Posts Tagged ‘Samsung’
On Samsung , Pro AV, Car Audio, and Control
- Published on Tuesday, 06 December 2016 15:53
- Pete Putman
- 0 Comments
By now, you’ve most certainly heard or read the news that Samsung – the Korean consumer electronics giant – has agreed to purchase Harman International Industries, a holding company with a diversity of CE brands (Harman/Kardon, JBL) and pro AV marques (AKG, AMX, BSS, Crown, dbx, DigiTech, JBL Professional, Lexicon, Martin, Soundcraft, and Studer).
Much has been made of the fact at Samsung is zeroing in to the automotive market with this acquisition. The company has no real presence in car audio, having made its reputation on televisions, computers, smart phones, and appliances. And there’s no question that the potential business for connected, smart cars is enormous – it’s already attracted the attention of Intel, Microsoft, Google, and Apple.
So why did this deal happen? There are a number of reasons, but the most obvious is a scramble for profits. While Samsung remains the worldwide leader in TV shipments and sales, Chinese companies like TCL and Hisense are closing the gap and breathing hard on Samsung’s shoulders. Concurrently, prices of finished televisions are plummeting, even with the transition to Ultra HD: I saw a Philips 55-inch 4K set offered for less than $600 on Black Friday.
Business prospects don’t look much better with mobile phones. The market for smartphones is basically saturated in the U.S. and carriers are moving away from fixed contracts to month-by month deals with lesser-known models. It didn’t help that the much-ballyhooed Galaxy Note 7 developed serious battery issues, costing the company billions of dollars in recalls.
There has already been a shift in the company’s marketing efforts to major appliances (white goods), as evidenced by the last two booth setups at CES. Refrigerators, freezers, washers, dryers, ovens, and small appliances are still profitable for the company. But the largest market in the world for displays – transportation – has eluded Samsung’s grasp, at least in North America.
Let’s not forget that Samsung has a rather large display device manufacturing business, particularly for mobile devices. They’ve made substantial investments in both LCD and OLED technology, with the latter widely used in the company’s Galaxy smartphones and tablets. Flexible OLEDs are a natural for automotive applications where there is considerable vibration and flexing – not to mention G-forces.
Most of the news reports I’ve read have focused on the car audio and connectivity angles of this deal. In contrast, the questions coming from our community are all about Samsung’s ulterior motives in the commercial AV space. They’re already a major player in digital signage. Now, they’ll also own a control systems company (AMX) that also happens to make signal management and distribution products, along with video encoders and decoders (SVSI).
The real question is this: Does Samsung – a very IT-centric company – care all that much about switching and distributing HDMI and HDBaseT signals? I’ll go out on a limb here and say, “No.” Practically speaking, Samsung – which is already pushing AV over IT for its digital signage products – can have signal management products manufactured inexpensively in China by OEMs (as many companies already do now) and sell them at rock-bottom prices.
In the larger picture, the income from those operations will be dwarfed by revenue from car audio, navigation, and Internet of Things products. And Samsung will definitely have an interest in controlling AV devices, but their focus will be IT-based control using apps and icons, not proprietary control systems with custom programming.
What’s particularly intriguing about this acquisition is that Samsung (as pointed out in a New York Times article) “…keeps tight control of its supply chain — often owning its suppliers outright — and has mostly eschewed big deals to fill in holes in its portfolio.”
The Samsung/Harman acquisition is just another example of consolidation in our industry. You see it every day in other sectors, ranging from health insurance companies (Aetna & Humana) to airlines (American and US Air) and semiconductors (Qualcomm and NXP). It’s all about the search for profitability as costs keep going up and margins keep going down. The long-term trend is for manufacturers to move more of their products to distribution and away from direct dealer sales. Unless a dealer can hit an ever-higher monthly sales quota, the manufacturer is better off simply working through a distributor; minimizing paperwork and warehousing costs while boosting profits. That’s the Wal-Mart/Target/BJ’s/Costco model!
You only need look at the costs of AV gear to understand why; specifically, portable business projectors. In the overall scheme of things, these projectors are becoming more of a low-cost niche product these days. Accordingly, they’re sold mostly through distribution from online dealers or from brick-and-mortar office supply distributors like Staples (which acquired Office Depot in 2015).
The real wild card is the migration to IT infrastructures for signal distribution – and that very much includes 802.11x and proprietary wireless systems. As product costs come down and IT interfaces are added, our professional products start looking more like consumer products. (This has only been going on for 15+ years now, just in case you weren’t paying attention.)
At some point, this combination of CE features and lower prices will lead many of us to install a consumer product, like large televisions instead of professional monitors. That’s also been going on for some time, as has the use of Apple TV to ‘mirror’ iOS tablets and Mac laptops in meeting rooms and classrooms.
So where does this all take us? For one thing, you will see more consolidation of brands in the AV industry by the end of the decade. Example: There are simply too many small companies selling signal management and control products to share in the wealth – some will go under; others will merge to stay alive, or be bought out.
Ditto companies that sell display products: They’ll either become part of a larger “umbrella” holding company like Harman, or simply close their doors. A good example of the latter is Milestone, which has aggregated Chief, Da-Lite, Sanus, and Projecta.
The writing is on the wall. I attend the Consumer Electronics Show every year and compare what I see there to what’s happening at NAB and InfoComm. The products are becoming smarter; can self-configure in many cases, rely more than ever on IT connectivity and wireless, and have shrinking price tags.
That, in turn, is shifting the focus to how we use these products with less emphasis on how they work, and how to install them – just like in the world of consumer electronics. This shift to more consumer-centric AV products started 20+ years ago with the first LCD projectors and flat screen displays, and has done nothing but pick up speed since.
It’s a new game with new rules…
Ultra HDTV, HDMI 2.0, and HDCP 2.2 – Oh, What A Tangled Web We Weave…
- Published on Friday, 30 September 2016 11:30
- Pete Putman
- 0 Comments
A few days ago, I received an email from the president of an AV products manufacturer. He had purchased a Samsung UN65HU8550 65-inch Ultra HDTV back in 2014 and decided to take the plunge into Ultra HD Blu-ray.
Previously, he had been using an upscaling Blu-ray player to achieve 3840×2160 resolution, but now he wanted the real thing. So, he visited his local Best Buy and picked up Samsung’s UBD-K8550 UHD Blu-ray player, took it home, and connected it to one of the HDMI inputs on his UHDTV.
Sounds simple, right? Except that it didn’t work. The UHD disc spun up, started to play, and then a message was displayed that the player would down-convert to 1080p resolution because it didn’t detect support for HDCP 2.2 (the newest and most aggressive form of copy protection for optical disc media).
To him, this made no sense whatsoever. (Me, too!) Here he was, playing an Ultra HD Blu-ray disc, from a Samsung Ultra HD BD player, into a Samsung Ultra HDTV – and it wouldn’t work. I advised him to make sure he was truly using an HDMI 2.0 input (sometimes labeled as such, or color-coded).
He tried all of the inputs, including the MHL input that is supposed to be compliant with HDCP 2.2, but no luck. Again, the disc would spin up, and then display the same error message. (By the way, HDMI 1.3/1.4 inputs can also support HDCP 2.2.)
Another trip to Best Buy resulted in the purchase of Philips’ BDP7501 Ultra HD Blu-ray model, which was then connected to the Samsung TV and – voila! It worked, playing back in true 2160p resolution. That is; only when connected directly to the Samsung TV, and NOT through his existing Denon AVR (which likely doesn’t support HDCP 2.2 key exchanges on any of its HDMI ports).
Some quick checks on the Internet showed this wasn’t an isolated problem – others had purchased the same TV, or different screen size variations of it, and were unable to watch 4K movies from the Samsung player. One comment I read talked about going so far as to buy an HDCP 2.2 to HDCP 1.4 converter, a product I wasn’t even aware existed. And apparently, it worked! (Warning: This product may be illegal to purchase as it alters a copy-protection process. I’m only providing the URL as a reference.) (http://www.hdtvsupply.com/hdcp-2-2-to-hdcp-1-4-converter.html)
The next step was to check in with my friends at Samsung, who responded that an upgrade kit would fix the problem. It’s called the SEK3500U One Connect Evolution Kit, and attaches to your Samsung 4K TV through a separate connector on the side panel. This $400 box – which resembles a thin Blu-ray player – provides four HDMI 2.0 inputs, all up to speed with HDCP 2.2 support, HDMI 2.0a compatibility for high dynamic range playback, and improved color rendering, according to several Amazon reviews I read. (https://www.amazon.com/Samsung-SEK-3500U-ZA-Evolution-Kit) Samsung also commented that frame rates may play a part in the problem, as the Blu-ray Disc Association HDR specification for HDMI 2.0a calls for 2160p60 playback with 4:4:4 color, and that using a lower frame rate might fool the UHDTV into down-converting to 1080p resolution.
All of this just confirms my continued advice to my friends and colleagues: “Wait just a little bit longer before you buy a 4K TV.” Too many things are still in a state of flux on the manufacturing side, not the least of which is support for multiple high dynamic range formats. And the issues with HDCP 2.2 support are frankly, just ridiculous at this point: The standard’s been out for a few years, and it will be used exclusively with all HDMI inputs on Ultra HDTVs.
Another takeaway from this is the slow and steady move away from optical disc delivery of 4K movies and TV shows to streaming connections. The protocols for copy protection are a bit different for streaming, but at least the underlying architecture is standard across all platforms (some sort of common streaming protocol like RTSP, carrying MPEG4 H.264 or HEVC H.265 / VP9 with IP headers) and can be easily updated with software.
Given the continual increase in home broadband speeds – especially in metro areas – 4K streaming is fast becoming a realistic option. Granted, the image quality at 15 – 20 Mb/s won’t be as good as a file coming off an optical disc at 100 – 110 Mb/s, but as we’ve seen repeatedly, the vast majority of home viewers continue to choose convenience and price over quality. That may be one reason there are only three Ultra HD Blu-ray players on the market today: How many people are going to spend $300 – $400 – $500 for one?
As I write this, the SEK3500U is on its way, and my colleague will soon be enjoying true Ultra HD movies like he should have been from the start. I suppose the $400 cost is a small price to pay if you’ve already shelled out a few thousand dollars for an Ultra HDTV, but it would irk me to no end to be in that situation. (You know what they say about the “leading” edge often being the “bleeding” edge.)
To summarize; my advice to readers remains the same as it has been. If you are thinking of buying a new Ultra HDTV – like me – WAIT until next spring, or at least until Super Bowl time. Not only will you see lower prices, but you’re more likely to have all of the bugs out of the system – and you’ll be able to score a good deal on a set that can show high dynamic range content, too; certainly supporting two or more of the new HDR formats.
And if you just gotta have an Ultra HD Blu-ray player? Those prices will have come down, too. A quick check on Amazon shows the UBD-K8500 currently available for $317.99, while the Philips BDP7501 will cost you $279.99. (Panasonic’s DMP-UB900 player wasn’t shipping at the time this article was written.)
Samsung Moves Front & Center With HDR
- Published on Tuesday, 16 August 2016 17:29
- Pete Putman
- 0 Comments
Last Wednesday, I was one of a group of journalists, engineers, and other technical types sitting in on a presentation about high dynamic range (HDR) TV. The location was Samsung’s sparkling-new product showcase in lower Manhattan at 837 Washington Street, and the presenters ranged from Samsung execs to well-known industry consultants, including Florian Friedrich of AVTOP, Steve Panosian of Samsung, Kevin Miller from ISF, Gerard Catapano from Samsung QA Labs, and Jason Hartlove of Nanosys.
THE NEXT BIG THING
You’d have to be living under a rock not to have heard about high dynamic range television by now. Along with Ultra HD resolution, HDR is the next big thing in TV displays, along with a new, wider color gamut, and eventually high frame rate video.
The transition away from mature Full HD (1920×1080) display technology to Ultra HD is happening much faster than most people expected. The costs of manufacturing LCD panels for televisions have absolutely plummeted in the past couple of years; so much that there is at best a $50 to $100 price delta between same-size 1080p and 2160p TV models.
In fact, we will start to see major TV brands dropping 1080p models altogether in larger screen sizes; possibly as soon as December. Sales experience is showing that customers take the upgrade to 4K more often than not when buying sets measuring 55 inches or larger, which is good news for retailers.
And that’s “qualified” good news, as worldwide sales of televisions have been in decline the past four years. The double-digit annual growth of Ultra HDTV sales are keeping things from getting worse and leading everyone in Japan, Korea, and China to focus on 4K and leave increasing numbers of sales of 1080p sets to the bargain brands.
But quadrupling the picture resolution by itself isn’t enough to turn the tide. Hence, we now have HDR, which can produce images containing peak brightness levels that are 10x higher than what we used to see on our old tube HDTVs. (Remember those?) And the colors represented on these displays are also much more saturated and intense, thanks to advancements in illumination technology.
Back in the early days of high definition television, we were largely in unknown territory. The first HDTV broadcasts used terrestrial television, and everyone needed to learn more about antennas and set-top boxes. Yet, seven years after the first HDTV broadcasts, every major network had produced some quantity of HDTV content.
There were missteps. Remember the surge in interest in 3D about a decade ago? It peaked in 2009 and featured competing 3D encoding and viewing standards, expensive glasses that often broke, complaints of headaches and nausea after extended, and even a campaign by the American Academy of Ophthalmologists to test for eye disorders; one based on the inability of certain people to see stereoscopic images correctly.
TIME TO CHANGE THINGS UP
HDR is different. You don’t need anything other than the naked eye to see it, and the premise of HDR is that you are watching images with peak whites and contrast ratios that follow closely what you see in real life (about 14 stops of light at any instant, from deep shadows to peak brightness).
What’s more, the colors you see rendered in HDR are much more vivid than what our current televisions can display as they’re working with a restricted color gamut. If you’ve seen bright neon or LED signs at night, marveled at a brilliant sunset, or gotten up close to tropical flowers in bloom, you know how hard it is to reproduce those intense colors on a television or computer monitor.
That’s all changed. We’re now standing at the threshold of an entirely different class of displays that are advanced by several orders of magnitude from the color TVs your parents or grandparents watched 50 years ago. It isn’t just about having more pixels – it’s about adding in all of the visual elements that replicate what you see every day.
Samsung is one of the first companies to get out of the gate with HDR televisions, and they’re using a new technology to light up the screen. Instead of conventional white light-emitting diodes (LEDs) and arrays of color filters, the light source is made up of arrays of blue LEDs and matrices of green and red quantum dots (QDs). It’s not difficult to get intensely-saturated and bright blues from LEDs, but green and red provide more of a challenge. Hence; the QD backlight.
And they are bright. Samsung claims that their HDR TVs can achieve 1000 candelas per square meter (cd/m2) in a small area, which is quite the jump from the 300 cd/m2 or so that conventional white LED backlights can generate. Plus, the intense greens and reds generated by QDs have expanded the gamut of displayable colors considerably; closer to that of digital cinema projectors.
Now, the catch: How can we measure the performance of an HDR TV equipped with quantum dots? We can’t use the older test pattern generators and set-up Blu-ray discs as they’re limited to the current ITU Recommendation BT.709 color space and only use 8-bit color encoding. (HDR is based on a 10-bit color system.)
For that matter, we can’t even use the older display interfaces to connect a test pattern generator. For HDMI, the standard must be version 2.0a, and if we want to use DisplayPort, it must be version 1.4. It goes without saying that we must use an Ultra HD Blu-ray player if we want to source HDR test patterns from optical disc – and there is exactly one of those (Samsung) on the market, with another one coming from Panasonic this fall.
At the Samsung event, Friedrich and Miller explained how a new suite of test patterns has been prepared for Ultra HD Blu-ray to both evaluate and calibrate an HDR display. This test pattern UHD BD will be available from Samsung and can be used with any HDR TV, even the line-up of LG organic light-emitting diode (OLED) UHD sets that have come to market.
Steve Panosian talked about the lack of standards in TV performance and how there has to be a better way for consumers to compare the performance of one brand of HDR TVs against another. Although at this point in time, there are so few models available that it’s basically Samsung vs. LG, with companies like TCL and Hisense looking to get into the game this year.
Jason Hartlove from Nanosys made an appearance to talk about what’s happening with quantum dot science and what the next generation of HDR TVs might look like as the QD arrays in Ultra HDTVs start to resemble something like an OLED emitter array. And Chris Chinnock of Insight Media served as moderator for the day’s events, which culminated in hands-on sessions showing how to use the test pattern UHD Blu-ray to evaluate a set’s performance and calibrate it for optimal results.
The interesting thing about HDR TVs is that we really don’t need to provide much in the way of user adjustments anymore. HDR TVs use CEA 861.3 metadata, flowing through an HDMI or DisplayPort connection, to determine brightness levels, gamma, and color values. And with peak brightness values in the range of 800 – 1000 cd/m2, why would we need to have a “Dynamic” picture mode setting? (It’s already dynamic!)
Although I had seen this demonstration on two previous occasions, Insight Media and Samsung did an excellent job of explaining the challenges in both designing a set of test patterns to evaluate HDR TV performance and putting those patterns to actual use. I was reminded of those early days of HDTV: What signal format and connector do I need? What kind of antenna will pick up the broadcasts, and where do I aim it? What’s the difference between 720p, 1080i, and 1080p?
THE NEXT STEPS
My advice to everyone remains unchanged, however. If you are in the market for a new Ultra HDTV with HDR, I would hold off on purchasing it until at least January, if not next spring. By then, there should be several models supporting more than one HDR format (the baseline being HDR 10, but there are at least four others developed by Dolby, Technicolor, Samsung, and the BBC).
More importantly, your UHD set should support not only HDR content flowing through a display connection, but over an Internet connection. More and more content delivery is switching to video streaming as we move away from physical media. Plus, you’ll certainly spend less money on an HDR set if you can sit on your hands for a while, and there may even be a few more UHD Blu-ray player models to choose from six months from now, along with a lot more movies mastered in HDR.
As The World Turns: Vizio Is Acquired by LeEco
- Published on Wednesday, 27 July 2016 16:16
- Pete Putman
- 0 Comments
A press release crossed my desk yesterday, detailing how the TV brand Vizio had just been acquired by the Chinese firm LeEco for $2B. LeEco, while largely unknown on this side of the Pacific, is the 7th largest TV brand in China and also operates an online video content delivery business.
It’s expected that the combined operations of both companies will push them past Skyworth as the #6 worldwide TV brand, according to analysis from IHS Technology I just received this morning. (Never heard of Skyworth? Give it time.)
Vizio, which started operations over a decade ago, has become a powerhouse brand in the U.S. Although they don’t release their revenue and market share results, the company has given Samsung a run for their money over the years with a full line of televisions, most recently taking steps into HDR and UHDTV with Dolby Vision-equipped sets.
Yet, not everything the company has touched has turned to gold. There have been brief forays into smartphones (gone), tablets (gone), and computers (also gone.) In contrast, the company has done very well with sound bars, which all flat-screen TVs benefit from.
This news didn’t surprise me at all. The TV marketplace has become a very cutthroat business as prices and profits went into free fall, aided and abetted by competition from China where the nexus of LCD panel manufacturing is moving.
Numerous prominent nameplates have been victims of this downward trend, starting with Hitachi several years ago and continuing through Mitsubishi, Toshiba, and Sharp; all of whom have withdrawn from the North American TV market. (Hisense continues to sell televisions with the Sharp brand name in the U.S. and Canada.)
Panasonic, once a major player in TVs, is in the unusual position of offering an Ultra HD Blu-ray player (DMP-UBD900, $699) this fall, but no UHD televisions to bundle it with. For now, the company is not selling TVs at retail in the U.S. even though it demonstrated a 65-inch OLED UHDTV at CES that used an LG RGBW OLED panel.
Only Sony remains as a Japanese TV brand, and they’ve paid a dear price to stay in the game, losing hundreds of millions of dollars for a decade. Samsung and LG, meanwhile, have maintained their positions in the Top 5 even as worldwide TV shipments have gone into decline by an average of 3-4% per year, offset somewhat by double-digit growth in UHDTV shipments.
What’s interesting about LeEco is that, according to the HIS analysis, they’re willing to sell TVs at or below manufacturing costs – or even give them away free as a promotion – to secure paid subscriptions to their online content in China. That’s not a model that is likely to work here, but it does indicate how aggressive the new LeEco / Vizio marketing approach could be here and overseas.
Checking this weekend’s sales fliers, I spotted a Vizio 50-inch “smart” Ultra HDTV with HDR for $800 and a 70-inch model for about $2,000; both at Best Buy. Connect the dots and you can see why TV prices continue to fall, and why the bulk of TV sales are transitioning from 1080p to Ultra HD in a hurry.
Sharp (again, now made and marketed by Hisense) did Vizio one better this week, offering a 55-inch Ultra HD set for $650 (no HDR). We’re not far off from seeing $500 55-inch Ultra HDTVs, which will probably be on store shelves in time for the fall football season and certainly by Christmas.
Vizio’s conversion to a publicly-held company a year ago set the stage for this sale and is more proof of the shift in power to China for manufacturing and sales of televisions – at least worldwide. Will TCL and Hisense make further inroads to the U.S. market? What impact will they have (if any) on Vizio’s market share?
NAB 2016: Thoughts and Afterthoughts
- Published on Tuesday, 26 April 2016 20:06
- Pete Putman
- 0 Comments
I’m back from my 22nd consecutive NAB Show, and it’s always a worthwhile trip. NAB isn’t quite as large or crazy as CES, but it’s still sprawled out enough to require three full days to see everything. (Except that you don’t have to fight the insane crowds that fill the Las Vegas Convention Center in January.)
This year’s theme was “Unleash!” or something like that. I never was completely sure, and it sounded more appropriate for a competition of hunting dogs anyway. But the crowds came anyway (over 100,000 for sure) to see everything from 4K and 8K video to live demonstrations of the new ATSC 3.0 digital broadcasting system, a plethora of small 4K cameras, the accelerating move to IP infrastructures instead of SDI, and video streaming to every conceivable device.
My visit to the show had a threefold purpose. In addition to press coverage and checking out product trends for customers, I also delivered a presentation during the Broadcast Engineering Conference titled “Next Generation Interfaces: Progress, or Babylon?” The subject was a new wave of high-speed interfaces needed to connect 4K, 5K, 6K, and 8K displays (DisplayPort, HDMI 2.0, and superMHL, not to mention Display Stream Compression).
Besides hundreds of exhibits, there are the pavilions. Trade shows LOVE setting up pavilions to showcase a hot technology or trend. Sometimes they’re a bit premature: In 1999, the show featured an enormous “streaming media” area in the central hall of the Las Vegas Convention Center stuffed full of startup companies showing postage-stamp-sized video, streaming over DSL and dial-up connections. All of those companies were gone a year later.
In addition to the Futures Park pavilion – which showcased NHK’s 8K broadcasting efforts and ATSC 3.0, and which was mysteriously stuffed all the way at the back (east) end of the upper south hall, where few people rarely go – there was the Sprockit startup pavilion in the north hall, near the Virtual Reality / Augmented Reality pavilion (more on that in a moment).
There was also a demonstration of ATSC 3.0 in the home, located at the upper entrance (west end) of the south hall. Outside, Nokia set up a concert stage and had entertainment each day, all day long, streaming the performances into the VR/AR booth for viewing and listening on appropriate headgear.
To set the table and see just how much the industry has changed in a little over 20 years, the “hot” broadcasting formats in 1995 were Digital Betacam (two years old), DVCPRO, and a new HD format called D5. Non-linear editing was just getting off the ground from the likes of Avid, Media 100, and Boxx Technologies. A decent SD camera for studio and field production cost about $20,000, and HD was still very much in the experimental stage – the new Grand Alliance HD format was heavily promoting the format, model station WHD in Washington was conducting trial broadcasts, and there was no such thing as 720p/60/59.94 just yet.
The standard connectors for video? BNC and RCA for composite, with BNC doubling for the serial digital interface (SDI) connection. VGA was the connector of choice for PCs, and component video was tricky to implement. Tape was the preferred recording media, as optical disc hadn’t made its public debut yet. “High resolution” on a graphics workstation was around 1280×1024 (SXGA), a “bright” LCD projector could crank out about 500 lumens with 640×480 resolution, and the Internet was still a mystery to 90% of attendees.
We all know how the intervening years played out. TV broadcasters are now in the middle of a channel auction, and we may lose more UHF spectrum (in 1995, UHF channels ran from 14 to 69), possibly as much as 60 – 80+ MHz, or 10 – 14 channels. Demand for optical disc media is very much on the wane as streaming and cloud services are picking up the reins.
You don’t see very many transmitter and antenna manufacturers at the show any more, and when you do, their booths are pretty small. There’s been consolidation in the industry with antenna maker Dielectric shutting down a few years ago, then getting bought by the Sinclair Broadcast Group and revived (just in time for the auction!). Harmonic recently purchased Thomson, which explains the big empty booth where they should have been.
And the biggest booth at the show doesn’t belong to Sony, or Panasonic, or Imagine (Harris). Nope, that honor goes to Canon, showing you that there’s still plenty of money to be made in video and still cameras, optical glass, and camera sensors. In a sign o’ the times, Panasonic’s once-enormous booth, which occupied the full width of the central hall mezzanine, has shrunk down to about half its original size.
NAB now is all about “anytime, anywhere” content creation, mastering, storage, and delivery. The concept of broadcasting is almost quaint these days (ATSC 3.0 notwithstanding) as more and more viewers avail themselves of faster broadband speeds and opt for on-demand streaming and binge viewing of TV shows.
Brands like Netflix and Amazon are stirring the pot, not ABC and NBC. (Most of the TV shows in the top 20 every week are CBS programs.) YouTube now offers a premium ad-free service (ironic, since ten years ago it was a place to share videos commercial-free). And this year’s “3D” is virtual reality (VR), backed up by augmented reality (AR).
Not clear on the difference? VR presents a totally electronic “pseudo” view of the world, which can be represented by custom video clips or generated by computer graphics. AR takes real-world views and overlays text, graphics, and other picture elements to “augment” your experience.
Google Glass is a good example of augmented reality – you’d walk down the street and graphics would appear in the near-to-eye display, showing you the location of a restaurant, displaying a text message, or alerting you to a phone call. Oculus Rift and Samsung Galaxy Gear are good examples of virtual reality, immersing your eyes and ears in imaginary worlds with large headsets and earphones.
I’ve tried VR and AR systems a few times, and the eyewear works- but it’s heavy and quite bulky. And the multichannel spatial audio is also impressive, but I have to strap headphones over those enormous headsets. In fact, the biggest problem with VR and AR right now IS the headset. Galaxy Gear and other systems use your smartphone as a stereo display (you can do the same thing with a simple cardboard viewer), but the resolution of your smartphone’s display simply isn’t fine enough to work in a near-to-eye application.
After you wear a VR/AR headset for a while and stand up and take it off, you may find your sense of balance is also out of whack and that you momentarily have some trouble walking correctly. That’s another example of a spatial disorientation problem caused by the disconnect between your eyesight and other senses.
If some of these problems sound familiar, they should. We heard much the same thing during the latest incarnation of 3D from 2008 to 2012, particularly from people wearing active-shutter 3D glasses. During the roll-out of 3D, it became apparent that as much as 25% of the general population could not view 3D correctly because of eye disorders, spatial disorientation, incompatibility with contact lenses, and other problems.
Back to reality! Here are a few more interesting things I saw in Las Vegas:
ATSC 3.0 is ready for its day in the sun. A consortium of interest groups recently petitioned the FCC to make that happen, and based on the demos at the show, it has a fighting chance to ensure broadcasting sticks around for a while. For current TVs, some sort of sidecar box will be required. But you’ll be able to watch 4K (Ultra HD) broadcasts with spatial audio and stream broadcast content to phones, tablets, and laptops, too.
8K Real-Time HEVC Encoding was on display in the NTT and NEC booths. For those counting, there are 7680 horizontal and 4320 vertical pixels in one 8K image, and both companies had demos of 4:2:0 video streaming at about 80 Mb/s. Recall that 8K has 16 times the resolution of 1080p full HD, and you can see that a ton of computational power is required to make it all work.
HEVC Encoding was also in abundance on the show floor. Vitec had some super-small contribution H.265 encoders, and Haivision brought out a new Makito H.265 portable encoder. The Fraunhofer Institute had an impressive demo of contribution 4K video with HDR and wide color gamut encoded at 16 Mb/s, resulting in picture quality that would rival an Ultra HD Blu-ray disc streaming six times as fast.
Organic Light-Emitting Diode (OLED) displays are gaining ground on LCD for studio and broadcast operations. Three different companies – Boland, Sony, and Fusion – were showing Ultra HD “client” and “reference” monitors based on a 55-inch RGBW panel manufactured by LG Display. Sony, of course, has 30-inch and 25-inch models, and some of the older 25-inch glass is being used in monitors made by companies like Flanders Scientific. Newer OLED panels use 10-bit drivers and can reproduce HDR signals with a wide color gamut.
High Dynamic Range was very much on people’s minds at NAB 2016. Dolby showed its Dolby Vision proprietary HDR system, and Technicolor privately demoed its dual SDR/HDR workflow and distribution scheme. Samsung was an expected visitor to the show floor – their booth featured a side-by-side comparison of SDR and HDR with dynamic tone mapping, a system they invented and will make available openly to anyone. It’s also a candidate for SMPTE HDR standards.
Super-fine pitch LED display walls are the next big thing, and I mean that – literally. Leyard, who bought Planar Systems last year, had an impressive 100-foot diagonal “8K’ LED video wall (no mention of the dot pitch, but it had to be around 1.2mm) that dominated the floor. An industry colleague remarked that the brightness and size of this screen would be sufficient to replace cinema screens and overcome reflective, contrast lowering glare. (Plus kick the electric bill up quite a few notches!)
Leyard also had a prototype 4K LED display wall using .9mm dot pitch LED emitters and not far away, Christie showed its Velvet series of LED walls, with dot pitches ranging from as coarse as 4mm (remember when that used to be a fine pitch?) to as sharp as .9mm. Top= put all of that into perspective, the first 42-inch and 50-inch plasma monitors that entered the U.S. market in the mid-1990s had a dot pitch of about 1mm, and 720p/768p plasma monitors were about .85mm. How far we’ve come!
And there’s still very much a place for AVC H.264 encoding. Z3 had a super-tiny DME-10 H.264 encoder for streaming over IP, as did Vitec. Matrox unveiled their Monarch Lecture Capture system (also based on H.264), and NTT had an impressive multistream H.264 / IP encoder/decoder system out for inspection. Some of these boxes would actually fit in your shirt pocket – that’s how small they’ve become.
Of course, the wizards at Blackmagic Design were at it again. This time, they showed an H.265-based recorder/duplicator system that can write 25 SD cards simultaneously with HEVC 2K and 4K video and audio – just plug ‘em in, and go! Over at the Adtec booth, the Affiniti system held the spotlight. This fast, “universal” bus for encoders and decoders is designed to be configured and maintained by anyone with minimal technical knowledge. It uses an SFP backplane, an approach more manufacturers are taking to keep up with the ever-higher speeds of 4K and UHD+ data.
Finally, I just had to mention the “world’s smallest 8K display,” as seen in the NHK booth. Yep, it measures just 13 inches diagonally and has an amazing pixel density of 664 pixels per inch (ppi). This display, made by the Semiconductor Energy Laboratory Company of Japan, has a resolution of 7680 by 4320 pixels and employs a top-emission white OLED layer with color filters. (Really???)