IEEE Consumer Electronics Magazine - April 2017 - 124

protects against IP piracy, false claims
of ownership, and forgeries. The need
for IP chip set protection was discussed, as was design flow. We demonstrated a watermarking technique and
presented a MESA IP chip set de signed at the RTL.

ABOUT THE AUTHORS
Anirban Sengupta (asengupt@iiti.ac
.in) is currently an assistant professor
of computer science and engineering
at the Indian Institute of Technology,
Indore, and he has approximately 107
publications and patents. He currently
serves as associate editor, executive
editor, or guest editor for ten transactions and journals of the IEEE, the
Institution of Engineering and Technology (IET), and Elsevier, including
IEEE Transactions on Aerospace and
Electronic Systems, IET Computers

The Art of Storage

and Digital Techniques, and IEEE Consumer Electronics Magazine.
Dipanjan Roy (phd1501201007@
iiti.ac.in) is a research scholar of computer science and engineering at the
Indian Institute of Technology, Indore.
His area of research is intellectual
property core protection during HTTP
live streaming (HLS), hardware protection, and security during HLS.

REFERENCES
[1] E. Girczyc and S. Carlson, "Increasing
design quality and engineering productivity
through design reuse," in Proc. 30th Annu. Int.
Design Automation Conf., New York, 1993, pp.
48-53.
[2] A. Sengupta, "Protection of IP-core designs
for CE products," IEEE Consum. Electron.
Mag., vol. 5, pp. 83-89, Dec. 2015.
[3] D. S. Fernandez, "Intellectual property protection in the EDA industry," in Proc. 31st
Annu. Int. Design Automation Conf., New
York, 1994, pp. 161-163.

[4] A. Sengupta and S. Bhadauria, "Exploring
low cost optimal watermark for reusable IP
cores during high level synthesis," IEEE Access,
vol. 4, pp. 2198-2215, May 2016.
[5] A. Sengupta and S. Bhadauria, "IP core
protection of CDFGs using robust watermarking during behavioral synthesis based on user
resource constraint and loop unrolling factor,"
IET Electron. Lett., vol. 52, no. 6, pp. 439-
441, Mar. 2016.
[6] S. Sait and H. Youssef, VLSI Physical
Design Automation: Theory and Practice.
Singapore: World Scientific, 1999.
[7] P. Coussy, D. D. Gajski, M. Meredith, and
A. Takach, "An introduction to high-level synthesis," IEEE Des. Test. Comput., vol. 26, no.
4, pp. 8-17, 2009.
[8] Express Benchmarks. [Online]. Available:
http://www.ece.ucsb.edu/EXPRESS/benchmark/
[9] A. Sengupta, R. Sedaghat, and Z. Zeng, "A
high level synthesis design flow with a novel
approach for efficient design space exploration
in case of multiparametric optimization objective," Microelectron. Reliab., vol. 50, no. 3, pp.
424-437, 2010.

(continued from page 113)

CONCLUSION
Many factors are driving the growth of
digital storage and bandwidth requirements, both for modern media and entertainment workflows as well as the content
delivered to consumers. Cameras and
rendering create content that is rapidly
adopting 4K content with some markets,
such as sports, pushing the envelope
even further with 8K content.
In addition to higher resolution,
these content creation technologies are
providing greater color depth, an
increased color gamut, and a higher
dy namic range. All of these factors
increase the storage capacity per video
frame and, combined with higher
frame rates, they are boosting the
required data rates and storage capacity
for an hour's worth of raw content. The
ease and lower cost of digital production are encouraging movie makers and
124 IEEE Consumer Electronics Magazine

april 2017

others to use more digital cameras and
shoot many more hours of content per
camera than are eventually used in the
finished product, leading to even higher
capacity requirements.
Also driving these bandwidth and
storage requirements are consumer
demand for 4K content for new 4K
UHD TVs and the means to economically provide this content to them using
media asset management combined
with on-the-fly transcoding and the version flexibility that IMF workloads
provide. Whether on a mobile device, a
home display, or in a UHD theater, consumers want higher definition, a WCG,
and HDR video. To meet these needs,
media and entertainment companies are
turning to networked storage, and especially storage in the cloud, to enable
fast, lower cost, worldwide collaborative workflows. The trend to put content

in the cloud is driven by the changing
economics of storage.

ABOUT THE AUTHOR
Tom Coughlin (tom@tomcoughlin
.com) is a Senior Member of the IEEE.

REFERENCES
[1] S. Curtis. (2015, Jan. 12). Netflix: High
dynamic range is "more important" than 4K.
The Telegraph. [Online]. Available: http://www
.telegraph.co.uk/technology/news/11340226/
Netflix-HDR-is-more-important-than-4K.html
[2] T. Yamashita, K. Masaoka, K. Ohmura, M.
Emoto, Y. Nishida, and M. Sugawara, "'Super
hi-vision' video parameters for next generation
television," SMPTE Motion Imaging J., vol.
212, no. 4, May/June 2012, pp. 63-68.
[3] VashiVisuals. 4K and beyond-Video data
rates. [Online.]. Available: http://vashivisuals
.com/4k-beyond-video-data-rates/
[4] Cambridge in Colour. Bit depth tutorial.
[Online]. Available: http://www.cambridgeincolour
.com/tutorials/bit-depth.htm

http://www.ece.ucsb.edu/EXPRESS/benchmark/ http://www http://telegraph.co.uk/technology/news/11340226/ http://vashivisuals http://www.cambridgeincolour

Table of Contents for the Digital Edition of IEEE Consumer Electronics Magazine - April 2017