Transcript Tokyo Video Test results

Tokyo F1 Video Test results
2013/1/31
VE Project Office
Sony Corp.
2013/2/10
Sony Confidential
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Table of contents
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Introduction
Viewing Session Attendance
SPE Test Reel Content
Test Environment
Bitrate comparions
Comments
Conclusion
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Introduction
• SPE compiled a 4K Test Reel to evaluate 4K encoding picture quality.
• SPE provided encode results from eyeIO as their encoding vendor of
choice.
• SPE commented that avg 25Mbps would be minimum acceptable
level, and would not necessarily object to a higher bitrate.
• F1 Tokyo reviewed the encode results to determine the commercial
operation bitrate, as it would need to be finalized to fix F1 Box
internal HDD size and HDD duplication manufacturing equipment
investment, etc.
• The following were factored into the decision:
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Member feedback (including SPE feedback)
F1 Box implementation
Service operation
Marketing
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Viewing Session Attendance
The following list does not cover all members that attended the sessions. 5+ viewing sessions
were arranged to accommodate as many members as possible.
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F1 PJ Leader: Matsumoto, Yoshinori <[email protected]>;
Contributor: Yanagihara, Naofumi <[email protected]>;
Contributor: Tokukura, Yasuyuki <[email protected]>;
MK: Okuda, Toshifumi (HEGP) <[email protected]>;
MK: Nagao, Kazuyoshi (HEGP) <[email protected]>;
Ando, Yuji (ITDD) <[email protected]>;
Kouno, Masakazu <[email protected]>;
Hattori, Shinobu <[email protected]>;
Yonemitsu, Jun <[email protected]>;
Kikuchi, Toru <[email protected]>;
Suzuki, Ippei <[email protected]>;
Fujiwara, Masahiro <[email protected]>;
Shinohara, Hiro (AUV) <[email protected]>;
Katsumata, Nobuko (3DBD) <[email protected]>;
Koizumi, Masahiko (3DBD) <[email protected]>;
Takahashi, Kuni <[email protected]>
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SPE Test Reel content
Source
Notes
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Eldorado
F65
2
Lawrence of Arabia
65mm film
3
Moneyball
35mm film
4
Taylor Swift
F65
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The Amazing Spiderman
Red Epic
CG VFX 2-3K rendering.
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On the Waterfront
35mm film
Black & white. Extreme film
grain
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Taxi Driver
35mm film
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That’s my boy
Red Epic
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Bad Teacher
35mm film
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Color Bar/Ramp
Note: Given the limited 1 hour viewing session time slots, selected the
above 4 sequences in red, to represent, F65, Red Epic, 65mm, 35mm.
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Test environment (TV)
TV
Organization (Name)
Model
Resolution
Size
Settings (Cinema mode, color temp etc)
Wide color gamut capability
Evaluation Distance from TV
Lightning condition
ITDD/VTD
84X9000
QHD
84'
Cinema1: Default with following changes
Reality Creation
Resolution ： 10 (default 20）
Noise Filtering ： 0（default 20）
709
1.5xHeight
indirect lighting on a dimmer
Note: Viewers often approached the display to view the content at closer than
1.5xHeight.
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Test environment (PC player)
4K PC Player
Organization
Type (Phase0, SKZ etc)
ITDD/VTD
SKZ PC
Intel Core-i7 3770K
[email protected]
Type: 64bit OS
Memory 8GB
CPU
OS
Windows7 Ultimate SP1
Gfx Board
AMD Radeon
HD7750 series
Driver 8.980.0.0
Gfx Board Settings (e.g. Output format: YUV or RGB,
Full/Limited)
MotherBoard
Player Software, Version
Output format: RGB full
ASUS P8H61-MX
MPC-HC
Version1.6.2.4902
(64bit)
Player Settings
RGB
Interface (HDMI, DVI, Verion etc)
HDMI
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Test environment (UDR)
IMF converted with Remaster Suite Tool.
UDR playback was used when viewing the content with A-B loop playlist.
4K FrameMemory
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Organization
Type
ITDD/VTD
UDR
Player Settings
(Output format: RGB/YUV etc)
YUV422
Input File Format (DPX, TIFF, IMF etc)
bit depth (8bit, 10bit etc)
color primaries (709, DCI-P3 etc)
Full / Limited (QT range)
Interface (HDMI, DVI, Version etc)
YUV420 plane Format
8bit
709
Limited
SDI x 4 --> HDMI
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Bit rate comparisons
Bitrate
Encoder
Playback Device
A
Avg 25Mbps
Peak 50Mbps
EyeIO
UDR
PC player
B
Avg 50Mbps
Peak 100Mbps
EyeIO
UDR
PC player
C
Source (IMF)
J2K
UDR
D
2K BD SPICA upconv
Avg 30Mbps
Peak 40Mbps
Blu-code
PS3
The above A, B, C, D were shown in sequence with UDR for the following:
• El Dorado
• Lawrence of Arabia
• The Amazing Spiderman
• Bad Teacher
PC player was only used when viewing the complete Test Reel with no A-B loop.
No blind tests were performed.
Comments
Member Comments (JP)
Comments (EN)
Yanagihara
(Contribut
or)
25Mbpsはやはりグレイン感を中心に違和感があ
る。50Mbpsではグレインの改善は見られるものの
原画レベルまでは行っていない。問題のあるシー
ンを改善できれば受け入れられる気もするが、も
う少し上げたほうが安心かも。
という感想です。
• 25Mbps does not feel natural, especially the grain noise .
• 50Mbps has improvements in the grain noise, but is still
not close to the source.
• If improvements are made to the problematic scenes it
may be acceptable, but it may feel safer to increase the
bitrate a little more.
Tokukura
(Contribut
or)
やはり原画からの劣化状況並びに4k画質の訴求
の観点から見て、25Mbpsでのエンコードは画質的
に厳しいと感じています。
また、50Mbpsのコンテンツでも確認をさせて頂き
ましたが、コンテンツの内容で期待値通りの結果
に
なっていない部分もあるものの、25Mbpsからの改
善が少ないシーンもあり、厳しい部分があるのか
と思います。
以上の事より、やはり最初のソニーが実施する配
信サービスとしては、今回の50Mbpsの品質では
厳しく、
更に品質をあげるべく100Mbps程度を目指すべき
では無いかと思います。
勿論、総合的に判断を実施する事になるかと思い
ますが、まずは画質の観点にフォーカスした結果
として、
フィードバックをさせて頂きます
• Seeing the degradation from the original source, and
from the perspective of pushing 4K picture quality,
25Mbps is difficult for picture quality.
• Viewed 50Mbps, but depending on the content, the
quality was not as good as I hoped. There were scenes
with not much improvement over 25Mbps, and it may
be difficult (to push for picture quality) even at 50Mpbs.
• Given the above, for the first 4K distribution service that
Sony is delivering , the current 50Mbps quality is
difficult, and believe we should target even higher
quality maybe at around 100Mbps.
• My feedback is based solely on the perspective of
picture quality, however, the decision should be made
overall taking other factors in consideration,.
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Comments
Member Comments (JP)
Comments (EN)
Okuda
デモに基づいて“50MbpsではBD Up-Conの方が良く見え
る、よって100Mbpsレベルがユーザー視点で必要ではな
いか”、言い換えれば50Mbpsレベルでは4K Nativeは“売
れない”ということです。
タイトル数より価値のある4Kを届けるべき
• Based on the demo, at 50Mbps, the BD Up-con
looks better. Therefore, from a user’s perspective
picture quality at 100Mbps may be necessary. In
other words, at 50Mbps quality, 4K Native will not
sell.
• For this service, delivering meaningful 4K is more
important than the number of titles.
Nagao
25Mbpsは4K画質というレベルに達していないと感じまし
た。
また、50Mbpsでも期待したレベルの改善に至っていな
いと感じました。
ESTを主体としたコンテンツ販売としてお客様が価値を見
出すためには
それなりに納得していただける品質の提供が必須で、
50Mbpsは最低限必要ではと思います。
• Do not feel that 25Mbps is at the level of 4K
picture quality.
• 50Mbps does not show as much improvement as I
hoped for.
• For contents delivery mainly based on EST, we
need to provide quality that users will see value in,
and feel that a minimum of 50Mbps would be
necessary.
Kuni
• To differentiate from other “4K” services; e.g.
他「4K」サービスとの差異化、画質、とんがったソニーと
Netflix streaming, 4K SAT, should deliver a pointed
いうメッセージを届けたいマーケ的な側面で50Mbs以上
Sony image; e.g. Sony has gone “crazy” and not
で：
compromised picture quality, to differentiate from
・平均100MbpsはCDNコスト、ダウンロード時間、decrypt
others.
しながらのファイルの再生ビットレート制約等から厳しい。
• For marketing need more than 50Mbps:
・上げる中でもavg 75Mbps, peak 100Mbpsが限界か
• Realistically, avg 100Mbps (BD-ROM avg 25Mbps x
と思います。
4 is what users expect) is too high given CDN cost,
DL time, F1 box decrypt and playback limitations.
• Max possible maybe avg 75/peak 100Mbps.
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2013/2/10
Conclusion
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The following were factored into the bitrate decision:
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Member feedback (including SPE feedback)
F1 Box implementation
Service operation
Marketing
Matsumoto-san’s (F1 Pj Leader) Conclusion:
– 50Mbps or higher. Assumed bitrate is avg. 75Mbps
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Note:
– Following this conclusion, F2F meetings in US (week of Feb 4) with SNEI/SEL/SPE/Tokyo lead to
further bitrate feasibility discussions. Bitrate discussions are continuing.
– F1 Box HDD size, duplicator equipment investment decisions may be fixed based on other
factors; i.e. bitrate finalization date may be extended.
– SPE indicated that bitrate assignments for each film clip within the test reel widely varied
depending on the content characteristics. SPE to provide further encode results so that
avg/peak bitrates can be more accurately determined for each type of content.
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