8 Vital Truths About the Future of 4K

The evolution to 4K content is upsetting the proverbial apple cart once again in the world of consumer electronics. The change is bringing requirements for higher bandwidth that cannot be achieved in most cases. It is generating an onslaught of concern over the obsolescence of existing devices and spawning “workaround” devices already.
Here are eight truths about the future of 4K that integrators of which integrators need to be aware. Some of them are common sense, others might scare you a little. In the end, confusion can sometimes be good for the custom installation community. If you are having trouble understanding, just think how your future customers feel. What an opportunity!

1. HDiP Could Gain Momentum vs. HDBaseT
Currently, HDBaseT is the de facto video transmission methodology for longer runs, but will it remain so? What about HD over IP (HDiP)? This technology, which has been pioneered by companies like Just Add Power, has the ability to transmit compressed signals over long distances. (HDBaseT can send lossless uncompressed signals.) Indeed, IP signal transmission offers great advantages, including flexible routing, unlimited distance and the elimination of point-to-point infrastructure.

“In the long run, everything will migrate to IP. Absolutely,” says Justin Kennington, technology manager, DigitalMedia and streaming solutions for Crestron Electronics. “But what about in the meantime? That is where we are right now … in the ‘meantime’ stage. We are not there yet for IP.”

Why? Kennington says it has to do with compression, video quality and latency. With IP, there is typically some lag or latency. For certain applications, it is no big deal, but for cases where immediacy is required, latency is a big deal. He cites a University of Essex study that reveals the human brain can only accept about 50 milliseconds of lag before the experience is deemed poor.

In an IP infrastructure, the encoder, transport mechanism itself (cable), decoder and video scaler all add latency to the signal. But with the public becoming used to compressed signals via providers like Netflix, Amazon and Comcast, there is an argument that video distribution as we know it over a matrix switcher will go away and integrators (and consumers) will simply be able to plug in a dongle into a display device to receive uncompressed video via IP.

2. HDMI Is Not a Cable, It Is a System
HDMI has unfortunately migrated in the public consciousness to represent a single cable. Integrators need to remind their clients that HDMI is a total system that includes a source (media server, Blu-ray player, set-top box, etc.), a matrix and a sink (display) with cables connected to each device.

Related: Caution When Handling HDR and Rev2.0a HDMI

3. Ultra HD and 4K Are Not the Same
Somehow, the distinction between Ultra HD (UHD) and 4K is being confused. They are not the same. 4K is a professional production and cinema standard with more pixel resolution, while UHD is a consumer display and broadcast standard.

Specifically, UHD is defined by SMPTE standards as 1,920 pixels x 2 or 3,840 pixels, while 4K is precisely double that of 2K D-Cinema for 2,048 (2K) x 2 or 4,096 pixels. (By the way, the pixel resolution for 8K is a whopping 7680 x 4320 or 4320p.) The 4K moniker was actually defined by HDMI back in 2006, while the UHD name came much later in 2012 and was ratified and defined by the Consumer Electronics Association (CEA-861-F).

4. ‘4K Compliant’ and ‘True 4K’ Are Different
Remember the days of “HD Ready” when high-definition was bursting on the market? Well, a similar term — “4K Compliant” — is now on the scene. These 4K Compliant devices are really just interim placeholders, according to Chris Pinder, managing director of HDConnectivity, makers of 4K matrix switchers. Pinder uses the terms “4K Proper” and “4K Interim” to define the difference. There are several distinctions including data rate, processing speed, color depth, frame rate and active resolution area.

“Only 4K Proper is supported by HDMI 2.0,” says Pinder.

He categorizes GoPro cameras and mobile phones in the 4K Interim group and set-top boxes and Blu-ray players in the 4K Proper group. In addition to the resolution, the other big differences are in frame rate and color depth. All three criteria greatly affect the overall data rate of the system. 4K Proper runs at 17.82Gbps while 4K Interim is at just 8.91Gbps.

“The big difference is the frame rate,” Pinder notes.

Frame rate identifies the number of times the images flashes per second. The difference between upscaling Blu-ray players and other devices that run at 24fps or 30fps vs. true 4K devices at 60fps is noticeable during panning shots and sports action primarily where the images stutters. Currently, most Hollywood movies are shot at 24fps. For colors, 4K Interim produces 8-bit, 4:2:0 color, while 4K Proper is 8-bit, 4:4:4 color sampling or 10-bit 4:2:0. TVs with 8-bit processing means they can produce 16.7 million colors.

But those with 10-bit processing can produce 1.07 billion colors. The 10-bit processing offers a remarkable smoothness in colors, which is primarily noticeable in scenes will large amounts of blue sky, for example. With 8-bit, there can be banding in the sky. Most TVs made in 2015 offer 8-bit processing, but the 10-bit displays are coming. Samsung already has one in the market, although there is only a single HDMI port in the TV for 10-bit processing. The designation 4:4:4 refers to the color sampling. YCbCr is a way of transmitting images where the luminance (Y) and the red-difference and blue-difference chromas (CbCr) are transmitted. Chroma subsampling saves a lot of bandwidth, and because the human eye is a lot more sensitive to different brightness levels, you won’t notice a difference when using 4:4:4 samples.

However, when a 4:2:0 sample is used, significantly less color information is transmitted. Full sampling equals 96 bits per 4-pixel array with every pixel independent and no color compression. That means every pixel in the display can choose an individual color, while 4:2:0 means that only clusters of every four pixels can select a color and the TV then relies on black and white contrast to show subtle color changes.

“Nine times out of 10 all these subtle changes are imperceptible to the human eye,” admits Pinder.

5. HDR Is Coming

High Dynamic Range (HDR) quite simply means a wider color range, resulting in darker shadows and brighter whites. It doesn’t really combine the lights and darks, but separates them even farther, creating a wider array of possible colors.

“HDR TVs are the only foreseeable option for doing the image justice on the screen,” says Pinder quite simply.

Related: CEA Issues Definition for HDR Compatibility

Different cameras have varying numbers of stops when using HDR imaging, but all in all, the process allows for images that regular digital photography wouldn’t be able to capture. HDR is bringing media closer to what the human eye sees, and by doing so, is creating more realistic images, from scenes bleached with sunlight, to nighttime shots on city streets.

6. HDCP 2.2 Encryption Is Looming
Effectively, HDCP 2.2 encryption is Hollywood protecting 4K content from being pirated. Of course, all custom electronics integrators and consumer electronics manufacturers do not begrudge the studios from doing this. They invested sometimes hundreds of millions of dollars into films and should be entitled to protect that intellectual property.

“HDCP 2.2 is going to happen. It is a certainty,” says Crestron’s Kennington. “It is going to cause some pain, consternation and gnashing of the teeth. It’s inevitable you will encounter it when we see broad availability of 4K Hollywood content.”

Some pundits predict we will likely start seeing new Ultra HD Blu-ray discs requiring HDCP 2.2 encryption in players starting this winter holiday season. Currently, the only component with HDCP 2.2 on the market is the Sony FMP-X10 media player. The new Ultra HD Blu-rays will offer native 60fps playback, high dynamic range (10 bit) 4:2:0, higher capacity discs and HDCP 2.2 encryption.

Remember, having an HDMI system in place does not automatically mean that the device is HDCP 2.2 compliant. With HDCP 2.2, which includes HDMI, DVI and DisplayPort, from the source to the display and everything in between must be compliant for the homeowner to view the images.

If the system does not support it, the viewer will receive an onscreen message indicating non-compliance. (At least that’s better than just a black screen.) For integrators, it means you must make sure all the 4K products you install support HDCP 2.2 encryption. There are products claiming to be “workarounds” on the market that will work in between a compliant and non-compliant device, such as Key Digital’s $300 KD-HDFIX22 HDMI extender.

“I am not a lawyer,” says Kennington, “but I don’t think you will be allowed to do that. The signal has to have the same encryption going into the device and decryption on the way out. Anything different is a pretty clear violation of DCMA and DCP licensing.”

He says Crestron will have a fully legal HDCP 2.2 over IP product by ISE in Amsterdamn next winter. Did Hollywood all along intend to activate HDCP 2.2 knowing (or not knowing) that it could throw the entire consumer electronics world into a tizzy, possibly requiring integrators to go back to their clients with their proverbial tails between their legs to upgrade or replace “outdated” sources and displays so 4K content can be viewed? Who knows. But if this happens, dealers could find themselves fielding irate phone calls from clients asking why they can’t watch that Avatar 2 Ultra HD Bluray down the road on their six-figure home theater setup.

By the way, encryption cannot be avoided by using streaming media vs. local sources like set-top boxes, media servers and Blu-ray disc players. Netflix has already announced it will be streaming 4K content using H.265/HEVC (High Efficiency Video Coding) that also adds another layer of encryption vs. existing H.264. The HEVC codec will uncompress streaming content and play it as if it was a Bluray, ultimately allowing for easier distribution of 4K content.

7. One or Two Cable Drops for HDBaseT?
With the data rate for HDMI 2.0 growing to 17.82Gbps for 4K at 60Hz, it leads to an important question: should you be pulling two Cat 6 cables to every display location in a home for HDBaseT? Yes, says Pinder.

“HDBaseT has a maximum data rate of 10.2Gbps. That means it cannot support 4K at 60Hz on a single cable. The potential solution is to pull two Cat 6 cables to each device. That will cover you, theoretically bringing you 20.4Gbps,” he says.

8. Cable Quality Will Make a Difference
The idea that all HDMI cables are alike is a fallacy created by consumer advocates; otherwise a testing organization like DPL Labs would not exist. With 4K coming, a quality HDMI cable will be required, even over shorter lengths. Active HDMI cables may be necessary over longer runs. Still, realworld installation testing may be the only way for integrators to ensure that whatever HDMI cables they are using will actually get the job done and not rely merely on manufacturer specs.

“You can go into any store or distributor and see labeling on HDMI packaging such as ‘Supersonic Speed,’ ‘Ultra High Speed,’ ‘Super High Speed,’ etc. This has been going on for years with no visible action by HDMI LLC to clean it up,” says Tributaries Cable president Joe Perfito.

“I’ve seen packaging declaring ‘21Gbps’ on a bagged passive 6-meter HDMI cable. No other spec was given, so it could be the signal was down 50dB (unrecognizable). Theoretically, it is possible to produce a 6-meter HDMI cable to ‘successfully’ pass 21Gbps but it would probably need to be made with 12AWG conductors making it the size of a garden hose.”

Source: http://www.cepro.com/article/8_vital_truths_about_the_future_of_4k/D2/#