I've said that before on this forum and I'll repeat it again. Problem with UHD/4k is not only with lack of end user standard, and everyone pulling in their own direction and disinterest of manufacturers to devise supporting chipsets - the biggest problem is on content delivery end.
To have quality native 4k content sensibly materialise on your TVs and living rooms as the end consumer, the professional industry - from broadcaster to not yet existing disc manufacturer must have means and tools to take, operate and deliver from and to proper master media. And the trouble with UHD/4K is that the only viable close to lossless master delivery format at the moment is Apple ProRes. And ProRes is a bit of a problem. It's heavily licensed, which means that with few limited exceptions all your workflow from postproduction to playback can only happen in Apple environment and Apple in recent years dropped professional media industry like a ton of bricks. They literally decimated all native professional post production tools for media industry both in terms of hardware and software.
We are talking about completely throwing away everything and building completely new workflow from the ground up. This time there will be no VTRs in postproduction, no tapes for delivery to TV studios. You won't be able to store it uncompressed. You won't be able to send it via satellite uplink without massively compressing in lossy format. And yes, we have ProRes and it's good, but on the production level within stringent embrace of licensed environment everything related to ProRes is an issue - the tools, the old mov container, the bitrate and data size that needs to be written and read from a media without slowdowns plus there are no accelerations or third party chipsets involved. The few and inbetween portable media digital devices capable of playing back ProRes master at that resolution aren't really viable studio solutions, they might be good for videographer but do not really cater for something that needs to carry multitrack audio, feature dolby etc. That makes everything - from digitising celluloid through delivering masters shot and post produced natively in 4k to broadcaster to go on air all the way to capturing 4k footage from cameras and delivering it end to end in broadcast quality 4k between field/van and a broadcast studio - hard to do without cheating, generation loss and dropping quality.
At the last broadcast exhibition in Amsterdam the most prevailing UHD/4K solutions from engine room hardware perspective were devices to upscale the existing content and to deliver 4k-ish stuff from lossy media. And when I say lossy media, I literally mean barely comparable to the 'scene' level HEVC type of stuff instead of 4:4:4 or even 4:2:2 master - something that starts its like as compressed and only gets recompressed again and again. This is what the professional equipment industry came up with as a solution to growing demand for 4K delivery. To effectively fake the 4k on the ground level from the word "go".
So when you drool at the demo of Eutelsat's 4K1 channel, in lush 10bit h265 at 50fps running from the demo screen at John Lewis, just remember that this is not the UHD you are going to be watching for the rest of this decade. It's most likely not even the end user codec you will be watching as UHD at the end of this decade. This consumer revolution is even more disjointed than the two most recent digital switches. This consumer revolution even left professional hardware manufacturers and media providers perplexed as to how to accommodate it.
I cannot see anything any different. My Blu-Ray player is fairly decent and I'm not seeing anything different. I have tried quiet a few films now inc Iron Man 3 which has fast movement, Avatar and nothing. 
