High Resolution graphics for 4k and beyond


Jesper Gawell TV-Bay Magazine
Read ezine online
by Jesper Gawell
Issue 96 - December 2014

It seems like 4K is everywhere these days - it's the dominant topic at broadcasting trade shows. Is there substance behind the hype? Will it transform television the way HD broadcasting did?

Clearly, one of the "next big things" in the media and entertainment world is higher resolutions and 4K delivery on Ultra HD (UHD) televisions, digital cinema, and streaming video. Only a few short years ago the industry was focused on the digital transition and migrating from SD to HD operations, followed by a sidestep in which the industry adopted 3D stereoscopic technologies. And now, one of the biggest challenges for today's media operations and post houses is adapting their infrastructures to accommodate the increased bandwidth required by 4K formats and beyond.

To some, 4K is viewed as the next 3D; in other words, it's a shooting star whose hype will probably outshine its lasting impact. At ChyronHego, we've been in business long enough to know when an emerging technology trend has legs, and we're convinced that 4K will become a new broadcasting standard to replace HD.


What do you believe are the biggest challenges broadcasters face in the transition to 4K, especially with regard to high-res graphics?

Broadcasters' main challenge will be bandwidth. Since a 4K image or video could require up to four times the bandwidth of HD, stations will need to make fundamental changes in their operations and infrastructure. In the editing suite, for example, the high-bandwidth demands of 4K mean significantly greater requirements for storage and a larger capital outlay, since rendering 4K material will take longer than the same frame shot in HD.

We believe the biggest challenge of 4K graphics readiness is not so much about rendering performance, but rather the impact on the entire broadcast workflow from content creation all the way through to postproduction and playout. It's a question of having the networking infrastructure in place to move video and graphical content smoothly through each stage of the workflow.

With new formats such as UHD on the horizon, broadcasters will have to tackle the bandwidth question and readily embrace new compression codecs as they become available. One such standard is High Efficiency Video Compression (HEVC), the successor to today's state-of-the-art H.264/MPEG-4 Advanced Video Coding (AVC). HEVC offers strong potential for the next-generation 4K distribution networks that will be required for UHD delivery; in fact, HEVC has already been proven to deliver a bit-rate reduction of up to 50 percent over H.264.

It took HD a decade to catch on. How long do you think it will take for 4K?

As with the SD-to-HD transition, a lot of the push for 4K content is coming from the consumer electronics market. With large technology companies such as Sony, Samsung, and LG creating 4K-ready TV sets, we know consumers will start making the switch. The production and capture side has made some progress with manufacturers such as Black Magic, Aja, Sony, and ARRI now offering 4K camera systems. But the biggest challenge with 4K content still sits between transmission and final distribution.

As a global company, ChyronHego has a good vantage point to watch broadcast markets all over the world - and we believe a full global transition to 4K will be a long one. On one hand, some Asian markets (with Japan and South Korea leading the way) are well on their way to 4K adoptions. On the other hand, there are still many areas that are only now migrating their infrastructures to DTV, with stations that are still broadcasting in SD. In between is a very large segment of stations (including many in Europe and North America) that have been broadcasting in HD for some time and are beginning to look at technologies that will make them 4K-ready or even 4K-proof. Many are quite aware that their viewers are expecting 4K capabilities down the road and will view 4K capabilities as a key differentiator. In fact, 4K capabilities have even begun to creep into some stations' marketing language, such as touting the ability to produce and capture footage in 4K.


Beyond bandwidth limitations, do you see any other technology barriers to 4K?

From our perspective, it's really more about waiting for the industry to catch up and adopt standards and specs for UHD. The 4K industry is still quite immature, but we are starting to see the emergence of some exciting products such as frame buffer cards and other technology for proper 4K 60 p production.


What do these trends mean for ChyronHego and its customers?

At ChyronHego, many of our customers have required higher-than-HD graphics capabilities for some time; for instance, massive video walls in studios or at sporting venues. Therefore, all of our products are well capable of rendering graphics in 4K resolutions and beyond. Many of our products are built on leading-edge graphics technologies such as NVIDIA's GPU architecture, which delivers fantastic performance for rendering graphics in 4K and beyond.

We also recognize that we - and our customers - will be dealing with a mixed environment for quite some time. Customers that are only now making the transition from SD to HD need the ability to downscale graphics that were rendered in a higher resolution. By the same token, customers that have begun the migration from HD to 4K need upscale capabilities - and that includes the ability to upscale archived HD and even SD graphics and video that will someday end up in a 4K transmission.

Many of our customers need the ability to work with graphics from any workstation in the newsroom or anywhere in the production facility, which means being able to work with proxies or down-converted content sent over the office network while coping with limitations in the infrastructure. We are also seeing networks adopt a forward-thinking, future-proofing approach and that puts 4K technologies into place now, including the ability to create 4K graphics that they can easily down convert to HD until they're ready to broadcast in 4K.


How are you meeting those mixed-resolution requirements?

At ChyronHego, we're committed to building flexibility into our products to support any and all of above-mentioned scenarios. We're investing a great deal of resources into developing products that are ready and optimized for 4K, but will deliver the highest-quality results in any resolution. With 4K technology, one of our biggest challenges is making sure our users are able to seamlessly work in a mixed resolution environment. The users of our technology are always focused on creating great content. To make our customers' lives easier, we need to make sure our solutions work independently of the different resolution options, and make it easy to upscale and cross convert content. In order to deal with those challenges, all of our products are able to cross convert seamlessly between all major broadcast standards.


On a high level, what does 4K mean for ChyronHego's business?

The migration to 4K, 8K, and resolutions beyond fits right into our product strategy, because we have adopted a resolution-independent stance. In fact, we like to say that ChyronHego products are "XK-ready;" in other words, just as suitable for rendering 2K or 3K graphics as they are for large video walls and odd screen sizes that might require a much higher resolution than 4K. Wherever the industry goes, we will continue to push the envelope for rendering graphics that are the state of the art, and offer the best performance, in any resolution. For now, optimizing our products to render even faster and better in 4K not only benefits our most technologically advanced broadcasters, but the benefits trickle down to our HD and even SD customers.


Tags: iss096 | chyron hego | 4k | high resolution | graphics | broadcasting | Jesper Gawell
Submitted by Jesper Gawell Read this article in the tv-bay digital magazine
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Submitted by Jon Hilton# Read this article in the tv-bay digital magazine
The dangers of live streaming without a license
Joseph Adamson The entertainment industry is visual and sound driven. Without these two elements there would be no such a thing as entertainment. Its obvious that there are people who create sound/s and visuals. Copyright laws were created to protect the industry and these artists. Many organisations have been created to look after musician, writers, poets and filmmakers. For example there are a number of bodies especially the MCPS [Mechanical-Copyright Protection Society], which is responsible for collecting royalties and licensing of music on behalf of musicians and music producers.
Tags: iss128 | ail | youtube | streaming | license | Joseph Adamson
Submitted by Joseph Adamson Read this article in the tv-bay digital magazine
How the Cloud can be enabled as traditional broadcast workflows evolve
David Schleifer The Cloud itself is fairly simple, but for broadcasters it can be difficult to leverage. It isnt technically complex but broadcast still overlaps requirements that need real time, high resolution and quick turnaround solutions. Plus, this is coupled with the need to connect with dispersed geographic locations, reduce costs and access multi-format assets. As a result, broadcasters have moved away from asking the basic question what can I do in the cloud? to trialling projects and implementations are now underway or under evaluation.
Tags: iss128 | ott | primestream | David Schleifer
Submitted by David Schleifer Read this article in the tv-bay digital magazine
IP or not IP, that is the question
Brian Larter There can be a one size fits all approach to prompting, but with the many forms of production in todays broadcasting world - from a major sporting event, to the biggest Saturday night entertainment show, to a 24-hour news operation or prompting on location - it is unlikely that a single system will suit every circumstance. The equipment needs to be designed for purpose, interchangeable and adaptable, since prompting, like other areas of the broadcast workflow, does not stand still.
Tags: iss128 | cuescript | prompting | prompter | ptz | ip | Brian Larter
Submitted by Brian Larter Read this article in the tv-bay digital magazine
Managing Talent
Nicole Inanc Presenting for television is a talent that is critically competitive. Budding presenters around the world produce showreels, attend acting schools and fight to be the next Ant and Dec¦ but what is it exactly that makes a successful television presenter? As a wannabe TV presenter myself, I wanted to explore the exact process talent managers follow when finding the next big thing and whether I have exactly what it takes.
Tags: iss128 | portsmouth university | education | bsc | ccitv | Nicole Inanc
Submitted by Nicole Inanc Read this article in the tv-bay digital magazine
Supporting broadcast quality control
Alan Wheable With the ever-increasing number of program channels and range of different program distribution formats, the process of ensuring program quality has become a complex one for contribution/capture, production, post production, server ingest and content distribution.
Tags: iss128 | omnitek | wcg | hdr | test and measurement | smpte 2110 | smpte 2022-6 | Alan Wheable
Submitted by Alan Wheable Read this article in the tv-bay digital magazine
There is no where to hide from cybercrime
Mark Harrison The media sector is an attractive target for cyber attacks of all kinds from malicious individuals who enjoy disrupting high profile shows, to organised criminals who are attracted by the value of content, to nation states aware that media is a way of conveying or distorting messages.
Tags: iss128 | dpp | cybercrime | microsoft | azure | tinopolis | security | Mark Harrison
Submitted by Mark Harrison Read this article in the tv-bay digital magazine
Marjan Television Network - a case study
Ian Muir Internet and Satellite content distribution now allows production companies and broadcasters to send targeted TV programmes and video to widely dispersed audiences all over world, whilst located where theres easy access to the technology, equipment and expertise to produce top quality programmes.
Tags: iss128 | ac ent | lighting | chroma-q | space force | fresnel | quasar | q-led | lumipix | stark400 | Ian Muir
Submitted by Ian Muir Read this article in the tv-bay digital magazine
Reunion on Kingsman ensures efficient workflow for sequel
KitPlus Both on and off camera, there are some collaborations that are built to last. Armed with the success of their work on the first film adaptation of the Kingsman comic book (Kingsman: The Secret Service), director Matthew Vaughan reunited with cinematographer George Richmond, DIT Joshua Callis-Smith and colorist Rob Pizzey, to deliver Kingsman: The Golden Circle, the upcoming second installment in the spy comedy series.
Tags: iss128 | kingsman | blackmagic | goldcrest | davinci | arri | dit | KitPlus
Submitted by KitPlus Read this article in the tv-bay digital magazine
Growing a news agency from the inside out
Lorna Garrett Growing a new media outlet in todays highly competitive market requires taking a strong look at the new ways media is being consumed. Many of the most successful recent startups are community focused, often finding a niche market that wants to be engaged in a way they perceive themselves. Al-Araby TV is a London-based news and current affairs satellite channel that has set out to do just that for Arab citizens.
Tags: iss128 | gpl | garland | al-araby | teracue | x-player | amino | aminet | icue | Lorna Garrett
Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
Strays - Telling a dark tale
Aaron Dunleavy Independent filmmaker, Aaron Dunleavy, has used the backdrop of his hometown, Blackburn, to create a new short film as part of Channel 4 and Arts Council Englands Random Acts programme. The initiative - delivered by Tyneside Cinema (Newcastle), HOME (Manchester), and True North Productions (Leeds) - commissions bold, innovative expressions of creativity from young creative talent, and was a new and welcome challenge for Dunleavys third short film.
Tags: iss127 | strays | blackmagic design | vfx | ursa mini | grade | grading | Aaron Dunleavy
Submitted by Aaron Dunleavy Read this article in the tv-bay digital magazine
Cellular, Satellite or Fixed Link - how do you choose
Lorna Garrett Having a choice is a good thing. Take apples, for example. While one may look pretty much the same as the next, we know that the subtle differences between varieties can make a huge difference in how we choose to use them some are best for pies, some better for cider, and others just perfect for eating from the tree.
Tags: iss127 | liveu | garland | tranmission | uplink | cellular | Lorna Garrett
Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
Peace of mind in a complicated world
Alan Wheable For many in the broadcast industry these are challenging times. With competition coming from all angles and different technological camps advocating different approaches to infrastructure and the way forwards. With the number of different variables increasing, the choices of whether to use SDI or IP infrastructures, and the choices around HDR and WCG let alone the on-going distraction of UHD / 4K.
Tags: iss127 | omnitek | smpte 2110 | ip | ultra tq | 2022-6 | Alan Wheable
Submitted by Alan Wheable Read this article in the tv-bay digital magazine
5 reasons to use a soft box with LED lighting
James Mathers LEDs are a highly efficient light source, and putting aside any color spectrum issues, (that have generally been improving) they still have limitations for lighting people. The naked illumination coming off a single emitter, or an array making up a larger fixture, such as a panel, is just not the soft, beautiful glow that we seek for human subjects.
Tags: iss127 | led lighting | softbox | soft box | James Mathers
Submitted by James Mathers Read this article in the tv-bay digital magazine
Power linking just got better
Yasushi Wada Sometimes batteries can be interesting and this year with IDX is one of those years with not only improvements in the V-Lock range there are significant changes within the 7.2volt area. Firstly and for the very first time in Europe the updated Power Link battery system the IPL range will be shown on the IDX stand at IBC
Tags: iss127 | idx | battery | power | v-lock | vl-2000s | ipl-150 | ipl-95 | Yasushi Wada
Submitted by Yasushi Wada Read this article in the tv-bay digital magazine
The ITTP - A Review
Graham Reed Five years ago a group of practitioners who were concerned about the poor training provision and a lack of common skills standards in the broadcast industry formed the ITTP. Since then there have been many meetings with senior industry figures and representatives from training organisations and educational establishments.
Tags: iss127 | ittp | training | bbc | bskyb | soho editors | skills | cirrolite | bksts | skillset | Graham Reed
Submitted by Graham Reed Read this article in the tv-bay digital magazine
Top Tips on becoming an IBC Jedi
Aaron Dunleavy IBC is upon us once more. The doors of the RAI will open for the European electronic media and entertainment industry to scrum together to gather inspiration, keep abreast of developments in tech, and generally take the temperature of the industry. 
Tags: iss127 | ibc | mtf | lenses | adapters | Aaron Dunleavy
Submitted by Aaron Dunleavy Read this article in the tv-bay digital magazine
A bluffers guide to image stabilisation
Mike Colyer One of the greatest challenges I face when designing a Special Camera system is how to minimise such vibrations, be they the very passive such as vibrations from a human wearing a camera system (10 20Hz), or more pronounced (try strapping a camera to a race car!).
Tags: iss127 | stabilisation | eis | ois | Mike Colyer
Submitted by Mike Colyer Read this article in the tv-bay digital magazine
Supporting creativity and driving better workflows
Rod Aaron Gammons For decades videographers and filmmakers have been pushing the boundaries when it comes to creativity all with the aim of delivering a visually spectacular and engaging experience to viewers. For the most part they rely on artistic vision and innate skill, but over the last few years technology has been playing more of a role in enabling that creativity, like cameras, sound and lighting.
Tags: iss127 | rotolight | led lighting | aeos | Rod Aaron Gammons
Submitted by Rod Aaron Gammons Read this article in the tv-bay digital magazine
TV Futures - Running around for clients
Joseph Long My second year at the University of Portsmouth seemingly began in a familiar fashion to the previous year. We sat in a large lecture theatre and listened intently to our course leader, who gave an outline as to what students on the BSc Television and Broadcasting course should be expect experience-wise from the up-and-coming year....
Tags: iss127 | ccitv | tvfutres | training | portsmouth | university | Joseph Long
Submitted by Joseph Long Read this article in the tv-bay digital magazine
50 years in and the show must go on
John Smith -new At IBC we always look forward to meeting old faces and new. For those more recently acquainted with the broadcast industry, you may not realise IBC was born half a century ago in London. In 1967 the show, held at the Royal Lancaster Hotel, attracted just 32 exhibitors and 500 delegates. However, its popularity grew and the exhibition quickly upgraded with a move to the Grosvenor House Hotel in London, followed by the Wembley Conference Centre, before moving to Brighton.
Tags: iss127 | medialinks | ibc | amsterdam | John Smith -new
Submitted by John Smith -new Read this article in the tv-bay digital magazine
Atomos Ninja Inferno REVIEWED
Daniel Peters Bristol-based Daniel Peters is one of a new breed of indie filmmakers discovering that you dont need big budgets to create filmic shorts. Often working solo, shooting and editing his own work, he creates the look and feel of bigger productions with only limited resources. His commitment to the craft is so great he had to sell much of his own gear to fund his most recent short film Deserted in Paris, after he went over budget due to lost locations and actors pulling out.
Tags: iss127 | atomos | inferno | ninja | review | prores | dnxhr | gh5 | fs7 | lut | Daniel Peters
Submitted by Daniel Peters Read this article in the tv-bay digital magazine