8k high resolution camera

8K HIGH RESOLUTION CAMERA SYSTEM 1900
D e p t . O f E l e c t r o n i c s & C o m m u n i c a t i o n E n g i n e e r i n g Page 1
1. INTRODUCTION
The deployment of digital cinema stimulates many advanced applications that will use super
high definition (SHD) imaging systems and high-speed optical fiber networks. Theater
systems for digital cinema, projector , and playback video servers have been commercialized
based on the standards issued by the Digital Cinema Initiative (DCI). 8K is the SHD video
format defined in DCI specification. It has a resolution of 4096*2160 pixels, so its image
quality is equivalent to that of 35-mm film. The total bit rate of raw 8K videos with the frame
rate of 24 frames per second is about 7 gigabit per second. This necessitates the use of the
JPEG 2000 algorithm to compress the bit rate to 250 megabit per second. To deliver the
movie data to movie theatres, hard disk drivers and courier services appeared to be the easiest
approach , but a business trial demonstrated that network-based delivery was more cost
effective and secure against content piracy.
Fig(1). 8K video camera movies in theatres.
Furthermore, network transfer also supports a wider variety of contents, namely public
viewing of live-streaming content. Four years before the digital cinema industry standardized
the DCI specification, in 2001, the worlds first video JPEG decoder system was developed
that could display SHD images (38402048 pixel spatial resolution) with 24-frames/s time
resolution. This decoder was designed to realize IP transmission of extra-high-quality videos,
while fully utilizing the full bandwidth of emerging commercial communication networks
based on 1-Gb Ethernet. In 2002, the second prototype SHD image decoder was developed
that exploits a highly parallel processing unit of JPEG2000 de-compressors. The decoder
receives the IP streams of compressed video contents transmitted by a video server over GbE
network, and decodes them using the standard JPEG2000 decoding algorithm in real time.

Fig(2). Ultra High Defination.
The decoder was combined with a special 3840*2048 pixel projector using a dedicated digital
video interface for the decoder. This architecture allows the decoded videos to be transferred
and shown in completely digital form. This system triggered detailed discussions on the
digital cinema video format for DCI. The question was whether a higher image quality than
HDTV was required to replace movie films. In order to solve the question, an experiment was
conducted by the Entertainment Technology Center (ETC) of the University of Southern
California (USC) involving 100 digital cinema engineers; it compared the image quality of
conventional films, high definition resolution (HDTV), and SHD images with 8-million-pixel
resolution. The results of this experiment yielded the consensus that the horizontal resolution
of around 4000 pixels was required to replace films, and JPEG2000 was suitable for the
compression of digital cinema data. Stimulated by the experiment, DCI accelerated the
standardization of digital cinema, specified the movie format of 4096*2160 pixels, and
simply called it 8K.
DCI finalized version 1.0 in 2005 and version 1.2 in 2008. Currently, further standardization
activities are in progress at the Society of Motion Picture and Resolution Engineer (SMPTE).
To explore the application range of 8K video beyond digital cinema, we developed a
JPEG2000-based 8K real time streaming codec system. This codec can compress/ de com-
press 8K videos: the total bit rate exceeds 12 gigabit per second (4 : 2 : 2, 60 frames/s), and
the resulting 5001000-Megabit per second compressed streams are transferred as IP packets.
While digital cinema employs the 24-frames/s movie format to replicate the cinema style, it is
believed that at least 60 frames/s is needed for realistic video communication services such as
teleconferencing. The following sections describe the features of the 8K imaging systems
used in digital cinema and live streaming.

2. HISTORY
Astro Design 8K camera being displayed at the 2013 NAB Show
NHK and Hitachi demonstrating their 8K camera at the 2013 NAB Show
On January 6, 2015, the MHL Consortium announced the release of the superMHL
specification which will support 8K resolution at 120 fps, 48-bit video, the Rec. 2020 color
space, high dynamic range support, a 32-pin reversible superMHL connector, and power
charging of up to 40 watts.
MHL Consortium Announces super MHL – the First Audio/Video
Specification With Support Up to 8K
Today announced the super MHL™ specification, the next-generation of MHL ®technology
for CE and mobile devices. Building on its market leadership, super MHL delivers significant
mobile advancements such as higher resolution and frame rates along with 40W of power
charging, while broadening MHL’s reach in home theater connectivity by supporting 8K
video resolution and expanded audio formats. With super MHL, consumers can link their
mobile devices, set-top boxes (STBs), Blu-ray Disc™ players, AVRs, streaming media sticks
and other source devices to TVs and displays. The release of a new reversible super MHL
connector supports enhanced video formats to deliver lifelike, immersive content between
home theater products and displays.
Features of super MHL Include
1. Delivery of up to 8K 120fps video
2. Deep Colour support up to 48-bit colour depths
3. Wider colour gamut to view content the way filmmakers intended
4. High-Dynamic Range (HDR) support to strike the perfect balance of bright spectral
highlights along with shadow details
5. Immersive surround sound with support for object audio such as Dolby Atmos®,
DTS-UHD™, 3D audio, and an audio-only mode
6. Advanced connectivity configurations to link multiple MHL devices together (TV,
AVR, Blu-ray player) and control them via one remote
7. Power charging up to 40W

8. Content on multiple displays when connecting a single device
9. New reversible super MHL connector
2.1 First cameras
On April 6, 2013, Astro Design announced the AH-4800, capable of recording 8K resolution.
Fig(3). Astro Design 8K camera being displayed at the 2013 NAB Show.
2.2 Productions
Fig(4). NHK and Hitachi demonstrating their 8K camera at the 2013 NAB Show.
An 8K scan/4K intermediate digital restoration of Lawrence of Arabia was made for Blu-ray
and theatrical re-release during 2012 by Sony Pictures to celebrate the film's 50th
anniversary. According to Grover Crisp, executive VP of restoration at Sony Pictures, the
new 8K scan has such high resolution that when examined, showed a series of fine concentric
lines in a pattern "reminiscent of a fingerprint" near the top of the frame. This was caused by
the film emulsion melting and cracking in the desert heat during production. Sony had to hire
a third party to minimise or eliminate the rippling artefacts in the new restored version.

On May 17, 2013, the Franklin Institute premiered To Space And Back, an 8K×8K, 60 fps,
3D video running approximately 25 minutes. During its first run at the Fels Planetarium it
was played at 4K, 60 fps.
2.3 Broadcasting
Japanese public broadcaster NHK began research and development on 8K in 1995, having
spent over $1B on the resolution since then. Code named Super Hi-Vision, NHK also was
simultaneously working on the development of 22.2 channel surround sound audio, aiming
for mainstream broadcasting by the year 2032.Experimental transmissions of the resolution
were tested with the London 2012 Olympic Games, and at the Cannes Film Festival
showcasing Beauties À La Carte, a 27 minute short film showcased publicly on a 220”
screen. The world's first 8K resolution was unveiled by Sharp at the Consumer Electronics
Show(CES)in2013
2.4 8K full dome
Fig(5). shows the proportional scale differences from 1080p (1920×1080 pixels) to 8K×8K
fulldome video.
8K fulldome is a resolution of 8192×8192 (67.1 megapixels) and is the resolution of top-end
modern projection for hemispherical fulldome theatres often seen in planetaria. 8K fulldome
projects over 4 times the width and over 7.5 times the height resolution of 1080p HDTV
format, with 32 times as many pixels overall.

3. What is 8K
8K resolution (7680 x 4320, 4320p), the successor of 4K resolution, is now the highest
UHDTV (ultra high definition resolution) resolution in digital resolution and film
restoration/mastering and is 16 times detailed than current 1080p resolution. 4K is speculated
to become a mainstream standard in resolutions by 2017 and NHK plans to apply 8K to Japan
TV broadcasting in 2020, especially in the 2020 Tokyo Olympics.
Fig(6). Delivering 8K VFX Shots for The Dark Knight.
8K resolution is the highest ultra high definition resolution (UHDTV) resolution to exist in
digital resolution and digital cinematography. 8K refers to the horizontal resolution of these
formats, which all are on the order of 8,000 pixels, forming the total image dimensions
(7680×4320).8K is a display resolution that may eventually be the successor to 4K resolution.
1080p is the current mainstream HD standard, with TV manufacturers pushing for 4K to
become a new standard by 2017,although the feasibility of such a fast transition as well as the
practical necessity of a new standard is questionable.

4. 8K RESOLUTION SPECIFICATION
Resolution 7680 x 4320 pixels (33.2 megapixels)
Aspect Ratio 16:9
Colour Bit Depth 12-bit colour
Colour Space Rec.2020
Frame Rate 120 fps
Scanning progressive scanning only
Audio 22.2 multi-channel surround sound
Audio Sampling Rate 96 KHz
Broadband UHF - 8 MHz, 35~45Mbit/s
Ku waveband 2x36MHz transponders, 140~150Mbit/s (DVB-S2)
Ka waveband 600 MHz, 500~6600Mbit/s
Fig(7). Comparison chart
8K resolution is the highest ultra high definition resolution (UHDTV) resolution to exist in
digital resolution and digital cinematography. 8K refers to the horizontal resolution of these
formats, which all are on the order of 8,000 pixels, forming the total image dimensions
(7680×4320).8K is a display resolution that may eventually be the successor to 4K resolution.
1080p is the current mainstream HD standard, with TV manufacturers pushing for 4K to
become a new standard by 2017, although the feasibility of such a fast transition as well as
the practical necessity of a new standard is questionable
One advantage of high-resolution displays such as 8K is to have each pixel be
indistinguishable from another to the human eye from a much closer distance. On an 8K
screen sized 52 inches, this effect would be achieved in a distance of 50.8 cm (20 inches)
from the screen, and on a 92 in screen at 91.44 cm (3 feet) away. Another practical purpose

of this resolution is in combination with a cropping technique used in film editing. This
allows filmmakers to film in a high resolution such as 8K, with a wide lens, or at a farther
distance from a potentially dangerous subject, intending to zoom and crop digitally in post-
production, a portion of the original image to match a smaller resolution such as the current
industry standard for High-definition resolutions (1080p, 720p & 480p).
Few video cameras have the capability to film in 8K, with NHK being one of the only
companies to have created a small broadcasting camera with an 8K image sensor.
Sony and Red Digital Cinema Camera Company are both working to bring larger 8K sensors
in more of their cameras in the coming years. Although 8K will not be a mainstream
resolution anytime soon, a major reason filmmakers are pushing for 8K cameras is to get
better 4K footage. Through a process called down sampling, using a higher resolution 8K
image down sampled to 4K could create a sharper picture with richer colours than a 4K
camera would be able to achieve on its own with a lower resolution sensor.
4.1 Resolutions
Table(1). Shows resolution table.
8K FUHD is a resolution of 7680 × 4320 (33.2 megapixels) and is one of the two resolutions
of ultra high definition resolution, the other being 4K UHD. In 2013, a transmission
network's capability to carry HDTV resolution was limited by internet speeds and relied on
satellite broadcast to transmit the high data rates. The demand is expected to drive the
adoption of video compression standards and to place significant pressure on physical
communication networks in the near future.
8K FUHD has four times the horizontal and vertical resolution of the 1080p HDTV format,
with sixteen times as many pixels overall.

5. 8K FORMAT
8K is a new resolution standard designed for digital cinema and computer graphics. It has
following advantages:
1. Higher image definition quality.
2. More detailed picture.
3. Better fast-action.
4. Larger projection surface visibility.
8K format was named because it has 4000 pixels horizontal resolution approximately.
Meanwhile, standard 1080p and 720p resolutions were named because of its vertical
resolution. The new standard renders more than four times higher image definition than
1080p resolutions for example
This format can’t have the change in horizontal resolution, so changes in aspect are made
through the vertical resolution.
For example 40962304 is a frame size with aspect 16:9 and 40963072 - 4:3.
1080p resolutions for example
Fig(8). Shows 8K format.

This format can’t have the change in horizontal resolution, so changes in aspect are made
through the vertical resolution. For example 40962304 is a frame size with aspect 16:9 and
40963072 - 4:3.
6. PIXEL
In digital imaging, a pixel, pel,or picture element is a physical point in a raster image, or the
smallest addressable element in an all points addressable display device; so it is the smallest
controllable element of a picture represented on the screen. The address of a pixel
corresponds to its physical coordinates.
LCD pixels are manufactured in a two-dimensional grid, and are often represented using dots
or squares, but CRT pixels correspond to their timing mechanisms and sweep rates.
Each pixel is a sample of an original image; more samples typically provide more accurate
representations of the original. The intensity of each pixel is variable. In colour image
systems, a colour is typically represented by three or four component intensities such as red,
green, and blue, or cyan, magenta, yellow, and black.
In some contexts (such as descriptions of camera sensors), the term pixel is used to refer to a
single scalar element of a multi-component representation (more precisely called a photo site
in the camera sensor context, although the neologism sensel is sometimes used to describe the
elements of a digital camera's sensor),while in others the term may refer to the entire set of
such component intensities for a spatial position. In colour systems that use chroma sub
sampling, the multi-component concept of a pixel can become difficult to apply, since the
intensity measures for the different colour components correspond to different spatial areas in
such a representation.
Fig(9). shows an image with a portion greatly enlarged, in which the individual pixels are
rendered as small squares and can easily be seen.
6.1 Etymology
The word "pixel" was first published in 1965 by Frederic C. Billingsley of JPL, to describe
the picture elements of video images from space probes to the Moon and Mars. However,
Billingsley did not coin the term himself. Instead, he got the word "pixel" from Keith E.
McFarland, at the Link Division of General Precision in Palo Alto, who did not know where
the word originated. McFarland said simply it was "in use at the time" (circa 1963).

Fig(10). A photograph of sub-pixel display elements on a laptop's LCD screen
The word is a portmanteau of picture and element, via pix. The word pix appeared in Variety
magazine headlines in 1932, as an abbreviation for the word pictures, in reference to movies.
By 1938, "pix" was being used in reference to still pictures by photojournalists.
The concept of a "picture element" dates to the earliest days of resolution, for example as
"Bildpunkt" (the German word for pixel, literally 'picture point') in the 1888 German patent
of Paul Nipkow. According to various etymologies, the earliest publication of the term
picture element itself was in Wireless World magazine in 1927, though it had been used
earlier in various U.S. patents filed as early as 1911.
Some authors explain pixel as picture cell, as early as 1972. In graphics and in image and
video processing, pel is often used instead of pixel. For example, IBM used it in their
Technical Reference for the original PC.
Pixilation, spelled with a second i, is an unrelated filmmaking technique that dates to the
beginnings of cinema, in which live actors are posed frame by frame and photographed to
create stop-motion animation. An archaic British word meaning "possession by spirits
(pixies)," the term has been used to describe the animation process since the early 1950s;
various animators, including Norman McLaren and Grant Munro, are credited with
popularizing it.
6.2 Technical
A pixel is generally thought of as the smallest single component of a digital image. However,
the definition is highly context-sensitive. For example, there can be "printed pixels" in a page,
or pixels carried by electronic signals, or represented by digital values, or pixels on a display
device, or pixels in a digital camera (photo sensor elements). This list is not exhaustive and,
depending on context, synonyms include pel, sample, byte, bit, dot, and spot. Pixels can be
used as a unit of measure such as: 2400 pixels per inch, 640 pixels per line, or spaced 10
pixels apart.

Fig(11,12,13). A pixel does not need to be rendered as a small square. This image shows
alternative ways of reconstructing an image from a set of pixel values, using dots, lines, or
smooth filtering.
The measures dots per inch (dpi) and pixels per inch (ppi) are sometimes used
interchangeably, but have distinct meanings, especially for printer devices, where dpi is a
measure of the printer's density of dot (e.g. ink droplet) placement.
For example, a high-quality photographic image may be printed with 600 ppi on a 1200 dpi
inkjet printer. Even higher dpi numbers, such as the 4800 dpi quoted by printer manufacturers
since 2002, do not mean much in terms of achievable resolution.
The more pixels used to represent an image, the closer the result can resemble the original.
The number of pixels in an image is sometimes called the resolution, though resolution has a
more specific definition. Pixel counts can be expressed as a single number, as in a "three-
megapixel" digital camera, which has a nominal three million pixels, or as a pair of numbers,
as in a "640 by 480 display", which has 640 pixels from side to side and 480 from top to
bottom (as in a VGA display), and therefore has a total number of 640×480 = 307,200 pixels
or 0.3 megapixels.
The pixels, or colours samples, that form a digitized image (such as a JPEG file used on a
web page) may or may not be in one-to-one correspondence with screen pixels, depending on
how a computer displays an image. In computing, an image composed of pixels is known as a
bitmapped image or a raster image. The word raster originates from resolution scanning
patterns, and has been widely used to describe similar halftone printing and storage
techniques.
6.3 Resolution of computer monitors
Computers can use pixels to display an image, often an abstract image that represents a GUI.
The resolution of this image is called the display resolution and is determined by the video
card of the computer. LCD monitors also use pixels to display an image, and have a native
resolution. Each pixel is made up of triads, with the number of these triads determining the
native resolution. On some CRT monitors, the beam sweep rate may be fixed, resulting in a
fixed native resolution. Most CRT monitors do not have a fixed beam sweep rate, meaning
they do not have a native resolution at all - instead they have a set of resolutions that are
equally well supported. To produce the sharpest images possible on an LCD, the user must
ensure the display resolution of the computer matches the native resolution of the monitor.

6.4 Resolution of telescopes
The pixel scale used in astronomy is the angular distance between two objects on the sky that
fall one pixel apart on the detector (CCD or infrared chip). The scale s measured in radians is
the ratio of the pixel spacing p and focal length f of the preceding optics, s=p/f. (The focal
length is the product of the focal ratio by the diameter of the associated lens or mirror.)
Because p is usually expressed in units of arc seconds per pixel, because 1 radian equals
180/π*3600≈206,265 arc seconds, and because diameters are often given in milli meters and
pixel sizes in micrometers which yields another factor of 1,000, the formula is often quoted
as s=206p/f.
6.5 Bits per pixel
The number of distinct colours that can be represented by a pixel depends on the number of
bits per pixel (bpp). A 1 bpp image uses 1-bit for each pixel, so each pixel can be either on or
off. Each additional bit doubles the number of colours available, so a 2 bpp image can have 4
colours, and a 3 bpp image can have 8 colours:
Sr. No Bits Per Pixel 2n
Colours
1 1 21
2
2 2 22
4
3 3 23
8
4 8 28
256
5 16 216
65.536
6 24 224
16.777.216
Table(2). Shows BPP
For colour depths of 15 or more bits per pixel, the depth is normally the sum of the bits
allocated to each of the red, green, and blue components. High colour, usually meaning 16
bpp, normally has five bits for red and blue, and six bits for green, as the human eye is more
sensitive to errors in green than in the other two primary colours. For applications involving
transparency, the 16 bits may be divided into five bits each of red, green, and blue, with one
bit left for transparency. A 24-bit depth allows 8 bits per component. On some systems, 32-
bit depth is available: this means that each 24-bit pixel has an extra 8 bits to describe its
opacity (for purposes of combining with another image)

6.6 Sub pixels
Many display and image-acquisition systems are, for various reasons, not capable of
displaying or sensing the different colour channels at the same site. Therefore, the pixel grid
is divided into single-colour regions that contribute to the displayed or sensed colour when
viewed at a distance. In some displays, such as LCD, LED, and plasma displays, these single-
colour regions are separately addressable elements, which have come to be known as sub
pixels. For example, LCDs typically divide each pixel horizontally into three sub pixels.
When the square pixel is divided into three sub pixels, each sub pixel is necessarily
rectangular. In the display industry terminology, sub pixels are often referred to as pixels, as
they are the basic addressable elements in a viewpoint of hardware, and they call pixel
circuits rather than sub pixel circuits.
Fig(14). Geometry of colour elements of various CRT and LCD displays; phosphor dots in a
colour CRT display (top row) bear no relation to pixels or sub pixels.
For systems with sub pixels, two different approaches can be taken:
1. The sub pixels can be ignored, with full-colours pixels being treated as the smallest
addressable imaging element; or
2. The sub pixels can be included in rendering calculations, which requires more
analysis and processing time, but can produce apparently superior images in some
cases.
This latter approach, referred to as sub pixel rendering, uses knowledge of pixel geometry to
manipulate the three coloured sub pixels separately, producing an increase in the apparent
resolution of colour displays. While CRT displays use red-green-blue-masked phosphor
areas, dictated by a mesh grid called the shadow mask, it would require a difficult calibration
step to be aligned with the displayed pixel raster, and so CRTs do not currently use sub pixel
rendering.

6.7 Megapixel
A megapixel (MP) is a million pixels; the term is used not only for the number of pixels in an
image, but also to express the number of image sensor elements of digital cameras or the
number of display elements of digital displays. For example, a camera that makes a
2048×1536 pixel image (3,145,728 finished image pixels) typically uses a few extra rows and
columns of sensor elements and is commonly said to have "3.2 megapixels" or "3.4
megapixels", depending on whether the number reported is the "effective" or the "total" pixel
count.
Fig (15). Diagram of common sensor resolutions of digital cameras including
megapixel values
Digital cameras use photosensitive electronics, either charge-coupled device (CCD) or
complementary metal–oxide–semiconductor (CMOS) image sensors, consisting of a large
number of single sensor elements, each of which records a measured intensity level. In most
digital cameras, the sensor array is covered with a patterned colour filter mosaic having red,
green, and blue regions in the Bayer filter arrangement, so that each sensor element can
record the intensity of a single primary colour of light. The camera interpolates the colour
information of neighbouring sensor elements, through a process called demosaicing, to create
the final image. These sensor elements are often called "pixels", even though they only record
1 channel (only red, or green, or blue) of the final colour image. Thus, two of the three colour
channels for each sensor must be interpolated and a so-called N-megapixel camera that
produces an N-megapixel image provides only one-third of the information that an image of
the same size could get from a scanner. Thus, certain colour contrasts may look fuzzier than
others, depending on the allocation of the primary colours (green has twice as many elements
as red or blue in the Bayer arrangement).

Fig(16). Marking on a camera phone that has about 2 million effective pixels.
6.8 Pixel Densities of 8K.
Table(3). Pixel Density.
Name Vertical
Resolution
Horizontal
Resolution
Pixels
Full Aperture
8K
7680 4320 12,746,752
Academy 8K 3656 2664 9,739,584
Digital Cinema
8K
7680 4320 7,020,544
Digital Cinema
Aperture 8K
7680 4320 8,631,360

7. Structure of Colour Sepration.
1. Incident light is separated into four colour and divided in to
2. Two green, one red, and one blue (GGRB).
3. Three-sensor imaging system (RGB) used in commercial and broadcast video
cameras.
4. Prism for the four-sensor system can be made as small as the conventional RGB
prism.
Fig(17). Shows Colour separation prism
1080p resolutions for example.
1. Image resolution:
a) 2048*1080 pixels, referred to as 2K;
b) 7680*4320 pixels, referred to as 8K.
The 2K format provides resolution almost equivalent to current high-definition resolution,
while the 8K format, which has four times the resolution, provides digital images with quality
as good as the conventional 35-mm film.
2. Image colour reproduction and frame rate:
The image quantization depth is 12 b for each XYZ colours. The frame rate is the same 60
frames/s as is conventionally used for film. For the 2K format, however, a 48-frames/s mode
is specified to allow for other display styles, such as the 3-D display.

3. Image compressionmethod:
JEGP2000 produces a high-quality image without the block distortion that occurs with JPEG
or MPEG compression. An additional feature is that 2K resolution data can easily be
extracted from 8K-resolution data. The maximum bit rate is specified as 250 Mb/s, which
corresponds to about 200300 GB for a 2-h movie.
4. Audio signal:
48 r 96 kHz, 24 b, max. 16ch, no audio compression.
5. Subtitles:
The XML format is specified for subtitle data. Both image data for overlay and text data are
supported.
6. Data encryption:
The image and audio data are wrapped in a Material Exchange Format (MXF) and then
encrypted with the Advanced Encryption Standard (AES) cryptosystem (128 b, CBC mode).
The content is sent to theaters as a digital cinema package (DCP) that contains image, audio,
and subtitle data.
7. Decryption key distribution:
The encryption key, which is also used for decrypting the data, is encrypted by the RSA
cryptosystem of the theatre exhibition equipment with license period information. It is called
Key Delivery Message (KDM).
8. Digital watermarking:
To prevent content theft, the exhibition equipment must embed information that specifies the
exhibition time and place into the projected images as a digital watermark.

8. Devices.
8.1 TVs/Monitors
1. Sharp's 85" 8K LCD TV, 7680×4320 resolution - International Consumer
Electronics Show (CES) 2012 :-
Fig(18). shows Sharp's 85" 8K LCD TV, 7680×4320 resolution
If you aren’t ready for 4K TVs yet, you could wait a few more years for the next big thing—
8K. Rave comments were heard in front of Sharp’s latest prototype 8K display at the Ceatec
electronics expo outside Tokyo this week as the company tries to spark interest in the next
level of dazzling displays. The enormous 85-inch LCD display has a resolution of 7,680 by
4,320 pixels, which is 16 times that of standard HD TVs, and a frame frequency of 120 Hz.
The screen was showing eye-popping images of Dubai’s Burj Khalifa. Even close up, its tiny
individual pixels were very hard to see. While Sharp has been working on 8K prototypes for
years, it said its latest is the first to meet the so-called “BT.2020” standard for 8K resolution
and color gamut set by the International Telecommunications Union, which was approved in
June. Many consumers may still be unaware of the 4K TVs that have appeared at CES and
other technology trade shows in recent years. The U.S. Consumer Electronics Association
(CEA) predicts that shipments of 4K displays will reach 800,000 this year. “Certainly, the
bigger the screen gets, people would like to have high-resolution pictures,” Sharp

spokeswoman Miyuki Nakayama said about the 8K prototype, noting the company has no
plans for commercialization yet and the display is still in development.
2. Panasonic's 145" 8K Plasma Display, 7680×4320 resolution - Internationale
Funkausstellung Berlin (IFA) 2012:-
Fig(19). Shows Panasonic's 145" 8K Plasma Display, 7680×4320 resolution
Over in Japan, Panasonic has teamed up with Japanese broadcaster NHK to produce a 145-
inch, 8K resolution prototype plasma display. The super-sized TV is the world's first self-
illuminating Super Hi-Vision TV, meaning it doesn't require a backlight to light up your
entertainment. It also uses a new drive method that scans the pixels vertically to achieve a
uniform picture quality, eliminating high-resolution flicker. Currently there isn't any content
on hand to take full advantage of the super-high resolution: Hollywood is still struggling to
graduate from 1080p and 2K (2048 × 1080) resolutions to 4K (4096 × 2160). However NHK
has reportedly been experimenting with an 8K image sensor which can natively output to the
team's new prototype. The new drive method helps to keep the picture rock solid despite the
TV's massive size. NHK has reportedly been working on Super Hi-Vision (SHV) for a
number of years. Both Panasonic and NHK developed the monster TV to promote the
research and development of SHV, and plans to film the upcoming Olympics in this super hi-
def mode to show just how uber sharp and immersive the experience can be. The duo plans to
demo the new tech in Japan, the United States and the UK starting in May, showcasing
images and videos shot with the NHK 120 FPS 8K sensor. According to the specs, the
prototype measures 145-inches, or 1.8m (L) x 3.2m (H). The actual resolution is 7,680 x
4,320 while the frame rate resides at a solid at 60 FPS. The pixel pitch is 0.417-mm
horizontal, 0.417-mm vertical, the aspect ratio is 16:9 and the phosphor array is a RGB
vertical stripe. Panasonic stated on Friday that the new 145-inch Super Hi-Vision TV will
make an appearance at the Institute of Technology from May 24 to May 27, and at the SID
International Symposium international conference from June 3 to June 8. No other dates and
locations were provided.

3. LG's 98" 8K LCD TV, 7680×4320 resolution - Internationale Funkausstellung
Berlin (IFA) 2014:-
Fig(20). Shows LG's 98" 8K LCD TV, 7680×4320 resolution
At IFA 2014 in Berlin today, LG unveiled its latest effort in Ultra High Definition resolution,
a 98-inch 8K TV (7680 x 4320 pixels) boasting 16 times the resolution of a normal 1080p
HD resolution and four times that of the latest 4K sets that few people own yet.
That’s right: With consumers only beginning to get their heads wrapped around the notion of
4K Ultra HD TVs, and 4K content just beginning to come available, LG is pushing the edge
of the tech envelope in preparation of unleashing 8K resolutions on the masses in the not-too-
distant future. And that suits us just fine, because this TV is absolutely stunning to behold.
The level of detail this TV was producing is hard to overstate. Pixels were all but invisible
from as close at 6 inches, and completely invisible from 3 feet. The result is a picture that
comes as close to reality as we’ve ever seen, due in no small part to the sense of depth that is
created by the intense resolution. For the first time upon approaching a TV, we weren’t
entirely certain it wasn’t a framed work of art. After a few moments of watching moving
footage, we were sold. LG’s pride and joy is delicious eye candy, pure and simple.

4. Samsung's 110" 8K 3D LCD TV, 7680 × 4320 resolution - International
Consumer Electronics Show (CES) 2015:-
Fig(21). Shows Samsung's 110" 8K 3D LCD TV, 7680 × 4320 resolution
In showing its range of TV, Samsung unveiled a “big” (in all senses) surprise. Trai models
SUHD There is also a giant 110 “, equipped with an LCD panel with a resolution of 8K ,
7680 x 4320 pixels. Since the panel SUHD, there are the same basic features, first of all, the
technology Quantum Dot . Samsung has integrated a new video processor, able to operate an
effective upscaling of content, to bring them to the native resolution (in fact find material to
8K resolution is not exactly simple.) This remarkable concentration of technology integrates
another particularly important: is in fact able to view 3D content without the aid of glasses .
Unfortunately there are no details on the operation: in general, the 3D TV without glasses,
using parallax barriers, special lenses can reconstruct the 3D effect. The type of lenses, and
technologies used (eg cameras that analyze the user’s location in order to maximize the
effect), can differ significantly, contributing to a greater or lesser effectiveness of 3D (and
perceived resolution more or less high).
When the TV is a prototype, like all 8K shown to date. Samsung has given no indication of a
possible commercialization (which will be very difficult in the short term).

8.2 Cameras
1. AH-4800, a camera capable of recording in 8k resolution. Unveiled by Astro
Design on April 6, 2013:-
Astro Design, the Japanese camera manufacturer brand is the first one to announce the
camera with the 8K video recording capability. The 8K CAMERA HEAD AH-4800 from
Astro Design, is a heavy duty shooter which was introduced at the NAB 2013 show. The 8K
camera head comes with the 2.5-inch 33-million pixels single plate CMOS sensor, which was
developed by NHK Engineering System, Inc.
Fig(22). Shows AH-4800, a camera by Astro Design
Name Details
Active resolution 7680×4320
Lens mount PL mount
Output 12-channel parallel optical-fiber
Dimensions 125(W) x 125(H) x 150(D)mm
Weight 2kg

Table().Some of the details about the AH-4800
The camera is capable of capturing 8K UHD resolution at 60 fps. Although one might not be
able to judge how good this would function, it is the first of its kind and you have to
commend Astro Design for their try in getting an edge on this new technology that is
predicted to be a part of the daily stuff in a decade from now. After the early announcement
at the NAB 2013 show, the camera didn’t really show much appearance, and according to its
makers, the first tests are to be done in the year 2016, and well, by then we are going to see
some good screens which would be able to stream and portray this ultra high resolution
content.
There is going to be a Full HD electronic viewfinder in this camera, and the adjustment of
brightness, contrast, peaking with dedicated rotary switch can be performed well, flip screen,
full / under, mono: mug on / off, 2 times, smooth, marker, aspect sensor, select marker, mask,
back light, tally etc., and there are quite a lot more inbuilt functions, so the future with the 8K
realistic capturing is not far, and Astro Design is one of the first to doe something in the UHD
category. According to Astro Design, the processor and the camera head were two separate
parts initially, and it wasn’t easy easy to merge them, but they finally could do something and
the processor has been made into a form where it can be placed within the camera. The
adapter AC-4803 is built-in. There is a huge control panel which would take care of the
capturing and the processing of it, and that all isn’t a part of the camera. With the pace at
which things are happening, we are sure that the progress of AH-4800 would be faster and we
would get to know about things related to it, very soon.

Table(4). Some of the details about the AH-4800
9. High-Definition Resolution
High-definition resolution (HDTV) provides a resolution that is substantially higher than
that of standard-definition resolution.
HDTV may be transmitted in various formats:
 1080p: 1920×1080p: 2,073,600 pixels (~2.07 megapixels) per frame
 1080i: 1920×1080i: 1,036,800 pixels (~1.04 MP) per field or 2,073,600 pixels (~2.07
MP) per frame
 A non-standard CEA resolution exists in some countries such as 1440×1080i:
777,600 pixels (~0.78 MP) per field or 1,555,200 pixels (~1.56 MP) per frame
 720p: 1280×720p: 921,600 pixels (~0.92 MP) per frame
The letter "p" here stands for progressive scan while "i" indicates interlaced.
When transmitted at two megapixels per frame, HDTV provides about five times as many
pixels as SD (standard-definition resolution).
9.1 History
The term high definition once described a series of resolution systems originating from
August 1936; however, these systems were only high definition when compared to earlier
systems that were based on mechanical systems with as few as 30 lines of resolution. The
ongoing competition between companies and nations to create true "HDTV" spanned the
entire 20th century, as each new system became more HD than the last.
The British high-definition TV service started trials in August 1936 and a regular service on 2
November 1936 using both the (mechanical) Baird 240 line sequential scan (later to be
inaccurately rechristened 'progressive') and the (electronic) Marconi-EMI 405 line interlaced
systems. The Baird system was discontinued in February 1937.In 1938 France followed with
their own 441-line system, variants of which were also used by a number of other countries.
The US NTSC 525-line system joined in 1941. In 1949 France introduced an even higher-
resolution standard at 819 lines, a system that should have been high definition even by
today's standards, but was monochrome only and the technical limitations of the time
prevented it from achieving the definition of which it should have been capable. All of these
systems used interlacing and a 4:3 aspect ratio except the 240-line system which was
progressive (actually described at the time by the technically correct term "sequential") and
the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system
adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker
problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled
its frame rate but this would have meant that the transmitted signal would have doubled in

bandwidth, an unacceptable option as the video baseband bandwidth was required to be not
more than 3 MHz.
Colour broadcasts started at similarly higher resolutions, first with the US NTSC color
system in 1953, which was compatible with the earlier monochrome systems and therefore
had the same 525 lines of resolution. European standards did not follow until the 1960s, when
the PAL and SECAM color systems were added to the monochrome 625 line broadcasts.
The Nippon Hōsō Kyōkai (NHK, the Japan Broadcasting Corporation) began conducting
research to "unlock the fundamental mechanism of video and sound interactions with the five
human senses" in 1964, after the Tokyo Olympics. NHK set out to create an HDTV system
that ended up scoring much higher in subjective tests than NTSC's previously dubbed
"HDTV". This new system, NHK Color, created in 1972, included 1125 lines, a 5:3 aspect
ratio and 60 Hz refresh rate. The Society of Motion Picture and Resolution Engineers
(SMPTE), headed by Charles Ginsburg, became the testing and study authority for HDTV
technology in the international theater. SMPTE would test HDTV systems from different
companies from every conceivable perspective, but the problem of combining the different
formats plagued the technology for many years.
There were four major HDTV systems tested by SMPTE in the late 1970s, and in 1979 an
SMPTE study group released
A Study of High Definition Resolution Systems:
 EIA monochrome: 4:3 aspect ratio, 1023 lines, 60 Hz
 NHK color: 5:3 aspect ratio, 1125 lines, 60 Hz
 NHK monochrome: 4:3 aspect ratio, 2125 lines, n/a Hz. BBC colour: 8:3 aspect ratio,
1501 lines, n/a Hz
Since the formal adoption of digital video broadcasting's (DVB) widescreen HDTV
transmission modes in the early 2000s; the 525-line NTSC (and PAL-M) systems as well as
the European 625-line PAL and SECAM systems are now regarded as standard
definition resolution systems.
9.2 Analog systems
Early HDTV broadcasting used analog technology, but today it is transmitted digitally and
uses video compression.
In 1949, France started its transmissions with an 819 lines system (with 737 active lines). The
system was monochrome only, and was used only on VHF for the first French TV channel. It
was discontinued in 1983.
In 1958, the Soviet Union developed Тransformator (Russian: Трансформатор, meaning
Transformer), the first high-resolution (definition) resolution system capable of producing an
image composed of 1,125 lines of resolution aimed at providing teleconferencing for military

command. It was a research project and the system was never deployed by either the military
or consumer broadcasting.
In 1979, the Japanese state broadcaster NHK first developed consumer high-definition
resolution with a 5:3 display aspect ratio.The system, known as Hi-Vision or MUSE after its
Multiple sub-Nyquist sampling encoding for encoding the signal, required about twice the
bandwidth of the existing NTSC system but provided about four times the resolution
(1080i/1125 lines). Satellite test broadcasts started in 1989, with regular testing starting in
1991 and regular broadcasting of BS-9ch commencing on November 25, 1994, which
featured commercial and NHK programming.
In 1981, the MUSE system was demonstrated for the first time in the United States, using the
same 5:3 aspect ratio as the Japanese system.Upon visiting a demonstration of MUSE in
Washington, US President Ronald Reagan was impressed and officially declared it "a matter
of national interest" to introduce HDTV to the US.
Several systems were proposed as the new standard for the US, including the Japanese
MUSE system, but all were rejected by the FCC because of their higher bandwidth
requirements. At this time, the number of resolution channels was growing rapidly and
bandwidth was already a problem. A new standard had to be more efficient, needing less
bandwidth for HDTV than the existing NTSC.
9.3 Demise of analog HD systems
The limited standardization of analog HDTV in the 1990s did not lead to global HDTV
adoption as technical and economic constraints at the time did not permit HDTV to use
bandwidths greater than normal resolution.
Early HDTV commercial experiments such as NHK's MUSE required over four times the
bandwidth of a standard-definition broadcast. Despite efforts made to reduce analog HDTV
to about 2× the bandwidth of SDTV these resolution formats were still distributable only by
satellite.
In addition, recording and reproducing an HDTV signal was a significant technical challenge
in the early years of HDTV (Sony HDVS). Japan remained the only country with successful
public broadcasting of analog HDTV, with seven broadcasters sharing a single channel.
9.4 Rise of digital compression
Since 1972, International Telecommunication Union's radio telecommunications sector (ITU-
R) had been working on creating a global recommendation for Analog HDTV. These
recommendations however did not fit in the broadcasting bands which could reach home
users. The standardization of MPEG-1 in 1993 also led to the acceptance of recommendations
ITU-R BT.709.In anticipation of these standards the Digital Video Broadcasting (DVB)
organisation was formed, an alliance of broadcasters, consumer electronics manufacturers
and regulatory bodies. The DVB develops and agrees upon specifications which are formally
standardised by ETSI.

DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and
DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and
HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and
HDTV. Both ATSC and DVB were based on the MPEG-2 standard, although DVB systems
may also be used to transmit video using the newer and more efficient H.264/MPEG-4 AVC
compression standards. Common for all DVB standards is the use of highly efficient
modulation techniques for further reducing bandwidth, and foremost for reducing receiver-
hardware and antenna requirements.
In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-
R) set up a working party (IWP11/6) with the aim of setting a single international HDTV
standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world
already having split into two camps, 25/50 Hz and 30/60 Hz, largely due to the differences in
mains frequency. The IWP11/6 working party considered many views and throughout the
1980s served to encourage development in a number of video digital processing areas, not
least conversion between the two main frame/field rates using motion vectors, which led to
further developments in other areas. While a comprehensive HDTV standard was not in the
end established, agreement on the aspect ratio was achieved.
Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of
widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable
compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. An aspect
ratio of 16:9 was duly agreed upon at the first meeting of the IWP11/6 working party at the
BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R
Recommendation ITU-R BT.709-2 ("Rec. 709") includes the 16:9 aspect ratio, a specified
colorimetry, and the scan modes 1080i (1,080 actively interlaced lines of resolution) and
1080p (1,080 progressively scanned lines). The British Free view HD trials used MBAFF,
which contains both progressive and interlaced content in the same encoding.
It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports,
a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at
the ITU as an enhanced resolution format rather than a true HDTV format, and so was not
included, although 1920×1080i and 1280×720p systems for a range of frame and field rates
were defined by several US SMPTE standards.)
9.5 Inaugural HDTV broadcast in the United States
HDTV technology was introduced in the United States in the late 1980s and made official in
1993 by the Digital HDTV Grand Alliance, a group of resolution, electronic equipment,
communications companies consisting of AT&T Bell Labs, General Instrument, Philips,
Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of
HDTV at 199 sites in the United States was completed August 14, 1994.The first public
HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North
Carolina resolution station WRAL-HD began broadcasting from the existing tower of
WRAL-TV south-east of Raleigh, winning a race to be first with the HD Model Station in
Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV,
based out of the facilities of NBC owned and operated station WRC-TV.The American
Advanced Resolution Systems Committee (ATSC) HDTV system had its public launch on
October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space
on board the Space Shuttle Discovery.The signal was transmitted coast-to-coast, and was

seen by the public in science centers, and other public theaters specially equipped to receive
and display the broadcast.
9.6 European HDTV broadcasts
The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the
Italian broadcaster RAI used the HD-MAC and MUSE HDTV technologies to broadcast the
1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The
connection with Spain was made via the Olympus satellite link from Rome to Barcelona and
then with a fiber optic connection from Barcelona to Madrid. After some HDTV
transmissions in Europe the standard was abandoned in the mid-1990s.
The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080
launched the HD1 channel with the traditional Vienna New Year's Concert. Test
transmissions had been active since the IBC exhibition in September 2003, but the New
Year's Day broadcast marked the official launch of the HD1 channel, and the official start of
direct-to-home HDTV in Europe.
Euro1080, a division of the former and now bankrupt Belgian TV services company Alfa
cam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts
mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in
Europe. The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic,
musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling
schedule of 4 or 5 hours per day.
These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on
a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to
MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels
in Europe.
The number of European HD channels and viewers has risen steadily since the first HDTV
broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than
200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable
TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all
European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra
satellites).
In December 2009 the United Kingdom became the first European country to deploy high
definition content using the new DVB-T2 transmission standard, as specified in the Digital
TV Group (DTG) D-book, on digital terrestrial resolution.
The Free view HD service currently contains 10 HD channels (as of December 2013) and
was rolled out region by region across the UK in accordance with the digital switchover
process, finally being completed in October 2012. However, Free view HD is not the first
HDTV service over digital terrestrial resolution in Europe;
Italy's Rai HD channel started broadcasting in 1080i on April 24, 2008 using the DVB-T
transmission standard.

In October 2008 France deployed five high definition channels using DVB-T transmission
standard on digital terrestrial distribution.
9.7 Notation
HDTV broadcast systems are identified with three major parameters:
Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels,
for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied
from context and is omitted, as in the case of 720p and 1080p.
Scanning system is identified with the letter p for progressive scanning or i for interlaced
scanning.
Frame rate is identified as number of video frames per second. For interlaced systems the
number of frames per second should be specified, but it is not uncommon to see the field rate
incorrectly used instead.
If all three parameters are used, they are specified in the following form: [frame
size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning
system].[citation needed] Often, frame size or frame rate can be dropped if its value is
implied from context. In this case the remaining numeric parameter is specified first,
followed by the scanning system.
For example, 1920×1080p25 identifies progressive scanning format with 25 frames per
second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50
notation identifies interlaced scanning format with 25 frames (50 fields) per second, each
frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation
identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being
1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning
format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels
horizontally are implied.
50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much
wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days
of standard definition resolution, the fractional rates were often rounded up to whole
numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high
definition resolution supports both fractional and slightly different integer rates, therefore
strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost
universally called 60i, likewise 23.976p is called 24p.
For commercial naming of a product, the frame rate is often dropped and is implied from
context (e.g., a 1080i resolution set). A frame rate can also be specified without a resolution.
For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced
frames per second.
There is no single standard for HDTV color support. Colours are typically broadcast using a
(10-bits per channel) YUV color space but, depending on the underlying image generating
technologies of the receiver, are then subsequently converted to a RGB color space using
standardized algorithms. When transmitted directly through the Internet, the colours are
typically pre-converted to 8-bit RGB channels for additional storage savings with the

assumption that it will only be viewed only on a (sRGB) computer screen. As an added
benefit to the original broadcasters, the losses of the pre-conversion essentially make these
files unsuitable for professional TV re-broadcasting.
Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3,
or in EBU specification. The most common are noted below.
9.8 Display resolutions
Table(5). Shows Display Resolution.
At a minimum, HDTV has twice the linear resolution of standard-definition resolution
(SDTV), thus showing greater detail than either analog resolution or regular DVD. The
technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without
using letterboxing or anamorphic stretching, thus increasing the effective image resolution.
A very high resolution source may require more bandwidth than available in order to be
transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV
storage and transmission systems will distort the received picture, when compared to the
uncompressed source.
9.9 Standard frame or field rates
ATSC and DVB define the following frame rates for use with the various broadcast
standards:
 23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)

 24 Hz (international film and ATSC high-definition material)
 25 Hz (PAL film, DVB standard-definition and high-definition material)
 29.97 Hz (NTSC film and standard-definition material)
 30 Hz (NTSC film, ATSC high-definition material)
 50 Hz (DVB high-definition material)
 59.94 Hz (ATSC high-definition material)
 60 Hz (ATSC high-definition material)
The optimum format for a broadcast depends upon the type of videographic recording
medium used and the image's characteristics. For best fidelity to the source the transmitted
field ratio, lines, and frame rate should match those of the source.
PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition
resolution, not to digital or high definition broadcasts. However, with the roll out of digital
broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV
in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in
former NTSC countries operates at 30/60 Hz.
9.10 Types of media
Standard 35mm photographic film used for cinema projection has a much higher image
resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per
second (frame/s). To be shown on standard resolution, in PAL-system countries, cinema film
is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally
considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would
cause a perceptible speedup if the same were attempted, and the necessary correction is
performed by a technique called 3:2 Pull down: Over each successive pair of film frames, one
is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30
of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the
correct average film frame rate.
Non-cinematic HDTV video recordings intended for broadcast are typically recorded either
in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for
Internet distribution of high-definition video, because most computer monitors operate in
progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements
compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often
used on Blu-ray Disc.
9.11 Contemporary systems
In the US, residents in the line of sight of resolution station broadcast antennas can receive
free, over the air programming with a resolution set with an ATSC tuner (most sets sold since
2009 have this). This is achieved with a TV aerial, just as it has been since the 1940s except
now the major network signals are broadcast in high definition (ABC, Fox, and Ion
Resolution broadcast at 720p resolution; CBS, My Network TV, NBC, PBS, and The CW at
1080i). As their digital signals more efficiently use the broadcast channel, many broadcasters
are adding multiple channels to their signals. Laws about antennas were updated before the
change to digital terrestrial broadcasts. These new laws prohibit home owners associations
and city government from banning the installation of antennas.

Additionally, cable-ready TV sets can display HD content without using an external box.
They have a QAM tuner built-in and/or a card slot for inserting a Cable CARD.
High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital
cable, IPTV (including Google TV Roku boxes and Apple TV or built into "Smart
Resolutions"), Blu-ray video disc (BD), and internet downloads.
Sony's PlayStation 3 has extensive HD compatibility because of its built in Blu-ray disc
based player, so does Microsoft's Xbox 360 with the addition of Netflix and Windows Media
Center HTPC streaming capabilities, and the Zune marketplace where users can rent or
purchase digital HD content.[24] Recently, Nintendo released a next generation high
definition gaming platform, The Wii U, which includes TV remote control features in
addition to IPTV streaming features like Netflix. The HD capabilities of the consoles has
influenced some developers to port games from past consoles onto the PS3, Xbox 360 and
Wii U, often with remastered or up scaled graphics.
9.11 Recording and compression
HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS), W-VHS (analog only), to an
HDTV-capable digital video recorder (for example DirecTV's high-definition Digital video
recorder, Sky HD's set-top box, Dish Network's VIP 622 or VIP 722 high-definition Digital
video recorder receivers, or TiVo's Series 3 or HD recorders), or an HDTV-ready HTPC.
Some cable boxes are capable of receiving or recording two or more broadcasts at a time in
HDTV format, and HDTV programming, some included in the monthly cable service
subscription price, some for an additional fee, can be played back with the cable company's
on-demand feature.
The massive amount of data storage required to archive uncompressed streams meant that
inexpensive uncompressed storage options were not available to the consumer. In 2008 the
Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content
through component video inputs and stores the content in MPEG-2 format in a .ts file or in a
Blu-ray compatible format .m2ts file on the hard drive or DVD burner of a computer
connected to the PVR through a USB 2.0 interface. More recent systems are able to record a
broadcast high definition program in its 'as broadcast' format or transcode to a format more
compatible with Blu-ray.
Analog tape recorders with bandwidth capable of recording analog HD signals such as W-
VHS recorders are no longer produced for the consumer market and are both expensive and
scarce in the secondary market.
In the United States, as part of the FCC's plug and play agreement, cable companies are
required to provide customers who rent HD set-top boxes with a set-top box with "functional"
FireWire (IEEE 1394) upon request. None of the direct broadcast satellite providers have
offered this feature on any of their supported boxes, but some cable TVcompanies have. As
of July 2004, boxes are not included in the FCC mandate. This content is protected by
encryption known as 5C.This encryption can prevent duplication of content or simply limit
the number of copies permitted, thus effectively denying most if not all fair use of the
content.

9. Full High Defination Resolution
1080p (also known as Full HD or FHD and BT.709) is a set of HDTV high-definition video
modes characterized by 1080 horizontal lines of vertical resolution and progressive scan, as
opposed to interlaced, as is the case with the 1080i display standard. The term usually
assumes a widescreen aspect ratio of 16:9, implying a resolution of 1920x1080 (2.1
megapixel) often marketed as Full HD.
10.1 Broadcasting standards
Any display device that advertises 1080p typically refers to the ability to accept 1080p
signals in native resolution format, which means there are a true 1920 pixels in width and
1080 pixels in height, and the display is not over-scanning, under-scanning, or reinterpreting
the signal to a lower resolution. The HD ready 1080p logo program, by DIGITALEUROPE,
requires that certified TV sets support 1080p 24 fps, 1080p 50 fps, and 1080p 60 fps formats,
among other requirements, with fps meaning frames per second.
For live broadcast applications, a high-definition progressive scan format operating at 1080p
at 50 or 60 frames per second is currently being evaluated as a future standard for moving
picture acquisition.EBU has been endorsing 1080p50 as a future-proof production format
because it improves resolution and requires no deinterlacing, allows broadcasting of standard
1080i25 and 720p50 signal alongside 1080p50 even in the current infrastructure and is
compatible with DCI distribution formats.
1080p50/p60 production format will require a whole new range of studio equipment
including cameras, storage and editing systems,and contribution links (such as Dual-link HD-
SDI and 3G-SDI) as it has doubled the data rate of current 50 or 60 fields interlaced
1920x1080 from 1.485 Gbit/s to nominally 3 Gbit/s using uncompressed RGB encoding.
Most current revisions of SMPTE 372M, SMPTE 424M and EBU Tech 3299 require YCbCr
color space and 4:2:2 chroma subsampling for transmitting 1080p50 (nominally 2.08 Gbit/s)
and 1080p60 signal.
Recent studies show that for digital broadcasts compressed with H.264/AVC, transmission
bandwidth savings of interlaced video over fully progressive video are minimal even when
using twice the frame rate, i.e., 1080p50 signal (50 progressive frames per second) actually
produces the same bit rate as 1080i50 signal (25 interlaced frames or 50 sub-fields per
second).
10.2 ATSC
In the United States, the original ATSC standards for HDTV supported 1080p video, but only
at the frame rates of 23.976, 24, 25, 29.97 and 30 frames per second (colloquially known as
1080p24, 1080p25 and 1080p30).

In July 2008, the ATSC standards were amended to include H.264/MPEG-4 AVC
compression and 1080p at 50, 59.94 and 60 frames per second (1080p50 and 1080p60). Such
frame rates require H.264/AVC High Profile Level 4.2, while standard HDTV frame rates
only require Level 4.0.
This update is not expected to result in widespread availability of 1080p60 programming,
since most of the existing digital receivers in use would only be able to decode the older, less-
efficient MPEG-2 codec, and because there is a limited amount of bandwidth for
subchannels.
10.4 DVB
In Europe, 1080p25 signals have been supported by the DVB suite of broadcasting standards.
The 1080p50 is considered to be a future-proof production format and, eventually, a future
broadcasting format. 1080p50 broadcasting should require the same bandwidth as 1080i50
signal and only 15–20% more than that of 720p50 signal due to increased compression
efficiency, though 1080p50 production requires more bandwidth and/or more efficient codecs
such as JPEG 2000, high-bitrate MPEG-2, or H.264/AVC and HEVC.
From September 2009, ETSI and EBU, the maintainers of the DVB suite, added support for
1080p50 signal coded with MPEG-4 AVC High Profile Level 4.2 with Scalable Video
Coding extensions or VC-1 Advanced Profile compression; DVB also supports 1080p
encoded at ATSC frame rates of 23.976, 24, 29.97, 30, 59.94 and 60.
EBU requires that legacy MPEG-4 AVC decoders should avoid crashing in the presence of
SVC and/or 1080p50 (and higher resolution) packets. SVC enables forward compatibility
with 1080p50 and 1080p60 broadcasting for older MPEG-4 AVC receivers, so they will only
recognize baseline SVC stream coded at a lower resolution or frame rate (such as 720p60 or
1080i60) and will gracefully ignore additional packets, while newer hardware will be able to
decode full-resolution signal (such as 1080p60).
10.5 Availability
Broadcasts
In the United States, 1080p over-the-air broadcasts still do not exist as of March 2015; all
major networks use either 720p60 or 1080i60 encoded with MPEG-2. However, satellite
services (e.g., DirecTV, XstreamHD and Dish Network) utilize the 1080p/24-30 format with
MPEG-4 AVC/H.264 encoding for pay-per-view movies that are downloaded in advance via
satellite or on-demand via broadband. At this time, no pay service channel such as USA,
HDNET, etc. nor premium movie channel such as HBO, etc., stream their services live to
their distributors (MVPD) in this format because many MVPDs, especially DBS and cable,
do not have sufficient bandwidth to provide the format streaming live to their subscribers
without negatively impacting their current services. In addition is the high "cost" of using
more bandwidth for one 1080p/24 channel than that necessary for a 1080i or even a 720p
channel and for only those relatively few subscribers who have HDTV devices that can
display 1080p/24 being an efficient use of their limited bandwidth.

For material that originates from a progressive scanned 24 frame/s source (such as film),
MPEG-2 lets the video be coded as 1080p24, irrespective of the final output format. These
progressively-coded frames are tagged with metadata (literally, fields of the PICTURE
header) instructing a decoder how to perform a 3:2 pull down to interlace them. While the
formal output of the MPEG-2 decoding process from such stations is 1080i60, the actual
content is coded as 1080p24 and can be viewed as such (using a process known as inverse
telecine) since no information is lost even when the broadcaster performs the 3:2 pull down.
Blu-ray Disc
Blu-ray Discs are able to hold 1080p HD content, and most movies released on Blu-ray Disc
produce a full 1080p HD picture when the player is connected to a 1080p HDTV via an
HDMI cable. The Blu-ray Disc video specification allows encoding of 1080p23.976,
1080p24, 1080i50, and 1080i59.94. Generally this type of video runs at 30 to 40 megabits per
second, compared to the 3.5 megabits per second for conventional standard definition
broadcasts.
Smart phones
Smart phones with 1080p Full HD display have been available on the market since 2012. As
of the end of 2014 it is the standard for mid to high end smart phones and many of the
flagship devices of 2014 used even higher resolutions.
Consumer televisions and projectors
As of 2012, most consumer televisions being sold provide 1080p inputs, mainly via HDMI,
and support full high-definition resolutions. 1080p resolution is available in all types of
television, including plasma, LCD, DLP front and rear projection and LCD projection.
For displaying film-based 1080i60 signals, a scheme called 3:2 pull down reversal (reverse
telecine) is beginning to apper in some newer 1080p displays, which can produce a true
1080p quality image from film-based 1080i60 programs. Similarly, 25fps content broadcast
at 1080i50 may be deinterlaced to 1080p content with no loss of quality or resolution.
AV equipment manufacturers have adopted the term Full HD to mean a set can display all
available HD resolutions up to 1080p. The term is misleading, however, because it does not
guarantee the set is capable of rendering digital video at all frame rates encoded in source
files with 1080 pixel vertical resolution. Most notably, a "Full HD" set is not guaranteed to
support the 1080p24 format, leading to consumer confusion.
Digital Europe (formerly EICTA) maintains the HD ready 1080p logo program that requires
the certified TV sets to support 1080p24, 1080p50, and 1080p60, without over scan/under
scan and picture distortion.
10.4 Computer monitors
Most widescreen cathode ray tube (CRT) and liquid crystal display (LCD) monitors can
natively display 1080p content. For example, widescreen WUXGA monitors support
1920x1200 resolution, which can display a pixel for pixel reproduction of the 1080p

(1920x1080) format. Additionally, many 23, 24, and 27-inch (690 mm) widescreen LCD
monitors use 1920x1200 as their native resolution; 30 inch displays can display beyond
1080p at up to 2560x1600 (1600p). Many 27" monitors have native resolutions of 2560x1440
and hence operate at 1440p.
10.4 Camcorders and cameras
Many consumer camcorders, professional video and DSLR cameras, and smart phones can
capture 1080p24, 1080p25, or 1080p30 video, often encoding it in progressive segmented
frame format.
10.5 Video game consoles
Video game consoles such as Sony's PlayStation 3, Microsoft's Xbox 360 and Nintendo's Wii
U, as well as micro consoles like OUYA, Game Stick and Nvidia Shield can display up
scaled games and video content in 1080p, although the vast majority of games are rendered at
lower resolutions. For all of the consoles, this is done through HDMI connections (in the
case of the Xbox 360, HDMI is only available on consoles manufactured after June 2007).
Additionally, the up scaled 1080p video is available on the PlayStation 3 and Xbox 360 via
an analog component/D-Terminal (YPBPR) connection,†‡ as well as the VGA connection on
the Xbox 360. On the PlayStation 3, developers must provide specific resolution support at
the software level as there is no hardware up scaling support, whereas on the Xbox 360
games can be up scaled using a built in hardware scaler chip. However, most games on both
consoles do not run at a native 1080p resolution.
The Wii U, PlayStation 3, and Xbox 360 provide 1080p video services. Sony provides both
the PlayStation Store VOD service and Blu-ray Disc playback. Microsoft provides the Zune
Video Marketplace for "instant on" 1080p† video content but does not have Blu-ray disc
playback capability. It does however support the now-defunct HD DVD disc standard via the
Xbox 360 HD DVD Player add-on. Both consoles also offer support for streaming 1080p
content in various formats over home network from other computers, and also via USB
connection to external storage devices.
11. 2K resolution
2K resolution is a generic term for display devices or content having horizontal resolution on
the order of 2,000 pixels.
In the movie projection industry, Digital Cinema Initiatives is the dominant standard for 2K
output. In the digital film production chain, a resolution of 2048x1556 is often used for
acquiring “open gate” or anamorphic input material, a resolution based on the historical
resolution of scanned super 35mm film.
12. 4K resolution
4K resolution, also called 4K, refers to a display device or content having horizontal
resolution on the order of 4,000 pixels. Several 4K resolutions exist in the fields of digital

television and digital cinematography. In the movie projection industry, Digital Cinema
Initiatives (DCI) is the dominant 4K standard.
4K has become the common name for ultra-high-definition television (UHDTV), although its
resolution is only 3840 x 2160 (at a 16:9, or 1.78:1 aspect ratio), which is lower than the
movie projection industry standard of 4096 x 2160 (at a 19:10 or 1.9:1 aspect ratio).
The use of width to characterize the overall resolution marks a switch from the previous
generation, high definition television, which categorized media according to the vertical
dimension instead, such as 720p or 1080p. Under the previous convention, a 4K UHDTV
would be equivalent to 2160p.
YouTube and the television industry have adopted Ultra HD as its 4K standard. As of 2014,
4K content from major television networks remains limited. On April 11, 2013, Bulb TV
created by Canadian serial entrepreneur Evan Kosiner became the first broadcaster to provide
a 4K linear channel and VOD content to cable and satellite companies in North America. The
channel is licensed by the Canadian Radio-Television and Telecommunications Commission
to provide educational content. However, 4K content is becoming more widely available
online including on YouTube, Netflix and Amazon. As of 2013, some UHDTV models were
available to general consumers in the range of US$1500.
12.1 History
The first commercially available 4K camera for cinematographic purposes was the Dalsa
Origin, released in 2003.YouTube began supporting 4K for video uploads in 2010.Users
could view 4K video by selecting "Original" from the quality settings until December 2013,
when the 2160p option appeared in the quality menu. In November 2013, YouTube started to
use the VP9 video compression standard, saying that it was more suitable for 4K than High
Efficiency Video Coding (HEVC); VP9 is being developed by Google, which owns
YouTube.
The projection of films at 4K resolution at cinemas began in 2011.Sony was offering 4K
projectors as early as 2004.The first 4K home theater projector was released by Sony in 2012.
In February 2014, HIGH TV (High 4K) Launched the first Ultra HD, 24/7 General
Entertainment TV Channel available Worldwide. The channel was the first of its kind and
featured a unique mix of Entertainment, Lifestyle, Extreme Sport, Movies and everything in
Ultra HD Quality, with 200 Hours of New Content each year. High 4K Team already
distribute the channel to Pay TV Operators, IPTV, Mobile, Web TV, etc, as well as distribute
the 4K content worldwide.
Sony is one of the leading studios promoting UHDTV content, as of 2013 offering a little
over 70 movie and television titles via digital download to a specialized player that stores and
decodes the video. The large files (~40GB), distributed through consumer broadband
connections, raise concerns about data caps.
In 2014, Netflix began streaming House of Cards, Breaking Bad and "some nature
documentaries" at 4K to compatible televisions with an HEVC decoder. Most 4K televisions
sold in 2013 did not natively support HEVC, with most major manufacturers announcing

support in 2014. Amazon Studios began shooting their full-length original series and new
pilots with 4K resolution in 2014.
In early 2014, adult sites started offering 4K video content.
12.2 Resolutions
Ultra HD
UHD is a resolution of 3840 pixels × 2160 lines (8.3 megapixels, aspect ratio 16:9) and is one
of the two resolutions of ultra high definition television targeted towards consumer television,
the other being FUHD which is 7680 pixels × 4320 lines (33.2 megapixels). UHD has twice
the horizontal and vertical resolution of the 1080p HDTV format, with four times as many
pixels overall.
Televisions capable of displaying 4K resolutions are seen by consumer electronics companies
as the next trigger for an upgrade cycle due to a lack of consumer interest in 3D television.
Digital cinema
The Digital Cinema Initiatives consortium established a standard resolution of 4096 pixels ×
2160 lines (8.8 megapixels, aspect ratio ~17:9) for 4K film projection. This is the native
resolution for DCI-compliant 4K digital projectors and monitors; pixels are cropped from the
top or sides depending on the aspect ratio of the content being projected. The DCI 4K
standard has twice the horizontal and vertical resolution of DCI 2K, with four times as many
pixels overall. DCI 4K does not conform to the standard 1080p Full HD aspect ratio (16:9),
so it is not a multiple of the 1080p display.
4K digital films may be produced, scanned, or stored in a number of other resolutions
depending on what storage aspect ratio is used. In the digital film production chain, a
resolution of 4096 × 3112 is often used for acquiring "open gate" or anamorphic input
material, a resolution based on the historical resolution of scanned Super 35mm film.
Streaming video
YouTube, since 2010,and Vimeo allow a maximum upload resolution of 4096 × 3072 pixels
(12.6 megapixels, aspect ratio 4:3).Both YouTube and Vimeo's 4k content is currently limited
to mostly nature documentaries and tech coverage. This is expected to grow as 4k adoption
increases. High Efficiency Video Coding should allow the streaming of content with a 4K
resolution with a bandwidth of between 20 to 30 Mbps.VP9 is also being developed for 4k
streaming.

13 Conclusion
1. Development of the SHD imaging system: replacement of film cinema with digital
camera.
2. Digital Cinema: a). will utilize movie content delivery via optical networks soon.
b). needs only bulk file transfer.
3. ODS: utilizes the networks for real time data transfer.
4. One way streaming.
5. A need to reduce the transmission latency while preserving 8k/2k flexibility and
stability.

14. References
1. Robert Silva. "8K Resolution - Definition and Explanation of 8K Video Resolution".
About.com. Retrieved February 12, 2014.
2. Johnson, Luke. "Toshiba suggests 4K TVs will be mainstream by 2017". Trusted
Reviews. Retrieved April 3, 2014.
3. Roy Furchgott. "Why You Don't Need a 4K TV". The New York Times. Retrieved
February 2, 2015
4. Bloom, Phillip. "From Chicago to the Moon: The power of 4K resolution and how to
make it work for you creatively". Retrieved April 3, 2014.
5. Marine, Joe. "NHK Has Finally Shrunk Their 8K Resolution Camera, but How Close
Are We to Shooting in 8K?". No Film School. Retrieved April 3, 2014.
6. "MHL Consortium Announces super MHL – the First Audio/Video Specification
With Support Up to 8K". Yahoo Finance. January 6, 2015. Retrieved January 10,
2015.
7. Ryan Smith (January 6, 2015). "MHL Consortium Announces super MHL: New
Standard & New Cable To Drive 8K TV". Anand Tech. Retrieved January 10, 2015.
8. "Introducing super MHL". MHL. Retrieved January 10, 2015.
9. Rob Sabin (December 20, 2011). "Home Theater: Hollywood, The 4K Way".
HomeTheater.com Ultimate Tech. Source Interlink Media. Retrieved February 24,
2013.
10. Lawrence of Arabia on Blu-ray Later This Year. Blu-rayDefinition.com (June 12,
2012).
11. "'To Space & Back' latest Planetarium feature". Philadelphia Tribune (Google Cache).
Retrieved May 14, 2013.
12. Shilov, Anton. "NHK Shows World’s First 8K Movie at Cannes Film Festival.". X
Bit Labs. Retrieved April 3, 2014.
13. Grabham, Dan. "Super Hi-Vision: the future of TV that's 16x HD". Tech Radar.
Retrieved April 3, 2014.
14. Singal, Nidhi. "CES 2013: Sharp showcases world's first 8K TV". Business Today.
Retrieved April 3, 2014.
15. "CES 2013: Sharp Demoes Double-UHD (8K) Set, Two 4K Sets, 21 New Aquos 3D
Smart TVs". http://www.dailytech.com/.
16. "High Efficiency Video Coding". Motion Pictures Experts Group. Retrieved
December 10, 2013.

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