3840x2160 UHD

4K Video

4096x2160 4K
Overview The 1920x1080

Bigger Picture

2048x1080 2K
1280x720

720x480
720x576
Steve Holmes
Motivation for the 4K Digital Conversion
 35 mm Film Process:
 35mm film can distribution
– Expensive ($1,200 per screen)
– Slow
– Inflexible
– Manual process for assembling shows
 Studios spend $2 - $3 billion per year on release prints

 4K emulates the resolution of 35mm Film

 2K emulates the resolution of 16mm Film

 Film prints get scratched and dirty after only a few plays, 4K D Cinema
keep a pristine image at all times.
Why high 4K formats?
Market Drivers

 Cost effective technology enables theatres to provide the

best quality to end consumers

 Movie companies seek to attract high-end viewers through a

rich visual experience
– Larger picture formats
– Diverse color spaces for improved color fidelity
– Increased bit resolution
– Higher refresh rates

 High bit rate provides more flexibility to Production and

Post-Production companies
– Work at the highest resolution prior to rendering the product.
– Optimize use of facilities using joint transmission
– Use of new tools (such as alpha channel)
– Emulate traditional film quality using digital technology
Delivery of 4K content
 4K Ultra Blu-ray
 Netflix
 Amazon
 VUDU
 YouTube Red
 UltraFlix
 PlayStation Video
 ULTRA
 Fandango
 Google play
 DirecTV
 Dish
 Xfinity
Image Sizes
3840x2160 UHD
4096x2160 4K

2048x1080 2K
1920x1080

1280x720

720x480
720x576

5
Image Size-- How Many Pixels?

4 x HD (2048 or 1920x1080)
Quad SDI approach
In SDI we break the screen into 4 quadrants using 3gig per Quadrant

4096 X 2160 equals four 2K images

3840 X 2160 equals four 1080P images

7
SMPTE 435-1 Sampling
 4 way division square

 4 way Interleave (2SI)

8
Rec 2020 Color

9
Rec 2020 and Rec 709 overlay

10
SD & HD Vectors

709 Color Space 601 Color Space

Rec 601 and 709
Rec-601 and Rec-709 are basically on top of each other

• This is why we can

use the same
screen for SD and
HD with out going
through conversion
in the Monitor to
change the color
space

12
2020 & HD(709) Vectors

709 Color Space 2020 Color Space

ACES Color

14
ACES, UHDTV, HDTV

15
XYZ and 2020 Color Space
 To emulate rich film-based cinema
colors, the XYZ color space allows for
richer colors on digital cinema
applications.
 Rec. 2020 color space covers 75.8%,
XYZ color space
of CIE 1931 Rec. 709 covers 35.9%
How big of 4K screen do I need
Do we look at Anything
different in 4K from HD SDI ??
Waveform View HD, UHD or 4K ?

19
Waveform YRGB view

3840 Pixels 3840 Pixels 3840 Pixels 3840 Pixels

20
Vector View

21
Gamut View

22
Camera Black Set (Lightning)

23
Inter Link Timing

24
Inter Link Timing
Big gap between bottom left and bottom right?

SMPTE Std.
29 Clocks
Proc Check

26
Proc Check Grey field

27
Proc Check Grey field

28
Other things
 Start of Active Picture
– Horizontally
– Vertically
* Your results may vary
 What is the aspect ratio
What are your standards
– 1.66 +/- ‘x’ number of lines
– 1.78 Start line 84 and End line 2242 *
– 1.85 Start line 122 and End line 2204 *
– 2.0 Start line 202 and End line 2124 *
– 2.35 Start line 346 and End line 1978 *
– 2.40 Start line 364 and End line 1964 *
 Film Rasters
– 1998x1080 1.85 Flat 2K
– 2048x858 2.39 Scope 2K
– 2048x1556 1.31 Full Aperture 2K
– 3840x2160 1.78 UHD
– 3996x2160 1.85 Flat 4K
– 4096x1716 2.39 Scope 4K
29
– 4096x3112 1.31 Full Aperture 4K
Summary
 The cost of film processing makes 4K attractive

 Transmission is 4 way square division or 4 way Interleave (95%+ is square

division)

 UHD is typical for home delivery, 4096 is typical for Cinema

 UHD is typically Quad HD Y Cb Cr

 4K can be 709 or P3 or 2020 Color space

 Waveform and Vector look just like HD