1. 4k Theoretical Discussion
What content is 4k?
“Mastered in 4k” Blu-ray
Digital Cinema Cameras
Differentiating 4k from HD

2. Sony Pictures Confidential
Defining 4k
9/19/2018
Sony Pictures Confidential

3. 4k Files Finish in 4k 4k Digital Cinema Downscale to 2k Finish in 2k
Sony F65 – shoot in 4k
Downscale to 2k
Finish in 2k
Master in HD
Blu-ray
“Mastered in 4k”
Scan in 4k
2k Digital Cinema
Shoot on film
Film Scanner
Scan in 2k
Master in HD
Blu-ray
Film in Archive
2k Files
Finish in 2k
2k Digital Cinema
Sony F35 – shoot in HD

4. Digital Cinema Cameras
9/19/2018
Sony Pictures Confidential

5. HD and 2k Cameras

6. 4k Cameras Pixel count: G=4096, B=2048, R=2048

7. Sony Pictures Confidential
4k or not?
Pixel count: G=2240, B=1120, R=1120
Unconfirmed pixel count: G=2048, B=1024, R=1024
Sony F55
23.6mm x 13.3mm
9/19/2018
Sony Pictures Confidential

8. Sony Pictures Confidential
Making 4k better than HD
9/19/2018
Sony Pictures Confidential

9. Differentiating 4k from HD
Higher resolution alone is not enough, 4k has to be differentiated from HD in four ways:
Higher resolution
Greater bit depth
10-12 bits vs. 8 bits
Higher dynamic range
Better shadows and highlights
Wider color gamut
Display more colors TV
Best viewing distance
Sofa 8’ from screen
24” Standard Def 8’
Ideal
65” High Def
85” 4k 5’
Could sit closer
130” 4k
9/19/2018
Sony Pictures Confidential

10. Sony Pictures Confidential
xvYCC color for 4k and HD
9/19/2018
Sony Pictures Confidential

11. Sony Pictures Confidential
xvYCC Color
Background:
xvYCC is a color space that supports a gamut larger than the color space of HDTV which is called Rec 709
xvYCC was proposed by Sony and published in January 2006 as an IEC standard
xvYCC makes use of code values that are not defined in Rec 709
The Bravia XBR8 supported xvYCC but the feature was removed in later models
Blu-ray discs mastered in xvYCC will be watched by many consumers on TVs that do not support xvYCC
Blu-ray players will not convert from xvYCC to Rec 709
The way that a Rec 709 TV displays xvYCC code values undefined in Rec 709 is also not defined
No way of knowing what other manufacturer’s sets will do
Care has to be taken when mastering xvYCC content to ensure it looks good when displayed on a Rec 709 TV
9/19/2018
Sony Pictures Confidential

12. Sony Pictures Confidential
Mastering xvYCC
QC on xvYCC display
BD Master P3
Transform
& Color Correction
xvYCC
Master
QC on Rec 709 display
Notes:
P3 is the color space for digital cinema and all theatrical content is mastered in P3
Rec 709 is the standard color space for HDTV
The xvYCC color space is larger than Rec 709 but smaller than P3
Transform
Rec 709 Master
QC on Rec 709 display
iTunes Master
9/19/2018
Sony Pictures Confidential

13. Tactical Discussion: Creating more 4k content
New movies and TV
Restorations
9/19/2018
Sony Pictures Confidential

14. Sony Pictures Confidential
Creating New 4k Content
Shoot in 4k
Finish in 4k
Obstacles:
Arri Alexa 2k camera is very popular with film makers and TV producers
Significantly more data to unload from card, store and transfer
High cost of memory cards for Sony F65 4k camera
F65 is not a finished product
Red Epic does not look as good as Alexa or F65
Obstacles:
Most post houses cannot display 4k
Not all finishing systems can handle 4k
HD TV workflows are established and time critical – finishing in 4k will be incremental
Effects in 4k
Rendering in 4k will take 4x as long as rendering in 2k
Some effects can take 100 hours per frame to render just in 2k
Can render in 2k, and up scale to 4k
Can render in more than 2k but less than 4k and up scale to 4k
9/19/2018
Sony Pictures Confidential

15. Sony Pictures Confidential
4k Restorations
Can restore anything shot on 35mm or 65/70mm film in 4k
Decreasing number of titles shot on film in last 10 years
All SPE restorations* were scanned in 4k but many were finished in 2k
Dirt and scratch fixes done in 2k have to be repeated in 4k
Some studios have restored a number of titles in 4k
Many 4k restorations done at Colorworks or Warner Bros’ MPI facility
Not a large number of titles
Further review needed in order to determine which library titles are suitable for 4k restoration
9/19/2018
Sony Pictures Confidential
*Not all re-mastering is a restoration

16. Content protection for 4k
Studios’ Viewpoint
HDMI Link
DRM
9/19/2018
Sony Pictures Confidential

17. Sony Pictures Confidential
Starting Point
4k in the home is being driven by CE.
Studios show little interest in releasing 4k to the home.
Studios can and will likely wait for an enhanced content protection system before releasing 4k premium content.
Enhanced content protection debate has already started in Ultraviolet
Studios want enhanced content protection for HD
Implementers have proposed it for 4k, early window and 3D
Blu-ray was different. Both CE and studios wanted HD discs therefore compromises were made.
9/19/2018
Sony Pictures Confidential

18. Content Protection Overview
DRM
Link Protection – Last six feet
Protecting the content from the service provider all the way to the video buffers
Ultraviolet has 5 DRMs for improved interoperability
Today’s DRMs rely on renewable components to respond to security breaches
E.g. Adobe Flash player updates
Most DRMs today are “hack one, hack all”
When the DRM is compromised, all titles published to date are exposed
HDCP over HDMI interface
HDCP 1.x is compromised
HDCP 2.1 is much more secure
Sony 4k products only have HDCP 1.x
DTCP-IP
Link protection for DNLA
Not all Sony products with DNLA have DTCP-IP (that means there is no premium content over DNLA)
Some studios do not believe DTCP robustness requirements are good enough.
9/19/2018
Sony Pictures Confidential

19. HDCP Link Protection HDCP 1.4 HDCP 2.1
HDCP 1.0 published in 2003
56-bit proprietary encryption algorithm
Key generation algorithm secrets were reverse engineered so device keys can be generated by anyone
HDCP has no response for that scenario
HDCP 2.0 published in 2008, HDCP 2.1 published in 2011
HDCP 2.1 has higher robustness requirements that HDCP 1.4
128-bit AES standard encryption
New security model, not vulnerable to same attack as HDCP 1.4
Studios will require HDCP 2.1 for 4k content.
Sony 4k TVs only support HDCP 1.4.
9/19/2018
Sony Pictures Confidential

20. AACS – Blu-ray’s Content Protection
Design started in 2002
Sony, Panasonic, Toshiba, Intel, Microsoft, IBM, Disney, Warner Bros
Different security models for CE and IT
Unique device certificates for hardware BD players because CE did not want to have to download new firmware
Shared device certificates for software BD players because cannot securely incorporate unique device certificates in software players
Response to a security breach is to revoke compromised device certificates
High definition analog outputs were permitted
Studios did not want analog outputs because analog outputs cannot be protected
CE needed to accommodate a legacy of several million HD TVs without digital inputs
Compromise was HD analog sunset in December 2010
Fox disliked AACS so much they introduced BD+
9/19/2018
Sony Pictures Confidential

21. AACS – Breach Management
Breach response is to revoke compromised certificates so that they cannot be used to play AACS content
When a device certificate compromised all Blu-ray discs mastered until that certificate is revoked can be ripped.
This is “hack one, hack all”
Revocation takes 3-6 months including due process for licensee
Revocation only protects discs mastered after the certificate was revoked
If a software player certificate is revoked consumers will have to update software players in order to play new discs.
If a hardware player certificate is revoked the player is bricked (since CE did not want to support renewability)
Makers of commercial ripping software obfuscate the certificates they are using making it very difficult to know which certificate to revoke
Some commercial ripping software is SaaS
Revocation only works at all until someone figures out how to hack a hardware player
When that happens AACS revokes the player certificate, pirate buys a new player, repeat
9/19/2018
Sony Pictures Confidential

22. What do we learn from AACS?
What it means for 4k
Legacy HDTVs with only analog outputs were accommodated only because all parties wanted HD discs.
“Hack one, hack all” has to be avoided.
Compromised certificates came from weak software implementations
Revocation does not work: too slow, cannot always tell which certificates to revoke, has an epic fail scenario.
Since studios aren’t in a hurry for 4k they are unlikely to accept lower security standards in “legacy” 4k products
Content protection needs to be per-title (or even per account) – no more hack one, hack all
Third party certification of security implementations
Continuous breach monitoring, rapid breach response, proactive breach response.
9/19/2018
Sony Pictures Confidential

23. Enhanced Content Protection
Select a security solution provider with a proven track record
Software diversity per title and even per account
Decode in Trusted Execution Environment
Protected right up to the video buffer
HDCP 2.1 required for output
Device keys protected by a Hardware Root of Trust
Require 3rd party verification of trusted DRM software
9/19/2018
Sony Pictures Confidential

24. Sony Pictures Confidential
Breach Management
Security provider monitors Internet (websites, chat rooms, IRC, etc) for indications of security breaches
Security provider works with manufacturers to identify circumventions used by attackers
Countermeasures developed and deployed immediately a breach is detected
Some new content may prevent playback on certain devices until player is up-to-date
“Tracing Traitors” mechanisms to track compromised implementations
9/19/2018
Sony Pictures Confidential

25. Content Protection Recommendations
SPE recommends engaging with an established security solutions provider
For example NDS, a Cisco company, has a long history in content security. While NDS does not have a current product that meets the requirements, they have the component technologies.
We can socialize the idea with the other studios
Avoid the 2-3 years to create a new content protection system
Longer if too many companies are involved
9/19/2018
Sony Pictures Confidential

26. SPE Point of View Proposal
Content Delivery
SPE Point of View
Proposal
9/19/2018
Sony Pictures Confidential

27. Broadcast (Over the air, cable, satellite, IPTV)
Studios
Broadcasters
Users
Premium Content
Broadcast Content
User Content
Broadcast (Over the air, cable, satellite, IPTV)
Download
Physical media
Streaming
Consumers

28. Content Business/Delivery Models
Business models
Electronic Sell Through (EST). Examples are iTunes, Amazon, Ultraviolet
Video on Demand (VOD). Examples are iTunes, Amazon
Subscription. An example is Netflix
Ad Supported. An example is Crackle
Delivery Models
Download
Stream
Physical media with EST (Ultraviolet or digital copy)
Consumer purchases title on physical media
Physical media coupon (“Redemption Code”) allows to consumer to add to their online account
Consumer can play content
Directly from physical media, or
From online retailer cloud service by streaming or download
Examples are Ultraviolet coupons with Blu-ray and DVDs

29. Recommended Content Delivery
Physical media, download and streaming are just different ways to get the content to the consumer
Use the same file format for download and physical media
Standardized file format such as the Ultraviolet Common File Format (CFF)
Streaming with industry standard MPEG-DASH
It uses a file format that is similar to CFF
Content format not tied to physical media format
In Blu-ray content format was driven by the disc format and capabilities of hardware devices of the time

30. Sony Pictures Confidential
Next Steps
Resources
9/19/2018
Sony Pictures Confidential

31. 4k Ecosystem for Sony Products

32. Proposed Functional Organization

33. Strategy Team Strategic Goal Action Items Comments
Sony 4k Vision for Consumer Products
Figure out which 4k market segments Sony wants to be in
Clarify consumer value proposition- How is 4k better than HD?
Create 4k Vision team to oversee all other teams
4k must be more new features than 4x resolution of HD
4k Vision team to ensure that all other 4k teams work towards the same set of goals
State of Market Development
Figure out which content suppliers are working on 4k and what each are doing
Figure out which device makers are working on 4k and what they are doing
Get Sony products in the hands of content suppliers (F65 camera, 4k TVs, 4k broadcast cameras) for feedback
Content Availability
Assess where 4k content would be coming from
Ascertain whether market needs to be seeded with investment in content creation
Studios?
Live and event broadcast?
First Generation Products
Create plan re how to deal with incomplete standards
How to deal with consumer expectations if 1st gen products cannot meet all 4k market requirements
H.265 is not complete, IPR claims could take time to resolve
If 1st gen Sony TVs do not support HDCP 2.x what does Sony tell early adopters?

34. Core Functions Teams (1)
Action Items
Comments
Encoding team
Identify broadcast operators testing 4k broadcast
Identify content providers testing 4k pre-packaged distribution
Review state of the art H.264 and H.265 encoding
Broadcast = real time encoding
Pre-packaged = non-real time encoding
Start with H.264 strategy with later upgrade to H.265 (supply chain will migrate to H.265)
File Format
Participate in creation of 4k profile for Common File Format (CFF)
Participate in creation of 4k profile for MPEG-DASH
Participate in creation of 4k profile for HbbTV
Work on CFF and MPEG-DASH 4k profiles starting in DECE
Picture Quality
Assess requirement across full range of content provider for extended gamut and high dynamic range
Identify standards body to develop new standard
ITU-R 6C standard may not get acceptance outside of free-to-air broadcast
Sony Crop is on record at ITU-R as opposing wide dynamic range
Discussions are taking place on alternatives

35. Core Functions Teams (2)
Action Items
Comments
Scaling
HD to 4k up-scaling
4k to 2k/HD down-scaling
Down-scaling will be required for HD TV
Down-scaling will be required if TV does not support HDCP 2.x
Physical Media Data Delivery Team
Market assessment of consumer desire for stand alone physical media - playback on “never connected” devices
Assess studio position on consumer copies from stand alone physical media
Existing formulation of CFF assumes consumers have on-line account
Copying from stand alone physical media = 2 copies
Streaming & Download Data Delivery Team
Determine bandwidth requirements with respect to encoding efficiencies
Identify opportunities of early testing/demonstrations
H.264 and H.265 encoding

36. Core Functions Teams (3)
Interconnection
Action Items
Comments
Display Interface
Assess if HDMI is ready for 4k 24p/25p/48p/50p/60p frame rates
Evaluate wireless versions of HDMI
Assess 4k 24p/25p/48p/50p/60p frame rates using HDBaseT
Assess 4k 24p/25p/48p/50p/60p frame rates using DisplayPort
Open standards offer maximum consumer satisfaction
Open standards avoid consumer lock-in with other brands (i.e. Sony device will not work with devices consumers already purchased from other manufacturers)
In-home Streaming
4k H.264/H.265 DLNA profile
Alternative standards
Multi-view
Define strategy
Identify partners
Standards based

37. Content Protection Teams - Delivery
Market
Action Items
Comments
Streaming and EST
Propose solution based on understanding of studios’ enhanced content protection requirements
Engage in follow up to refine solution
Assess new content protection scheme vs. established security solution provider
Work on enhanced content protection underway in DECE
Any new content protection system (CPS) will take minimum 2 years to complete license agreements
Little desire on part of stakeholders to create new CPS
Broadcast (Satellite, Cable and IPTV)
Identify action items for 4k CI-Plus profile
Work with all major CAS vendors
Identify solutions for HbbTV
Japan, US and Europe
Physical Media
Assess modifications to content protection for stand-alone physical media
Ripping software available for AACS and BD+
At present CPS for streaming and EST requires an on-line account

38. Content Protection Teams – In Home
Link
Action Items
Comments
Display Interface
Propose HDCP 2.1 adaption layer for HDMI
Identify/Develop HDCP 2.1 capable chips
Assess alternatives to HDMI
Likely non-negotiable requirement for studio content
HDCP 2.0 or 2.1 for sink devices (TVs)
HDCP 2.1 (or higher) for source devices (players, Orbis)
DisplayPort adaptation for HDCP is already defined
In-home Streaming
Assess whether an enhanced DTCP-IP could meet enhanced content protection requirements
Assess whether EST content protection system be used for link protection
Improvement of security for DTCP-IP may not be possible
New compliance and robustness rules for DTCP-IP lengthy process

39. Sony 4k Product Readiness Teams (1)
Product Category
Action Items
Comments
TVs
Assess product specifications vs. segment requirements
4k 24p/25p/48p/50p/60p frame rates
HDCP 2.0 or 2.1
Player Devices
Assess product specifications vs. segment requirements (streaming, EST and stand-alone physical media)
Assess whether interim H.264 solution could be upgraded to H.265 over time
HDCP 2.1
Orbis
4k H.264?
Receivers
4k 50p/60p HDMI

40. Sony 4k Product Readiness Teams (2)
Product Category
Action Items
Comments
Tablets & Phones
Assess product specifications vs. segment requirements (streaming, EST and stand-alone physical media)
Assess whether interim H.264 solution could be upgraded to H.265 over time
4k 50p/60p HDMI
HDCP 2.1 or disable outputs
4k H.264?
VAIO

41. Other Teams Market Action Items Comments UGC Product requirements
4k Camcorders
Home video drag and drop editing applications
Home image processing tools
System requirements for 4k processing UX
Tie-in to existing UX team
Photo Book
Consumer requirements
Direct integration with still cameras
Simple tools with excellent consumer interface
Direct wireless upload from camera