NHK surprises at the 4K HDR Summit with an immersive experience in 30K and 360º

During the third day of the 4K HDR Summit, the first in virtual format, talked about sustainability, immersive audio, new production and broadcast experiences and artificial intelligence, the latter technology on which the vast majority of companies are betting as a technique that will mark the future of Ultra High Definition.

While 4K is still being progressively implemented in Europe and most of the world, in Japan they are already testing with a resolution that multiplies this technology by seven. Tetsuya Hayashida, Principal Research Engineer of the NHK, presents at the 4K HDR Summit 2025 an innovative 30K and 360° video system capable of offering an unprecedented immersive experience.

The project combines a omnidirectional camera based on a pentagonal prism and hemispherical and curved screens made up of 16 OLED panels. “Our goal is to achieve 360° video in real time and Ultra High Definition,” he explained, noting that artificial intelligence is essential for image assembly and improvement. This technology, exhibited at IBC 2025, points towards “the next generation of immersive broadcasts.”

For its part, Canon presented its new cinematographic camera EOS C50, the smallest and lightest to date”, according to Aron Randhawa, Senior Product Marketing Specialist at Canon. This model incorporates a 7K sensor with Open Gate RAW recording, 32 MP photographs, more than 15 stops of dynamic range and dual ISO, offering “exceptional image quality” for both professional productions and digital content creators. Furthermore, its simultaneous recording in panoramic and vertical formats makes it a hybrid tool between cinema and social networks. Randhawa highlighted that with the C50 they seek to “combine cinematographic power and digital versatility” to respond to new market demands.

From Brazil, Carlos Cosme, Globo's Technology Innovation Specialist, presented the progress of the TV+ project (TV Place), the country's new open digital television standard, which merges traditional broadcasting with the digital ecosystem. “We want to offer more interactive, personalized and higher quality television,” he stated. The system integrates 4K HDR, immersive audio and hybrid connectivity (over the air and over the top). Cosme announced that the commercial launch is planned for June 2026, coinciding with the FIFA World Cup, and highlighted that the new standard “is already compatible with 8K”, although its implementation will be progressive.

Jan de Cock, Director of Development, Video Network at Synamedia, presented the company's developments in measuring and optimizing UHD video quality, with tools that apply artificial intelligence and machine learning. Introduced PVMAF, an “up to 100 times faster” predictive version of the VMAF algorithm, designed for live video. It also introduced the Live Video Quality Agent system, which allows signals to be compared and monitored in real time. “These tools allow us to optimize costs, improve workflows and make decisions based on data,” he stated, highlighting that artificial intelligence “is already integrated into all our processes.”

Immersive audio

Nuno Duarte, Sound Designer and Audio Manager at Olympic Broadcasting Services (OBS), presented the advances in immersive audio 5.1.4, consolidated at the Paris 2024 Olympic Games. Looking ahead to Milan 2026, he announced that OBS is heading towards “a completely IP production” and will incorporate artificial intelligence to “improve management, quality control and efficiency in sound mixing.” Duarte pointed out that “AI does not replace staff, but rather frees up time to focus on the details,” highlighting that the industry is heading towards “a more virtual, flexible and sustainable future.”

Jorge Rodriguez, Head of Product and Marketing at Hispasat, opened the day by highlighting the role of satellite as “an efficient and sustainable means for the distribution of Ultra High Definition content.” He presented a study that places satellite as “the second most efficient option in energy consumption, only behind DTT.” In addition, he recalled that the company already reaches more than 1.4 million users in Latin America and noted that "although the adoption of 4K televisions is growing rapidly, the number of UHD channels remains low." In this way, he proposed promoting the transition from DTT to UHD and improving communication with users to “encourage their understanding and adoption.”

Xavi Redon, Product Manager of Cellnex, offered a historical overview of the evolution of Digital Terrestrial Television (DTT) in Spain until the arrival of Ultra High Definition, whose “full adoption” he estimates “between 2027 and 2030.” He highlighted that Spain leads the world in UHD broadcasts via DTT and advocated that “a regulation that requires televisions larger than 40 inches compatible with 4K will facilitate this transition.” Taking data from a survey carried out by UHD Spain, it highlighted that “66% of Spanish homes have adequate conditions for 4K, although less than half are prepared.” Regarding Cellnex, he indicated that the largest infrastructure company in Spain uses artificial intelligence to optimize network management, automate processes and plan future infrastructures.

In the field of technical broadcasting, Manuel Ángel Álvarez, Technical Sales Area Manager in LATAM and Europe at Gsertel, presented the company's solutions for measuring and monitoring UHD signals, highlighting drive tests with its Hexilon portable analyzer. “These tests allow us to measure real signal parameters and identify areas without coverage,” explained the technician, who stressed the importance of offering reliable and continuous services and reaffirmed the company's commitment to “practical innovation, diversification towards mobile networks and IoT and energy efficiency as a commitment for the future.”

For its part, Ian Nock, Chair Interoperability Working Group of the Ultra HD Forum and Managing Consultant at Fairmile West Consulting, recalled that the organization has been working for interoperability and good practices in Ultra HD for a decade. In his speech, he noted that “the real value of Ultra HD is not only in the resolution, but in HDR, the wide color range and next-generation audio.” Nock acknowledged that the transition to these technologies is “a gradual evolution,” with challenges in integrating HDR and SDR content, and highlighted the need to “educate the consumer about the importance of appropriate displays.”

The expert Benjamin Black, COO of Greening of Streaming, focused his intervention on the sustainability of streaming, highlighting the urgency of measuring the energy consumption of the audiovisual sector “with precision and real data.” From his organization in Paris, he leads projects such as REM (Remote Energy Measurement), which analyzes the energy consumption of devices and networks in real time. Schwarz warned that “many home equipment continues to consume energy even when not in use” and that reducing the resolution of content “can increase total consumption due to the automatic rescaling of 4K televisions.” He also stressed that “sustainability will only advance if it is integrated into the business strategy and supported by common protocols.”

Finally, Frans de Jong, Media Fundamentals & Production Technology de la European Broadcasting Union (EBU), presentó las últimas pruebas de la organización en HDR y UHD, centradas en la mejora del color, la coherencia visual y la compresión. Explicó que las nuevas recomendaciones de la EBU buscan “estandarizar los modos de monitor HDR” y abordar el fenómeno del metamerismo, que altera la percepción del color. Las pruebas determinaron que “la compresión óptima en transmisiones UHD se sitúa entre 6:1 y 8:1” y que la compensación de movimiento “ofrece los mejores resultados en la conversión de fotogramas”. De Jong insistió en la importancia de “mantener el diálogo entre tecnología y producción” y en el papel de la nube y la inteligencia artificial como base de los flujos audiovisuales del futuro.