Asia-Pacific Broadcasting (APB) September 2016 • Volume 33, Issue 8 | Page 8

8 NEWS & VIEWS

September 2016

NHK tests UHD broadcasts

TOKYO – Japanese public broadcaster NHK has started testing an Ultra High-Definition ( UHD ) video system that is said to provide images “ dramatically sharper ” than those available through current HDTV .

The network is running daily broadcasts using 8K technology , as well as 4K / UHD , and represents “ a new page in the history of broadcasting ”, said Katsuto Momii , NHK ’ s president .

Declaring the test broadcasts as a “ world first ”, Japan ’ s Parliamentary Vice-Minister of Communications , Keiichi Koshimizu , also suggested that there is a “ great opportunity ” for Japan to promote the technology beyond the country .

During last month ’ s Olympic Games in Rio de Janeiro , Brazil , broadcasts of the event were shown on display screens at NHK centres across Japan .

Japan ’ s local satellite operator , JSAT Corporation , is also preparing to launch 4K / UHD high dynamic range ( HDR ) broadcasts next month .

JSAT ’ s 4K / UHD HDR content will be available on its dedicated 4K / UHD channel , SKY PerfecTV ! 4K Experience , and will be powered by the Hybrid Log- Gamma ( HLG ) standard co-developed by NHK and the BBC .

Studios embracing HDR at ‘ impressive rate ’

1 8 buzz words for the broadcast industry , although in Asia-Pacific , it will remain just that in the near term , predicted Dr Amal Punchihewa , director , technology and innovation , Asia-Pacific Broadcasting Union ( ABU ).

He said : “ Most broadcasters [ in Asia-Pacific ] know very little or nothing about HDR with regards to implementation , cost , potential opportunities and challenges .”

While acknowledging that HD HDR would be “ very appealing ” for both viewers and broadcasters , there remains limitations and barriers with respect to implementation across all image formats , especially with HD , Dr Amal cautioned .

Like the DVB Project ’ s Dr Siebert , he pointed out the scarcity of HDR receivers in the market to handle the 10-bit requirement of HDR , although this may be mitigated with the specification of HLG in Recommendation BT . 2100 . path , as is the requirement for HDR .

HDTV delivery , on the other hand , functions on an eight-bit transmission path .

He explained : “ From a pure transmission point of view , there is no problem in transmitting the 10 bits over existing transport streambased infrastructure ( satellite , cable and terrestrial ). However , all equipment supporting only H . 264 encoding , for example , will not work with HDR content .”

The issue of backward-compatibility is one that the DVB Project is working closely on , with a technical specification for the broadcasting of HDR content to be released this November . Based potentially on HLG and PQ , the specification will provide backwards and nonbackward-compatible solutions , an upbeat Dr Siebert revealed . “ I am very positive that broadcasters will embrace HDR — combined with wide colour gamut ( WCG ) and provide services as soon as the necessary specifications for broadcast HDR are available ,” he added .

For the benefits of 4K / UHD to be fully realised , HDR and WCG need to be implemented together , stressed Stan Moote , CTO of the IABM . “ One of the components of 4K / UHD that most people don ’ t realise is that both HDR and WCG work in harmony and this is known as colour harmony ,” he added .

For every TV set , tablet and smartphone or computer the consumer owns , each is equipped with its own “ HDR characteristics ”. Because all displays are different , the concept of colour volume mapping has been developed to change the colour volume to match the viewing device , Moote detailed .

He continued : “ Now that we have UHD Premium TV sets , more material is being created to use the full range of HDR and WCG , which , taken together , defines what is known as a colour volume .

“ Consumers expect to view this on any device . The concept of colour volume mapping makes this possible , hence maintaining as much of the creative intent as possible .”

HDR is one of the current

Of more pressing concern for Asia-Pacific , perhaps , is the transition to digital terrestrial television ( DTT ), where a measly five countries have completed a full analogue switch-off .

Whether HDR will be part of this equation , or that of the transition to 4K / UHD in the region is shrouded in uncertainty — not least when very little is currently understood about HDR , according to Dr Ahmad Zaki Mohd Salleh , group GM , engineering , Media Prima .

For starters , regulatory bodies need to agree on a standard implementation , he urged . “ Having a common and universally accepted standard almost always has a positive cost impact .”

HDR TV sets must then be made affordable to encourage mass adoption ; otherwise , where would service providers find the incentive to invest in HDR , asked Dr Zaki , as HDR potentially presents a major impact — including economically — to existing workflows and legacy systems .

He added : “ Cost remains the final determinant to any technol ogical

Media Prima ’ s Dr Ahmad Zaki Mohd Salleh : Very little is understood about HDR , but it potentially presents a major impact — including economically — to existing workflows and legacy systems .

breakthroughs . With the current challenging ecosystem , these technological improvements may have to take a backseat until a new industry equilibrium is achieved … [ although ] if there is an upgrade path , I would bet on HDR with HD rather than 4K / UHD first .”

While constantly monitoring the latest technological developments , Singapore telecom and pay-TV operator StarHub believes there is “ some way to go ” before HDR gains momentum locally .

Lee Soo Hui , head of media business unit , StarHub , elaborated : “ For new emerging TV technologies such as HDR to achieve wider adoption , there needs to be a combination of sufficient HDRquality content , HDR-enabled TV sets and a compatible HDR standard .”

It would appear a fair assessment that Asia-Pacific broadcasters are not dismissing HDR completely , although the technology ’ s immediate outlook remains uncertain .

This month ’ s IBC 2016 will perhaps offer an insight into the extent its European counterparts are embracing HDR , which is arguably the “ single most exciting development in the electronic entertainment space since the introduction of colour ,” said Julian Pinn , consulting executive producer , IBC Big Screen Experience Conference Stream .

Along with the numerous HDR demonstrations and displays that can be expected on the show floors of IBC 2016 , HDR is also expected to be a key discussion point at the IBC 2016 Big Screen Experience conference stream .

“ HDR is being embraced by content creators and studios for the big screen at an impressive rate since the launch of cinema ’ s first HDR solution in 2015 .

“ And its uptake in home entertainment will undoubtedly be the natural adoption of something viewers won ’ t know they absolutely need until they experience it ,” Pinn concluded .

Engage young viewers online with compelling local content

❝ Research shows that European SVoD viewers not only wish to consume US content but also

other European and domestic , content .❞

1 8

— Florence Hartmann , Senior Media Analyst , EBU

countries , they have not massively diverted audiences from watching live TV ,” she added .

And European viewers are less inclined to pay than their Americian counterparts , turning instead to free alternatives . “ In Europe , broadcasters ’ catch-up services is the preferred way to watch longform video online ,” Hartmann said . “ In many countries , the catch-up service of the public broadcaster is the most widely used — BBC iPlayer in the UK and SVT Play in Sweden , for example .”

In Asia , the Media Development Authority of Singapore ’ s ( MDA ) recent over-the-top ( OTT ) Video Study found that more than half of consumers in Singapore ( 54 %) are watching online videos , with younger OTT viewers in particular , spending a greater proportion of their time viewing online videos .

The trend of younger audiences watching videos on non-subscription platforms such as YouTube and social media networks is continuing to grow . To counteract this , broadcasters need to increase engagement with audiences through social networking while providing an integrated mix of locally produced content , advised Heinz Herrman , group CEO , Magna Systems and Engineering .

The systems integrator also believes that this trend will compel broadcasters to improve production techniques in order to produce more compelling content , while revenue-sharing opportunities can potentially arise from the launch of OTT services .

Barry Pegg , Magna Systems ’ group engineering manager , explained : “ Producing content is never free , and a return on that investment is a must for anyone , including the broadcasters who are producing this content .

“ To ensure a ROI , revenue co-

❝ For OTT services , the production of local content is definitely a paramount factor for success .❞

— Heinz Herrmann , Group CEO , Magna Systems and Engineering

sharing deals are a must . Broadcasters need solutions that improve efficiency in preparation to move content quickly and to new platforms .

“ Improved analytics for feedback on end-user habits can help streamline that process and target the right competitive content .”

Content should ideally cater , foremost , to local tastes and preferences , said Herrman . “ For OTT services , the production of local content is definitely a paramount factor for success . Other opportunities can be found in gaining exclusivity for popular sporting programmes . Premium TVoD ( transactional-video-on-demand ) content provides higher margins than the cut-throat SVoD market .”

While there is no one-sizefits-all approach in shaping VoD strategies in Europe , consolidation in the form of joint launches could emerge as a potential strategy to hedge against the likes of Netflix and Amazon Video , predicted EBU ’ s Hartmann . She cited the example of NL Ziet , a joint SVoD platform offering content from NPO , a Public Service Media ( PSM ) organisation , and two commercial entities — the RTL Group and SBS Broadcasting .

However , the decisive competitive advantage for European broadcasters looking to satisfy on-demand content consumption , comes with making local content available . “ Research shows that European SVoD viewers not only wish to consume US content but also other European and domestic , content ,” Hartmann pointed out .

“ From that perspective , PSM organisations hold the unique position of being providers of quality local content . This is why they should be allocated the necessary means to exploit their catalogues online and continue to fulfil their requirement for universality in a renewed digital audiovisual ecosystem .”