September 2018 CREATION 21

content — like reference monitors , consumer displays and video links capable of higher bandwidth required to transfer HDR content .

The third problem is : for the most part , HDR / WCG interfaces are compatible with HDTV and 4K / Ultra HD ( UHD ) TV 10-bit and 1-bit signals , and can be carried over existing 3-12Gbps interfaces . If , however , high frame rate ( HFR ) signals such as 100Hz and 120Hz are to become part of an implementation , new interfaces and infrastructure will be required .

The existence of HDR signals and different display colourimetry can put new demands on systems interoperation . Displays , image processors , up / down colour convertors will all need to detect the HDR encoding and colourimetry in use to correctly process and display the signal .

HDR and WCG are emerging technologies that are still undergoing much development , and there are various approaches needed to create , transport , distribute and display HDR / WCG content . This is an implementation challenge for broadcast workflows that are complex in nature , highly automated and expensive to build . Broadcast networks rely on standards to ensure interoperability and to build cost-effective workflows . HDR / WCG with frame rates limited to a max of 50 / 60Hz can be accommodated by existing multi-link 1.5Gbps , or multilink 3Gbps interfaces , or 10Gbps optical links .

HDR / WCG signals will require that displays be changed to correctly display the images . The use of frame rates beyond 60Hz that also include UHDTV pixel matrixes at 4K and 8K will require the building of a new infrastructure .

There are numerous problems related to production

Existing interface metadata tables need to be adjusted to reflect the addition of HDR / WCG content types and messaging protocols need to be extended to cover these new content types . Broadcast workflows for terrestrial , satellite , cable and IP distribution rely heavily on automated processing system workflows . To enable HDR / WCG processing , as well as conversion between HDR / WCG and traditional standard dynamic range ( SDR ) content in these workflows dynamic , scene- or frame-based metadata may be needed .

There is uncertainty on how such metadata can be bound to content and transported through automated workflows in a persistent manner . Processing and conversion systems such as video mixers , encoding systems and graphics systems might delete the metadata . Other processing systems might alter the image content in a way that the associated metadata no longer reflects the image content .

Metadata would need to be updated to reflect the new image parameters , as well as a history on how the image was altered .

Conclusion

While HDR and WCG are great enhancements to the image quality and will provide huge advantages to broadcasters , they need to be implemented after the entire process has been thought through carefully . Implementing only 4K or UHD ( higher resolution ) without HDR and WCG is obviously not the way forward . We are sure that as things move forward and HDR and WCG become a necessary part of the broadcast infrastructure , the missing gaps will be filled up and things will become easier .

Aale Raza is founder and CEO of systems integrator Whiteways Systems .

Following a proud tradition , Lawo mixing consoles provided the highest possible audio quality for more than 500,000 Concert de Paris spectators celebrating France ’ s Bastille Day on July 14 this year .

The Concert de Paris is one of the largest classical music events held anywhere in the world , and is followed by a traditional firework display . The show — featuring the National Symphony Orchestra and the Choir of Radio France , along with internationally renowned soloists — was relayed to TV viewers and radio listeners in France and beyond with the Lawo set-up .

For the central celebrations on the Champ du Mars next to the Eiffel Tower — the highlight of the National Holiday — Radio France used an mc ² 96 , Lawo ’ s flagship audio production console , for the “ ultimate front-of-house ( FOH ) mixing performance ”.

Four hands operated the large mc ² 96 : those of Stéphane Desmons took care of the orchestra , while Alexandre Martin was in charge of the choirs and solo singers . On the stage , the monitoring position was equipped with an mc ² 36 operated by Stephane Touvenin . In Radio France ’ s outside broadcast ( OB ) truck n . 5 , an mc ² 66 was in the expert hands

A Lawo mc ² 66 console was deployed in Radio France ’ s OB truck for the coverage of this year ’ s Bastille Day in France .

of Laurent Fracchia for the live broadcast of the event on France Inter and France 2 , the main public radio and TV stations in France .

Bruno Lompech , head of the Radio France sound reinforcement department , said : “ The super comprehensive interface and advanced multi-user features of the mc ² 96 gave us the opportunity to reduce the quantity of equipment we needed while increasing the working capabilities of our sound engineers .”

Joffrey Heyraud , sales director , Europe , Lawo , added : “ The show was flawless and gave us a new opportunity to demonstrate the power of our solutions in such large-scale events .”