tokyo f1 video test results 2013/1/31 ve project office sony corp. 2013/2/10sony confidential1

Tokyo F1 Video Test results2013/1/31

VE Project OfficeSony Corp.

2013/2/10 Sony Confidential 1

Table of contents

• Introduction• Viewing Session Attendance• SPE Test Reel Content• Test Environment• Bitrate comparions• Comments• Conclusion


Introduction• SPE compiled a 4K Test Reel to evaluate 4K encoding picture quality. • SPE provided encode results from eyeIO as their encoding vendor of

choice.• SPE commented that avg 25Mbps would be minimum acceptable level,

and would not necessarily object to a higher bitrate. • F1 Tokyo reviewed the encode results to determine the commercial

operation bitrate, as it would need to be finalized to fix F1 Box internal HDD size and HDD duplication manufacturing equipment investment, etc.

• The following were factored into the decision:– Member feedback (including SPE feedback)– F1 Box implementation– Service operation– Marketing


Viewing Session Attendance• F1 PJ Leader: Matsumoto, Yoshinori <[email protected]>; • Contributor: Yanagihara, Naofumi <[email protected]>; • Contributor: Tokukura, Yasuyuki <[email protected]>; • MK: Okuda, Toshifumi (HEGP) <[email protected]>; • MK: Nagao, Kazuyoshi (HEGP) <[email protected]>;• Ando, Yuji (ITDD) <[email protected]>;• Kouno, Masakazu <[email protected]>;• Hattori, Shinobu <[email protected]>; • Yonemitsu, Jun <[email protected]>; • Kikuchi, Toru <[email protected]>; • Suzuki, Ippei <[email protected]>;• Fujiwara, Masahiro <[email protected]>;• Shinohara, Hiro (AUV) <[email protected]>; • Katsumata, Nobuko (3DBD) <[email protected]>; • Koizumi, Masahiko (3DBD) <[email protected]>;• Takahashi, Kuni <[email protected]>


The following list does not cover all members that attended the sessions. 5+ viewing sessions were arranged to accommodate as many members as possible.

SPE Test Reel contentSource Notes

1 Eldorado F65

2 Lawrence of Arabia 65mm film

3 Moneyball 35mm film

4 Taylor Swift F65

5 The Amazing Spiderman Red Epic CG VFX 2-3K rendering.

6 On the Waterfront 35mm film Black & white. Extreme film grain

7 Taxi Driver 35mm film

8 That’s my boy Red Epic

9 Bad Teacher 35mm film

10 Color Bar/Ramp


Note: Given the limited 1 hour viewing session time slots, selected the above 4 sequences in red, to represent, F65, Red Epic, 65mm, 35mm.

Test environment (TV)TV

Organization (Name) ITDD/VTDModel 84X9000Resolution QHDSize 84'

Settings (Cinema mode, color temp etc)

Cinema1: Default with following changes　　 Reality　 Creation　　　 Resolution　：　 10 (default 20）　　　 Noise Filtering　：　0（ default 20）

Wide color gamut capability 709Evaluation Distance from TV 1.5xHeightLightning condition indirect lighting on a dimmer


Note: Viewers often approached the display to view the content at closer than 1.5xHeight.

Test environment (PC player)


4K PC PlayerOrganization ITDD/VTD

Type (Phase0, SKZ etc) SKZ PC

CPU

Intel Core-i7 [email protected]: 64bit OSMemory 8GB

OS Windows7 Ultimate SP1

Gfx BoardAMD RadeonHD7750 seriesDriver 8.980.0.0

Gfx Board Settings (e.g. Output format: YUV or RGB, Full/Limited)

Output format: RGB full

MotherBoard ASUS P8H61-MX

Player Software, VersionMPC-HCVersion1.6.2.4902(64bit)

Player Settings RGB

Interface (HDMI, DVI, Verion etc) HDMI

Test environment (UDR)

4K FrameMemoryOrganization ITDD/VTDType UDR

Player Settings(Output format: RGB/YUV etc) YUV422

Input File Format (DPX, TIFF, IMF etc) YUV420 plane Format

bit depth (8bit, 10bit etc) 8bitcolor primaries (709, DCI-P3 etc) 709Full / Limited (QT range) LimitedInterface (HDMI, DVI, Version etc) SDI x 4 --> HDMI


IMF converted with Remaster Suite Tool.UDR playback was used when viewing the content with A-B loop playlist.

Bit rate comparisonsBitrate Encoder Playback Device

A Avg 25MbpsPeak 50Mbps

EyeIO UDRPC player

B Avg 50MbpsPeak 100Mbps

EyeIO UDRPC player

C Source (IMF) J2K UDR

D 2K BD SPICA upconvAvg 30MbpsPeak 40Mbps

Blu-code PS3

The above A, B, C, D were shown in sequence with UDR for the following:• El Dorado• Lawrence of Arabia• The Amazing Spiderman• Bad TeacherPC player was only used when viewing the complete Test Reel with no A-B loop.No blind tests were performed.

CommentsMember

Comments (JP) Comments (EN)

Yanagihara (Contributor)

25Mbpsはやはりグレイン感を中心に違和感がある。 50Mbpsではグレインの改善は見られるものの原画レベルまでは行っていない。問題のあるシーンを改善できれば受け入れられる気もするが、もう少し上げたほうが安心かも。という感想です。

• 25Mbps does not feel natural, especially the grain noise .

• 50Mbps has improvements in the grain noise, but is still not close to the source.

• If improvements are made to the problematic scenes it may be acceptable, but it may feel safer to increase the bitrate a little more.

Tokukura (Contributor)

やはり原画からの劣化状況並びに 4k画質の訴求の観点から見て、 25Mbpsでのエンコードは画質的に厳しいと感じています。また、 50Mbpsのコンテンツでも確認をさせて頂きましたが、コンテンツの内容で期待値通りの結果になっていない部分もあるものの、 25Mbpsからの改善が少ないシーンもあり、厳しい部分があるのかと思います。以上の事より、やはり最初のソニーが実施する配信サービスとしては、今回の 50Mbpsの品質では厳しく、更に品質をあげるべく 100Mbps程度を目指すべきでは無いかと思います。勿論、総合的に判断を実施する事になるかと思いますが、まずは画質の観点にフォーカスした結果として、フィードバックをさせて頂きます

• Seeing the degradation from the original source, and from the perspective of pushing 4K picture quality, 25Mbps is difficult for picture quality.

• Viewed 50Mbps, but depending on the content, the quality was not as good as I hoped. There were scenes with not much improvement over 25Mbps, and it may be difficult (to push for picture quality) even at 50Mpbs.

• Given the above, for the first 4K distribution service that Sony is delivering , the current 50Mbps quality is difficult, and believe we should target even higher quality maybe at around 100Mbps.

• My feedback is based solely on the perspective of picture quality, however, the decision should be made overall taking other factors in consideration,.


CommentsMember Comments (JP) Comments (EN)

Okuda デモに基づいて“ 50Mbpsでは BD Up-Conの方が良く見える、よって 100Mbpsレベルがユーザー視点で必要ではないか”、言い換えれば 50Mbpsレベルでは4K Nativeは“売れない”ということです。タイトル数より価値のある 4Kを届けるべき

• Based on the demo, at 50Mbps, the BD Up-con looks better. Therefore, from a user’s perspective picture quality at 100Mbps may be necessary. In other words, at 50Mbps quality, 4K Native will not sell.

• For this service, delivering meaningful 4K is more important than the number of titles.

Nagao 25Mbpsは 4K画質というレベルに達していないと感じました。また、 50Mbpsでも期待したレベルの改善に至っていないと感じました。ESTを主体としたコンテンツ販売としてお客様が価値を見出すためにはそれなりに納得していただける品質の提供が必須で、50Mbpsは最低限必要ではと思います。

• Do not feel that 25Mbps is at the level of 4K picture quality.

• 50Mbps does not show as much improvement as I hoped for.

• For contents delivery mainly based on EST, we need to provide quality that users will see value in, and feel that a minimum of 50Mbps would be necessary.

Kuni 他「 4K」サービスとの差異化、画質、とんがったソニーというメッセージを届けたいマーケ的な側面で 50Mbs以上で：・平均 100Mbpsは CDNコスト、ダウンロード時間、decryptしながらのファイルの再生ビットレート制約等から厳しい。・上げる中でも avg 75Mbps, peak 100Mbpsが限界かと思います。

• To differentiate from other “4K” services; e.g. Netflix streaming, 4K SAT, should deliver a pointed Sony image; e.g. Sony has gone “crazy” and not compromised picture quality, to differentiate from others.

• For marketing need more than 50Mbps:• Realistically, avg 100Mbps (BD-ROM avg 25Mbps x

4 is what users expect) is too high given CDN cost, DL time, F1 box decrypt and playback limitations.

• Max possible maybe avg 75/peak 100Mbps.


Conclusion• The following were factored into the bitrate decision:

– Member feedback (including SPE feedback)– F1 Box implementation– Service operation– Marketing

• Matsumoto-san’s (F1 Pj Leader) Conclusion:– 50Mbps or higher. Assumed bitrate is avg. 75Mbps

• Note: – Following this conclusion, F2F meetings in US (week of Feb 4) with SNEI/SEL/SPE/Tokyo

lead to further bitrate feasibility discussions. Bitrate discussions are continuing. – F1 Box HDD size, duplicator equipment investment decisions may be fixed based on

other factors; i.e. bitrate finalization date may be extended. – SPE indicated that bitrate assignments for each film clip within the test reel widely varied

depending on the content characteristics. SPE to provide further encode results so that avg/peak bitrates can be more accurately determined for each type of content.


tokyo f1 video test results 2013/1/31 ve project office sony corp. 2013/2/10sony confidential1

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