Video expert Joel Silver explains why 4K is a piece of the puzzle, but not the next-
generation standard bearer for high-performance video.
Ever since the failure of 3D as a long-term movie and TV sales driver, both
Hollywood and the consumer electronics industries have determined that 4K, or
Ultra HD, provides the best opportunity to drive video product sales.
Since both industries began to focus on 4K, momentum for the format has been
steadily gaining steam. Highlighting that momentum was the buzz it generated at
two of the biggest tradeshows of the year – CES and InfoComm.
Both events featured a number of 4K products and the interest for the format on
each respective show floor was noteworthy.
Taking a step back from all of the 4K enthusiasm is Joel Silver, president of the
Imaging Science Foundation (ISF) and one of the AV industry’s pre-eminent video
experts. For well over a year, Silver has been cautioning installers that there are
other fundamentals in place that should take a higher priority than resolution.
4K part of the larger picture
Silver is excited for the future of video and the performance potential that exists
with some of the upcoming initiatives the professional and consumer markets are
working on, but he points out that 4K alone won’t push video standards into
breaking new ground.
“Having 4K is one part of UHD and [next-generation, high-performance video], but
it is not the most important part and people don’t get that,’ says Silver. “It is part
of the roadmap and there are two flavours of 4K, which is exciting, but there is a
committee looking at HDR [high dynamic range].’
The reason why HDR is so important for the next generation of video quality, Silver
says, is the public has lived with the same temporal resolution since 1939. In the
near future he notes – around 2017 and 2018 – advances in colour gamut will really
drive innovation.
“Going from 2K to 4K is an improvement, but it is not revolutionary,’ he admits.
“But the new colours, that is something. There is a lack of understanding concerning
the rollout of 4K. I would much rather have a dynamic 2K HDTV than more pixels.
Something with great blacks or great HDR, that is more impactful. Resolution is
only apparent when you are close.’
Underscoring what is happening in the video world, Silver emphasises that 4K is
just the first part of a new system. “Frankly [4K] is the least impressive part of the
roll-out,’ he boasts.
Colour space advances key to quality
According to Silver, the underpublicised part of the impending video industry’s
format updates is the expanded colour gamut that could become a part of their final
specification.
“The 2020 colour space (the International Telecommunications Union Radio
Communications ITU-R BT.2020 recommendation) is going to be great for laser
colour space, but it will be difficult for older TVs.’
“Flat-panel TVs will be expensive,’ he continues. “The broadcast space already uses
[the spec]. I have a 17-inch HP laptop that was part of a venture with DreamWorks
and it includes Rec 709 capabilities and the Adobe Colour Space that is much better
than HD. The laptop also does DCI (Digital Cinema Initiatives).’
“In a two-minute demo I can show pictures in three different colour spaces.
Improvements in colour gamut are instantaneously superior to the average viewer.
Showing Adobe Colour Space over Rec 709 is noticeable. Glancing at 4K, the
average person doesn’t see [a noticeable difference] because it is just resolution.’
Joining manufacturers that include Digital Projection (DPI) and Sony in their
enthusiasm for laser-based projectors, Silver says these products along with LED
solutions will be able to deliver the colour gamut capabilities that are a part of the
next-generation formats.
“The Ultra HD format will bring us all of that,’ he notes. “It will deliver a much
better image because dynamic range is more important.’
Quality begins with basics
The impending video formats may offer wider colour gamuts and more resolution,
but just like current industry standards, their respective performance is based on
the same fundamentals as current-generation formats.
Both HD and Ultra HD/4K require proper black level and contrast setups before
moving onto colour and resolution calibrations.
“Contrast is the most important parameter,’ emphasises Silver. “If you don’t have
good blacks and whites, you won’t have a good image. Some of the great
engineering minds from Philips, Dolby, the BBC (British Broadcasting Corporation)
and to Technicolor look closely at contrast.’
Explaining further, Silver says those in the video industry, including the
International Telecommunications Union (ITU), are examining ways to develop
’smart’ dimming where the content ’directs” displays to dim.
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“The question is can they monetise the technology to include it in video displays?’
he says. “Contrast remains the single most important feature in evaluating a TV.’
Backing up his statements on contrast ratio, Silver says dealers need to examine
the CEA/CEDIA-CEB23-A: Home Theater Video Design specification that was updated
back in 2012, which defines criteria for home theatre setup and performance. It’s a
good place to start when thinking about commercial installations, too.
Silver, who was a part of the expert panel that created the jointly developed
guidelines, points out the 150:1 contrast ratio checker-board pattern in CEB-23-A is
unattainable for most systems, including commercial systems.
“What I aspire to when I work with home theatre builders is that 150:1 contrast
ratio. It is only really possible with a well-engineered room and system,’ he says.
“If a room has white walls, it doesn’t matter how good the screen and projector are
[it won’t perform to the guidelines].’
Summing up what dealers should concentrate on as the market continues to evolve,
Silver is succinct. His advice applies to designing and setting up virtually any type
of flat-panel or projection system.
“Contrast is number one, secondly colour saturation, and the third thing is colour
accuracy. The fourth thing is resolution, but it is nowhere as important as the other
three,’ Silver emphasises. “The first thing dealers should do when presenting to
clients is to talk about good TVs before getting to 4K.’
“Dealers need to consider performance parameters and ask themselves when
evaluating TVs, are the blacks and whites really good? Does the TV’s dynamic range
give you the punch you are looking for? Can it deliver the [brightness] spec for
theatres [14.4-foot lamberts (fL)]? TVs like Sharp’s Elite put out more than 20fLs.
So dealers need to ask the clients if they want a good TV before they talk about
4K… I don’t worry about the market at all. The market speaks for itself and that is
why $1 000 4K TVs aren’t doing well in the market.’
Story republished courtesy Commercial Integrator.
