InterBEE Magazine

My observations at Inter BEE 2011 (Part 4): Encoding Technology, Video Monitors and Display Trends

Tue, 20 Dec 2011 09:35:49 +0900

In Part 1, I covered individual events and the overall unique state of things at this year's Inter BEE compared to a typical year. In Part 2, I discussed the diversification and multi-polarization of cameras to keep up with the many developments in video media, while in Part 3, I talked about the technological trends in file-based content production and delivery. In this issue, I want to take a look at encoding technology, the foundation for content creation systems and filming in the digital era, as well as high definition advances and trends in displays that reliably monitor and manage video, and those that display high quality content.

1) Trends in video encoding and related technologies

File-based production systems continue to advance to meet the full-fledged digital age, from content creation to broadcasting and archiving, and network development. The key to all of this is encoding technology, which is growing and advancing at a remarkable pace. A wide variety of software and systems featuring this technology were exhibited at this year’s Inter BEE.

Panasonic advocated AVC Ultra, their new H.264/AVC series of codecs. Based on their previous AVC-Intra100/50, it is comprised of scalable high resolution "AVC-Intra4:4:4" and "AVC-Intra 200" codecs, the "AVC-Long G," a cost-conscious codec for business use, and the "AVC-Proxy" for use with low bit rate video. They used split-screen on multiple high resolution displays to allow viewers to compare and evaluate image quality based on each codec.

NEC displayed their H.264 encoder, which combines the low latency and high image quality of previous versions into a new, lightweight package. They showed a comparison between simulation images produced by the HEVC codec and those by the old H.264 one. HEVC (High Efficiency Video Coding H.265) is a next generation compression technology which is currently under development by ISO/IEC. NEC also displayed a completely different, ultra high resolution technology that increases resolution by reconstructing video from multiple frames, however Toshiba was also exhibiting a similar kind of technology. Fujitsu showed videos using video transmission equipment that utilize next-gen codecs.

Mitsubishi Electric has displayed next-gen, high-compression encoding technologies in the past, but this time they showed a digital watermarking system that was co-developed with NHK and based on a different concept. Digital watermarking is generally used for copyright protection, illegal copy prevention, and for anti-piracy measures. However this method also embeds other relevant information into externally relayed video without affecting the video itself, including date/time, place name, and shooting location, so that the receiver can accurately discern authenticity in real time. By adjusting the watermark’s intensity and location to display dimly when it would otherwise be easy to see, and strongly when it would not, it becomes indiscernible to the naked eye. This allows necessary information to be embedded without harming picture quality - a very useful broadcasting technology from the looks of it.

NHK Engineering Services developed a system that compresses and records JPEG 2000-based 4K video, and is apparently being used in a variety of fields. Together with Belgium’s intoPIX, they developed a “4K outdoor acquisition system” that is equipped with intoPIX’s single-chip JPEG2000 FPGA (Field Programmable Gate Array), and displayed it at each of their booths this year. The system can compress 4K video without segmenting the screen, and is small and compact with high mobility.

NTT Electronics exhibited a new, lower latency successor to its H.264 encoder/decoder, 4:2:2-supported product. To allow comparison and evaluation, they showed a video encoded and decoded using the same system next to a streaming, unencoded video. NTT also performed a demonstration using an encoder that supports high quality 3D video without using the side-by-side format, and supports simultaneous, full HD encoding using two bit rates. NTT-AT displayed a small-sized codec board that encodes 4K video to JPEG 2000 in real time and delivers over an IP network. This meets a wide variety of needs, such as delivering 4K video content to movie theaters, or remote-location production collaborations.

KDDI R&D LABS displayed the Vista Finder-Mx, a portable video transmission system with improved functionality that can send high definition video data from anywhere in the world. In the past, transmission and receiving terminals could only link up one to one, but it is now possible to receive up to 12ch simultaneous feeds and large scale delivery via a relay server. Simple transmissions with devices such as smart phones and tablets can now also be supported. In the 8K theater at their booth, they showed an ultra high definition video transmitted from the NICT Kashima Space Technology Center via their WINDS satellite named "Kizuna." The video was compressed from ultra high definition to an ultra-low 70Mbps bit rate using H.264's scalable coding. K-WILL, a company related to KDDI R&D, displayed their second generation A/V automatic monitoring system, the "single stimulus error detection system," which has improved archiving, transmission and retransmission functionality.

2) Trends in display technology.

Sony has been developing OLED panels for many years, and has shown them at Inter BEE and CEATEC events before. However this year, they displayed their "TRIMASTER" EL series – the successor to CRTs for master monitoring. Boasting sizes of 17" and 25", they deliver full HD RGB with 10-bit drivers. Sony did a comparison using same-size CRT and LCD models in a dark room, which produced high contrasts with good black reproduction, vivid color reproduction at various intensity levels, and excellent readability with text scrolling, etc.

Ikegami Tsushinki, a company with an established record of providing video monitors to broadcasters and other groups, displayed their new HLM series of 32", 24", and 17" LCD monitors which support high resolution, full HD and 3G-SD, as well as a multi-format LCD model that comes in either 15" or 9". They also showed 9" and 2" LCD camera viewfinders, plus a 7.4" OLED model. Further, they displayed FED monitors (the much-anticipated replacement for CRT master monitoring) along side LCD monitors, but it still seems like the actual transition to full HD is still further down the road.

ASTRODESIGN exhibited its line of QFHD (3840x2160) LCD monitors for 4K video use, which feature 3G-SD support and come in sizes including 60", 56", 36", and 28". KEISOKU GIKEN showed off its 4K 3D display, which was jointly developed with Redrover in Korea. The system uses two QFHD IPS LCD panels in a half mirror configuration to combine and construct images.

Dolby, who has also been active recently in the world of video, developed a professional reference monitor that checks the accuracy of color reproduction and has shown it off at various events, including NAB. The LCD panel it uses regulates RGB LED backlight frame by frame, covering a wide dynamic range and achieving deep, black levels and high color contrasts across a full gamut of colors. This year they did not have their own booth, instead displaying the monitor at the NAC and KEISOKU GIKEN booths.

The 3D consortium, which includes members such as NICT and NHK related enterprises, the NTT group, commercial broadcasters, universities, research centers and electrical and optical device makers, exhibited a variety of things. Chukyo Television Broadcasting and Nagoya University displayed a multi-perspective recording system, and VMJ, who does 3D-related hardware/software development and content production, showed their technology for converting a 2-view image into an 8-view one on a 40" glasses-free LCD display. Newsightjapan's glasses-free 3D display is full HD, uses a parallax barrier method, and has a screen size of 82" - making it one of the largest glasses-free 3D displays in the world.

In an entirely different corner, Strawberry Media Arts had on exhibit three types of large (around 150") LED displays with pixel pitches of 6.25, 9.375 and 12.5mm. Given their high output, low reflectivity and light weight, it is said they can be equipped to indoor or outdoor signboards, vehicles, and used for events and digital signage.

Takehisa Ishida, PhD. Video technology journalist

Inter BEE 2011: My Impressions (Part 3) File-based production systems continue to expand

Tue, 13 Dec 2011 20:54:06 +0900

In Part 2, I talked about how camera technology has started to spread and branch out in multiple directions. In this installment, we'll take a look at how file-based workflow systems are being adopted by TV networks and production studios. These systems use a file-based structure for managing and editing data and route it through a server for network sharing and broadcasting; they allow for tapeless camera filming, nonlinear post-production editing, server-side broadcast and archiving, as well as contents and metadata management. The recording and storage media used in the systems have expanded broadly, growing to cover HDD, optical discs, onboard memory, and LTO (Linear Tape Open) formats.

Sony unveiled two file-based workflow solutions. The first was a new model built around the XDCAM Station and supporting previous-generation optical discs as well as next-gen high-capacity discs (3-layer 100GB and 4-layer 128GB formats). The system uses a file-based workflow to enable functionality from filming and nonlinear editing all the way to broadcasting and archiving stages. The disc library system features improvements in high speed and high-capacity storage, thanks to the move to four-layer, dual channel head media; the system also seamlessly links up with tape-based systems and works with SxS memory and SDI interfaces, making production and news studios' workflow more efficient. Also unveiled was a high-quality workflow system using the newly-developed SRMaster, based on the high-speed, high-capacity SRMemory spec. The workflow system is compatible with 4K, 2K, 3D, and other multichannel formats.

Panasonic advocated its new AVC Ultra image encoding format (details to follow in the next installment) and displayed a production system to go with it. In addition to displaying its existing P2HD workflow, Panasonic also gave a live demonstration of a 3D content creation system slated for use at the London Olympics. As described in the last installment, the system consists of a portable deck with real-time 3D recording/playback and onboard P2 card, a 3D live switcher, and a 3DLCD monitor, among other components. In addition, the company exhibited an archiving system built around high-speed, high-capacity LTO media and intended for television networks' archival storage of large programs, as well as a video ingestor which reads in contents.

Ikegami Tsushinki Co., Ltd. built on its established success with file-based workflow systems and unveiled its latest incarnation, the iSTEP+. Built around an
"editing/contents" server that records audio and video data and an "asset gateway server" that manages program files and data, the system enables a seamless file-based workflow across a network. Popular formats like GFCAM, XDCAM, and P2HD can be imported natively or ingested into the system through VTR tape or a baseband signal, then edited in nonlinear post-production with editing tools from Avid, EDIUS, Prunus, or other familiar setups, and finally broadcast or archived across the data server. This system is intended to enable news broadcasts and other programs to respond more quickly and efficiently to emerging data.

Toshiba displayed its VIDEOS neo setup, composed of a memory server device, program server, and archival system. The system is a high-reliability memory server based on 64 GB flash memory in a low-energy, high-capacity, and small form factor spec. NEC presented a file-based workflow system intended for news broadcasters prioritizing a timely response. The system uses the next-generation iStorage HS grid storage for its data server and the established Armadia for its transfer server.　Hitachi Kokusai Electric also responded to the new tapeless, file-based era with its PROGRADE server (onboard HDD for recording and SSD for playout), covering all workflow steps from recording to sending. Hitachi Maxell also displayed its iVDR-EX cartridge, a small-format portable HDD developed in conjunction with NHK.

For-A exhibited a creative and multifunction file-based production system appropriate to today's digital age. Its centerpiece, the "Media Concierge" system, offers a complete media management system covering ingestion of video, audio, still images, and other media, all the way through editing, management, output, and archiving. The system has been upgraded with more functions over last year's version, allowing for easier handling of metadata and linkage with other broadcast tools. The company also exhibited a large-capacity archival recorder using the latest cutting-edge LTO-5 storage format.
　
Quantel, known globally for its tapeless production systems, presented a production system responding to today's digital needs. The system features a high-end finishing machine, the Pablo 4K Neo, upgraded with a new software revision and capable of interactive color gradation tuning, and the geo fix2, a newly-upgraded 3D production tool setup featuring automatic LR 2CH geometry compensation and more efficient production of high-quality 3D contents. The Q Tube component of the system also links up with Microsoft's streaming technology for a global workflow achieved through an Internet-accessible server.

In addition, the world-famous Autodesk presented the Mac version of its Smoke finishing tool. The GPU displays an intuitive timeline display and is easy to navigate, enabling high-level and efficient creative work. The software supports a range of formats widely used today and is suitable for movie production as well as high-quality commercial and television program work.

Avid presented a number of solutions intended to aid users of tapeless production systems at broadcast networks and post-production houses around the globe. They gave a live demonstration on the main stage of their latest workflow tools for television and news broadcasters. The demonstration touched on all elements of their system, built around the ISIS5000 and Avid Interplay: Media Composer, the ingestion and editing component, Interplay Transfer, the output module, and Interplay Archive, the archival component.

Grass Valley, boasting large revenues in Japan and abroad, presented its varied multifunction production system. The main items on display include the K2 series editing solutions intended for news and sports broadcasts and the HD-compatible REXCEED editing workstation, featuring the newly-upgraded EDIUS nonlinear editing software.

Blackmagic, whose systems are used globally in film, commercial, and high-quality TV production, presented an expanded version of its DaVinci Resolve, a color correction system. The new system boasts upgraded functionality and features in response to today's digital climate.

IMAGICA DIGIX presented its unique production system and tools. The Vizrt LIBERO Highlight is intended to enhance live sports broadcasts with clear and appealing visual graphics. The tool allows for highlighting effects based on player and ball tracking, speed display functions, as well as display and analysis of the offsides lines. In addition, Viz Reporter is a system allowing direct on-air broadcast of images sourced from a smartphone, increasing broadcasters' mobility on-site. The Nucoda Film Master color gradation system, compatible with 4K and 3D images, expands color gradation functionality by enabling not only LR color correction, but correction on a per-camera basis and pan, tilt, and rotation functions for stereo images. Further, the DVO Clarity tool removes and fixes grain (noise) from digital and film images, as well as allowing the user to clean dirt and damage to film stock.

Sakura Eiki's Prunus nonlinear editing series was also on display. Compatible with XDCAM, P2HD, GF, and HD-SDI, as well as working with tape-based systems, the setup is widely in use at NHK and other broadcasters.

Takeshi Ishida, PhD. Video technology journalist