Makers take positions before the 4K with HDR Los fabricantes debates en la 4K-UHD Summit sobre la coexistencia de hasta cuatro est ndares HDR lo que dificulta enormemente el desarrollo de equipos de captaci n o producci n en estudio compatibles con todo tipo de alto rango din mico.
Peter Sykes (Sony), Klaus Weber (Grass Valley), David Smith (Rohde & Schwarz), Jaume Mir (Panasonic) y Miguel A. Ruiz (Samsung) han intervenido en una mesa redonda en la 4 K-UHD Summit de Sevilla para intercambiar impresiones sobre su posici n ante el HDR en entornos 4K.
Los fabricantes han destacado la importancia que tiene la captaci n como inicio de toda la cadena en 4K HDR. Por otro lado, han reconocido que si bien hace apenas tres a os producir en directo UHD era una tarea tit nica hoy en d a disponemos de soluciones sencillas de implementar que han logrado igualar la usabilidad y flexibilidad del 4K a la HD.
David Smith ha llamado la atenci n sobre los diferentes est ndares de salida existentes en HDR y las dificultades que esto representa. En SDR hab a pocas fuentes y formatos, mientras que en HDR contamos actualmente con demasiadas opciones. Ante esto, tenemos que estar muy abiertos ante las posibilidades de conversi n de espacio y volumen de color , ha se alado.
Los fabricantes han reflexionado sobre la coexistencia de hasta cuatro est ndares HDR lo que dificulta enormemente el desarrollo de equipos de captaci n o producci n en estudio compatibles con todo tipo de alto rango din mico. La cuesti n no es hacer un nuevo firmware cada vez que se avanza en un est ndar, han defendido, sino tomar una direcci n clara que permita avanzar hacia el 4K con la mejor calidad de imagen posible. Es importante no complicar la vida a los usuarios , han subrayado.
Por su parte, Jaume Mir ha destacado la nueva l nea de c maras de estudio para 4K de Panasonic que convierten la Ultra Alta Definici n en algo confortable. Con respecto a los costes, Mir ha reconocido que el objetivo al que se tiende a que los costes del 4K seas similares a los de HD, como ya ocurriera en su d a entre el SD y el HD.
Peter Sykes considera que desde el punto de vista de los equipos de producci n estos deber an ser agn sticos con respecto a c mo finalmente se entregue el material.
Mir ha recordado que m s all del HDR debemos considerar otras tecnolog as que simult neamente est n irrumpiendo como el v deo sobre IP, el streaming directo desde la propia c mara o los nuevos servicios OTT y VOD. Sin duda, son grandes cambios para nosotros que se est n sucediendo de forma muy r pida y simult nea en diferentes planos , ha se alado.
Miguel A. Ruiz ha comentado que la hoja de ruta de Samsung es que todo sus pantallas sean HDR conforme vayan introduci ndose en el mercado. En este momento, el 20% de las ventas de televisores en Espa a ya incorporan HDR. Es una tecnolog a que est ya lista en el hogar de los consumidores. El final de la cadena est lista ahora son productores y fabricantes los que tienen la palabra .
Peter Sykes considera que desde el punto de vista de los equipos de producci n estos deber an ser agn sticos con respecto a c mo finalmente se entregue el material.
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Makers take positions before the 4K with HDR Los fabricantes debates en la 4K-UHD Summit sobre la coexistencia de hasta cuatro est ndares HDR lo que dificulta enormemente el desarrollo de equipos de captaci n o producci n en estudio compatibles con todo tipo de alto rango din mico. 
