SCN: How long have you been with Multidyne, and what are your responsibilities?

Frank Jachetta: I have been a part of MultiDyne since the day my father, Vincent Jachetta, founded the company in 1976. I was in junior high at the time, and I would help my father assemble products in the basement of our family home. I joined MultiDyne in a formal role after college. It was still a family business at the time—as in my father, brother, myself and one other employee who remains with the company today.

As with any CEO, my responsibilities focus on the overall management, performance, and strategic direction of the company. Having spent nearly 50 years with the company, I have been actively involved in every part of the company at some point. Naturally, that means that some functions are closer to my heart than others. Product design and engineering is at the top of that list.

[Executive Q&A: Better Business through Software]

SCN: So, MultiDyne is in the Pro AV business now … ?

FJ: There was a tendency for some of the biggest broadcast brands to look down at the AV industry. Today, some of these same brands are relying on AV to drive sales. AV has become a very mature and active market with strong opportunities.

MultiDyne has been in the broadcast business since its inception. We evolved over time to become a leading brand and innovator for fiber optic transport. Our fiber products have always fit comfortably in the "space between”—specifically, the production trucks and in-house technicians that use our throwdown products and remote powering devices for sports and venue production. We have long-term customers that use these same products as interconnects on large corporate and university campuses. The reality is that our technologies have always served AV applications.

SCN: Would it be fair to say your new focus supports the idea that Pro AV and broadcast technologies are converging?

FJ: Most definitely. As more video and audio systems transition to IP networks, AV is increasingly conjoined with broadcast workflows. They are no longer truly disparate markets. Looking beyond campus interconnects, we see an increasing number of enterprise corporate customers coming to MultiDyne that are producing content at the same caliber of our broadcast customers. We are working with executives that want to see their internally produced content to look as high-quality and engaging as the broadcast content they watch at home. They want more than what a conference room camera can offer, and that’s where MultiDyne comes in.

But it’s not just the super high-end, as that is not always necessary in AV. Our VB Series is an ideal example of a product that is versatile to serve the needs of the AV community. These are configurable fiber transport solutions to serve any combination of video, audio, data, and Ethernet signals. They are suitable for permanent installed AV systems and as temporary throwdowns to reduce reliance on copper connections.

SCN: Even if you don’t necessarily need a longer cable run, how can Pro AV installations benefit from your VB PTZ fiber extenders?

FJ: The VB Series, or Versatile Brix products, are just that, extremely versatile. The product can be customized to a fine detail and supports power over SMPTE hybrid fiber along with POE++ for the latest generation PTZ cameras. The system supports multiple 12G/3G signals as well as HDMI, so end users can support peripheral requirements such as talent monitors, prompters, or utility transport of other signals on set that need to get to and from the control room.

Also, the VB series is used in a huge range of applications outside of PTZs. This includes the ability to send 10x 12G-SDIs from the machine room and output 10x HDMI 2.0s at the receive side or the other way around if needed. A popular application for the VB is the ability to send nine 1 GbE and or 10 GbE copper LAN connections over one fiber, with all networks being optically isolated from each other. This makes network management a snap and can also meet network division security requirements on the same fiber.

SCN: How important is 12G-SDI transport to the Pro AV industry?

FJ: 12G-SDI has become increasingly important, as it has become more affordable and easier to deploy. The fact that it can support 4K60 with 16 channels of audio and various types of metadata make it a comprehensive standard that is easy to manage. It can be somewhat distance limited over copper due to its high 12 Gbps bit rate and that is where fiber comes in. We can easily transmit 12G over 10 km (roughly 6.2 miles) of fiber and we have systems that can achieve 40 km of distance for metro applications. For intercampus and interfacility links, we can send 18x 12G-SDIs over one single-mode fiber.

SCN: Are you seeing significant interest in 8K for live production?

FJ: Yes, interest in 8K image capture has been growing and is going to increase in prominence as storage and other production tools such as switchers, graphics systems, and encoders start to support 8K. As in the past, camera and display manufacturers are leading the way and everything in the middle needs to evolve.

[The 8K Debate]

The good news is if your camera uses Quad-Link 12G to achieve 8K60, MultiDyne has you covered. The next generation SilverBack fiber camera adapter is set to support eight 12G-SDIs over the SMPTE hybrid fiber connection. The SilverBack is widely deployed in the enterprise space today for HD and 4K productions, and its universal design means the end user can pick the perfect camera system for the job.

SCN: What are some of MultiDyne’s major achievements since it was founded in 1976?

FJ: Our first major achievement returns to the family basement where I helped my father assemble the product that launched the company. That was the MultiDyne TS-1, a portable test signal generator that gave broadcasters a compact and low-cost alternative to the large, expensive, rack-mounted versions common at the time. MultiDyne was awarded its first Emmy on the TS-1 in 2017—40 years after it appeared on the market. We won our second Emmy for our SilverBack fiber camera adapters in 2023. This was an important product innovation that helped content producers convert digital cinema cameras into SMPTE studio cameras for live multi-camera productions. This is an important product for the AV market as well, as our SilverBack fiber camera adapters are lightweight cameraback systems that bring value to live concerts, sports, and worship services in addition to the TV productions we support on the broadcast side of our business.

SCN: What new Pro AV initiatives are we likely to see from MultiDyne?

FJ: We introduced our first IP Gateway products for moving SDI signals onto ST 2110 IP networks at NAB last year. We also showed these at InfoComm and there are use cases for the AV market, especially for moving compressed JPEG-X signals onto these networks. ST 2110 has very strict parameters when it comes to what technologies and processes adhere to the standard, which is often too restrictive and expensive for the AV industry. Soon, we will introduce our first IPMX gateways, and our customers can expect to see more IP-based products that use fiber optic interconnects to assist in managing a hybrid 12G-SDI and IPMX/ST 2110 IP facility.

[The Evolution of IPMX for AV-over-IP]

SCN: How can systems contractors better position themselves to profit from products and/or services you have to offer?

FJ: Our most successful system integrator partners are just that, partners. They invest the time to understand our offerings—and once they understand the power of our solutions, they can easily address complicated and demanding requirements. This approach is then reutilized for the next project and so on.

Back in 2004, I contributed an essay to Constance Ledoux Book's Digital Television: DTV and the Consumer, a book detailing the dawn of digital television. I wrote about discovering HDTV sets in my local Walmart Supercenter, declaring that HDTV had gone mainstream. Just seven years earlier, in 1997, the Federal Communications Commission (FCC) had released its Fifth Report and Order, which outlined an aggressive strategy for broadcasters to transition to DTV.

[Viewpoint: What Happened to the AV Department?]

While HDTV should have been the new normal, at least in my eyes, sales were still catching up. The Consumer Electronics Association (CEA) estimated that one out of every four televisions sold in 2004 was an HDTV. That percentage sounds low today, but back then it was huge. The $1,600 average price tag for an HDTV set didn't help sales, but the price had dropped from $2,400 in 2003, according to the Leichtman Research Group.

Another stumbling block: There wasn't exactly an immediate windfall of HD programming. For example, NBC Nightly News was the first national evening news to broadcast in HD—in 2007—while The Simpsons didn't air its first HD episode until 2009, its 20th season. The first Super Bowl broadcast in HD was in 2000 (Super Bowl XXXIV), but Olympics fans had to wait until Beijing in 2008 to experience the entire event in HD.

These days, you can still find new Full HD consumer sets, but choices are limited (and the displays are relatively small). Instead, 4K has taken over the consumer marketplace. Without even taking Black Friday pricing into account, you can get a 55-inch LG 4K smart TV for less than $350 at Walmart. Other brands are even less expensive for larger sets. There are premium models for premium prices, too, but in 2024, you don't need to spend a fortune for 4K.

Maybe the speed of technological advancement is making us all lose a little perspective, but none of this is old. In a couple of years, the first talking picture, The Jazz Singer, will celebrate its centennial. Now that's old—we're talking black-and-white film stock, as well as a record on a turntable connected to a projector to sync the video and audio.

[Pro AV 2025: What's Trendy?]

But HDTV? WRAL-TV in Raleigh, NC, delivered the first U.S. public HDTV broadcast in 1996, while Hawaii's KITV was the first U.S. station to begin commercial digital broadcasts in 1998. And it literally took until 2014 for the networks to make the complete transition to HD. Big Brother was the last holdout in prime time, due to its extensive camera (and related infrastructure) requirements.

Of course, by the time prime time was all HD, Netflix had launched streaming content in 4K. A few years later, the FCC approved NextGen TV (also known as ATSC 3.0), which opened the door to over-the-air 4K, interactive features, and much more. However, the transition to NextGen TV is voluntary, at least so far, so not every broadcaster has made the move.

Today, almost anyone with a halfway decent internet connection can stream tons of 4K content at home. Just a decade ago, it was House of Cards and a couple of nature documentaries. And a decade before that, there was only a handful of HD content, which you could only watch in high definition on a very expensive TV.

[Editorial: 'Intelligence' Can Be Artificially Overrated]

As we all welcome 2025, it's interesting to think about what current Pro AV technologies will look downright antiquated in a decade. Will we laugh at how little AI was being used? Will HD be a distant memory? Heck, will we be in the middle of an 8K transition? Ten years is not that far down the road—but in terms of technology, what our industry relies on this year might just be considered ancient history.

The astounding resolution of an 8K monitor is 7,680x4,320 pixels. That's four times as much resolution delivered by a 4K monitor and 16 times the resolution of a 1080p HD display. But while 8K TVs are now available at Best Buy, Walmart, and other major retailers, the technology is having a hard time grabbing the public’s attention like HDTV did.

The reasons?

“8K may be suffering from slow sales because the consumer market has never been fully saturated with 4K—and then 8K came along too quickly following it,” offered Renard T. Jenkins, president of the Society of Motion Picture and Television Engineers (SMPTE). “Another thing to keep in mind is that the typical human optical system [vision] cannot easily decipher a significant difference between 4K and 8K. That makes it hard to justify increased costs for a broadcaster, prosumer, or consumer."

[Diamond Days and Displays]

That said, Marc Finer, founder and director of Communication Research, said 8K's initial introduction more than five years ago wasn't really based on content. Instead, it was driven by "advancements in panel fabrication and an interest in the fabricators and manufacturers of displays to elevate the market to the next level,” he said. “In recent times, there's been a newfound discovery of the impact of immersive viewing on the end user in almost every application imaginable.”

It is this level of ultra-accurate immersive viewing that makes 8K so appealing to Pro AV designers and installers today. “Our industry is driven by innovation and enhancing the user experience, along with delivering the emotional impact associated with the highest quality, most lifelike audio and video content,” explained Mike Fidler, executive director of the 8K Association. “The significant enhancement in resolution and pixel density offered by 8K provides the creative community with the tools they need to achieve greater realism and more emotionally engaging storytelling, particularly in conjunction with the latest advances in TV technology like mini and microLED, QLED, and OLED displays.”

Assorted Applications

The fact that 8K TVs are still rarities at home doesn’t detract from their usefulness in business, education, and government—all markets that consume Pro AV services. Case in point: “8K is essential where precision and image clarity is needed, such as high-end gaming and professional video editing,” said Joe Drury, Pro BRAVIA business manager, Sony. “It is also important for certain industries such as healthcare, engineering, and design where accuracy of visualization is pivotal.”

[Strategies and Solutions for Corporate Campus Displays]

In the broadcast and content production industries, Jenkins said 8K can easily make a case for archival use and better origin file from production. But that’s just the beginning.

“The 8K ecosystem has advanced far beyond its initial introduction and today provides full end-to-end technology solutions including image capturing, pre and post production, editing, encoding and decoding, distribution, and displays,” said Fidler. “8K also supports other advanced new technologies, such as the latest AI upscaling processors that provide the ability to upgrade from HD and 4K to near 8K performance. Additionally, 8K is gaining a strong foothold in the smartphone, camera, and gaming categories, as well commercial applications like security and medicine.”

Speaking of broadcasting, the 8K Association recently assisted Intel at an event in Los Angeles demonstrating live 8K streaming of the 2024 Olympics from Paris. “The sheer immersiveness and sense of ‘being there’ impressed all those that attended," Fidler recalled, "and underscores the opportunity for companies to deliver this exceptional experience to consumers. This is why NHK in Japan is already delivering two 8K channels—and 8K content is also being streamed via YouTube.”

[CEDIA 2024: Resi Integrators Are Going Commercial]

The takeaway: 8K is already proving its worth in a wide range of Pro AV applications. As such, the enhanced resolution offered by 8K, combined with the degree of future-proofing that installing 8K monitors provides to Pro AV customers, begs a very simple question for Pro AV personnel: Why would you install 4K today when 8K is available now?

Clearing Hurdles

The fact that there is a solid business case for 8K in Pro AV doesn’t mean that the transition to this new standard will be free of hurdles. In fact, there are a number that will have to be cleared.

“There are currently limitations with 8K going mainstream,” said Drury. “In the professional environment, the content has to either be cast or provided by storage, which this content would strain. The ideal speed for 8K is 100 Mbps per device, and a single minute of 8K footage can require approximately 20 GB of storage.”

Then there’s the issue of streaming. Experts say a minimum of 50 Mbps is needed to transport flawless 8K video to end users, versus 25 Mbps for 4K and 5 Mbps for 1080p. The good news? According to the 8K Association, the use of the H.266 codec—also known as Versatile Video Coding or VVC—can reduce the capacity needed to stream 8K to 40 Mbps, which is why the association is backing this standard.

“The final standard for VVC was completed in July 2020,” Fidler noted. “Mediatek, an 8K Association board member, has introduced advanced SoCs that incorporate VVC. Now, there are still issues to resolve related to IP and licensing before we can see widespread hardware adoption. However, we anticipate future support from all of the key players in the TV, mobile, and computer space, given the significant advantages that VVC provides in compression efficiency and bit rate improvement.”

As a result, the 8K Association believes that the transition to 8K will take more time than the switch to 4K. “Although there is a growth in content being shot in 8K, there is slower growth due to the size of media, additional costs to create and store content, and challenges to current infrastructure for playback,” Fidler explained. “It takes time to build the necessary infrastructure, develop compelling content, and improve the ability to deliver this content using more efficient algorithms. Time also enables TV makers to improve their production capabilities with greater scale while continuing to drive other advances.”

[Captivating Congregations]

Fidler’s concerns are echoed by SMPTE’s Jenkins. “To be honest, it always comes down to distribution efficiency, compression, file size, and simplicity in the workflow,” he said. “If any of those factors lag behind, adoption will lag as well. This is why the industry, including SMPTE, have been and continue to work to improve these factors and foster interoperability, which we feel will lead to adoption.”

According to many experts, 8K is the Next Big Thing in video picture resolution. Although its improved clarity may not stand out in home settings when 4K is already in use, 8K offers a truer "step up" for video clarity in Pro AV installations, immersive or not. This is why 8K is too big a trend for Pro AV to ignore—enhanced picture quality means greater creative possibilities for Pro AV creators, integrators, and end users.

In an effort specifically designed to build upon its founding mission, the 8K Association today announced that it has retained Mike Fidler, the highly regarded consumer entertainment veteran, as its new executive director.

Fidler will be responsible for furthering the adoption and implementation of 8K and its entire ecosystem, including the growing number and variety of compatible products - in a strategic manner, while conveying the 8K message effectively to all industry stakeholders, including content creators, delivery platforms and the production community.

Previously, Fidler served as a senior executive for a number of major CE companies and organizations, where he was responsible for driving the launch of technologies such as DVD, Blu-ray Disc, 4K UHD, Digital Cinema, and Filmmaker Mode. Given his extensive experience and strong relationships with manufacturers, retailers, and buying groups, Fidler will be charged with enlisting their support of 8K as well.

According to Bill Mandel, president of the 8K Association, “Throughout his distinguished career, Mike Fidler has demonstrated a special ability to engage with leading executives from across the home entertainment landscape. As a result, he is uniquely qualified and poised to take 8K to the next level, for both our current communication and certification programs and expanding our consumer education efforts via conferences, webinars, and trade events.”

“Mike will also be responsible for increasing 8K Association membership, establishing new promotion initiatives, and generating greater awareness about the benefits of 8K as a whole,” Mandel added.

[ An 8K Future Demands an Investment in ASIC Technology ]

For a moment, let’s take a broader look outside professional AV. If the past is any indication, important trends in consumer content delivery will inform the technologies and products of our professional AV future. It’s how the professional AV industry adopted HDMI, remember? With that relationship in mind, let’s investigate the cutting-edge video delivery of our home’s televisions, tablets, and phones. Hopefully, we may shed light on the future of professional AV’s next-generation technologies and products. 

Nearly every streaming service and movie studio capture the latest episodes and films utilizing video cameras with 8K resolution. While many of these shows and movies are unavailable to the public in their native resolution, content producers have recognized that 8K has already arrived. To ensure an 8K video is delivered in full resolution from the content creator to the 8K screen, many links in the chain need to be upgraded from today’s 4K components. A critical element in that chain is the compression encoder that squeezes a 50+ gigabit-per-second signal into something that will fit over an internet pipe and maintain reasonable quality. The compression and distribution task are exceptionally computationally complex.

As usual, the first solution the early adopters will attempt is PC-based. A PC is easy to obtain and can be programmed to do something new—like encode 8K into H.264, VP9, or other formats. Folks are already moving down this path, including Colleen Henry, cobra commander of Facebook video special forces. In a detailed video on the Demuxed YouTube channel, she details a hardware and software solution for creating an 8K contribution encoder. The hardware? A $10,000+ PC with a 64-core CPU, dual NVIDIA graphics cards, and a capture card. Colleen admits this application for 8K is not often practical and cites boasting as one of the primary use cases.

Besides the tremendous cost of this single-channel video encoder, the power consumption is off the charts. In the video, Colleen jokes about the computer-generated heat on her lab bench. Lenovo ships the machine with a 1,000 Watt power supply, and this machine’s estimated power consumption is around 870 watts. You could build a hair dryer with that kind of power!

Don’t forget this is a single-channel solution. If you need to encode ten video channels, multiply the cost and power figures by ten.

8K for the Masses

Clearly, a PC-based solution is on the bleeding edge, and something else will be required for wide scale adoption. One solution available to the streaming industry today is the Quadra T1 VPU from NETINT. If you read my last column in AV Technology, you might not be surprised to learn that the Quadra T1 is an ASIC-based solution for video encoding.

The Quadra T1 is still PC-based encoding, so the flexibility is still there. The ASIC accelerates the encode computations, consuming fewer PC resources and power. According to figures from the 8K Association, a single-channel solution based on this card will cost $3,500 and consume 270 watts. That’s a 70 percent reduction in cost and power consumption!

But since PC resources are not consumed by encoding, it’s possible to install multiple VPUs into the PC and take advantage of the economics of scale. In the same 8K Association model, a 10-channel encoder (built into a single PC) would cost only $2,000 per channel and consume just 50 watts per channel, resulting in 80 percent cost savings and 94 percent power savings!

What does this tell us about the future of pro AV? It’s certain that 8K is on the way, and we will need products that distribute high-resolution formats. Today’s AV over IP encoders are divided into those which are based on ASICs and FPGAs. In my last piece, I discussed how an ASIC might consume up to 80 percent less power than an FPGA doing the same job. The ASIC power consumption is an important savings for 4K. Still, it will become even more critical as resolutions increase because the higher the pixel rate, the higher the power consumption. Today’s FPGAs are simply incapable of processing 8K resolution. The FPGAs of tomorrow are power-hungry and extremely expensive. An ASIC-based solution, like SDVoE, is the only way forward.

8K & SDVoE

The SDVoE Alliance is vital in bringing 8K to professional audio and video systems integration and has already demonstrated the world’s first 8K AV-over-IP solution. SDVoE’s 8K approach is powered by the BlueRiver ASIC from Semtech, a Steering Member of the SDVoE Alliance. A BlueRiver ASIC combines AV processing, encoding/decoding, and network connectivity onto a single chip. For individuals requiring a reliable, cost-effective, and sustainable solution for 8K content, SDVoE technology, and ASIC-based products are the only viable solution on the market.

For more information on the SDVoE Alliance, please visit www.sdvoe.org. Keep up with the latest news from the SDVoE Alliance on LinkedIn, Twitter and YouTube.

Extron is now taking orders for the high-performance USBC Pro 8K Series, active, hybrid optical-copper USB-C cables that transmit 8K/30 DisplayPort AV, USB 2.0 data, and power signals simultaneously over distances up to 30 feet (9.1 meters). They are ideal for USB-C-enabled devices that support video and audio over four DisplayPort lanes. To streamline integration, they support power delivery of up to 60 watts and can draw power from either connected USB device. The ultra-flexible, 0.26-inch (6.5 mm) thin diameter and narrow bend radius cable construction enable easy installation in tight spaces. The USBC Pro 8K Series is available in popular lengths from 12-30 feet (3.6-9.1 meters).

[Extron Enhances Learning at Lee University School of Nursing]

“Mission-critical designs and AV systems with long runs need a way to maintain full signal integrity and ensure reliable operation over each cable," said Casey Hall, vice president of worldwide sales and marketing for Extron. “The feature-rich USBC Pro 8K Series can send 8K DisplayPort video, embedded audio, and USB data signals plus 60 watts of power over a single cable up to 30 feet, making these active fiber-copper cables perfect for your most demanding projects.”

 [The Nine 2022: Meet 9 Pro AV Superstars] 

The USBC Pro 8K Series offers the benefits of fiber optics with the simplicity of traditional copper cables, providing the best combination of price and performance. The cables use glass, multimode optical fiber to transmit 8K/30 DisplayPort video and embedded audio signals. All other non-bandwidth intensive or low-speed signals are carried on the integrated copper wires, including EDID, HDCP, and power. The cable circuitry draws minimal power which it receives from either the USB host or peripheral device.

Navori Labs is driving a continuous 360-degree 3D experience on the Middle East’s largest 8K LED ceiling screen at Mall of Dilmunia in Bahrain. The complete digital out-of-home network, designed and integrated by Four Square Media, also includes Navori’s targeted advertising and content synchronization applications to deliver 8K digital signage experiences everywhere.

The Navori QL digital signage network was launched in alignment with the mall’s April 2020 opening, entertaining shoppers with 8K content around the mall’s outdoor façade, entrances, elevators, and aquarium and entertainment areas including an ice rink. The core QL software integrates Navori’s Insane Performance Rendering (IPR) software to power all 8K content, including the massive 9x60-meter (29.5x196-foot) LED ceiling display. Navori’s IPR software can power and frame-accurately synchronize a full 8K wall, or up to four 4K screens (or 16 HD screens) from a single media player.

Related: The Technology Manager's Guide to the New Era of Digital Signage

Advanced QL software applications generate revenue and maximize audience exposure across all screens, while also providing insight into ad campaign successes. Ad insertions are often based on end user input, with meta tags redirecting ads to specific screens. This enables network operators to meet targets around number of impressions, and specify the number of advertisements that will play in sequence. Navori’s advanced monitoring and analytics platform also generates detailed reports to measure successes and validate performance with network operators and advertisers.

The network also includes 60 Navori QL Players, with the ability to target different zones or play the same content across many or all screens. When the same content plays out on more than one screen, each player’s clock is synchronized with the core QL server down to 1/20th a second. Four Square Media used the same application to synchronize audio from the digital signage content to the mall’s public address system as needed.

According to Jaideep Narindra, Founder and CEO at Four Square Media, Mall of Dilmunia’s size and layout, and emphasis on enhancing the shopper’s visual experience, required extensive customization to ensure a successful network deployment.

“The majority of the displays were built with massive LEDs and resolutions to maximize impact, while each screen displaying 8K content to ensuring the best image quality content playback,” Narindra said. “They also wanted a way to manage and monitor all advertising campaigns in a structured way, with proof-of-play reporting and fair-play algorithms for advertiser validation. Navori Labs offered an outstanding level of support, offering quick and diligent technical support to meet all performance requirements. Their expertise helped us deliver a demanding digital out-of-home network solution with relative ease, given the advanced 8K content and targeted advertising applications.”

The What: Extron has announced the immediate availability of its XTP II CP HD 8K I/O Boards, which the company touts as the first pro AV 8K switching and distribution system. They accept HDMI 2.1 data rates up to 40.1 Gbps, enabling support of uncompressed 8K video with HDR. 

The What Else: These HDCP 2.3-compliant boards provide input equalization and output reclocking and feature connections for powering active, ultra-high-speed HDMI cables. The XTP II CP HD 8K I/O Boards leverage the 50 Gbps backplane of XTP II CrossPoint Series matrix switchers to deliver a future-proof AV infrastructure that supports convenient growth and upgrade without needing to replace equipment.

Related: Product Review: Extron SMP 351 Streaming Media Processor

“We are excited to be first to the market with uncompressed 8K switching and distribution products,” said Casey Hall, vice president of worldwide sales and marketing for Extron. “XTP II CrossPoint matrix switchers have always supported the high data rate of HDMI 2.1. Now with the introduction of our new 8K HDMI I/O boards, existing systems and new designs will now support 8K and other combinations of high resolutions, refresh rates, and color bit depths for unmatched performance.”

The Bottom Line: The XTP II CrossPoint Series matrix switchers provide high-performance routing of video, audio, bidirectional control, and Ethernet in a future-ready integrated solution. The 50 Gbps backplane accommodates the combination of resolutions, frame rates, and color bit depths supported within the HDMI 2.1 specification, ensuring infrastructure that will last for years.

The What: Sharp Imaging and Information Company of America has debuted its new 120-inch class (diagonal) 8M-B120C 8K Ultra-HD Professional LCD display for commercial applications. 

The What Else: The 8M-B120C provides continuous operation for up to 16 hours a day and is embedded with 70-watt, multi-speaker audio system. The display comes with flexible installation and connection via a single HDMI cable and a LAN port that allows you to connect the monitor to a PC. It can also connect to four PCs via video cables to show content on one large screen. In addition, it comes bundled with a floor stand and wall-mounting brackets.

Related: Newly Formed Sharp NEC Display Solutions Starts Operations

"We're excited to offer our largest display with the highest image quality to date, creating an incredibly immersive effect that puts the user right inside the scene," said Gary Bailer, director of product planning and marketing, Pro AV Products, Sharp Imaging and Information Company of America. "Delivering overwhelming reality never seen before on a display, the new 8K display highlights the long history of innovation at Sharp and provides additional value for customers who want the very best."

The Bottom Line: Employing a wide-color-gamut color filter and optimized LED backlight phosphors, the display reproduces improved gradations of red, blue, and green, making it well suited for environments that require exceptional detail, including corporate lobbies, showrooms, museums, and video production.

The new 8K display is available on a special-order basis and orders may be placed immediately.

In every business there is an essential need for getting large displays added to fit their strategies and meet their objectives. No matter what vertical you may be in, the need to accurately display information for your staff or clients is an essential part of the digital experience that people crave. With smartphones being such a part of our lifestyle, having displays gives people the gratification of getting information through digital media. 

Conveying the best content requires having a large canvas available to you. The larger canvas brings higher and clearer resolutions to showcase content to its highest quality. While 8k content is rare to find and difficult to produce, 4k is the best realistic option for anyone to create. Thus, comes the need for ultra-large 4k displays to be utilized properly in commercial settings. 

Certifications for Mounts

When installing large-format displays, it is critical to choose the right mounting solution that can handle all of the weight and dimensions of a display. 

Large displays can be used as digital signage points in public places or as a digital work board at the front of a conference room. For public spaces such as venues, shopping malls, and university campuses, it is important to find out whether your mounting solution is ADA compliant or whether it can be recessed to meet the 4-inch depth requirement to avoid accidents and hazards. TAA compliancy for large-format mounts is also important when looking to be installed in government facilities. 

[AV Designers and Integrators Discuss ADA Compliance]

When dealing with heavy displays, the government wants to ensure that the mount was manufactured in a country that prioritizes safety for the intended users in critical information technology positions. OSHPD grants a certification that is rising in popularity for states that endure instances of seismic activity. For a mounting solution this means that the hardware will withstand earthquakes meaning displays and hardware will stay fixed as the building around it shakes, rattles, and rolls. 

The last and final certification that someone should look for is for the mounting solution to be UL listed. Being UL listed means that the mount meets high safety rating standards and can be seen as a stamp of approval on a quality solution. While these certifications are all critical in determining a mounting solution, thinking about the installation and environment is another key part in determining which solution you should use. 

Mounting Large-Format Displays on the Wall

The installation of large displays can be a cumbersome task. Outside of the extremely heavy weights, the overall size and bulk of the displays calls for heaving lifting. This means there often has to be an installation team of two to three individuals who need to handle the display safely. When mounting to a wall surface or a cart, utilize a mount that can be fastened and linearly adjusted on the wall before applying VESA brackets and then the display itself. 

[The Integration Guide to Flat Panel Displays and Mounts]

With installation brings service of power and data being ran to the monitors. Traditionally displays that need servicing have to be fully removed from the wall and then reattached upon completion. To avoid having to send a three-person crew just to service the display, look for mounting solutions that either articulate away from the wall surface or have forward extension built into them. This will allow for a single person to safely pull the weighted display away from the wall and have full access to the cabling of power and data. Utilizing pneumatics can ease the tension of weight when pulling away from the wall and the use of an integrated in-wall gearbox can make things much easier over the life of the display’s usage. 

Mobile Mounts for Large-Format Displays

Large format displays can also be maximized by moving them from room to room. Traditional carts and stands will need to incorporate newer solutions that have the necessary weight capacities along with center massed anchors that minimize tipping hazards when displays sit 20- to 60-inches off the ground. Along with the safe positioning, maneuverability must be considered when placing large-format displays on mobile carts. Only certain sized cart bases will fit through doorways and is a consideration that needs to be through of when utilizing displays in corporate, education, and live event applications in the future. 

As displays change their footprint, so will the mounting solutions that accompany them. Solutions are available out in the market today, but manufacturers will continue to innovate and design solutions that will be used as displays continue to expand over the next five to ten years. 

The What: tvONE is now shipping CORIOmaster2, an all-in-one, multi-window video processor delivering enhanced processing power. 

The What Else: Standout features of CORIOmaster2 include its high bandwidth, huge design canvas, and 8K-ready architecture. With 752Gbps of bandwidth, CORIOmaster2 can simultaneously display 40 windows in 4K60 4:4:4 with ultra-low latency. It offers AV designers access to triple 64k x 64k canvasses, with up to 12.3 Gigapixels of design space, enough to accommodate the most exceptional creative vision. The unit is 8K ready, future-proofing tvONE customers’ investment in their video processor.

Related: tvONE Releases CORIOmaster App Updates 

The CORIO engine within CORIOmaster2 delivers unique scaling potential. Customers can deploy fixed or flexible scalers to match their workflow and have access to dynamic windowing with layering or transitions. CORIOmaster2 offers up, down, and cross conversion, de-interlacing, and audio conversion. Most importantly of all, CORIOmaster2 supports uncompressed video with ultra-low end-to-end video latency.

tvONE has also upgraded and expanded its CORIOgrapher video wall design and control software, enabling faster video wall setup when required and full access to the advanced capabilities of this processor. For on-the-spot control, tvONE offers the CORIOmaster App, giving access to five preset configurations and allowing users to switch sources and change audio settings on the fly.

The modular design of CORIOmaster2 scales from two to 32 inputs and four to 56 outputs, allowing AV, IP, broadcast, and legacy AV sources to be routed to LED displays, edge-blended projectors, or flat panel displays. CORIOmaster2 also offers users a low energy footprint, operating from dual redundant 400W power supplies, reducing the cost of ownership.

“CORIOmaster2 gives AV professionals the performance they need to address the technical and creative challenges of our demanding, visual world,” said Andy Fliss, EVP of sales and marketing at tvONE. “It is the new video processing platform that will be trusted by professionals across the industry working in domains as diverse as control rooms, broadcast studios, live events, casinos, auditoriums, and retail outlets. Whether the output is to LED displays, projectors or flat panel displays, CORIOmaster2 is the very best tool for the job.”

The Bottom Line: CORIOmaster2 supports more windows with higher quality with uncompromised 4K60 and 8K-ready performance. CORIOmaster2 is the newest addition to tvONE’s family of CORIOmaster video processors, including CORIOmaster, CORIOmaster mini, and CORIOmaster micro.

BrightSign and Dubai-based system integrator DigiComm have completed a new digital attraction on the 125th floor of Dubai’s iconic Burj Khalifa. At 160 stories and over 2,717 feet tall, the skyscraper has been wowing visitors for almost 10 years.

[LG Unveils World’s Largest OLED Video Wall at Dubai Aquarium]

A trip to the top is not for the faint-hearted. As well as breathtaking views from the world's highest outdoor observation deck, thrill seekers can experience scaling the outside of the structure and parachuting off the top thanks to an immersive virtual reality simulation.

It was in this context that the tower's owners Emaar Properties looked to create a sensational new attraction on the 125th floor of the building known as "At the Top," which receives around 10,000 visitors per day. Together with digital media partner LG, they developed the concept of an interactive, realistic simulation of a glass floor above the city that appears to crack when stepped on.

"They wanted something really spectacular and very entertaining," said Abdul Bakhrani, CEO of Dubai-based digital media studio and systems integrator DigiComm, which created the content, media, and special effects for the attraction, as well as for other installations within the building including the VR experience. With seven world records to its name, including its status as the world's tallest building, Burj Khalifa is all about superlatives.

Eighteen 55-inch LG OLED 8K-resolution screens made of extremely durable toughened glass make up the floor, powered by two BrightSign XT1144 expanded I/O players. The screens display a highly realistic visual animation of the city 1,496 feet below, which changes according to the time of day and season, scheduled and controlled by the BrightSign players.

Fifteen Nexmosphere XDW-M44 sensors are used in the installation. On one side there are seven Nexmosphere sensors connected to the RS232 XM-350 Xperience Controller, and on the other there are eight sensors connected. These Xperience Controllers then link up to the BrightSign XT1144 media players.

When a visitor trips a sensor, a virtual crack starts forming on the skywalk floor and escalates; as they keep walking, the glass is cracking beneath them. The high-resolution CGI graphics combined with synchronized audio results in a thrilling sensation of glass cracking beneath the visitor’s feet, 125 floors above ground.

According to Bakhrani, using OLED screens in this way was something new, and deploying motion sensors with so many thousands of people was also a challenge. "It took quite a bit of trial and error to get the configuration just right. We ourselves didn't know how it would work with such large visitor numbers. We were testing the waters, gathering feedback and constantly improving. It took about two weeks of fine-tuning once it was live to perfect it."

BrightSign players were selected because they are highly robust, technically viable, and cost-effective. "The requirement was for players that could be deployed and then left to run 24 hours a day with minimal management," said Bakhrani. It is not anticipated that the media content will change for some time as the exhibit is highly popular and effective, and most visitors are tourists who come only once to Burj Khalifa. "It's very realistic. Some people think it's real and feel frightened."

"The glass floor has really added a new dimension to the At the Top experience for the visitors," Bakhrani said. "There are a number of high-tech attractions that together make a visit to Burj Khalifa truly unforgettable. This is a world-class venue, so it's essential that everything that’s done adds to the exhilaration of being there, and it’s certainly been achieved with the glass floor."

Installation of the project took around two months, working between 1am and dawn, when the building is closed to visitors. The screens are regularly cleaned throughout the day.

LG, BrightSign, and DigiComm have previously collaborated on numerous projects, including a shark experience at the Dubai Aquarium and Underwater Zoo that combines digital technology with live fish.

As 2019 winds down, predictions abound on the technology advancements and innovations expected in the year ahead. However, there are several anticipated advancements, including 5G wearables, quantum computing, and self-driving trucks, that will not happen in the first year of the new decade, according to global tech market advisory firm, ABI Research.

In its new whitepaper, 54 Technology Trends to Watch in 2020, ABI Research’s analysts have identified 35 trends that will shape the technology market and 19 others that, although attracting huge amounts of speculation and commentary, look less likely to move the needle over the next twelve month. "After a tumultuous 2019 that was beset by many challenges, both integral to technology markets and derived from global market dynamics, 2020 looks set to be equally challenging,” said Stuart Carlaw, chief research officer at ABI Research. “Knowing what won’t happen in technology in the next year is important for end users, implementors, and vendors to properly place their investments or focus their strategies.”

5G Wearables: “While smartphones will dominate the 5G market in 2020, 5G wearables won’t arrive in 2020, or anytime soon,” said Stephanie Tomsett, 5G devices, smartphones, and wearables analyst at ABI Research. “To bring 5G to wearables, specific 5G chipsets will need to be designed and components will need to be reconfigured to fit in the small form factor. That won’t begin to happen until 2024, at the earliest.”

Quantum Computing: “Despite claims from Google in achieving quantum supremacy, the tech industry is still far away from the democratization of quantum computing technology,” said Lian Jye Su, AI and machine learning principal analyst at ABI Research. “Quantum computing is definitely not even remotely close to the large-scale commercial deployment stage.”

Self-Driving Trucks: “Despite numerous headlines declaring the arrival of driverless, self-driving, or robot vehicles, very little, if any, driver-free commercial usage is underway beyond closed-course operations in the United States,” said Susan Beardslee, freight transportation and logistics principal analyst at ABI Research.

A Consolidated IoT Platform Market: “For many years, there have been predictions that the IoT platform supplier market will begin to consolidate, and it just won’t happen,” said Dan Shey, vice president of enabling platforms at ABI Research. “The simple reason is that there are more than 100 companies that offer device-to-cloud IoT platform services and for every one that is acquired, there are always new ones that come to market.”

Edge Will Not Overtake Cloud: “The accelerated growth of the edge technology and intelligent device paradigm created one of the largest industry misconceptions: edge technology will cannibalize cloud technology,” said Kateryna Dubrova, M2M, IoT and IoE analyst at ABI Research. “In fact, in the future, we will see a rapid development of edge-cloud-fog continuum, where technology will complement each other, rather than cross-cannibalize.”

8K TVs: “Announcements of 8K Television (TV) sets by major vendors earlier in 2019 attracted much attention and raised many of questions within the industry,” said Khin Sandi Lynn, video and cloud services analyst at ABI Research. “The fact is, 8K content is not available and the price of 8K TV sets are exorbitant. The transition from high definition (HD) to 4K will continue in 2020 with very limited 8K shipments—less than 1 million worldwide.”

For more trends that won’t happen in 2020, and the 35 trends that will, download the 54 Technology Trends to Watch in 2020 whitepaper.

As worldwide TV household penetration is quite saturated, the flat panel TV market has been driven by consumer adoption of TVs with higher resolution, larger screen size, and connected and integrated applications and services. While flat panel TV makers have announced 8K TV sets, it is the 4K TV market that will continue to grow to cement its place as the mainstream TV format over the next few years. ABI Research, a global tech market advisory firm, forecasts that 4K flat panel TV shipments will grow at 13 percent CAGR to reach 233 million in 2024.

Flat panel TV makers including Samsung, Sony, LG, and TCL announced the introduction of 8K flat panel TV models, which are priced between USD $5,000 and USD $70,000 depending on the display size. “The cost of 8K TV sets is far from affordable for most consumers,” said Khin Sandi Lynn, industry analyst at ABI Research. “This will limit the sales volume for the foreseeable future; however, we can expect the price points to decline to a  more reasonable level over the next several years just as 4K sets have.”

However, the lack of content and distribution models are more significant barriers than cost for 8K TV adoption at the moment. Aside from 8K channels provided by Japanese broadcaster NHK, there are no other 8K broadcast channels currently available, although Korean Broadcasting Corporation (KBS) is working toward an 8K broadcast. While streaming service provider Rakuten recently announced its interest to provide 8K content in late 2019, service providers overall are not ready for 8K content, nor is there much incentive for content providers due to limited 8K TV set adoption at present.

8K content also needs larger data files, which creates challenges in content distribution and data management. Versatile Video Coding (VVC), which achieved 34 percent higher efficiency over HEVC, is currently in the process of standardization. VVC will play a vital role in driving the 8K TV market when the final standardization completes in 2020. 8K is likely to gain momentum only when challenges are addressed, and the ecosystem evolves.

“For now, 4K will be the dominant format of the flat panel TV market, and of the content ecosystem as a result,” Lynn said. “4K TV household penetration will reach slightly more than half of the TV households in mature markets, and with penetration still relatively low in emerging markets, there is significant room for 4K market growth in the years to come.”

These findings are from ABI Research’s Media Devices: UltraHD, 4K, HDR, 8K, HEVC market data report. This report is part of the company’s Video & Cloud Services research service, which includes research, data, and analyst insights. Market Data spreadsheets are composed of deep data, market share analysis, and highly segmented, service-specific forecasts to provide detailed insight where opportunities lie. 

A good bit of time has passed November 2017 release of HDMI 2.1, and while it’s likely to be a while longer before you’re using it to connect devices in your facility, things are certainly beginning to take off for the new highest standard. We caught up with Rob Tobias, CEO and President of HDMI Licensing Administrator, to drill down into the ways HDMI 2.1 will shape the pro AV industry in the coming years.

AV Technology: Can you give our readers a quick recap of the standard and what it enables?

Rob Tobias: It’s a big upgrade for HDMI and it adds a number of exciting new features. The headline is increase in bandwidth from 18Gbps to 48Gbps—that increases the resolution into the 8K realm, and with an optional digitally lossless compression called DSC it can even get to 10K.

So, that’s the feature everybody really looks at, but there’s a number of other things that are just as important. There’s Audio Return Channel (ARC)… that’s been upgraded to what’s called eARC, or Enhanced Audio Return Channel, and that adds all the newest sound formats—the high-bitrate formats from Dolby and DTS plus the object audio formats like Dolby Atmos. There’s also a number of features that enhance the picture experience, like Variable Rate Refresh and Auto Low Latency.

Do you see medical and simulation leading the way for its adoption in pro AV?

They’re going to be the early adopters for 8K. Samsung, TCL, Sony, LG, and Sharp all made a splash at CES talking about selling 8K to consumers. A lot of that is going to make its way into the pro AV space. Digital signage is really going to take advantage of it; you’re going to have really large displays. When people are close, it can pull up more information at a higher resolution, so we’re seeing a strong interest in the digital signage area.

Also, the medical field: they want higher resolutions for imaging and things like that, so we’ll see it there. And in aerospace, in certain applications that are pushing the envelope where they want to see higher resolutions for things like surveillance, I think we’ll see the push to 8K screens fairly quickly. In that case, HDMI 2.1 will become the mandatory interface to connect to the devices that are feeding the video images.

What’s new in HDMI 2.1 since CES?

Certain manufacturers have extended it into their 4K realm, but it can be HDMI 2.1 and have some of the other features. So, things like Variable Rate Refresh and eARC are 2.1 features, but they don’t also have the higher bandwidth, so they can be classified as 2.1 devices. We’re seeing most TV companies putting in eARC or Variable Rate Refresh, and Auto Low Latency to create advanced gaming. We’re seeing some 4K displays that are moving toward 120Hz refresh rate, and those are adding the higher bandwidth to get to 4K120.

Are any manufacturers of AV-over-IP equipment working on implementing HDMI 2.1 yet?

Not that I know of, or at least that have announced. The industry has caught up to 4K60 with 18Gbps, so this will be their next step, but it is a large step going from 18Gb to 48Gb, so it will take them a little time. But the industry is interested in getting there.

One area that’s going to really become important is the Active Optical Cables. So the challenge as you go to these higher speeds is that the length of cables just over copper becomes shorter. So, we’re going to see more and more active optical HDMI 2.1 cables. At CES, we were showing off some prototype designs from companies that are planning to take those to market, and they’re very bullish on the demand, and especially in the pro AV space, because longer cable lengths are more the norm than they would be in a consumer home environment.

Why should the pro AV community keep an eye on HDMI 2.1?

It’s coming at us like a freight train. The devices are here today, and more getting announced every day with HDMI 2.1, so it makes a lot of sense to stay up to speed with what these devices’ capabilities are and what the interface capabilities are. And ensuring, as you do installations, that they’re upgradable. Especially with this new cable that has been designed for higher performance.

So today, maybe you’re putting in a 4K60 environment. But if you envision that you’re going to have to upgrade those displays to 8K, then you’re going to have to redo the cabling infrastructure. So it’s good to learn about it today, it’s good to plan for the future.

NHK in partnership with Sony Imaging Products & Solutions will return again for the second consecutive year presenting its 8K Theater (Grimes Studio - 500 E 5th St. Austin, TX 78701) at SXSW 2019, Austin, TX.

From March 11 - 13, 2019, NHK will showcase the world premiere of the 8K live concert footage captured along Sting and Shaggy's critically acclaimed 2018 world tour, 44/876, featuring songs off their Grammy Award-winning album of the same name, as well as their collective greatest hits. This will be accompanied by other 8K contents from Japanese musicians: Sakanaction and Superfly. The SXSW installation will bring the world's highest quality in experiencing images and sound through its 8K x 22.2 multi-channel sound.

The 8K Theater will be installed in Austin during SXSW at Grimes Studio (500 E 5th St. Austin, TX 78701) and feature a giant 440-inch LED screen (31.8ft wide by 17.7ft tall) that incorporates Sony's Crystal LED Display System, a visual system that utilizes ultrafine LEDs, measuring about the thickness of a human hair (0.003 mm²). The 8K Theater will provide an experience unlike any other TV broadcast through 8K visuals, images with 16-times more pixels than current HD technology, and a truly immersive 22.2 multi-channel sound system. This brings the powerful 8K experience on a screen 4-times larger than the one used in the 2018 SXSW installation. The 8K Theater will provide super high-fidelity visuals on a 440-inch screen with 3D sound from a 24-speaker system.

NHK's footage will be delivered by the Sony's Crystal LED Display System. This goes beyond conventional display technologies by delivering over a million-to-one contrast, precise color reproduction, a 99 percent black surface area using 0.003 mm² ultrafine LED, and a 180-degree viewing angle. The technology is currently used in professional applications including broadcast studios and corporate showrooms around the world. Its modular nature enables the Crystal LED display to accommodate any size or aspect ratio for immersive viewing experiences at the show.

At ISE (Stand 1-F20) Kramer Electronics will demonstrate its approach to IT-oriented pro AV, showcasing its software-centric ecosystem, management solutions, meeting space automation, elevated audio and connectivity solutions, and more. What unites Kramer’s robust product lines and new initiatives is the company’s strategy of AV over IT. ISE 2019 highlights will include:

Kramer Platforms

Kramer Platforms is a new concept that aims to go beyond standard “convergence.” Debuting at ISE 2019, Kramer Platforms consist of hardware devices that are software-driven, so one box serves multiple functions—with the goal of leading AV designs with software and maximizing return on investment and customization options. With Kramer Platforms, AV professionals can combine solutions such as Kramer’s VIA collaboration system with a Kramer Control brain. 

Kramer Control

On display at ISE will be next-generation Kramer Control, a code-free, cloud-based control platform. Kramer Control enables increased agility, allowing users to more quickly and cost effectively deploy control in any space.

Kramer Network

Kramer Network 3.0, an enterprise management platform enabling IT/AV professionals to configure and manage their entire Kramer product range, Dante devices, and third-party devices from anywhere in the world. Kramer’s approach considers not only IT specifications, but also IT work methodologies, letting managers plan and deploy IT and AV systems in the same streamlined manner. This platform is engineered for the IT manager.

UX Flash Track 

A positive user experience is essential for the reliable operation of an AV system, and Kramer is investing heavily in sharing UX best practices in the AV industry. At ISE, the company will discuss how UX is a catalyst for new technologies.

AVIXA Flash Track: “User Experience: The New Catalyst for Technology,” with David Margolin, VP Marketing, Kramer. 

Date/Time: Thursday, February 7, 1:30 p.m.

Location: Room N110, Hall 13 

More Info 

SCHOMS: Focus on BYOD

Committed to supporting technology managers and end users, Kramer is partnering with SCHOMS for a hosted buyer program focused on BYOD and collaboration. SCHOMS members lead and manage a diverse set of educational, technological, media, and institutional development and support services.

“The use of huddle spaces has grown over the past few years and the ability to stream content from BYOD is a key factor in their growth,” said Neta Lempert, VP business development, digital, Kramer Electronics. “As we reach a maturity of the huddle space concept, what is next and how should we prepare for it?”

Kramer Academy

Kramer Academy—led by leaders in the field—provides tools, skills training, and deep dives into core topics and fundamentals that IT and AV professionals need to know for the new era of AV over IT.

At ISE 2019, Kramer Academy courses at ISE will include AV over IP and Kramer Control, on February 6 and 7. Earning AVIXA CTS RU points, attendees can register here. 

Network Security Panel

This panel on network security will feature Kramer’s network and control expert, Keren Lipshitz. 

Date/Time: Friday, February 8, 3:00–4:00 p.m.

Location: Main Stage. 

AV Nation’s Tim Albright will moderate the session. 

Community Events

Kramer will host a German Hosted Buyer Program and its annual cocktail party at the Kramer stand 1-F20 (by invitation), on February 6, at 4:30 p.m.

8K Whitepaper

Kramer’s resource library continues to grow with the addition of a new 8K whitepaper. This paper explores 8K “glass” and related challenges for transporting, switching, distributing, and interfacing 8K signals, due to their high clock and data rates. Download the whitepaper here. https://k.kramerav.com/academy/white-papers.asp.

The ongoing drive for ever-higher resolutions has been a familiar story in the world of video acquisition for many years. But, after IBC 2018, talking about the practical application of 8K is no longer taboo.

Japan’s state broadcaster, NHK, has long been the driving force behind 8K. Manufacturers have been committed to developing an ecosystem of products that can support the 8K broadcast standard, ‘Super Hi-Vision’, in time for the Tokyo 2020 Olympics. However, with many other broadcasters still occupied with upgrading their portfolio of HD channels and the limited availability of 4K content, meaningful use of 8K technology in the wider industry can seem distant.

Shortly before IBC, 8K held a notable presence at IFA 2018 in Berlin, as Samsung, Sharp, LG, TCL and Toshiba all dedicated space at the convention to showcase 8K consumer displays. Samsung and LG incorporated spectacular reveals of their 8K TV sets into their press conferences, while Sharp emphasized their development of an 8K ecosystem, which includes both their display and the 8C-B60A camcorder, which has already begun shipping in Japan and China. The continued focus on higher-resolutions by TV manufacturers at the show indicates that it won’t be long until they begin their attempts to drive 8K into the home, as they did with 4K.

Though adoption of 4K in broadcasting has been slower than was first anticipated, 4K acquisition has been accessible for several years. 2017 was a particularly significant year for 4K adoption in the camcorder market, as it truly became mainstream. Cost effective 1” sensor camcorders brought 4K to the lower-end of the market, as sub $5,000 fixed lens camcorders have fueled a 9% point annual increase in the worldwide market share of 4K capable camcorders sold by Sony, Panasonic, Canon and JVC, to account for a total of 32% of worldwide camcorder volumes.

The accessibility of 4K acquisition has allowed workflows to mature and, with this, has come a greater awareness of the benefits of over sampling (acquiring video footage at a higher resolution than is necessary for the final output). It has been proven and accepted that recording video at a higher resolution and down-sampling the footage for final delivery will result in an improvement in video quality. The flexibility of having a larger canvas of pixels to work with also enables more creative options in post-production, from digital zooms and cropping in and recomposing shots to improving the accuracy of digital stabilization and VFX tasks.

The use of 8K in live broadcasting may be very limited for the foreseeable future on a global basis, but the benefits of 8K acquisition are already apparent due to the proven use-cases of oversampling. There is an obvious use for 8K acquisition at prestige events and in select cinematic instances to begin preparing a library of 8K content, but 8K is not just about future-proofing. The same learnings made from using 4K acquisition to create HD content can be applied with 8K, but to an even greater degree - especially in the case of using 8K for HD formats. Capturing 7680 x 4320 pixels to create a 1920 x 1080 image may sound like complete overkill, but it’s precisely that factor of 8K being 16 times bigger than HD that makes oversampling 8K footage a more perceptible step-up than 4K. 8K cameras will not immediately replace 4K or even HD cameras, but their enhanced capabilities for oversampling allow them to be used in a completely new way.

At IBC 2018, Panasonic demonstrated a new camera that will be available next year that uses 8K acquisition as a tool to facilitate more efficient HD capture. Panasonic are calling this technique in use, “region of interest” or ROI. ROI allows up to four independent HD crops to be taken from a single 8K source camera (for instance, creating wide, mid and close shots simultaneously of a scene). In a practical application, this can reduce the number of cameras needed on a production, as multiple shots can be captured by a single camera operator. Sony’s UHC-8300 8K studio camera also enables a similar kind of flexibility, as it can simultaneously output 8K, 4K and HD signals. This facilitates more flexible workflows - for example, live feeds in 4K and HD could be sent to a video switcher for use in live coverage, while the 8K signal is taken directly to a recorder for archival purposes.

As the adoption of the 4K UHD formats grows, there will be a greater need for 8K where instances of oversampling for 4K content is necessary. The reason that 8K will gain ground in acquisition in the immediate future is due to the new possibilities that it creates in production. 8K cameras will begin to see growth primarily through their use in mixed resolution production environments, deployed among an array of HD and/or 4K cameras.

IBC marked a significant step forward in the eventual adoption of 8K. Though its use as a broadcast format will remain niche, the potential it has to enable new techniques in acquisition are abundant. With NHK set to start broadcasting their 8K content in December this year, the acceptance of 8K is already well under way.

Chris Evans is an analyst specializing in broadcasting and professional video equipment at Futuresource Consulting.