High Dynamic Range Master Class

High Dynamic Range
Master Class
Matthew Goldman
Senior Vice President Technology, TV & Media
Ericsson
&
Executive Vice President,
Society of Motion Picture & Television Engineers
Do we see or do we “make”?
© Ericsson 2016 | 2016-08-31 | Page 2
try this …
Are these cubes
A) All straight
B) Some curved or
C) All curved?
Let’s find out….
© Ericsson 2016 | 2016-08-31 | Page 3
What color are the tiles?
© Ericsson 2016 | 2016-08-31 | Page 4
Surprised?
We “make” color we don’t “see” color
© Ericsson 2016 | 2016-08-31 | Page 5
wE “make” images
we do not “see” them like a camera
› 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
© Ericsson 2016 | 2016-08-31 | Page 6
Recap: 5 Ultra-HD Immersive
Viewing Image Technologies
SD
HD 1920x1080
4K UHD 3840x2160
High Dynamic Range
8K UHD 7680x4320
Image Resolution
10-bit Sampling
Wide Color
Gamut
8b = Visible Banding
High Frame
Rate
© Ericsson 2016 | 2016-08-31 | Page 7
Visual perception - Resolution
1 arc minute*
*limit of Fovea Centralis 0.5 arc minute
© Ericsson 2016 | 2016-08-31 | Page 8
Proper Viewing Distance
to “See” Spatial Resolution
Proper Viewing
Distance (D)
HD (1080p) ~= 3H
4K UHD (2160p) ~= 1.5H
H
1 arc minute
HDTV field-of-view ~30°
4K UHDTV field-of-view ~60°
x°
x°
D
W
H
D = (W/2)/tan(x)
Screen size = √(H2+W2)
© Ericsson 2016 | 2016-08-31 | Page 9
Screen Size vs. Viewing Distance
(2160p)
Source:
http://www.rtings.com/info/4k-ultra-hd-uhd-vs-1080p-full-hd-tvs
© Ericsson 2016 | 2016-08-31 | Page 10
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 11
HDR and perceived resolution
Low contrast image looks ‘softer’ as
some detail is harder to see
Which image has
© Ericsson 2016 | 2016-08-31 | Page 12
More dynamic range can reveal more
detail – especially edges – and looks
highersharper
resolution?
(although the pixel resolution
is the same)
HDR and perceived resolution
Low contrast image looks ‘softer’ as
some detail is harder to see
© Ericsson 2016 | 2016-08-31 | Page 13
More dynamic range can reveal more
detail – especially edges – and looks
sharper (although the pixel resolution
is the same)
Contrast effects on resolution
© Ericsson 2016 | 2016-08-31 | Page 14
Snellen chart:
Pelli-Robson chart:
Impact of size/distance
on resolution
Impact of contrast on resolution
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.
© Ericsson 2016 | 2016-08-31 | Page 15
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.
Dynamic range and the HVS
Light
Grey
© Ericsson 2016 | 2016-08-31 | Page 16
Dark
Grey
Dynamic range and the HVS
Light
Grey?
© Ericsson 2016 | 2016-08-31 | Page 17
Dark
Grey?
Another example
Is ‘A’ or ‘B’ lighter?
30 fps
8 bit sample depth
50//60, 100/120 fps
10/12 bit sample depth
© Ericsson 2016 | 2016-08-31 | Page 18
Another example
They are the same
30 fps
8 bit sample depth
50//60, 100/120 fps
10/12 bit sample depth
© Ericsson 2016 | 2016-08-31 | Page 19
“HDR+” … for any image resolution
8b = Visible Banding
High Dynamic Range
10-bit
Sampling
The combination of HDR, WCG and higher sample
precision technologies – acts as a single feature!
Whether
Wide Color Gamut
© Ericsson 2016 | 2016-08-31 | Page 20
3840 x 2160p
1920 x 1080p
or
Luminous Intensity
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
© Ericsson 2016 | 2016-08-31 | Page 21
Comparing SDR to HDR
Standard Dynamic Range,
Lowlight Exposure
Standard Dynamic Range,
Highlight Exposure
High Dynamic Range,
(simulated by tone
mapping)
Images source: K. McCoy. Licensed under CC BY-SA 3.0 via Wikimedia Commons
© Ericsson 2016 | 2016-08-31 | Page 22
HDR is not about brighter
display!
› SDR: Video generally ≤ 1.25x; Cinema generally ≤ 2.7x
› HDR: May be up to 100x
© Ericsson 2016 | 2016-08-31 | Page 23
Source: Report ITU-R BT.2390
HDR: Specular light Impact
Images courtesy of Dolby Laboratories
© Ericsson 2016 | 2016-08-31 | Page 24
© Ericsson 2016 | 2016-08-31 | Page 24
Human Visual System Capability
TV today
Television: 100 cd/m2 peak white
(Rec. ITU-R BT.1886)
Based on 1930s CRT
Digital Cinema
Cinema: 48 cd/m2 peak white
in dark viewing environment
Simultaneous dynamic range
10-8
© Ericsson 2016 | 2016-08-31 | Page 25
10-6
10-4
10-2
100
102
104
106
108
cd/m2 (nit)
Light Level
Human Visual System Capability
TV today
Television: 100 cd/m2 peak white
(Rec. ITU-R BT.1886)
Based on 1930s CRT
Digital Cinema
Cinema: 48 cd/m2 peak white
in dark viewing environment
4Q15: 1000-1200 cd/m2
Future: Likely much higher
HDR TV
Simultaneous dynamic range
10-8
© Ericsson 2016 | 2016-08-31 | Page 26
10-6
10-4
10-2
100
102
104
106
108
cd/m2 (nit)
Light Level
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
© Ericsson 2016 | 2016-08-31 | Page 27
Source: Report ITU-R BT.2246
WCG & HDR are closely linked
Outer triangle: UHDTV primaries
Rec. ITU-R BT.2020
Inner triangle: HDTV primaries
Rec. ITU-R BT.709
BT.2020 + Z
Z
Y
BT.709
+Z
X
Y
© Ericsson 2016 | 2016-08-31 | Page 28
X
Visual Quality: sample Bit depth
› Today, all direct-to-consumer
digital TV uses 8-bit sampling
Visible banding
› 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
© Ericsson 2016 | 2016-08-31 | Page 29
8-bit
10-bit
Television = tele + vision
From camera to display
› To see what’s happening from a far distance, the scene
needs to be captured, transmitted to a remote location, then
reconstituted
L = Vγ
where γ = 2.35
for HDTV
(ITU-R BT.709)
› 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
Transmission Medium
Scene
Capture
OETF
© Ericsson 2016 | 2016-08-31 | Page 30
Scene
Display
EOTF
Sample Bit
Depth
› 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
© Ericsson 2016 | 2016-08-31 | Page 31
Recent / on-going Standards
SMPTE
› 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
© Ericsson 2016 | 2016-08-31 | Page 32
Recent / on-going Standards
ITU-R WP6C
› 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
© Ericsson 2016 | 2016-08-31 | Page 33
HDR Transfer functions
› 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 HDR
transfer 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
© Ericsson 2016 | 2016-08-31 | Page 34
10-bit levels over wider range
Perceptual Quantization (PQ)
EOTF (SMPTE ST 2084)
FD  EOTFE   10000 Y


1 m1
 max E   c1 ,0 

Y  
1 m2
 c2  c3 E 

1 m2
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 achromatic
© Ericsson 2016 | 2016-08-31 | Page 35
m1 = 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
Hybrid Log Gamma (HLG) OETF

E 2
0  E 1
E   OETF E   
a  ln E  b   c 1  E
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
Source: Report ITU-R BT.2390
© Ericsson 2016 | 2016-08-31 | Page 36
Both End-to-End HDR Systems
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
End-to-end HDR systems, both identical in mastering environment
SMPTE ST 2084
PQ EOTF
HLG OETF
Source: BBC Research & Development
© Ericsson 2016 | 2016-08-31 | Page 37
Live Broadcast Chain – SDR
Scene
Acquisition
Compression &
Transmission
Display
OETF
EOTF
ITU-R BT.709
ITU-R BT.1886
(peak white 100 nits)
© Ericsson 2016 | 2016-08-31 | Page 38
Live Broadcast Chain – HDR+
Scene
Acquisition
?
High Dynamic Range Content
>16 f-stops
© Ericsson 2016 | 2016-08-31 | Page 39
Compression &
Transmission
?
Display
?
High Dynamic Range Display
HDR+: the wider ecosystem
Camera
sensor
OETF &
Map to
Color
Space
Compress
content
exchange)
Professional
Decode
Graphics
&
Production
Compress
(DTH)
Full Size
&
Downconverted
© Ericsson 2016 | 2016-08-31 | Page 40
Ad Insert
Consumer
Decode
STB
Graphics
Overlay
EOTF,
Remap
&
Display
SDR Production Today
Video
Racking
CCU ctrl
Video
Racking
CCU ctrl
Other
sources
Graphics
© Ericsson 2016 | 2016-08-31 | Page 41
Video
Router
Vision
Mixer
(Switcher)
Video To Studio
HDR Production
› 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
© Ericsson 2016 | 2016-08-31 | Page 42
Joint HDR/SDR Production
HDR
HDR to SDR
SDR
Conversion
These all need to have matched levels
© Ericsson 2016 | 2016-08-31 | Page 43
.....
or you can never create the SDR version
Backward compatibility checklist
1. What exactly is meant by backward compatibility?
2. Which technologies are we trying to address?
1.
2.
3.
4.
5.
6.
Dynamic range
Color gamut / Color space
Sample bit depth
Spatial resolution
Temporal resolution
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.
2.
3.
4.
In production
In post-production
In distribution
In delivery to consumer
© Ericsson 2016 | 2016-08-31 | Page 44
Before we all sign up to a
backward compatibility
scheme, have we really
understood what will happen
at each stage of the content
chain?
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 45
Backward Compatibility –
Options?
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
© Ericsson 2016 | 2016-08-31 | Page 46
What About Legacy HD Services?
› Existing HD SDR TV services will remain
– Large populations of SDR-only or AVC-only STBs/DTVs
› What does this mean?
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
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 …
© Ericsson 2016 | 2016-08-31 | Page 47
Backward Compatibility
to legacy HD
›
›
›
›
›
›
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!
© Ericsson 2016 | 2016-08-31 | Page 48
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 49
So Called “HDR10” media profile
BDA: Ultra HD Blu-ray® Video Characteristics
© Ericsson 2016 | 2016-08-31 | Page 50
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 51
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 52
HDR+ for
On-Demand Assets
› 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
© Ericsson 2016 | 2016-08-31 | Page 53
Live TV challenges
› 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
© Ericsson 2016 | 2016-08-31 | Page 54
Live TV Content delivery is not like
on-demand, blu-ray, or cinema
An impressive swim from wake
JeanWake
Wake
Jean
RWT Live
Split
Time
1:22:12
SplitTime
Time1:22:12
1:22:12
Split
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!
© Ericsson 2016 | 2016-08-31 | Page 55
Live TV Content production
Jean Wake
This is the basic picture …
© Ericsson 2016 | 2016-08-31 | Page 56
Split Time 1:22:12
Now in real time we are adding lower thirds …
Live TV Content production
An impressive swim from wake
JeanWake
Wake
Jean
SplitTime
Time1:22:12
1:22:12
Split
Adding transitions and logos, freeze frames,
slow motion, repositioning, etc.
© Ericsson 2016 | 2016-08-31 | Page 57
JeanWake
Wake
Jean
RWT Live
SplitTime
Time1:22:12
1:22:12
Split
Adding logos and captioning downstream
Live TV Content delivery
Logo replacement
Down-conversion
Up Next
This content often needs
further downstream
image manipulation
(mixing, wipes, fades,
keying, graphics) …
© Ericsson 2016 | 2016-08-31 | Page 58
“Squeeze & Tease”
Format conversion
“Just insert at the final encode”
In Live TV, what/where is the “final encoder”?
Use Case
1
Broadcast
Network/Source
Use Case
2
Broadcast
Network/Source
Use Case
3
Broadcast
Network/Source
© Ericsson 2016 | 2016-08-31 | Page 59
Broadcast
Affiliate/Remote
Broadcast
Affiliate/Remote
Subsequent
Broadcaster
(e.g., international
distribution*)
*or MVPD (Cable or Satellite Provider ) in some regions
Dual-layer & “HDR Enhancement”
metadata operational problems
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
© Ericsson 2016 | 2016-08-31 | Page 60
Video “Loudness”!
› Remember audio loudness issues?
© Ericsson 2016 | 2016-08-31 | Page 61
Video “Loudness”!
› Advertisers may use the
opportunity to grab attention by
introducing huge steps in light
levels
© Ericsson 2016 | 2016-08-31 | Page 62
Bandwidth impacts
4K (2160p) vs. 1080i HD
“HDR+” (HDR+WCG+10bit)
HFR (50-60fps  100-120fps)
Uncompressed
Compressed
(consumer-grade)
400%
25-30%
200%
circa 250%
circa 0-20%
circa 30%
In some cases, bandwidth also required to simulcast
legacy HD bitstreams in addition to new UHD HDR+ bitstreams
© Ericsson 2016 | 2016-08-31 | Page 63
So what about 1080p HDR+?
› 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+
© Ericsson 2016 | 2016-08-31 | Page 64
UHD Roadmap (DVB)
› 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-1 Phase 2
CP “B” (HFR)
UHD-1 Phase 2
CP “A” (HDR+)
UHD-1 Phase 1
2019/2020
2160p100/120*
Source: DVB
Bit depth: 10-bit
Colour Space: BT.2020
CM-UHDTV
Dynamic Range: HDR
Backwards compatibility
options: Desired
Audio: Next generation audio
(e.g. Object-based )
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)
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
2017/2018
2014/2015
* The specification also includes
fractional variants of the 60fps
family (1/1.001)
© Ericsson 2016 | 2016-08-31 | Page 65
Other Recent/on-going
standards activities
› 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
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High Dynamic Range Display
Peak Brightness: >1000 nits
Black Level: <0.05 nits
or
Peak Brightness: >540 nits
Black Level: <0.0005 nits
MPEG HEVC HDR “Fast TracK”
› 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
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Luma adjustment (ERICSSON)
Original 4:4:4
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Conventional 4:2:0
(no compression)
Ericsson 4:2:0
(no compression)
Luma adjustment (ERICSSON)
Original 4:4:4
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Conventional 4:2:0
(no compression)
Ericsson 4:2:0
(no compression)
Chroma qp offset (ERICSSON)
CfE Anchor
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Anchor v3.2 matching bit-rate
Chroma qp offset (ERICSSON)
Green Artifacts
CfE Anchor
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Anchor v3.2 matching bit-rate
Chroma qp offset (ERICSSON)
Red Artifacts
CfE Anchor
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Anchor v3.2 matching bit-rate
Luma QP offset
(ERICSSON & SHARP)
CfE Anchor
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Anchor v3.2 matching bit-rate
Luma QP offset
(ERICSSON & SHARP)
More
Texture
Detail
CfE Anchor
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Anchor v3.2 matching bit-rate
Luma QP offset
(ERICSSON & SHARP)
Sharper
Edges
CfE Anchor
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Anchor v3.2 matching bit-rate
Summary
› 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
© Ericsson 2016 | 2016-08-31 | Page 76
© Ericsson 2016 | 2016-08-31 | Page 77