Video: 5 Myths About Dolby Vision & HDR debunked

There seem no let up in the number of technologies coming to market and whilst some, like HDR, have been slowly advancing on us for many years, the technologies that enable them such as Dolby Vision, HDR10+ and the metadata handling technologies further upstream are more recent. So it’s no surprise that there is some confusion over what’s possible and what’s not.

In this video, Bitmovin and Dolby the truth behind 5 myths surrounding the implementation and financial impact of Dolby Vision and HDR in general. Bitmovin sets the scene by with Sean McCarthy giving an overview on their research into the market. He explains why quality remains important, simply put to either keep up with competitors or be a differentiator. Sean then gives an overview of the ‘better pixels’ principle underlining that improving the pixels themselves is often more effective than higher resolution, technologies such as wide colour gamut (WCG) and HDR.

David Brooks then explains why HDR looks better, explaining the biology and psychology behind the effect as well as the technology itself. The trick with HDR is that there are no extra brightness values for the pixels, rather the brightness of each pixel is mapped onto a larger range. It’s this mapping which is the strength of the technology, altering the mapping gives different results, ultimately allowing you to run SDR and HDR workflows in parallel. David explains how HDR can be mapped down to low-brightness displays,

The last half of this video is dedicated to the myths. Each myth has several slides of explanation, for instance, the one suggests that the workflows are very complex. Hangen Last walks through a number of scenarios showing how dual (or even three-way) workflows can be achieved. The other myths, and the questions at the end, talk about resolution, licensing cost, metadata, managing dual SDR/HDR assets and live workflows with Dolby Vision.

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Speakers

David Brooks David Brooks
Senior Director, Professional Solutions,
Dolby Laboratories
Hagan Last Hagan Last
Technology Manager, Content Distribution,
Dolby Laboratories
Sean McCarthy Sean McCarthy
Senior Technical Product Marketing Manager,
Bitmovin
Kieran Farr Moderator: Kieran Farr
VP Marketing,
Bitmovin

Video: High-Throughput JPEG 2000 (HTJ2K) for Content Workflows

Published last year, high-throughput JPEG 2000 (HTJ2K) is an update to the J2K we know well in the broadcast industry making it much faster. Whilst JPEG 2000 has found a home in low-latency broadcast contribution, it’s also part of the archive exchange format (AXF) because, unlike most codecs, JPEG 2000 has a mathematically lossless mode. HTJ2K takes JPEG 2000 and replaces some of the compression with a much faster algorithm allowing for much faster decoding of well 10 to 28 times faster in many circumstances.

The codec market seems waking up to the fact that multiple types of codec are needed to support the thousands of use cases that we have in the Media and Entertainment and beyond. It’s generally well known that codecs live in a world where they are optimising bitrate at the expense of latency and quality. But the advent of MPEG 5 Part 2, also known as LCEVC show that there is value in optimising to reduce complexity of encoding. In some ways, this is similar to saying reduce the latency, but in the LCEVC example, the aim is to allow low-power or low-complexity equipment to deal with HD or UHD video where otherwise that might not have been possible. With HTJ2K we have a similar situation where it’s worth getting 10x more throughput when managing and processing your archive at the expense of 5% more bitrate.

This talk from the EBU’s Network Technology Seminar hears from Pierre-Anthony Lemieux and Michael Smith who explain the need for this codec and the advantages. One important fact is that the encoding itself hasn’t been changed, just some of the maths around it. This means that you can take previously encoded files and process them into HTJ2K without changing any of the video data. This allows lossy J2K files to be converted without any degradation due to re-encoding and minimises conversion time for lossless files. Another motivator for this codec is cloud workflows where speed of compression is important to reduce costs. Michael Smith also explores the similarities and differences of High-Throughput J2K with JPEG XS

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Speakers

Pierre-Anthony Lemieux Pierre-Anthony Lemieux
Sandflow Consulting
Michael Smith
Wavelet Consulting