Kitplus Magazine

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EXPERTS High-Resolution Graphics for 4k and Beyond with Jesper Gawell, Chyron Hego 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? C learly, 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. 56 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 96 DECEMBER 2014 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 signifi cantly 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 workfl ow 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 workfl ow. 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 Effi ciency 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.