CEDIA
WHITE PAPER
Understanding
4K Technology:
What You
Need to Know
as an Industry
Professional.
© 2014 CEDIA
TABLE OF CONTENTS
01Introduction
3
02 What is Ultra HD technology?
Understanding Visual Acuity and Viewing Experiences
in 1080p HD and Ultra HD-4K
3
3
03 Ultra HD-4K Data
Ultra HD-4K signal
The HDMI Specification – Data rate for 4K (2160p)
5
5
5
04 Ultra HD-4K Format & Bandwidth
HDMI Signaling Speed
Background on Bandwidth
HDMI Bandwidth
6
7
8
8
05 Unified Clock & Variable Video Blanking (HDMI Data Island Periods)
8
06 Ultra HD Delivery Platforms and Distribution
Device Hardware3
HDMI Cable suitability
DisplayPort
CATx Cable Extension Systems
HDBaseT™
Fiber
Blu-ray
Broadcasting and Streaming
11
11
11
11
12
12
12
12
12
07 Ultra HD-4K Color – Present-Day xvYCC Improvements
and Future Possibilities
13
08 Ultra HD-4K Content Available Now
13
09 How Will 4K Impact My Business?
14
10Conclusion
14
11Resources
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UNDERSTANDING 4K TECHNOLOGY
01 INTRODUCTION
Manufacturers are always looking for ways to
improve their products, especially in the field of
technology. With display resolutions, cables, discs
and 3D technology being revamped and reworked,
TV displays are becoming more detailed, lifelike and
visually appealing. Ultra HD-4K technology makes
use of higher pixel density, larger screens and the
human eyes’ visual acuity to create a more detailed, indepth image on display screens. This white paper is a
companion piece to CEDIA’s consumer-oriented “What
is Ultra High Definition and Why Does it Matter?” and
will focus on what Ultra HD-4K technology is in greater
detail, examine where the technology is heading and
discuss what this means for CEDIA members.
Therefore, engineers have been working on a new
standard for viewing, called Ultra High Definition
(Ultra HD), which has four times the resolution of a
1080p display (3840 x 2160) and is equivalent to an
8-megapixel image. What this means for the TV viewer
is that the image will be extremely sharp even when
one is viewing from a very close distance. On a 1080p
display, viewers who sit too close to the screen will see
little squares which are actually the spaces between
the pixels. On an Ultra HD display, the pixels are so
small that it would take a magnifying glass to view
the space between them at normal viewing distances.
Simply viewing on an Ultra HD display does not
automatically guarantee a better image, because there
are many other variables, such as transmission quality
and the actual content, but it certainly improves the
possibilities.
02 WHAT IS ULTRA HD
TECHNOLOGY?
“Full HD” or 1080p are both ways to describe a display
consisting of 1,080 lines of vertical resolution and 1,920
of horizontal resolution. 4K is also known by multiple
names, such as 2160 and Ultra HD. For the purposes
of consistency, this technology will be referred to as
Ultra HD-4K throughout this document. Ultra HD-4K
must be approximately four times the total resolution
of 1080p, or at least two times the vertical resolution
and two times the horizontal resolution of 1080p. Most
Ultra HD-4K should therefore have an approximate
aspect ratio of 3840 (1.89:1) or 4096 (1.90:1). The
Consumer Electronics Association’s 4K Working Group
decided in the fall of 2012 to call the 4K product
category Ultra HD in order to minimize consumer
confusion and position Ultra HD-4K performance as
being beyond current HDTV standards. It is important
to be familiar with both the technical terms as well as
those terms used to describe Ultra HD-4K in the sales
world in order to understand and sell this technology
to clients.
The increase in pixel density allows for more details
and less-visible pixel images, amounting to a clear, vivid
image on the screen. Ultra HD-4K has the potential
to make use of larger screen sizes while providing
a better-looking image than Full HD resolutions are
capable of; therefore, the industry has deemed it
worthy of the classification “ultra-resolution.”
UNDERSTANDING VISUAL ACUITY AND VIEWING
EXPERIENCES IN 1080P HD AND ULTRA HD-4K
The key to understanding improvements in Ultra HD4K digital imaging is to focus on the improvements in
analog imaging and what that means for future media
technology and content. It is projected that Ultra HD
technology will offer a similar cinematic experience
for the consumer in the home as IMAX offers in movie
theaters.
Using 35mm film in theaters was the norm for about a
century. Efforts to improve film’s image quality acuity
began as early as 1929. By 1970, IMAX appeared in
the cinema industry scene. IMAX film is 3395 square
millimeters - almost ten times more than 35mm’s
408.27 - and the images are sharper, more detailed
and more realistic. According to CEA’s “Ultra HighDefinition: State of the Industry” white paper, the
higher resolution translates to more of the subtle clues
that contribute to the consumer seeing distance and
help convey a “looking through the window” feel.
The IMAX experience is about the audience sitting
closer to larger screens than was previously possible
with the use of 35mm film. Similar to IMAX, the Ultra
HD experience is about sitting closer to screens larger
than the average 1080p display. CEDIA’s “Selecting
Display Size based on Room Size and Seating” white
paper examines how visual acuity and viewing angles
determine the amount of detail an individual can see
on the screen. For the average consumer with a 1080p
display, the seating distance should be three times the
© 2014 CEDIA
3
UNDERSTANDING 4K TECHNOLOGY
height of the display to allow for a 33° horizontal viewing
angle and an 18° vertical viewing angle. This calculation
means that the viewer is sitting far enough from the
display to not notice the spaces between the pixels.
21.95mm x 18.6mm
However, because screen size and seating distance
work together, if the viewing distance is reduced or
the screen size is increased, the viewer will notice the
spaces between individual pixels and experience an
issue known as the “screen door effect.” This effect
takes away from the immersive experience that highdefinition displays hope to create and is not ideal in any
situation.
35mm
Academy Format
With four times as many pixels and less visible space
between pixels, Ultra HD-4K displays positioned at
the same distance from the viewer as 1080p are able
to display a better overall picture. In fact, in his blog
post “What is the Point of Diminishing Returns for TV
Screen Sizes?”, CEA Chief Economist and Director
of Research Shawn Dubravac calculates that if a
consumer replaces their 55-inch HD TV with an Ultra
HD-4K TV of the same size, they can sit four feet away
instead of the average seven. Similarly, the consumer
could remain seven feet from the screen and simply
upgrade to a 92-inch, or even 153-inch, Ultra HD-4K
TV for a full immersive experience. This technology
presents the first logical opportunity for consumers to
buy the big screen they have always wanted without
needing to expand their room size or stray from the
recommended seating distance.
There are some sources who say that the pixels of
Ultra HD-4K displays are too small for the consumer
to notice any significant benefit at a normal seating
distance; however, according to CEA’s “Ultra HighDefinition: State of the Industry” publication, human
vision is a much more complicated process than simple
visual acuity suggests. In fact, the report states, “’Visual
hyperacuity’ is the ability of the human visual system to
recognize details — such as lines and edges — an order
of magnitude better than would be predicted by simple
acuity.” The white paper states that with regards to
Ultra HD-4K, the higher resolution works well with the
complicated process of human vision.
70mm x 48.5mm
70mm
IMAX Format
Figure 1.1
4K UHD: 3840 x 2160
HD: 1920 x 1080
SD: 720 x 480
Figure 1.2
4
© 2014 CEDIA
UNDERSTANDING 4K TECHNOLOGY
03 ULTRA HD-4K DATA
The downside to Ultra HD-4K is that since there are
more pixels, there is also more data that needs to be
transmitted from a source to the display. Luckily, all
the players in the industry are currently working to
overcome this obstacle.
ULTRA HD-4K SIGNAL
UltraHD-4K is approximately four times the pixel
resolution of 1080p, but requires twice to four times
the bandwidth through HDMI®, depending on frame
rate and color space. In order to understand the
specific bandwidth requirements and implications at
both hardware and transport layers, it is prudent to
explore how this new format is currently defined in
the HDMI specification, and the implications therein
for system design and implementation. HDMI is the
current predominant format in the encrypted HD-AV
(with DRM) delivery space for both commercial and
consumer electronics.
THE HDMI SPECIFICATION – DATA RATE
FOR 4K (2160P)
Ultra HD-4K formats and requisite data rates were
originally defined for the CE space in the 2009 release
of the HDMI v1.4 specification, encompassing frame
rates from 24 to 30fps. The HDMI 2.0 specification of
2013, which runs concurrently as an optional addendum
to HDMI 1.4, cross-references the CEA-861-F standard
to define further formats and applications, some of
which result in higher bandwidth requirements. The
specifications define the horizontal resolution (Hres)
and frame rate subsets, and corresponding TMDS clock
and data rates, as follows;
HDMI 1.4
Active Pixel Res
Color
Frames per Second
Pixel Aspect Ratio
4,096 x 2,160*
8-bit RGB/YCbCr 4:4:4
24p
1:1
4,096 x 2,160*
10/12-bit YCbCr 4:2:0/4:2:2
24p
1:1
3,840 x 2,160^
8-bit RGB/YCbCr 4:4:4
23.98, 24, 25, 29.97, 30p
1:1
3,840 x 2,160^
10/12-bit YCbCr 4:2:0/4:2:2
23.98, 24, 25, 29.97, 30p
1:1
Active Pixel Res
Color
Frames per Second
Pixel Aspect Ratio
4,096 x 2,160*
8-bit YCbCr 4:2:0 (Y420VDB)
50,59.94,60p
1:1
4,096 x 2,160*
10/12-bit YCbCr 4:2:0/4:2:2
50,59.94,60p
1:1
3,840 x 2,160^
8-bit YCbCr 4:2:0 (Y420VDB)
50,59.94,60p
1:1, 4:3‡
3,840 x 2,160^
10/12-bit YCbCr 4:2:0/4:2:2
50,59.94,60p
1:1, 4:3‡
HDMI 2.0
Table1.1
* Referenced in CEA-861-F as 2160p (SMPTE)
^ Referenced in CEA-861-F as 2160p
† HDMI 2.0 does not specify 2160p HFR (50-60fps) 4:4:4. 4:2:2 is maximum.
‡ 1:1 Pixel ratio results in 16:9 (1.78:1), 4:3 results in 64:27 (2.37:1)
© 2014 CEDIA
5
UNDERSTANDING 4K TECHNOLOGY
04 ULTRA HD-4K FORMAT & BANDWIDTH
Bit
Depth
Chroma
3840x2160
8
4:4:4
3840x2160
10/12
4:2:2
4:2:0
8
4:4:4
4096x2160
10/12
4:2:2
4:2:0
3840x2160
8
4:2:0
4096x2160
8
4:2:0
4096x2160
8
4:2:2
10/12
4:2:2
4:2:0
Format
4096x2160
Frame Rate
23.98/24/25/29.97/30
Character
rate
Clock
Data Rate/
ch
Data Rate
Agg.
TMDS Bandwidth
297Mcsc
297MHz
2.97Gbps
8.91Gbps
1.485GHz
594Mcsc
148.5MHz
5.94Gbps
17.82Gbps
2.97GHz
50/59.94/60
3840x2160
4096x2160
8
4:2:2
4096x2160
10/12
4:2:2
4:2:0
Table 2.1
HDMI SIGNALING SPEED
There are four distinct “speed” values associated with
HDMI signaling, as follows:
1.
Data rate
The transmission rate of all digital bits through
each of the three TMDS channels, expressed as
Gigabits per second (Gbps). Figure can be either
per channel, or an aggregate of all three.
2. Character rate
The data contained within the TMDS stream is
divided into constant 10 bit “characters,” as a result
of 8b/10b encoding. I.e., 1x TMDS character = 10
bits of TMDS data, regardless of Clock or video bit
rate. Expressed as Mega-characters per second,
per channel (Mcsc).
6
© 2014 CEDIA
3. TMDS Clock:
The Clock channel runs parallel to the 3x TMDS
channels, and in itself contains no data. The Clock
is like a metronome, delivering the timing signal
which defines the start and stop times for each
TMDS character (10 bits). Expressed as Megahertz
(MHz). Refer to Fig. 3.1.
RULE: Where the TMDS character rate is equal
to or less than 340Mcsc, the Clock will run at the
same speed as the character rate (1:1). Where the
character rate exceeds 340Mcsc, HDMI 2.0 mode
will be enabled (in supporting devices) and the
Clock will be slowed to just ¼ the character rate;
E.g.; 297Mcsc TMDS = 297MHz Clock
594Mcsc TMDS = 148.5MHz Clock
UNDERSTANDING 4K TECHNOLOGY
4. Bandwidth:
Many cable types, both analog and digital, state
bandwidth (timing frequency in Hz) as a primary
specification. This is not the case for HDMI, which
instead focuses on TMDS data rate (in Gbps) &/
or Clock (in MHz). The latter is NOT bandwidth as
it in itself contains no data. In order to provide fair
comparison of HDMI infrastructure to other cable
types (e.g.; CATx), the bandwidth of the TMDS
channels must be determined.
BACKGROUND ON BANDWIDTH
Bandwidth refers to transmission “frequency,” which
quite literally means repetitions in a given timeframe. It
is standardized at one-second intervals, and expressed
in Hertz (Hz). As motion video is time-based, increasing
the video resolution and/or frame rate logically means
that more information needs to be conveyed in that
one-second timeframe, which then translates to higher
frequency (more units per second). The greater the
amount of information, the higher the bandwidth, and
the narrower time each unit is allotted.
In the case of CATx cable, the MHz number is referring
to the transmission frequency that the cable as a whole
can support. Telecommunications Industry Association
(TIA/EIA) standards define the various iterations,
being CAT5e at 100MHz, CAT6 at 250MHz, CAT6a at
500MHz, CAT7 at 600MHz, and CAT7a at 1GHz.
Start
HDMI BANDWIDTH
The bandwidth of HDMI can be defined as the
transmission frequency of the TMDS channels. As this
is not commonly expressed, yet TMDS bit-rate is, a
conversion formula of digital bits (bps) to transmission
Hertz (Hz) is required. Texas Instruments summed it up
best: “The relation of Hertz to bits per second is that
a single bit is typically considered to be a 180 degree
unit — a 360 degree cycle is two bits. Therefore, 1 Hz is
equal to 2 bits per second.” (1).
That is, 1Hz TMDS bandwidth represents 2 bits of TMDS
data. Where the HDMI TMDS data rate per channel is
known, the bandwidth is therefore half the data rate
value, expressed in Hz.
An alternate HDMI “speed” is also commonly expressed
with a MHz value already, particularly with HDMI
chipsets and HDMI cable CTS: Standard/Category 1 =
74.25MHz, High Speed/Category 2 = 340MHz. However
these numbers refer to the character rate, which
when under 340Mcsc is the same as Clock (which is
ubiquitously the case at time of writing). As TMDS
bit rate runs at 10x Clock, and bandwidth is then half
the bit-rate, the shortcut method is to calculate TMDS
bandwidth as 5x Clock.
1 Pixel
Stop
CLOCK
1Hz
TMDS 2
(Red/Cr 4:4:4)
10-bit Character
TMDS 1
(Green/Y 4:4:4)
10-bit Character
TMDS 0
(Blue/Cb 4:4:4)
10-bit Character
Table 3.1
© 2014 CEDIA
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UNDERSTANDING 4K TECHNOLOGY
Summary;
TMDS bandwidth = Data Rate per channel divided by 2 (Hz)
OR
TMDS bandwidth = TMDS Clock x5
horizontal resolution subsets (4,096 & 3,840) and
numerous frame timings must produce different rates
of active (viewable) pixels per second. The difference
between formats is taken up in the blanking region –
the part that cannot be seen.
E.g.; Ultra HD-4K (2160p/30) operates 2.97Gbps/ch
Data rate
2.97/2
= 1.485GHz
Clock
297MHz x5 = 1.485GHz
All 2160p formats comprise a total of 2,250 pixels of
Vertical resolution (Vres), being 2,160 of active video
(what appears on screen) and a fixed 90 pixels of
vertical blanking (Vblank). Note that not all 90 pixels
of Vblank will necessarily be located above the active
video, as depicted in Fig 4.1 (simplified for graphical
purposes); some may be below. The Horizontal
resolution (Hres) comprises either 3,840 or 4,096
pixels of active video, but the horizontal blanking
(Hblank) is then variable where the differences are
“padded” to equalize the total pixel count per second
across all variants. More active pixels means less
blanking, and vice versa, to ensure the total remains
constant. Of the three data periods of TMDS signaling,
“Blanking” comprises both the “Data Island” and
“Control” Periods. Among other things, the Data Island
Period also contains the audio information, which can
be up to 32 channels of one bit or 3D audio, as defined
by HDMI 2.0, so this space is not wasted.
However you work it out, the bandwidth in HDMI for
4K 2160p/30 is 50% higher than the TIA/EIA spec
for CAT7a. Elevate the format to 2160p/60 4:2:2, the
maximum defined by the HDMI 2.0 specification, and
TMDS bandwidth doubles to 2.97GHz, being 12x the
bandwidth of CAT6.
05 UNIFIED CLOCK & VARIABLE
VIDEO BLANKING (HDMI DATA
ISLAND PERIODS)
The four main formats of Ultra HD-4K as defined by
HDMI 1.4, and the new 60fps 8-bit 4:2:0 format of
HDMI 2.0 all employ the same Clock speed of 297MHz.
This means they all deliver the same aggregate number
of pixels per second. Logically, the two different
Hblank
Hactive
Vblank
4K
Vactive
variable
3840
based on frame rate
>4400 total
Figure 4.1 (Not to scale)
8
© 2014 CEDIA
2160
2250 total
90
UNDERSTANDING 4K TECHNOLOGY
Figs 4.2-4.5 depict simplified graphical representations to show the difference in Hblank for
each combination of active video Hres (3840 or 4096) and frame rate (24, 25 or 30fps):
3840 Hres, 24fps
Hblank
Hactive
90
2250 total
Vblank
2160
Vactive
1660
3840
based on frame rate
5500 total
Figure 4.2 5500(Htotal) x 2250(Vtotal) x 24(fps) = 297,000,000 (297MHz)
3840 Hres, 25fps
Hblank
Hactive
90
2160
Vactive
1440
2250 total
Vblank
3840
based on frame rate
5280 total
Figure 4.3 5280 (Htotal) x 2250 (Vtotal) x 25 (fps) = 297,000,000 (297MHz)
© 2014 CEDIA
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UNDERSTANDING 4K TECHNOLOGY
3840 Hres, 30fps
Hblank
Hactive
90
2160
Vactive
560
2250 total
Vblank
3840
based on frame rate
4400 total
Figure 4.4 4400 (Htotal) x 2250 (Vtotal) x 30 (fps) = 297,000,000 (297MHz)
4096 Hres, 24fps
Hblank
Hactive
90
2160
Vactive
1404
4096
based on frame rate
5500 total
Figure 4.5
10
© 2014 CEDIA
5500 (Htotal) x 2250 (Vtotal) x 24 (fps) = 297,000,000 (297MHz)
2250 total
Vblank
UNDERSTANDING 4K TECHNOLOGY
06 ULTRA HD DELIVERY PLATFORMS
AND DISTRIBUTION
Nearly two-dozen Ultra HD-4K compatible televisions
and monitors were announced or shown by more than
a dozen companies at CES in 2013 and are currently
available in the consumer market. In addition to
supporting native Ultra HD content, virtually all of
these displays can upscale 2D and 3D HD content and
support “second screen” features as well as digital
streaming services. The most prevailing question today
revolves around the timeframe for content availability
to consumers at home. There are a variety of options
being considered, including: broadcast, cable and
satellite; download or streaming over the Internet; and
Blu-ray Disc. In the following section, hardware capable
of transporting Ultra HD-4K data will be examined,
followed by a brief exploration of other options for
future storage and transport and an explanation of
what is currently available today.
DEVICE HARDWARE
Fundamental suitability of a device to be able to
support Ultra HD-4K is quite simple. In the case of
HDMI ports, the HDMI transmitter, repeater (e.g.
switch, splitter) or receiver silicon must support at
least 297MHz Clock. First-generation HDMI chipsets
(circa 2003-2007) were 165MHz/4.95Gbps, to
support the 148.5MHz operating Clock of 1080p60.
From 2007 an upgrade to 225MHz/6.75Gbps silicon
became ubiquitous, offering support for 1080p60 at
10-bit Deep Color (5.56Gbps) and 12-bit Deep Color
(6.68Gbps). At the time this document was developed,
most devices still use the 225MHz silicon, which is not
enough for the 297MHz required for Ultra HD-4K. New
generation silicon released by some leading chipset
vendors in 2012 have settled on 300MHz.
Unless a device contains this new 300MHz silicon (or
higher), it cannot support Ultra HD-4K. Application
example: many Blu-ray players offered firmware
upgrade to support 3D, as no extra bandwidth was
required for that. The existing 225MHz HDMI chipsets
were sufficient. However to support 2160p a physical
change to hardware is required. Furthermore, a couple
of years ago the claim of “HDMI v1.4” was sometimes
used by CE device manufacturers to promote support
for things like 3D and Audio Return Channel. However
Ultra HD-4K was just as much a part of the v1.4 spec,
but this was not supported by such devices due to
hardware limitations. This was just one of several
reasons for HDMI Licensing to abolish reference to
version numbers, due to their misleading nature.
HDMI CABLE SUITABILITY
A good quality, certified “High Speed HDMI Cable” is
required to achieve Ultra HD-4K support (to 30fps).
The challenge is in finding an HDMI cable that is
labeled High Speed that actually is High Speed. There
is a proliferation in the market of mislabeled cables due
to the pre-2010 legacy of 1080p being the benchmark,
and the misunderstanding that “1080p” and “High
Speed” meant the same thing. 1080p is transmitted on
a 148.5MHz Clock, being 4.455Gbps aggregate data
rate. By contrast Ultra HD-4K requires double this at
8.91Gbps, and a genuine High Speed cable should be
tested to 10.2Gbps.
As “HDMI 2.0” mode arises in coming years, being
TMDS character rates from 340 to 600Mcsc, a new
“Reference Cable Equalizer” will be enacted to aid
an existing High Speed (Category 2) HDMI cable to
support the increased data rates. This will however still
be expected to draw some length limitations, yet to be
determined. Ultra HD-4K formats to be affected by this
elevation will be those that combine High Frame Rate
(HFR) and Deep Color; 2160p/50/59.94/60, 10 or 12bit, 4:2:0 or 4:2:2. There is no defined HFR 4:4:4 mode.
DISPLAYPORT
DisplayPort was developed in 2006 by VESA. It utilizes
four data transmission lanes, compared to HDMI’s
three, with each initially supporting fixed data rates
of 1.296 or 2.16Gbps. In 2009 the 1.2 specification
was released, adding a third, higher data rate level
of 4.32Gbps/channel. This amounts to an aggregate
17.28Gbps, sufficient to support Ultra HD-4K at 10-bit
Deep Color to 60fps. DisplayPort-enabled devices
have the same needs as HDMI hardware in providing
compatibility at both the silicon and firmware levels.
While DisplayPort has yet to be adapted for use in
Ultra HD-4K TVs, it is important to be aware that when
installers begin designing a DisplayPort system to
deliver and display Ultra HD-4K content, each device
in the system should support Ultra HD-4K at both the
physical and firmware layer. A DisplayPort cable with
demonstrable support for 10.8Gbps for 2160p30, or
21.6Gbps (highest rating for DP, for 2160p60) is then
required for successful hookup.
© 2014 CEDIA
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UNDERSTANDING 4K TECHNOLOGY
CATX CABLE EXTENSION SYSTEMS
FIBER
As previously mentioned, the data channels in HDMI
transmit Ultra HD-4K at 1.485GHz. This is well beyond
even the native capability of CAT7a, and around six
times the TIA/EIA specified bandwidth of CAT6. Welldesigned, purpose-built electronics and technology
like PAM theory can certainly close the gap, but there
will always be a limit to how much CATx cable can
be used for Ultra HD-4K applications. It is possible,
but tough to correctly accomplish. Like with source,
repeater, and sink devices, the bandwidth capability
of the primary silicon employed inside the transmit
(Tx) and receiver (Rx) units of a CATx-based extender
system is also key in identifying Ultra HD-4K support.
Many such extenders utilize HDMI equalizer chipsets
which cap out at 225MHz, and are thus insufficient.
Technicians should always avoid general claims like
“HDMI v1.4” as this is completely non-definitive. Only
chipset bandwidth and listing for actual features
supported can be deemed relevant in identifying
product suitability.
The issue of running HDMI over long distances, often
referred to as long-haul, has been an area of great
debate since its inception. With HDMI 2.0 nearly
doubling the frequency and bitrate on the cable,
long-haul issues may be further compounded. For
distributing Ultra HD-4K signals over significant
distances, typically over 30 meters, one solution is
to add an HDMI-to-fiber converter. Since fiber optic
utilizes light instead of copper to transport data,
the signal can cover significantly greater distances
before failure. Installing and terminating fiber optic
cables requires very specialized tools and training to
ensure proper functionality. However, if installed and
terminated properly, fiber to HDMI converters will send
Ultra HD signals hundreds of feet without any visible or
measurable degradation.
HDBASET™
HDBaseT is an exception to the above assertion, as
it retimes the signal in a PAM-16 (Pulse Amplitude
Modulation) baseband format, essentially changing
the rules of native CATx (which, after all, is designed
for Ethernet). It has from the outset supported all of
the same Ultra HD-4K formats as HDMI, up to and
including 30fps iterations. It can also be implemented
with DisplayPort I/O for support of all formats within
the scope of the 5.2 and 8.6Gbps aggregate data
rates. It is a 10Gbps format which in application
conveys TMDS signaling (as used by both HDMI and
DisplayPort).
At its heart, the Valens VS-100 chipset specifies
support for Ultra HD-4K to 100m over CATx cable,
or 40m when using the VS-010 (HDBaseT-Lite)
chipset. The HDBaseT Alliance has declared that the
technology will be scalable in future to support higher
frame rate versions, potentially to 20Gbps for 2160p
48-60 (4K-HFR). However, as retiming of the signal
is involved, with silicon being firmware driven in the
HDBaseT system, the transmission is not in the native
space of the end point devices (assuming HDMI or
DisplayPort connections). This provides some extra risk
to interoperability success and stability, but this can be
managed by using quality, compliant product.
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© 2014 CEDIA
BLU-RAY
While a movie in Ultra HD-4K is within the range of
data that a Blu-ray Disc can store, the Blu-ray Disc
Association (BDA) recently established a task force
to study possible format extensions in order to ensure
the most efficient way to transport Ultra HD-4K data
on discs. The group will work on investigating both
technical feasibility and market demand for Ultra HD4K and look into aspects such as higher frame rates,
enhanced color, additional audio technologies, etc. in
regard to how these aspects play into future Blu-ray
Disc developments. In the meantime, companies such
as Sony Pictures Home Entertainment work to release
remastered Blu-ray movies compatible with existing
players and provided their dealers with PC-based
servers that feature a variety of content shot in 4K.
BROADCASTING AND STREAMING
During CES, LG demonstrated Ultra HD-4K terrestrial
broadcasting that is currently being tested in Korea.
Netflix also demonstrated a prototype Ultra HD-4K
streaming service with Samsung at CES but indicated
that more advancements would need to be made
before this technology is readily available. Finally,
RED is also in the process of developing their RedRay
player, which will be capable of streaming Ultra HD4K content via the Internet and can also play HD
and 3D content at either 48 or 60fps. The player is
projected to come with an expandable 1 TB internal
HDD, and will support multiple HDMI outputs, including
UNDERSTANDING 4K TECHNOLOGY
one for 7.1 surround. While these advancements are
greatly anticipated, they are still in the early stages of
development and it will be some time before they are
affordable and feasible in the consumer market.
07 ULTRA HD-4K COLOR – PRESENTDAY XVYCC IMPROVEMENTS
AND FUTURE POSSIBILITIES
In addition to the current advances of Ultra HD-4K
displays, many are speculating that future products
will enable even more dramatic improvements to color
reproduction and picture quality.
The term “Gamut” is used to describe the variety of
colors a display or a source signal can reproduce. The
specification for the color gamut of HD displays (HDREC709) was an improvement over standard definition.
Now with the increased attention on Ultra-HD, Sony
has announced that their Ultra HD streaming service
will feature xvYCC color, which will be an improvement
over HD color.
The International Telecommunications Union, or
ITU (part of the UN and 193 countries strong), has
published a paper describing potential standards
for the Ultra HD-4K color gamut which would offer
performance far beyond anything any display
technology has offered to date. The document is free
to download and available at http://www.itu.int/pub/RREP-BT.2246-2-2012.
If Ultra HD-4K eventually realizes the color gamut
described by the ITU, the images possible would
be radically improved over the current HDTV and
xvYCC color. This would equal, and could exceed, the
improvements in picture quality offered through the
increased resolution alone. The visually stunning gamut
described will be able to show colors so saturated that
they could faithfully reproduce carnations, geraniums,
marigolds and even sunflowers — all of which have
colors that cannot be reproduced with the current HD
gamut.
That kind of enhanced color reproduction will not be
possible with current television technology, but the ITU
offers a glimpse of Ultra HD-4K improvements to come
in future generations and gives the industry a hint at
future innovations to come to Ultra HD-4K screens.
08 ULTRA HD-4K CONTENT
AVAILABLE NOW
According to Tom Cosgrove, the CEO of 3D TV
channel 3Net, marketing Ultra HD-4K hinges on
education, demonstration, price, and the belief that
there is something to watch. (2) There are currently
several different native Ultra HD-4K productions being
developed, such as 3Net’s Space and some Hollywood
productions already completed such as The Hobbit.
Additionally, more than 75 new or remastered films
have been released thus far by the major studios in
Ultra HD-4K for digital cinema exhibition. Ultra HD4K appears in the market as the first digital format
that can fully capture and convey all the tiny nuances
and bits of information from original 35mm negatives.
Classic films are being converted and enhanced to be
shown in Ultra HD-4K and new releases are being shot
in Ultra HD-4K with the use of cameras such as Sony’s
F65 and F55 cameras and Red Digital Cinema Camera
Company’s Red Epic camera. Companies such as Sony
Pictures, Warner Brothers and Legendary Pictures
are all working to expand their library of Ultra HD-4K
content.* Sports, live events, and even user-generated
content, such as digital photos, can also be potential
sources of Ultra HD-4K content, and advances in data
compression will help get Ultra HD-4K content into
consumers’ homes.
*For more information on current Ultra-HD/4K
content, please see http://pro.sony.com/bbsc/ssr/
mkt-digitalcinema/resource.latest.bbsccms-assetsmkt-digicinema-latest-Sony4KDigitalCinemaTitles.
shtml#2013
09 HOW WILL 4K IMPACT MY
BUSINESS?
Like any new technology entering the marketplace,
there are challenges in demonstrating the consumer
benefits beyond existing tech. In the case of Ultra
HD-4K, it is still a niche product, squarely focused
on affluent early adopters. As prices come down in
the next year or so, a broader audience will begin to
realize the benefits of incredible depth and clarity,
even on the largest displays. Many consumers remain
in the honeymoon stage with HD, but larger panel
sizes have begun outselling smaller TVs. These larger
screen sizes are likely to lead to increased interest in
higher resolution. Right now, the target consumer for
© 2014 CEDIA
13
UNDERSTANDING 4K TECHNOLOGY
Ultra HD-4K likely already owns multiple HD sets and
is looking for the best big-screen experience in order
to achieve the most cinematic experience in the home.
However, the primary Ultra HD-4K content available for
consumer TVs will initially be from up-scaled sources.
The HD vs. Ultra HD-4K debate certainly bridges from
manufacturers’ marketing to the retail floor. Dealers
are concerned that the price delta may be a major
inhibitor to sales. As Ultra HD-4K moves further into
the consumer market, manufacturers will likely take
similar stances to Sony, who provides their Ultra HD4K TV consumers with a bundled 4K video player and
tablet remote which include a variety of short-form 4K
content and full-length feature films. The counter is
that buying Ultra HD-4K now helps to future-proof the
home theater. Not only are the TVs feature-rich, with
3D, connected services and high-speed processors,
but they can also enhance the content displayed and in
the case of HD content, can upscale the content close
to Ultra HD-4K resolution. Currently, content is still
being remastered to take advantage of the upscaling
capabilities, but the future is not that far off, and
native Ultra HD-4K video content will soon be widely
available.
10 CONCLUSION
In summary, despite all of these potential Ultra HD-4K
content and delivery options under development, most
Ultra HD-4K TV viewers will be watching primarily
upscaled content until next year. It will be a challenge
to educate consumers on the value of Ultra HD-4K,
but when specified correctly according to the needs
of the individual project, the benefits are evident. The
promise of immersive images and enhanced resolution
is enough to win over the consumer who is interested
in owning the best on the market today. For CEDIA
members, all of this creates a golden opportunity to
differentiate themselves by utilizing both the quality
products they install and their installation expertise to
deliver the finest Ultra HD-4K experience available to
consumers.
14
© 2014 CEDIA
11 RESOURCES
1.
Texas Instruments. “Comparing Bus Solutions.”
Application Report, Oct. 2009.
2. Finer, Marc. “4K Content & Distribution.” DEG
Quarterly, 26 Feb. 2013.
3. “Ultra High-Definition: State of the Industry.” CEA,
7 Aug. 2013.
Dubravac, Shawn. “What is the Point of Diminishing
Returns for TV Screen Sizes.” Shawn Dubravac Blog, 22
Feb. 2013.
This whitepaper was developed with assistance by
the following individuals and reviewed by CEDIA’s
working group.
David Meyer — Kordz Pty Ltd
Dan Schinasi — Samsung
Joel Silver — Imaging Science Foundation
Marc Finer — DEG: The Digital Entertainment Group
Ray Stanley — Sony