So the EBU has been involved in the standardization of UHD and HDR for the last five years
and now the standardization process is done
and now it’s about bringing actually the real experience to the consumer, to the users.
And this collaboration between the EBU and SRG, Sony and Canon
is about actually first of all bringing the operational experience of creating
a UHD HDR experience for the users
for SRG as the broadcaster but also to realise and to create this wow factor
that we all look for between UHD HDR and HD,
to bring this wow factor to the consumer and that’s what we are trying to achieve here.
The whole point of this is to test the UHD HDR format in a concert environment.
Most of the shots that have been done previously were never done
in an almost near live HDR production and the point of this test is really to showcase
how you can really integrate a full UHD HDR workflow
with different manufacturers and get a stunning output.
So we are at the 2017 Montreux Jazz Festival edition
and this year we have decided 1 month ago, so in little bit short amount of time, to produce
also in UHD HDR from the Stravinski Auditorium.
And when I say also is that we are doing HD SDR, also mandatory,
and in parallel in a laboratory mode UHD HDR.
The workflow we use here in the Stravinski Auditorium is based on our usual workflow.
We have nine cameras but six main cameras are 4300 from Sony,
they are all equipped with Canon lenses, we use two long lenses
UHD DIGISUPER 90 and UHD DIGISUPER 86 in 4K Premium resolution,
we also use CJ12ex4.3 and CJ20ex7.6, we have 4 of each because for the handheld cameras
then we can change depending on where we can go with the camera.
Then we are not using the BPU from Sony, we are using the HDCU from Sony
because we want it to be in the real world and this is the way
we are going to equip our OB Vans so we use the HD SDR output
of the HDC 4300 to go in the normal workflow, in the usual workflow, the HD SDR workflow
and then we will use the UHD HDR output of the camera
and then we are going to our control room that we have built for Montreux,
this control room is equipped with a video mixer, the 7000 from Sony, we also have recorders,
that is quite important, because the first goal is not to produce a program but to record each camera
and then to go to post-production.
But because of the video mixer we can have a program that we can compare
and this is very important that we can compare live.
The recorders are two from Sony, the PWS 4500 and the 4400
and we are also using an EVS XT4K
so we record seven streams in XAVC intra class 300 or class 480,
we test all of them, we are very happy with it.
We did not select Canon lenses only for this festival.
We went through a test 5 or 6 months ago, with the national teams in all SRG
and the goal was to choose the next generation of lenses for UHD HDR use.
This process was based on 4 main topics, first of all the lens performance, this is one of the most important,
and also the user experience, also very important because we have a lot of operators
and we want them to be happy with the lenses.
We also went through the service that the company can provide to us
and at the end the price and because all of that met our expectations then we chose Canon.
So we see the results every night because we can and we can compare and so we are very happy with it.
It is more than we thought to be honest, from everybody who comes through the control room
we get a wow every time. So we should have counted the wows, that could have been done.
But I really feel like watching something that brings me more emotion.
It’s not only UHD, this is more on the HDR side, it’s like more alive.
I mean the technical issues on the lenses, the technical issues on the camera are only the tools
but all of that is to bring something to the viewer and to the listener.
And from my point of view with this HDR full process we bring more natural things
and I believe that the viewers will feel like if they were in the room and this is very important to us.
The current industry discussions on HDR and wide colour gamut centre largely
on the associated camera, recorders, workflow and infrastructure.
It is sometimes overlooked that the origination of the HDR imagery
starts with the lens that is coupled with the HDR camera.
It is the task of the lens to translate the enormous ra
We set priorities to three critical important optical parameters when designing the lens,
that is sharpness, lateral chromatic aberration and colour fringing.
All are critical aspects when it comes to a stunning 4K image.
And I am pleased to say that they are the ones that Canon has mastered over decades
to an absolute perfection.
I am very proud that RTS has decided to conduct the UHD HDR experimental production
with Canon 4K lenses at such iconic venue as the Montreux Jazz Festival
and to see that all of our lenses have reliably performed to a very high standard
set by RTS in collaboration with EBU is vastly impressive.