1. Technology Development Group
Introduction
Technology Development Group

2. Who we are
We are a group of technologists dedicated to providing enabling technology to help the divisions be more profitable.
We work closely and collaboratively with the dedicated technical people in each division and with those in IT.
We are largely focused on production and delivery: how we produce and master content, how and what we deliver to the consumer, and how we protect the assets.
Like IT, we are a corporate group: we are division agnostic, as we provide a solution to one division we look for ways it can help others.

3. Spencer Stephens Chief Technology Officer
Scot Barbour VP, Production Technology
Tim Wright VP, Worldwide New Media and Technology
New Hire
VP, Security and Media Technology
Andrew Livingston Manager, Digital Policy
Yoshikazu Takashima Exec Director Advanced Technology
Masaki Nakayama Executive Director, Technology Operations
Culver City
London

4. Basics

5. 4k or UHD Ultra High Definition (UHD) is 3840 x 2160
UHD is being called 4k, 4k UHD, Ultra HD 4k, …
Digital cinema definition of 4k is 4096 x 2160
SPE’s definition of 4k UHD content
Shot and mastered in 4k
Not up-scaled from lower resolution
It’s the highest quality version of a movie or TV show
4k movies & TV is shot on 35mm film and on new digital cinema cameras like the Sony F65

6. 8’
> 7x SH
26” SD SH

7. 8’
> 3x SH
< 7x SH SH
50” HD

8. 8’
> 1.5x SH
< 3x SH SH
85” UHD

9. 8k Quiz
What’s the ideal viewing distance expressed in for an 8k TV?
What size 8k would you want if your sofa is 8’ away from it?
0.75x SH
260”, 1 9 feet wide

10. Increased spatial resolution isn’t enough
Picture specifications for high def are based on CRT TV capabilities
With 4k there is an opportunity to improve other picture parameters
These new parameters can improve HD too but will need new players.
Parameter
Comments
Larger color space (ITU-R Rec 2020 or XYZ)
Colors that cannot be reproduced on a CRT TV
High dynamic range (HDR) aka extended dynamic range (XDR)
More details in the highlights, darker shadows.
Brighter screens for better color display
HD is 100 nits, new XDR TVs are 1,000 nits, studio target is 4,000 nits but there are power considerations.
10 or 12 bits color depth
8 bit used in HD can cause “contouring” of the image. (10 vs 12 bits still being debated)
Higher frame rates
48 fps or 60 fps for high frame rate movies
100 fps or 120 fps sports broadcast

11. Increased spatial resolution isn’t enough
Picture specifications for high def are based on CRT TV capabilities
With 4k there is an opportunity to improve other picture parameters
These new parameters can improve HD too but will need new players.
Parameter
Comments
Larger color space (ITU-R Rec 2020 or XYZ)
Colors that cannot be reproduced on a CRT TV
High dynamic range (HDR) aka extended dynamic range (XDR)
More details in the highlights, darker shadows.
Brighter screens for better color display
HD is 100 nits, new XDR TVs are 1,000 nits, studio target is 4,000 nits but there are power considerations.
10 or 12 bits color depth
8 bit used in HD can cause “contouring” of the image. (10 vs 12 bits still being debated)
Higher frame rates
48 fps or 60 fps for high frame rate movies
100 fps or 120 fps sports broadcast

12. Not all 4k is created equal
Sony F65
4096 green pixels
2048 red pixels
2048 blue pixels
Red Epic
2560 green pixels
1280 red pixels
1280 blue pixels
Sony F55
2048 green pixels
1024 red pixels
1024 blue pixels
Arri Alexa 1440 green pixels
720 red pixels
720 blue pixels
8k pixels
True 4k output
5.5k pixels
4k output
4k pixels
4k output
2.8k pixels
2.8k output
Bayer pattern and CMOS sensors

13. Acquiring 4k content – features and episodic
Camera Type
Maximum Resolution
Comments
In use?
4k?
HDR?
35mm Film
Scanned at 4k
Most features and all episodic that are shot on film
Yes
65mm Film
Scanned at 6k
“Lawrence of Arabia” No
35mm CCD Digital Cinema Cameras
1920x1080
Sony F35, Genesis (2005)
Arri Alexa
2880x1620 or 2880×2160 depending on format
CMOS RAW or ProRes
Yes*
Red Epic & Dragon
Up to 5.5k & 6k respectively
CMOS RAW
Sony F55
4096x2160
CMOS RAW or XAVC
Sony F65
Normally 4096x2160, 8192x2160 possible
CGI effects
Typically 2k
Resolution is rendering cost issue.
Option
* These cameras are, in varying degrees, capable of HDR but production decisions may mean footage isn’t HDR

14. Consumer Services

15. Delivering 4k to the consumer
AVC encoded 4k is 2-3 time larger than HD
4k delivery becomes practical with HEVC (H.265) codec
Perhaps 35-40% more efficient
Hardware decoders in shipping devices
Sony Pictures is requiring significantly stronger content protection for UHD/4k than for HD

16. Availability of 4k in the consumer market
Sony shipped server loaded with 11 4k movies with the 84” 4k TV in late 2012
Sony 4k Video Unlimited service launched 1st September 2013
Preload and download 4k movies and TV shows
Second gen 4k player and TVs have Netflix 4k
Netflix started 4k streaming SPE content to Sony and Samsung TVs in June 2013
Adaptive streaming means instantaneous resolution may be less than 4k or content is heavily compressed
A lot of interest by broadcasters in UHD
BSkyB and Sky D are shooting football in UHD and with HDR
Korean broadcasters have linear UHD channels.
DirecTV will launch using RVU – 4k HEVC decode in TV, not in STB

19. TV series delivering to Netflix in 4k
Blacklist
Breaking Bad
Masters of Sex
House of Cards

20. Market Deployment Timeline
What we expected
What’s happening
Physical media
Download
Streaming
Linear
Sony pre-loaded players
Streaming
Linear
Download
Physical media

21. Enhanced Content Protection

22. Starting Point
No content protection system is impenetrable, but the system has to be hard to crack.
You just got hacked, what are you going to do?
Rapidly re-secure the content protection
Contain the breach to a single title/copy
Learn from the Condition Access (CAS) industry for cable, satellite, etc.
Security system providers whose reputation is at stake
Both a technology and a service
Software running in Trusted Execution Environments
Rapid proactive and reactive renewability
Breach and hacker monitoring
What are people trying to hack the system working on?

23. SPE Requirements for 4k/UHD Content
HDCP 2.2 output protection
No other digital outputs currently offer appropriate security
On line authentication
Check for current content protection version
Prevent pre-street date piracy
Title diversity
When one title/copy is compromised, incremental hacking is required to compromise the next title
Decode in trusted execution environment (TEE) with hardware protected video path.
Forensic watermarking identifying player model/version
Content protection technology/implementation from expert companies with appropriate practical experience

24. SPE Requirements for 4k/UHD Content
TV makers have rapidly realized this is a necessity
Challenging for linear - use return path through TVs Internet connection
HDCP 2.2 output protection
No other digital outputs currently offer appropriate security
On line authentication
Check for current content protection version
Prevent pre-street date piracy
Title diversity
When one title/copy is compromised, incremental hacking is required to compromise the next title
Decode in trusted execution environment (TEE) with hardware protected video path.
Forensic watermarking identifying player model/version
Content protection technology/implementation from expert companies with appropriate practical experience
Requirement for off-line playback
State of the art in new devices
*This not a complete list

25. Movielabs specifications
9/19/2018