DOCSLIB.ORG

SMPTE ST 2094 and Dynamic Metadata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SMPTE ST 2094 and Dynamic Metadata SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education SMPTE Standards Webcast Series SMPTE Professional Development Academy – Enabling Global Education SMPTE ST 2094 and Dynamic Metadata Lars Borg Principal Scientist Adobe linkedin: larsborg My first TV © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) SMPTE Standards Update Webcasts Professional Development Academy Enabling Global Education • Series of quarterly 1-hour online (this is is 90 minutes), interactive webcasts covering select SMPTE standards • Free to everyone • Sessions are recorded for on-demand viewing convenience SMPTE.ORG and YouTube © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) © 2016• Powered by SMPTE® Professional Development Academy • Enabling Global Education • www.smpte.org © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education Your Host Professional Development Academy • Joel E. Welch Enabling Global Education • Director of Education • SMPTE © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 3 Views and opinions expressed during this SMPTE Webcast are those of the presenter(s) and do not necessarily reflect those of SMPTE or SMPTE Members. This webcast is presented for informational purposes only. Any reference to specific companies, products or services does not represent promotion, recommendation, or endorsement by SMPTE © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education Today’s Guest Speaker Professional Development Academy Lars Borg Enabling Global Education Principal Scientist in Digital Video and Audio Engineering Adobe © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 5 What? Professional Development Academy Enabling Global Education • HDR vs SDR • Tone mapping • HDR systems & tone mapping options • Dynamic metadata © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education High Dynamic Range - Slim, Wide, Tall Volumes Professional Development Academy Enabling Global Education Tall High dynamic range Slim Wide 10-100x brighter peaks 100x darker than SDR ref 40% wider Saturated colors © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) Wide Color Gamut makes deeper colors available Same RGB - different displays © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 8 © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education HDR brightness ranges and gamuts Professional Development Academy Brighter Enabling Global Education HDR HDR media color volume U H is much larger than D H A R HDR display color U D C H A E volume M D S e SS A L DD C d i RR O D a L More E colorful D 709 P3 2020 Darker © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) Comparing SDR and HDR system details Professional Development Academy Enabling Global Education Old: SDR TV New: HDR TV Feature (Rec. 709, Rec. 601) (Rec. 2100) Max Resolution 1920 x 1080 7680 x 4320 Max Frame rate 60 fps 120 fps Bit depth 8 or 10 10 or 12 Media Color Volume Small (Rec. 709) Wide (2020) and Tall (10,000 nits) Display Color Gamut Small (Rec. 709) Medium (P3) typically 300 nits, At least 1,000 nits (LCD), Display Peak Brightness studio mon. 100 nits 530 nits (OLED) Transfer Characteristics BT.1886 Gamma 2.4 PQ curve or HLG curve Color models RGB, YCbCr + ICtCp (Constant Intensity) Compression MPEG-2, AVC, J2K AVC, J2K, HEVC Color Volume Metadata None None, HDR10, or ST2094 © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 10 © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education Which grade first? You pick! Professional Development Academy Enabling Global Education • HDR first Media HDR SDR • Most exciting version first • SDR grades from HDR version • Best for real-time workflows Media SDR • SDR first HDR • Do the money-making (2017!) version first • HDR uses SDR master files, not 10-bit SDR distribution images • HDR and SDR independently graded from master media HDR • Very expensive (double effort) Media • Highest quality for both versions SDR • Some colorists find it difficult to grade both HDR and SDR! © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 11 Why do I need tone mapping? Professional Development Academy Enabling Global Education Clipped highlights and shadows Compressed highlights and shadows © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 12 © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education Standout Experience What are Professional Development Academy Dynamic Metadata for Enabling Global Education my HDR DMCVT Color Volume Transform signal options? HDR10 Static Metadata (Ultra HD Blu-ray) PQ Perceptual Quantizer (ST 2084) No metadata (UHD Alliance Premium) SDR ? HLG Hybrid Log Gamma No metadata Simplicity © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 13 Static Tone Mapping – HDR10 Professional Development Academy Optimized only for the brightest scene in the contents Enabling Global Education 200 nit 500 1500 nit 4,000 4000 nit Illustrations courtesy of YT Kim, Samsung © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 14 © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education Dynamic Tone Mapping – DMCVT Professional Development Academy Optimizes each scene Enabling Global Education 500 200 nit 500 500 1500 nit 1,500 500 4000 nit 4,000 © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 15 Dynamic Tone Mapping can preserve SDR image quality Professional Development Academy Enabling Global Education • SDR footage inserted in HDR program needs special handling when converting to SDR • To preserve original SDR imagery and prevent loss of image quality • Dynamic Metadata provides the info From SDR Archive B On SDR display A B C Static or no Metadata Compromised SDR A B C Dynamic Range Dynamic Dynamic Metadata A B C HDR tag SDR tag HDR tag Preserved SDR © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 16 © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education ST 2094 — Dynamic Metadata for Color Volume Transforms (DMCVT) Professional Development Academy Enabling Global Education • Color transforms optimized for each scene, and each display • SMPTE ST 2094, in six parts, published 2016 • Carried in HEVC SEI, ETSI TS 103 433, CTA 861-G • Standardizes HDR color transform technologies from • Dolby (Parametric Tone Mapping) • Philips (Parameter-based Color Volume Reconstruction) • Technicolor (Reference-based Color Volume Remapping) • Samsung (Scene-based Color Volume Mapping) • And 80 other participating companies © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 17 ST 2094 Document Structure Professional Development Academy Enabling Global Education ST 2094-10 App 1 ST 2094-20 App 2 ST 2094-1 Core ST 2094-2 KLV Common metadata ST 2094-30 App 3 Key-Length-Value items and structures encoding and ST 2094-40 App 4 MXF container Applications, specializations © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional Development Academy – Enabling Global Education Parallel metadata track(s) Professional Development Academy Enabling Global Education Video track For HDR x Metadata For display y track(s) For display z • Master HDR video track • Metadata tracks carry supplementary color grading information • Select where to apply the metadata • By time, window, target display © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) The ST 2094 metadata set Professional Development Academy Each ST 2094 metadata set specifies one of each of: Enabling Global Education Method Target Display Time Interval Window Transform Which? For what display? When? Where? What to do? Rec. 709 ⇤ ◼︎◼︎◼︎◼︎◼︎◼︎ ⇥ Rec. 2020 ⇤ ◼︎◼︎◼︎ ⇥ UHDA OLED ◼︎ App # Color Volume: Start and duration Pixel coordinates 4 flavors of RGB primaries, Baseline = full screen parameter sets Version # WP, max/min © 2017 by the Society of Motion Picture & Television Engineers®, Inc. (SMPTE®) 20 © 2017 • Powered by SMPTE® Professional Development Academy | Enabling Global Education • www.smpte.org SMPTE Standards Update SMPTE Professional
Load more

Recommended publications
  • Creating 4K/UHD Content Poster
    Creating 4K/UHD Content Colorimetry Image Format / SMPTE Standards Figure A2. Using a Table B1: SMPTE Standards The television color specification is based on standards defined by the CIE (Commission 100% color bar signal Square Division separates the image into quad links for distribution. to show conversion Internationale de L’Éclairage) in 1931. The CIE specified an idealized set of primary XYZ SMPTE Standards of RGB levels from UHDTV 1: 3840x2160 (4x1920x1080) tristimulus values. This set is a group of all-positive values converted from R’G’B’ where 700 mv (100%) to ST 125 SDTV Component Video Signal Coding for 4:4:4 and 4:2:2 for 13.5 MHz and 18 MHz Systems 0mv (0%) for each ST 240 Television – 1125-Line High-Definition Production Systems – Signal Parameters Y is proportional to the luminance of the additive mix. This specification is used as the color component with a color bar split ST 259 Television – SDTV Digital Signal/Data – Serial Digital Interface basis for color within 4K/UHDTV1 that supports both ITU-R BT.709 and BT2020. 2020 field BT.2020 and ST 272 Television – Formatting AES/EBU Audio and Auxiliary Data into Digital Video Ancillary Data Space BT.709 test signal. ST 274 Television – 1920 x 1080 Image Sample Structure, Digital Representation and Digital Timing Reference Sequences for The WFM8300 was Table A1: Illuminant (Ill.) Value Multiple Picture Rates 709 configured for Source X / Y BT.709 colorimetry ST 296 1280 x 720 Progressive Image 4:2:2 and 4:4:4 Sample Structure – Analog & Digital Representation & Analog Interface as shown in the video ST 299-0/1/2 24-Bit Digital Audio Format for SMPTE Bit-Serial Interfaces at 1.5 Gb/s and 3 Gb/s – Document Suite Illuminant A: Tungsten Filament Lamp, 2854°K x = 0.4476 y = 0.4075 session display.
    [Show full text]
  • Khronos Data Format Specification
    Khronos Data Format Specification Andrew Garrard Version 1.2, Revision 1 2019-03-31 1 / 207 Khronos Data Format Specification License Information Copyright (C) 2014-2019 The Khronos Group Inc. All Rights Reserved. This specification is protected by copyright laws and contains material proprietary to the Khronos Group, Inc. It or any components may not be reproduced, republished, distributed, transmitted, displayed, broadcast, or otherwise exploited in any manner without the express prior written permission of Khronos Group. You may use this specification for implementing the functionality therein, without altering or removing any trademark, copyright or other notice from the specification, but the receipt or possession of this specification does not convey any rights to reproduce, disclose, or distribute its contents, or to manufacture, use, or sell anything that it may describe, in whole or in part. This version of the Data Format Specification is published and copyrighted by Khronos, but is not a Khronos ratified specification. Accordingly, it does not fall within the scope of the Khronos IP policy, except to the extent that sections of it are normatively referenced in ratified Khronos specifications. Such references incorporate the referenced sections into the ratified specifications, and bring those sections into the scope of the policy for those specifications. Khronos Group grants express permission to any current Promoter, Contributor or Adopter member of Khronos to copy and redistribute UNMODIFIED versions of this specification in any fashion, provided that NO CHARGE is made for the specification and the latest available update of the specification for any version of the API is used whenever possible.
    [Show full text]
  • Yasser Syed & Chris Seeger Comcast/NBCU
    Usage of Video Signaling Code Points for Automating UHD and HD Production-to-Distribution Workflows Yasser Syed & Chris Seeger Comcast/NBCU Comcast TPX 1 VIPER Architecture Simpler Times - Delivering to TVs 720 1920 601 HD 486 1080 1080i 709 • SD - HD Conversions • Resolution, Standard Dynamic Range and 601/709 Color Spaces • 4:3 - 16:9 Conversions • 4:2:0 - 8-bit YUV video Comcast TPX 2 VIPER Architecture What is UHD / 4K, HFR, HDR, WCG? HIGH WIDE HIGHER HIGHER DYNAMIC RESOLUTION COLOR FRAME RATE RANGE 4K 60p GAMUT Brighter and More Colorful Darker Pixels Pixels MORE FASTER BETTER PIXELS PIXELS PIXELS ENABLED BY DOLBYVISION Comcast TPX 3 VIPER Architecture Volume of Scripted Workflows is Growing Not considering: • Live Events (news/sports) • Localized events but with wider distributions • User-generated content Comcast TPX 4 VIPER Architecture More Formats to Distribute to More Devices Standard Definition Broadcast/Cable IPTV WiFi DVDs/Files • More display devices: TVs, Tablets, Mobile Phones, Laptops • More display formats: SD, HD, HDR, 4K, 8K, 10-bit, 8-bit, 4:2:2, 4:2:0 • More distribution paths: Broadcast/Cable, IPTV, WiFi, Laptops • Integration/Compositing at receiving device Comcast TPX 5 VIPER Architecture Signal Normalization AUTOMATED LOGIC FOR CONVERSION IN • Compositing, grading, editing SDR HLG PQ depends on proper signal BT.709 BT.2100 BT.2100 normalization of all source files (i.e. - Still Graphics & Titling, Bugs, Tickers, Requires Conversion Native Lower-Thirds, weather graphics, etc.) • ALL content must be moved into a single color volume space. Normalized Compositing • Transformation from different Timeline/Switcher/Transcoder - PQ-BT.2100 colourspaces (BT.601, BT.709, BT.2020) and transfer functions (Gamma 2.4, PQ, HLG) Convert Native • Correct signaling allows automation of conversion settings.
    [Show full text]
  • How Close Is Close Enough? Specifying Colour Tolerances for Hdr and Wcg Displays
    HOW CLOSE IS CLOSE ENOUGH? SPECIFYING COLOUR TOLERANCES FOR HDR AND WCG DISPLAYS Jaclyn A. Pytlarz, Elizabeth G. Pieri Dolby Laboratories Inc., USA ABSTRACT With a new high-dynamic-range (HDR) and wide-colour-gamut (WCG) standard defined in ITU-R BT.2100 (1), display and projector manufacturers are racing to extend their visible colour gamut by brightening and widening colour primaries. The question is: how close is close enough? Having this answer is increasingly important for both consumer and professional display manufacturers who strive to balance design trade-offs. In this paper, we present “ground truth” visible colour differences from a psychophysical experiment using HDR laser cinema projectors with near BT.2100 colour primaries up to 1000 cd/m2. We present our findings, compare colour difference metrics, and propose specifying colour tolerances for HDR/WCG displays using the ΔICTCP (2) metric. INTRODUCTION AND BACKGROUND From initial display design to consumer applications, measuring colour differences is a vital component of the imaging pipeline. Now that the industry has moved towards displays with higher dynamic range as well as wider, more saturated colours, no standardized method of measuring colour differences exists. In display calibration, aside from metamerism effects, it is crucial that the specified tolerances align with human perception. Otherwise, one of two undesirable situations might result: first, tolerances are too large and calibrated displays will not appear to visually match; second, tolerances are unnecessarily tight and the calibration process becomes uneconomic. The goal of this paper is to find a colour difference measurement metric for HDR/WCG displays that balances the two and closely aligns with human vision.
    [Show full text]
  • Khronos Data Format Specification
    Khronos Data Format Specification Andrew Garrard Version 1.3.1 2020-04-03 1 / 281 Khronos Data Format Specification License Information Copyright (C) 2014-2019 The Khronos Group Inc. All Rights Reserved. This specification is protected by copyright laws and contains material proprietary to the Khronos Group, Inc. It or any components may not be reproduced, republished, distributed, transmitted, displayed, broadcast, or otherwise exploited in any manner without the express prior written permission of Khronos Group. You may use this specification for implementing the functionality therein, without altering or removing any trademark, copyright or other notice from the specification, but the receipt or possession of this specification does not convey any rights to reproduce, disclose, or distribute its contents, or to manufacture, use, or sell anything that it may describe, in whole or in part. This version of the Data Format Specification is published and copyrighted by Khronos, but is not a Khronos ratified specification. Accordingly, it does not fall within the scope of the Khronos IP policy, except to the extent that sections of it are normatively referenced in ratified Khronos specifications. Such references incorporate the referenced sections into the ratified specifications, and bring those sections into the scope of the policy for those specifications. Khronos Group grants express permission to any current Promoter, Contributor or Adopter member of Khronos to copy and redistribute UNMODIFIED versions of this specification in any fashion, provided that NO CHARGE is made for the specification and the latest available update of the specification for any version of the API is used whenever possible.
    [Show full text]
  • KONA Series Capture, Display, Convert
    KONA Series Capture, Display, Convert Installation and Operation Manual Version 16.1 Published July 14, 2021 Notices Trademarks AJA® and Because it matters.® are registered trademarks of AJA Video Systems, Inc. for use with most AJA products. AJA™ is a trademark of AJA Video Systems, Inc. for use with recorder, router, software and camera products. Because it matters.™ is a trademark of AJA Video Systems, Inc. for use with camera products. Corvid Ultra®, lo®, Ki Pro®, KONA®, KUMO®, ROI® and T-Tap® are registered trademarks of AJA Video Systems, Inc. AJA Control Room™, KiStor™, Science of the Beautiful™, TruScale™, V2Analog™ and V2Digital™ are trademarks of AJA Video Systems, Inc. All other trademarks are the property of their respective owners. Copyright Copyright © 2021 AJA Video Systems, Inc. All rights reserved. All information in this manual is subject to change without notice. No part of the document may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying or recording, without the express written permission of AJA Video Systems, Inc. Contacting AJA Support When calling for support, have all information at hand prior to calling. To contact AJA for sales or support, use any of the following methods: Telephone +1.530.271.3190 FAX +1.530.271.3140 Web https://www.aja.com Support Email [email protected] Sales Email [email protected] KONA Capture, Display, Convert v16.1 2 www.aja.com Contents Notices . .2 Trademarks . 2 Copyright . 2 Contacting AJA Support . 2 Chapter 1 – Introduction . .5 Overview. .5 KONA Models Covered in this Manual .
    [Show full text]
  • User Requirements for Video Monitors in Television Production
    TECH 3320 USER REQUIREMENTS FOR VIDEO MONITORS IN TELEVISION PRODUCTION VERSION 4.1 Geneva September 2019 This page and several other pages in the document are intentionally left blank. This document is paginated for two sided printing Tech 3320 v4.1 User requirements for Video Monitors in Television Production Conformance Notation This document contains both normative text and informative text. All text is normative except for that in the Introduction, any § explicitly labeled as ‘Informative’ or individual paragraphs which start with ‘Note:’. Normative text describes indispensable or mandatory elements. It contains the conformance keywords ‘shall’, ‘should’ or ‘may’, defined as follows: ‘Shall’ and ‘shall not’: Indicate requirements to be followed strictly and from which no deviation is permitted in order to conform to the document. ‘Should’ and ‘should not’: Indicate that, among several possibilities, one is recommended as particularly suitable, without mentioning or excluding others. OR indicate that a certain course of action is preferred but not necessarily required. OR indicate that (in the negative form) a certain possibility or course of action is deprecated but not prohibited. ‘May’ and ‘need not’: Indicate a course of action permissible within the limits of the document. Informative text is potentially helpful to the user, but it is not indispensable, and it does not affect the normative text. Informative text does not contain any conformance keywords. Unless otherwise stated, a conformant implementation is one which includes all mandatory provisions (‘shall’) and, if implemented, all recommended provisions (‘should’) as described. A conformant implementation need not implement optional provisions (‘may’) and need not implement them as described.
    [Show full text]
  • Application of Contrast Sensitivity Functions in Standard and High Dynamic Range Color Spaces
    https://doi.org/10.2352/ISSN.2470-1173.2021.11.HVEI-153 This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/. Color Threshold Functions: Application of Contrast Sensitivity Functions in Standard and High Dynamic Range Color Spaces Minjung Kim, Maryam Azimi, and Rafał K. Mantiuk Department of Computer Science and Technology, University of Cambridge Abstract vision science. However, it is not obvious as to how contrast Contrast sensitivity functions (CSFs) describe the smallest thresholds in DKL would translate to thresholds in other color visible contrast across a range of stimulus and viewing param- spaces across their color components due to non-linearities such eters. CSFs are useful for imaging and video applications, as as PQ encoding. contrast thresholds describe the maximum of color reproduction In this work, we adapt our spatio-chromatic CSF1 [12] to error that is invisible to the human observer. However, existing predict color threshold functions (CTFs). CTFs describe detec- CSFs are limited. First, they are typically only defined for achro- tion thresholds in color spaces that are more commonly used in matic contrast. Second, even when they are defined for chromatic imaging, video, and color science applications, such as sRGB contrast, the thresholds are described along the cardinal dimen- and YCbCr. The spatio-chromatic CSF model from [12] can sions of linear opponent color spaces, and therefore are difficult predict detection thresholds for any point in the color space and to relate to the dimensions of more commonly used color spaces, for any chromatic and achromatic modulation.
    [Show full text]
  • Installation and Operation Manual
    Io IP Transport, Capture, Display Installation and Operation Manual Version 16.1 Published July 14, 2021 Notices Trademarks AJA® and Because it matters.® are registered trademarks of AJA Video Systems, Inc. for use with most AJA products. AJA™ is a trademark of AJA Video Systems, Inc. for use with recorder, router, software and camera products. Because it matters.™ is a trademark of AJA Video Systems, Inc. for use with camera products. Corvid Ultra®, lo®, Ki Pro®, KONA®, KUMO®, ROI® and T-Tap® are registered trademarks of AJA Video Systems, Inc. AJA Control Room™, KiStor™, Science of the Beautiful™, TruScale™, V2Analog™ and V2Digital™ are trademarks of AJA Video Systems, Inc. All other trademarks are the property of their respective owners. Copyright Copyright © 2021 AJA Video Systems, Inc. All rights reserved. All information in this manual is subject to change without notice. No part of the document may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying or recording, without the express written permission of AJA Video Systems, Inc. Contacting AJA Support When calling for support, have all information at hand prior to calling. To contact AJA for sales or support, use any of the following methods: Telephone +1.530.271.3190 FAX +1.530.271.3140 Web https://www.aja.com Support Email [email protected] Sales Email [email protected] Io IP Transport, Capture, Display v16.1 2 www.aja.com Contents Notices . .2 Trademarks . 2 Copyright . 2 Contacting AJA Support . 2 Chapter 1 – Introduction . .5 Overview. .5 Io IP Features . 5 AJA Software & Utilities .
    [Show full text]
  • HDR PROGRAMMING Thomas J
    April 4-7, 2016 | Silicon Valley HDR PROGRAMMING Thomas J. True, July 25, 2016 HDR Overview Human Perception Colorspaces Tone & Gamut Mapping AGENDA ACES HDR Display Pipeline Best Practices Final Thoughts Q & A 2 WHAT IS HIGH DYNAMIC RANGE? HDR is considered a combination of: • Bright display: 750 cm/m 2 minimum, 1000-10,000 cd/m 2 highlights • Deep blacks: Contrast of 50k:1 or better • 4K or higher resolution • Wide color gamut What’s a nit? A measure of light emitted per unit area. 1 nit (nt) = 1 candela / m 2 3 BENEFITS OF HDR Improved Visuals Richer colors Realistic highlights More contrast and detail in shadows Reduces / Eliminates clipping and compression issues HDR isn’t simply about making brighter images 4 HUNT EFFECT Increasing the Luminance Increases the Colorfulness By increasing luminance it is possible to show highly saturated colors without using highly saturated RGB color primaries Note: you can easily see the effect but CIE xy values stay the same 5 STEPHEN EFFECT Increased Spatial Resolution More visual acuity with increased luminance. Simple experiment – look at book page indoors and then walk with a book into sunlight 6 HOW HDR IS DELIVERED TODAY High-end professional color grading displays - Dolby Pulsar (4000 nits), Dolby Maui, SONY X300 (1000 nit OLED) UHD TVs - LG, SONY, Samsung… (1000 nits, high contrast, UHD-10, Dolby Vision, etc) Rec. 2020 UHDTV wide color gamut SMPTE ST-2084 Dolby Perceptual Quantizer (PQ) Electro-Optical Transfer Function (EOTF) SMPTE ST-2094 Dynamic metadata specification 7 REAL WORLD VISIBLE
    [Show full text]
  • Common Metadata Ref: TR-META-CM Version: 2.7 DRAFT DRAFT Date: September 23,2018
    Common Metadata Ref: TR-META-CM Version: 2.7 DRAFT DRAFT Date: September 23,2018 Common Metadata ‘md’ namespace Motion Picture Laboratories, Inc. i Common Metadata Ref: TR-META-CM Version: 2.7 DRAFT DRAFT Date: September 23,2018 CONTENTS 1 Introduction .............................................................................................................. 1 1.1 Overview of Common Metadata ....................................................................... 1 1.2 Document Organization .................................................................................... 1 1.3 Document Notation and Conventions ............................................................... 2 1.3.1 XML Conventions ...................................................................................... 2 1.3.2 General Notes ........................................................................................... 3 1.4 Normative References ...................................................................................... 4 1.5 Informative References..................................................................................... 7 1.6 Best Practices for Maximum Compatibility ........................................................ 8 2 Identifiers ............................................................................................................... 10 2.1 Identifier Structure .......................................................................................... 10 2.1.1 ID Simple Types .....................................................................................
    [Show full text]
  • A High Dynamic Range Video Codec Optimized by Large Scale Testing
    A HIGH DYNAMIC RANGE VIDEO CODEC OPTIMIZED BY LARGE-SCALE TESTING Gabriel Eilertsen? Rafał K. Mantiuky Jonas Unger? ? Media and Information Technology, Linkoping¨ University, Sweden y Computer Laboratory, University of Cambridge, UK ABSTRACT 2. BACKGROUND While a number of existing high-bit depth video com- With recent advances in HDR imaging, we are now at a stage pression methods can potentially encode high dynamic range where high-quality videos can be captured with a dynamic (HDR) video, few of them provide this capability. In this range of up to 24 stops [1, 2]. However, storage and distri- paper, we investigate techniques for adapting HDR video bution of HDR video still mostly rely on formats for static for this purpose. In a large-scale test on 33 HDR video se- images, neglecting the inter-frame relations that could be ex- quences, we compare 2 video codecs, 4 luminance encoding plored. Although the first steps are being taken in standard- techniques (transfer functions) and 3 color encoding meth- izing HDR video encoding, where MPEG recently released a ods, measuring quality in terms of two objective metrics, call for evidence for HDR video coding, most existing solu- PU-MSSIM and HDR-VDP-2. From the results we design tions are proprietary and HDR video compression software is an open source HDR video encoder, optimized for the best not available on Open Source terms. compression performance given the techniques examined. The challenge in HDR video encoding, as compared to Index Terms— High dynamic range (HDR) video, HDR standard video, is in the wide range of possible pixel values video coding, perceptual image metrics and their linear floating point representation.
    [Show full text]