Transcript EBU Software Radio - Hollywood Post Alliance

EBU TECHNICAL
The free lunch:
progressive-scan at the same bit rate?
(or how I learned to love 1080p/60)
David Wood and Hans Hoffmann
European Broadcasting Union
Where’s the deep magic?
 The compressed bit needed for 1080p/60 is the
same or less than for 1080i/60.
 Original scenes always exist in ‘whole pictures’
 Interlacing is a form of compression (drop alternate lines
with field offset).
 Interlacing is a ‘systematic’ compression system (same
whatever the contents of the scene).
 Hybrid MC DCT is a ‘content adaptive’ compression.
 Interlacing is the New England Patriots.
 Hybrid MC DCT/Wavelet is the New York Giants.
 You know who should win.
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Where’s the deep magic?
 An interlaced system combines TWO stages of compression: first
interlacing, then hybrid MC DCT.
 A progressive system just uses hybrid MC DCT for the total
process.
 The hybrid MC DCT (redundancy extraction) ‘replaces’ the
interlacing.
 We replace a ‘systematic system’ with a ‘content adaptive’ system.
 The content adaptive system is ‘bound to win’.
 The progressive system will always be equal to or better than an
interlaced system on average.
 Interlace needs half the bit rate of a progressive system only
because it already half compressed.
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That was yesterday....
 Interlacing was a brilliant idea in the 1930s.
 We used interlaced scanning because it was a simple
way to reduce bit rate by 50% when we had no other
ways.
 We used interlaced scanning because it was a good
match to the way a CRT works.
 Which of the above apply now?
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Idealised spectrum bounderies...for rapid look.
c/ph
540
500
400
1920x1080i with Kv=0.7, I=0.7
1280x720p
with Kv=0.7
360
c/pw
300
00
10
200
00
12
0
80
0
60
100
0
40
0
20
25
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c/sec
Production, Contribution, distribution.
WHERE DOES 1080P/60 FIT
TODAY?
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Playing the new ‘Chutes and Ladders’
MEDIA - SERVICES
SHARED
MEDIA - CONTEXT
(lean backward)
PERSONAL
(lean forward)
LINEAR
NON LINEAR
MULTIMEDIA/SOCIAL
(audio-visual mat)
(audio-visual mat)
(data, text, pictures, interact)
1
2
3
5
6
8
9
4
MOBILE
(on the move)
Media companies
need to be active on all platforms:
•Different services
•Different networks
•Different devices
7
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Growth in quality of experience
MEDIA - SERVICES
SHARED
MEDIA - CONTEXT
(lean backward)
PERSONAL
(lean forward)
LINEAR
NON LINEAR
MULTIMEDIA/SOCIAL
(audio-visual mat)
(audio-visual mat)
(data, text, pictures, interact)
NEED FOR INCREASED
1
2
QUALITY
“Beyond HD”
3
4
5
6
7
8
9
MOBILE
(on the move)
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The staircase to production quality heaven...
8k (16 x 1080p)
Immersive Quality
4k
(4x1080p)
Transition
SDTV to HDTV
Transition
analogue to digital
DIGITAL
HD
Master
Format
Legacy HDTV
1080i/25 & 720p50
S3D
1080p/50
Progressive
S3D
Two normal
two ½ HD images
Standard TV
625 –lines
1990s
Transition
to 1080p/50
(full HD)
4k UHDTV
Progressive
Larger colour
range.
3DTV
Two normal
HDTV images
8k Ultra HDTV
Progressive
Higher Frame
rates
Larger colour
range.
3DTV
Multiview
HDTV images
2004
2011
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….2016….
…202x
What happens to quality?
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1080p/60...
720p/60 (progressive)
1280
720
1080
1080i/30 (interlaced)
1920
1.5 Gbit/s
1.5 Gbit/s
1080p/60 (progressive)
1920
60 frame
progressive
1080
Nominal static
resolution
1920x1080
3 Gbit/s
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Why 1080p/60 production ?
• Master format: easy to derive 720p/60 and 1080i/30
• Higher image quality headroom
• Multi-genre production
• 3G-SDI enables 1080p/50 in production and 3D applications (two normal HD
signals)
• Studio compression systems for 1080p/50 on the market
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EBU Tests on studio compression systems for 1080p/50
 Conducted in a project between EBU and industry
1080p/50 (progressive)
1080
1920
Graphic Massimo Visca, RAI
3 Gbit/s interface
 Multigeneration testing
AVID DNxHD
4:2:2 10 bit
365 Mbit/sec
160.4 GByte/hour
Panasonic
AVC-Intra 200
4:2:2 10 bit
454.6 Mbit/sec
199.77 GByte/hour
SONY
HDCAM-SR
HDCAM-SR lite
4:2:2 10 bit
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734 Mbit/sec
322,5 GByte/hour
367 Mbit/sec
161.2 GByte/hour
Shooting test sequences in 1080p/50
State of the art equipment
 Zeiss Master Prime Lens
 Sony F35 Camera
 Uncompressed storage YUV10
2 DVS systems with dual link
 Sony reference display 23” LCD
 Skilled team (NRK+ others)
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 Expert Viewing at IRT (1°- 3° March 2011)
Viewers from more
10 Professional Reference Monitor
Dolbythan
42” PRM-4200
(1920 x 1080 LCD monitor with LED backlighting).
EBU members
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Full Quality HDTV Library
Snell Alchemist
converter
1080p/50 to 1080i/25
1080p/50 to 720p/50
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Expert viewing - Results in a nutshell
 Different encoders provide different performance but, on average, the
encoders demonstrated a performance which is nearly transparent to the
original even up to the 7th generation.
 The tested codecs (1080p/50, 1080i/25, 720p/50) meet the EBU
requirements for image quality.
 Different encoders provide different quality headroom.
 Target applications today: high budget productions.
Conclusion:
 High quality 1080p/50 production tools are available
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The Results
 The BPN reports
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Step 2: 1080p50 in an End to End Chain
 Demonstration at IBC 2011
 Live chain including 1080p/50 camera, 2 hops-contribution codecs and distribution encoder, prototype
set-top box
 Simulations a 1080i/25 chain was set up using the same
bit-rates
 Image quality comparison on two Dolby reference
Monitors
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IBC 2011 experiment with live 1080p/50 chain
 Live 1080p/50 from Frankfurt to Geneva to Amsterdam
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Towards a single HD production master
format:1080p/50
 Live 1080p/50 from Frankfurt to Geneva to Amsterdam
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Results of the experiment
 A end to end 1080p/50 chain is feasible with today’s
equipment
 Same distribution bit rate as 1080i/25 with better image
quality (main benefit is sharpness stays in motion)
 Is mainstream production possible?
– If manufacturers would reduce prices, yes
– But not all editing systems support 1080p/50 yet
 In distribution?
– Systems such as DVB support 1080p/50
– Many home display with HDMI 1.3 can show 1080p/50
– New set-top boxes/receivers with support of H.264 Level 4.1 would be
required
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HDTV today
720p/50 (progressive)
1280
720
1080
1080i/25 (interlaced)
1920
 Quality in the home
– Larger size display make artefacts more visible
– Displays are all progressive – low cost up-converters for interlaced HD
– UHDTV displays set to appear in the home
– Alternative content (download, Games) better than broadcasts?
 Consequently: need for better image delivery format ?
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Is the difference big enough between 1080i/25 and
1080p/50?
 Is the difference visible in the home?
 On a small display (up to 42”) – likely not
 With larger displays, or displays up converting to 4K
UHDTV displays – very likely YES
 In production to have a future proof master: YES
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What about an intermediate chain….?
We would be curious in such an subjective comparission experiment:
production
chain
1080@p50
With H.264
14 Mbps
4k@p50
8k@p60
Or
4k@p60
4k Display
4k@p50
with HEVC
X Mbps
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Overall conclusion
• 1080p/60 may be the best production option for 720p/60 and
1080i/30 delivery
• Uses ‘3G’ production infrastructures
• Many broadcasters are wisely “1080p/50 ready”
• There is no 4K infrastructure available yet
• Still high prices, not yet ‘mainstream’
• Production bit-rates 200…400 Mbit/s
• Best master format for the next few years until 4K UHDTV is
feasible
• In the home, 1080p60 may be an option for some services - many
consumer displays and some receivers can handle 1080p60
• 1080p/50 in distribution could also help a 4k production and home
environment.
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Thank you for listening!
 Further questions contact: [email protected] and
[email protected]
Acknowledgements
 EBU Codec group of SP HIPS many members and
industry
 Massimo Visca, RAI (also for some slides)
 Jens Fischer (Master Student), IBC demo
 Many others……..
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