility as well as correctly displayed in professional reference displays using SMPTE interface standards
Recent / on-going StandardsSMPTE
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› Rec. ITU-R BT.2100 – Parameter values for high dynamic range television systems for production & international programme exchange
› Report ITU-R BT.2390 – High dynamic range television for production and international programme exchange (companion report to BT.2100)
› Interim Report from RG-24 HDR-TV – HDR signalling requirements for programme production and international exchange arising from Recommendation ITU-R BT.2100
– Possibly modify Rec. ITU-R BT.1120-8 Digital interfaces for HDTV studio signals, and Rec. ITU-R BT.2077-1 Real-time serial digital interfaces for UHDTV signals
– Transfer function signaling could enable auto-selection of appropriate EOTF by a display:› BT.1886 EOTF if the SDR-TV (i.e., BT.709 HD or BT.2020 UHD) flag is received› BT.2100 PQ EOTF if the PQ flag is received› BT.2100 HLG EOTF if the HLG flag is received
Recent / on-going Standards ITU-R WP6C
© Ericsson 2016 | 2016-08-31 | Page 34
› Production reference for CRT peak white level is 100 nits
– Now referred to as standard dynamic range (SDR)
– SDR camera OETF comes from a desire to simplify analog TV electronics› Inverse of CRT gamma (EOTF)
› Rec. ITU-R BT.2100 defines 2 HDRtransfer functions:
– SMPTE ST 2084 Perceptual Quantization (PQ) EOTF
– Hybrid Log Gamma (HLG) OETF› (originally from BBC/NHK)
– Pros & Cons for each› Consequences for the production chain
HDR Transfer functions
10-bit levels over wider range
© Ericsson 2016 | 2016-08-31 | Page 35
Where:
E´ denotes a nonlinear color value {R’, G’, B’} or { L’, M’, S’} in PQ space
[0,1]
FD is the luminance of a displayed linear component {RD, GD, BD} or YD or ID,
in cd/m2
Y denotes the normalized linear color value, in the range [0:1]
So that when R’=G’=B’, the displayed pixel is achromaticm1 = 261016384 =0.1593017578125
m2 = 25234096×128=78.84375
c1 = 34244096=0.8359375=c3-c2+1
c2 = 24134096×32=18.8515625
c3 = 23924096×32=18.6875
Perceptual Quantization (PQ) EOTF (SMPTE ST 2084)
1
2
21
1
32
1
10,max
10000EOTF
m
m
m
D
Ecc
cEY
YEF
© Ericsson 2016 | 2016-08-31 | Page 36
Hybrid Log Gamma (HLG) OETF
Source: Report ITU-R BT.2390
EcbEa
EEEE
1ln
102OETF
Where:
E is the signal for each colour component {Rs, Gs, Bs} proportional to scene linear light
and scaled by camera exposure, normalized to the range [0:12]
E´ is the resulting non-linear signal {R’, G’, B’} in the range [0:1]
a = 0.17883277, b = 0.28466892, c = 0.55991073
© Ericsson 2016 | 2016-08-31 | Page 37
Both End-to-End HDR Systems
Source: BBC Research & Development
HLG OETF
SMPTE ST 2084
PQ EOTF
End-to-end HDR systems, both identical in mastering environment
Rec. ITU-R BT.2100 – Parameter values for high dynamic range television systems for production & international programme exchange
• Common reference opto-optical transfer function (OOTF); compensates for non-linearity between displayed light and the light captured by the camera
© Ericsson 2016 | 2016-08-31 | Page 38
EOTF
ITU-R BT.1886
(peak white 100 nits)
OETF
ITU-R BT.709
Live Broadcast Chain – SDR
AcquisitionCompression & Transmission
DisplayScene
© Ericsson 2016 | 2016-08-31 | Page 39
Live Broadcast Chain – HDR+
High Dynamic Range Display
? ?
High Dynamic Range Content
>16 f-stops
?
AcquisitionCompression & Transmission
DisplayScene
© Ericsson 2016 | 2016-08-31 | Page 40
HDR+: the wider ecosystem
Camera
sensor
OETF &
Map to
Color
Space
Graphics
&
Production
Compress
(DTH)
Full Size
&
Down-
converted
Compress
content
exchange)
Profess-
ional
Decode
Ad Insert Consumer
DecodeEOTF,
Remap
&
Display
STB
Graphics
Overlay
© Ericsson 2016 | 2016-08-31 | Page 41
SDR Production Today
Racking
Racking
Video
VideoVideo
Router
Vision
Mixer
(Switcher)
Graphics
Other
sources
CCU ctrl
CCU ctrl Video To Studio
© Ericsson 2016 | 2016-08-31 | Page 42
› The reference monitor dilemma
› HDR Reference Monitors today do not have a standard
› So we can either:
– Define the standard (as with SDR TV today), or
– Signal what was used
› The choice affects interoperability of content
HDR Production
© Ericsson 2016 | 2016-08-31 | Page 43
Joint HDR/SDR Production
HDR to SDR
ConversionHDR SDR
These all need to have matched levels ..... or you can never create the SDR version
© Ericsson 2016 | 2016-08-31 | Page 44
Backward compatibility checklist1. What exactly is meant by backward compatibility?
2. Which technologies are we trying to address?1. Dynamic range
2. Color gamut / Color space
3. Sample bit depth
4. Spatial resolution
5. Temporal resolution
6. Video coding standard for delivery-to-consumer (DTH)
3. What is “good enough” picture quality?1. For legacy, conventional HD service
2. For new Ultra HD service (1080p or 2160p HDR+)
4. What new costs will backward compatibility create?1. In production
2. In post-production
3. In distribution
4. In delivery to consumer
Before we all sign up to a
backward compatibility
scheme, have we really
understood what will happen
at each stage of the content
chain?
© Ericsson 2016 | 2016-08-31 | Page 45
HDR+ “backward compatibility”
› Q1: Are we trying to make an HDR signal that also can be
viewed on any conventional SDR TV/display?
(stream backward compatibility)
Or
› Q2: Are we trying to make a signal that can be converted by
an intermediate step to be shown on any conventional SDR
TV/display?
(display backward compatibility)
Or
› Q3: Are we planning to simulcast, as we do today with
HD/SD, and are planning to do with UHD/HD?
Historical note: Prior to HD being launched, backward compatibility
was a big concern – after in-depth review, not so much
© Ericsson 2016 | 2016-08-31 | Page 46
We could …
› Create a signal that works with existing HD/UHD STBs/DTVs
– But then we’re restricted to 8-bit AVC 1080i
› Create a signal that decodes with a new STB but looks “okay” on an SDR TV
› Create a signal that is optimal for HDR (1080p or 2160p)
– And then either:
› Use the existing transmission for SDR, or
› Convert in new STBs
Backward Compatibility –Options?
© Ericsson 2016 | 2016-08-31 | Page 47
› Existing HD SDR TV services will remain– Large populations of SDR-only or AVC-only STBs/DTVs
› What does this mean?
SDR HD transmission will remain unless there is an effective way to do
backward compatibility with a single service that does not
compromise either the new HDR image or the legacy SDR image …
What About Legacy HD Services?
Cost-effectively producing both
HDR and SDR means
one production chain
HDR must be suitable for
deriving SDR
SDR HD transmission
will remain and so is available
for use by SDR-only UHDTVs
© Ericsson 2016 | 2016-08-31 | Page 48
› Dynamic range: ITU-R BT.2100 (PQ or HLG) BT.709/BT.1886 (Gamma)
› Color space: ITU-R BT.2020 BT.709
› Sample bit depth: 10b 8b (for delivery-to-consumers)
› Spatial resolution: 3840x2160 1920x1080 or 1280x720 (as applicable)
› Temporal resolution: 50-60 fps progressive 25-30 fps interlaced
› Video coding standard: HEVC to AVC or MPEG-2 (for delivery-to-consumers)
› With “broadcast quality” images in both HDR and SDR formats
– For legacy conventional HD service
– For new Ultra HD service (1080p or 2160p HDR+)
Simulcast required unless all of these conditions are met*
*Note: the above still excludes modulation, transport, and audio BC!
Backward Compatibilityto legacy HD
© Ericsson 2016 | 2016-08-31 | Page 49
HDR+ Approaches: “PQ10”-based
› SMPTE ST 2084 PQ HDR + Rec. ITU-R BT.2020 color– One of two HDR+ formats defined in new Rec. ITU-R BT.2100 Image parameter values for
high dynamic range television for use in production and international programme exchange
› Single layer baseline is non backwards compatible
› HDR10 = PQ10 + reference display metadata
– Metadata = SMPTE ST 2086 HDR static metadata + MaxCLL + MaxFALL
– Specified by Blu-ray® Disc Association, DECE, CTA, UHD Alliance for pre-produced content
– Uses HEVC Color Remapping Information SEI message
© Ericsson 2016 | 2016-08-31 | Page 50
So Called “HDR10” media profileBDA: Ultra HD Blu-ray® Video Characteristics
© Ericsson 2016 | 2016-08-31 | Page 51
HDR+ Approaches: “PQ10”-based (2)
› Backwards compatibility possible by using proprietary add-on schemes
involving dual layers or single layer + “HDR enhancement” metadata
› Some examples
– Dolby Vision: Dual layer, HDR baseline + “SDR reconstruction” enhancement layer
– Dolby Vision Live: Single layer, HDR baseline + optional “Display Adaptation” metadata
(SMPTE ST 2094-1 & 2094-10 HDR dynamic metadata)› Also optional ICtCp color space + optional closed-loop Re-shaper
– Technicolor “SL-HDR1” (formerly “Prime”): Single layer, SDR baseline + “HDR
Reconstruction” metadata (SMPTE ST 2094-1 & 2094-30 HDR dynamic metadata)
– Qualcomm: HDR10 + “Dynamic Range Adjustment” metadata
© Ericsson 2016 | 2016-08-31 | Page 52
HDR+ Approaches: “HLG10”-based
› Hybrid-Log Gamma (HLG) HDR + Rec. ITU-R BT.2020 color
– One of two HDR+ formats defined in new Rec. ITU-R BT.2100 Image parameter values for
high dynamic range television for use in production and international programme exchange
› Single layer with no metadata
› Backwards compatible for Live TV (if BT.2020 color space container
maintained)
› Possibly backward compatible to HD (BT.709) color space with tone mapping
algorithm
– But some in industry do not believe doing BC this way is necessary for 4K
(very limited in-field)
– Instead, plan to simulcast conventional HD SDR with 4K HDR+
© Ericsson 2016 | 2016-08-31 | Page 53
› Fewer constraints than live
production
– Post-production can produce for just
that specific content
– Knows about pictures “in the future”
– A much more controlled environment
› Could exist in multiple formats if
needed
– Although more economical if there is
only 1 format for all
HDR+ for On-Demand Assets
© Ericsson 2016 | 2016-08-31 | Page 54
› Live TV ecosystems have special needs
› To get on-air in early adoption (2017-2019?), must keep the solution simple and “forgiving”, to work as best as possible with existing live workflows
› Some proposed HDR schemes require metadata or dual layer streams
› This information may get dropped until the HDR Live TV ecosystem matures (islands of implementations always occur in technology displacements)
› For early Live TV workflows, use HDR schemes that do not require metadata or dual layers so that if lost/missing/not produced, renderer is still able to produce “broadcast quality” HDR images
› “Bread & butter” will be conventional HD for a long time–Simulcast likely required in early deployments
Live TV challenges
© Ericsson 2016 | 2016-08-31 | Page 55
Live TV Content delivery is not likeon-demand, blu-ray, or cinema
Several HDR+ schemes had been proposed, based on discussions with Hollywood studios / Blu-ray Disc
Association / display manufacturers. None of whom, however, produce Live TV programming!
Jean Wake Split Time 1:22:12
RWT Live
Jean Wake Split Time 1:22:12Jean Wake Split Time 1:22:12
An impressive swim from wake
© Ericsson 2016 | 2016-08-31 | Page 56
Live TV Content production
Jean Wake Split Time 1:22:12
Now in real time we are adding lower thirds …This is the basic picture …
© Ericsson 2016 | 2016-08-31 | Page 57
Live TV Content production
Jean Wake Split Time 1:22:12Jean Wake Split Time 1:22:12Jean Wake Split Time 1:22:12
Adding transitions and logos, freeze frames,
slow motion, repositioning, etc.
Jean Wake Split Time 1:22:12
RWT Live
Jean Wake Split Time 1:22:12Jean Wake Split Time 1:22:12
Adding logos and captioning downstream
An impressive swim from wake
© Ericsson 2016 | 2016-08-31 | Page 58
Live TV Content delivery
This content often needs
further downstream
image manipulation
(mixing, wipes, fades,
keying, graphics) …
Logo replacement
“Squeeze & Tease”
Up Next
Down-conversion
Format conversion
© Ericsson 2016 | 2016-08-31 | Page 59
In Live TV, what/where is the “final encoder”?
“Just insert at the final encode”
Subsequent Broadcaster
(e.g., international distribution*)
Broadcast
Affiliate/Remote
Use Case
1
Use Case
2
Use Case
3Broadcast
Affiliate/Remote
Broadcast
Network/Source
Broadcast
Network/Source
Broadcast
Network/Source
*or MVPD (Cable or Satellite Provider ) in some regions
© Ericsson 2016 | 2016-08-31 | Page 60
Dual layer and single layer + “HDR enhancement” metadata
are difficult to apply to Live TV workflows
If there are dual-layers or enhancement metadata that need to be
reconstituted into a single stream to be processed and re-encoded,
then how do I do the following?:
– Transition between two sources, for example in a live studio program?
– Apply effects (which layer am I applying them to?)
– Add graphics (which layer am I applying them to?)
– Format or standards convert (which layer am I converting and how?)
– Add logos or closed captions
– Cut between programs and adverts
Dual-layer & “HDR Enhancement” metadata operational problems
© Ericsson 2016 | 2016-08-31 | Page 61
› Remember audio loudness issues?
Video “Loudness”!
© Ericsson 2016 | 2016-08-31 | Page 62
› Advertisers may use the
opportunity to grab attention by
introducing huge steps in light
levels
Video “Loudness”!
© Ericsson 2016 | 2016-08-31 | Page 63
Uncompressed Compressed
(consumer-grade)
4K (2160p) vs. 1080i HD 400% circa 250%
“HDR+” (HDR+WCG+10bit) 25-30% circa 0-20%
HFR (50-60fps 100-120fps) 200% circa 30%
Bandwidth impacts
In some cases, bandwidth also required to simulcast
legacy HD bitstreams in addition to new UHD HDR+ bitstreams
© Ericsson 2016 | 2016-08-31 | Page 64
› If bandwidth constraints prevent a broadcaster from offering all of
the new technologies, then focus on the “best bang for the bit”
–1080p50/60 HDR+
› Take advantage of all modern displays’ ability to up-convert 1080p
to 4K (2160p)
–Of course, HDR+ support required to render HDR+
So what about 1080p HDR+?
© Ericsson 2016 | 2016-08-31 | Page 65
› UHDTV is all about the consumer experience
– But UHD-1 Phase 1 does not include immersive technologies!
› UHD-1 Phase 2 defined commercially … technical specs expected end 2016
UHD Roadmap (DVB)
* The specification also includes
fractional variants of the 60fps
family (1/1.001)
Source: DVB
CM-UHDTV
2160p100/120*UHD-1 Phase 2
CP “B” (HFR)Bit depth: 10-bit
Colour Space: BT.2020
Dynamic Range: HDR
Backwards compatibility
options: Desired
Audio: Next generation audio
(e.g. Object-based )
2019/2020
2017/2018
2014/2015
2160p50/60*
Bit depth: 10 bit
Colour Space: BT.2020
Dynamic Range: HDR
Backwards compatibility options:
Desired
Audio: Next generation
audio (e.g. Object-based)
UHD-1 Phase 2
CP “A” (HDR+)
2160p50/60*
Bit depth: 8-bit, 10-bit,
Colour Space: Rec. BT.709 and
BT.2020 (signalled)
Dynamic Range: Standard
Audio: Existing DVB Toolbox
Hooks for High Frame Rate compatibility
included
UHD-1 Phase 1
© Ericsson 2016 | 2016-08-31 | Page 66
› CTA
– Draft CTA-861-G – A DTV Profile for Uncompressed High Speed Digital Interfaces (core of HDMI). To add HDR dynamic metadata & HLG OETF to HDR support already in CTA-861.3
› Ultra HD Forum
– Ultra HD Forum Guidelines (for UHD Phase A)
– Supports 1080p and 2160p HDR+
– PQ10 and HLG10 for Live TV workflows
› UHD Alliance
– UltraHD Premium specs and logo certification program
– Broadcasting Sub-Group to consider the definition or recommendation of a reference display environment
› ATSC, SCTE, others …
– Standardizing the use of HDR+ in direct-to-home/consumer systems
Other Recent/on-going standards activities
High Dynamic Range Display
Peak Brightness: >1000 nits
Black Level: <0.05 nits
or
Peak Brightness: >540 nits
Black Level: <0.0005 nits
© Ericsson 2016 | 2016-08-31 | Page 67
› Call for Evidence for HDR/WCG (February 2015)– Input contributions showed that low bitrate applications did not perform as expected,
including poor texture rendition, color shifts after compression, color boundary overflow & chroma sub-sampling issues
› January 2016: Decision made not to add new HDR tools to HEVC due to lack of significant improvements of candidate proposals over improved encode-side only techniques (no changes to bitstream syntax or reference decoder)
› 3 techniques improved the “anchors” (source images used in evaluation)– Luma Adjustment (Ericsson)
› Preprocessing before encoding› Removes subsampling artifacts
– Chroma QP offset (Ericsson)› Encoder optimization› Removes chrominance artifacts
– Luma QP offset (Ericsson & Sharp)› Encoder optimization› Increases detail
› Next step: “Best practices” recommendation & verification testing
MPEG HEVC HDR “Fast TracK”
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Original 4:4:4Conventional 4:2:0
(no compression)Ericsson 4:2:0
(no compression)
Luma adjustment (ERICSSON)
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Luma adjustment (ERICSSON)
Original 4:4:4Conventional 4:2:0
(no compression)Ericsson 4:2:0
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Chroma qp offset (ERICSSON)
Anchor v3.2 matching bit-rateCfE Anchor
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Chroma qp offset (ERICSSON)
CfE Anchor
Green Artifacts
Anchor v3.2 matching bit-rate
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Chroma qp offset (ERICSSON)
Red Artifacts
CfE Anchor Anchor v3.2 matching bit-rate
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Luma QP offset (ERICSSON & SHARP)
CfE Anchor Anchor v3.2 matching bit-rate
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Luma QP offset (ERICSSON & SHARP)
CfE Anchor Anchor v3.2 matching bit-rate
More
Texture
Detail
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Luma QP offset (ERICSSON & SHARP)
CfE Anchor Anchor v3.2 matching bit-rate
Sharper
Edges
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› HDR has the interest to be a major success
– Highly visible improvement in the immersive viewing experience
› Both 1080p HD and 2160p 4K UHD initially … and 4320p 8K UHD some day
› A lot of the confusion surrounding the standards and proposals is now resolving
› Simplicity and content interoperability are key
› Initially, PQ10 and HLG10 for Live TV workflows
Summary
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