BBC RESEARCH & DEVELOPMENT2012/13 at a glance

01

01/INTRODUCTION

10/BIOMECHANICS

12/LONDON 2012 – NEVER MISSING A MOMENT

14/BBC R&D ACHIEVEMENTS OVER THE YEARS

16/PUBLICATIONS

04/HIGHLIGHTS

0808/SUPER HI-VISION

INTRODUCTION

2012 – an extraordinary yearBBC R&D has long been preparing for

2012. It is a year which has been the

culmination of much of our work over the

last decade.

In October, the fi nal analogue television

transmitter was switched to digital and

the UK’s PAL service came to an end.

BBC R&D had worked with others in the

UK industry over the last decade and

before to achieve this milestone. Switch-

over has provided opportunities for new

services to be launched on Freeview, the

UK’s Digital Terrestrial Television platform,

including HD services carried using the

DVB-T2 transmission standard, which BBC

R&D was instrumental in defi ning. It was

an exciting and emotional moment, as

the UK said farewell to CEEFAX, the BBC

information service delivered via analogue

television using another BBC R&D

invention – Teletext.

The BBC delivered ground-breaking

coverage of the London Olympics in July

and August. BBC R&D worked in many

ways to support the events in the planning

and in their provision. This included adding

extra services, new on-screen developments

Matthew Postgate, Controller, Research & Development

COVER

BBC R&D supported the London Olympics

coverage providing additional services, new

on-screen developments and working with

NHK to cover the event in Super Hi-Vision.

INSIDE COVER

The Half-RF camera was used live at the Six

Nations Rugby at Twickenham.

0302

innovation hub at London’s Tech City,

and continue to work with the UK TSB’s

Connected Digital Economy Catapult Centre

(CDEC) as it seeks to deliver market

innovations to benefi t the UK economy.

BBC R&D has maintained its successful

track record of working with partners in

collaborative projects part-funded by the

European Commission and UK agencies such

as the TSB and Research Councils, both in

new project bids and working with others

to shape future research programmes.

Looking ForwardAlongside the major landmarks of 2012,

we have continued our work towards the

vision of a New Broadcasting System

characterised by pervasive, immersive,

interactive and personal experiences, enabled

by rich audience and programme metadata,

and IP end-to-end infrastructures, whether

fi xed or wireless.

The fi rst steps in this vision have been taken

with our IP Studio project successfully

demonstrating key elements for IP-based live

production, including low-latency studio-quality

streaming, fl exible monitoring, web-services

for confi guration and control, IP-based

synchronisation and the use of real-time data.

Interest in these ideas is growing within the

wider industry and we helped to kick-off

an industry-wide task force looking at future

standards in these areas, under the auspices

of the Video Services Forum, the EBU and the

SMPTE. Our Stagebox IP hardware has been

used for live programming on a trial basis and

we intend to carry out large scale pilots during

global industry, and ultimately improve

the experiences of our audience through

innovative content, services and functionality.

Longer-term commitments with best-of-class

partners form a key element of our partner-

ships strategy. Last year, we launched the

Audio Research Partnership with leading UK

universities in the fi eld, addressing next

generation challenges including the use of

object-orientated 3-D sound to deliver an

immersive experience. We are now establishing

a second research partnership of this type,

working with leading UK universities in the fi elds

of user experience, accessibility and interaction.

During the past year we have built strong

foundations for an exciting new strategic

collaboration with University College London

(UCL). Jointly, we have scoped a programme

of collaborative projects, focussing initially on

four priority areas of work: content

production; user experience; internet research,

and distribution technologies. BBC R&D and

UCL will co-locate research teams in a new

laboratory at One Euston Square in Central

London, to work together on these topics.

The BBC’s Connected Studio initiative is also

establishing a presence at One Euston Square.

Connected Studio is a new approach to delivering

innovation in connected content, working with

a range of internal and external partners.

Connected Studio was piloted during 2012/13

focussing on the BBC’s online products, and is

now broadening its remit across BBC output.

We have started to engage with the

community established at the technology

2013 to further explore the benefi ts of these

new approaches.

High quality metadata is essential to allow

both professional users and the public to

locate the content they want. BBC R&D

recently worked with the BBC World Service

to generate metadata for their radio archive,

comprising 50,000 programmes from over

45 years. Speech recognition algorithms were

used to generate initial metadata, which we

then used to enable crowd-sourcing to

improve both the data and our algorithms.

Approaches such as this will become

increasingly signifi cant in the future as the size

and complexity of online digital collections

continue to grow.

In the fi eld of spectrum, there are debates

taking place within the UK and internationally

concerning future use of the UHF spectrum

used for terrestrial broadcasting. We have

been using the results of our research work

to inform discussion on the introduction of

wireless exempt whitespace devices within

the UHF bands, and the proposal for the

World Radio Conference in 2015 to allocate

the 700 MHz band to both broadcasting and

mobile communications within Europe. We

are working with colleagues in the BBC to try

to ensure the best outcome for our audiences.

An exciting moment is approaching when

many of these developments will come

together and the New Broadcasting System

will start to move on from being a vision of

the future and become something tangible.

We are pushing ahead to bring this moment

closer during 2013/14.

“ WE CONTINUE TO WORK TOWARDS THE VISION OF A NEW BROADCASTING SYSTEM”

“ PARTNERSHIP HAS BEEN A STRONG THEME FOR BBC R&D DURING THE PAST YEAR”

and working with NHK to cover the event

in Super Hi-Vision. You can read more about

this work in the featured projects later in this

review. As part of the Cultural Olympiad,

BBC R&D joined forces with Studio Olafur

Eliasson to create a participatory art experience

installation at Tate Modern called LittleSun,

which made available thousands of light graffi ti

artworks created by the public to anyone with

a modern web browser.

In the last Annual Review we described the

YouView service which is a joint venture

between the BBC, ITV, Channel 4, Channel 5,

BT, Talk Talk and Arqiva, whose technology has

its origin in BBC R&D. YouView launched in

July 2012 and provides access to Freeview TV

and on demand services via a hybrid set-top

box. The department continues to look at

technologies to enable future service

opportunities across the BBC’s Free-To-Air

ventures, including YouView.

PartnershipsAll of the highlights above were accomplished

in partnership with other organisations, and

partnership has been a strong theme for

BBC R&D throughout the last year across

a range of activities.

BBC R&D has a long and successful track

record of collaborating with academia and

industry, and contributing to a wide range of

industry standards. BBC R&D engages in

partner ships to benefi t from complementary

skills and experience. By sharing knowledge

with other world experts and partner

organisations, the outcomes from BBC R&D’s

activities can have a greater infl uence on the

04

Royal Visit to MediaCityUKController R&D was presented to Her

Majesty the Queen and HRH Prince Philip

during her visit to MediaCityUK, and with

other members of the department,

demonstrated some of BBC R&D’s work

on accessibility to them.

Connected Studio Connected Studio initiative was launched

and a number of events have led to the

best ideas being taken to a pilot stage.

Super Hi-VisionBBC R&D collaborated with NHK and

OBS to transmit selected live events and

highlights of the London 2012 Olympics,

in the Super Hi-Vision (SHV) ultra high

defi nition TV format, to three SHV-equipped

theatres in the UK, three in Japan and one

in the USA.

Extra Video Stream Added for 2012 Olympics and ParalympicsFifth slot on DTT added to provide an

extra video stream for the BBC during the

Olympics and for Channel 4 during

the Paralympics.

Augmented Reality used for2012 Olympics CoverageAn augmented reality application was featured

on the BBC Sport website as part of their

coverage of the 2012 London Olympics.

Based on biomechanical principles, the

application allowed users to visualise their

performance alongside professional athletes.

Digital SwitchoverDigital Switchover of terrestrial television

was completed.

Nations VariantsNations variants of BBC One HD were

launched on DTT and DSAT.

IXManchesterBBC hosted the opening of the

IXManchester internet peering facility

at MediaCityUK. This is an early example

of what is planned to be a widespread

propagation of low level internet

architecture features being distributed

round the UK, giving better connectivity

and resilience across the country as

demand for more and richer IP delivered

content grows.

HIGHLIGHTS OF THE YEAR

.bbc DomainBBC applied to register the .bbc domain.

TSB’s Connected Digital Economy Catapult CentreBBC R&D was appointed as a strategic

partner for the TSB’s Connected Digital

Economy Catapult Centre (CDEC).

UCL CollaborationA Research Collaboration Partnership for

our strategic collaboration was signed with

University College London (UCL).

In Session EventThe fi rst BBC R&D In Session event was

held – a series of regular, curated

collections of video interviews with key

individuals from the BBC and beyond, that

explore important issues that are defi ning

the broadcasters and content distributors

of tomorrow. This event focussed on

Broadcasting in 2020.

Stagebox Demo at NABStagebox was demonstrated at NAB in

April where it won an Editor’s Choice

InBroadcast Award at NAB, and at IBC in

September. It has been licensed and used

in productions.

Broadcast Environmental IssuesBBC R&D, in collaboration with the BBC

Sustainability Committee, hosted a one

day event to understand and explore

environmental issues related to broadcast

and connected digital media technology.

This event included a mix of leading

speakers from academia and the media

technology and telecommunications

industry sectors.

NAB Award RadioTAG won the NAB Technology

Innovation Award for BBC R&D, Global

Radio and Frontier Silicon.

IBC AwardPhilip de Nier was given an individual

award at IBC in recognition of his notable

contributions to the development of the

standard for the Advance Media Workfl ow

fi le format, AMWA AS-11.

NEM AwardBest Paper Award at the NEM Summit in

Istanbul was won by Oliver Grau and Peter

Schuebel from BBC R&D together with

Chris Budd from the University of Surrey.

05

New BBC R&D WebsiteA new BBC R&D website (www.bbc.co.uk/rd)

was launched focussing on our research

and projects. This included R&D Labs, a new

section to showcase the latest prototypes

and code on the web from our teams at

BBC Research & Development.

Little SunMembers of BBC R&D worked with Studio

Olafur Eliasson to create an interactive light

painting installation, Little Sun, which was

exhibited at Tate Modern. It was then

used on-air in the BBC’s The ONE Show

Christmas programme.

Half-RF HD Radio CameraThe ‘Half-RF HD radio camera’, which uses

half the spectrum of a conventional radio

camera to deliver ‘news’ quality HDTV in a

5 MHz channel, was demonstrated at IBC

and then used live on-air for the fi rst time

in December, and then at the Six Nations

Rugby at Twickenham.

RadioDNS Showcased at IBCAt IBC, the RadioDNS project showcased

its work enabling RadioDNS on national

BBC radio networks, allowing listeners to

bookmark live radio and play back via

the Web.

Ultra-high Defi nition TVBBC R&D constructed an experimental

high frame rate display, based on multiple

projectors, allowing frame rates up to

360 Hz to be tested. This is being used for

advanced studies on ultra high defi nition TV.

New Web Audio APIBBC R&D released a recreation of the

sound of the BBC Radiophonic Workshop

natively in a browser using a new Web

Audio API.

Internet of ThingsWe held an ‘unconference’ in Salford around

the Internet of Things (IoT), investigating

how everyday interactions with media and

entertainment can be amplifi ed using

connected objects and devices and how

the IoT can help us to tell better stories.

First Object Based Audio ProductionThe fi rst object based audio production,

where each audio source is kept separate

throughout the chain and mixed in the

receiver, was made with Radio Drama, and

a stereo version was broadcast on Radio 4

and a 5.1 surround version made available

on the website.

Mood-based Interface for iPlayerBBC R&D launched an exploratory

mood-based interface for iPlayer content

so people can search for, fi nd, and access

programmes based on the mood of the

programme they wish to watch.

First Synchronised Dual-Screen for Mobiles and TabletsThe BBC launched its fi rst synchronised

dual-screen experience for mobile and

tablet devices using the iOS and Android

operating systems, allowing viewers to

play a game interactively as part of the

BBC’s Antiques Roadshow programme. This used technology developed by and

transferred from BBC R&D.

MPEG/ITU HEVC StandardBBC R&D made signifi cant contributions to

the HEVC standard, the new standard for

high effi ciency video compression.

Tech City CommunityBBC R&D are engaging with the Tech City

community to explore how BBC R&D and

Future Media might collaborate with this

growing collaborative community.

RadioVISThe ‘6 Music Live’ season used RadioVIS,

which BBC R&D helped invent and develop,

to send out pictures of the bands to hybrid

DAB/IP radios.

Pan-European HbbTV Hybrid Broadcast Broadband TV Consortium BBC R&D became a member of the

pan-European HbbTV Hybrid Broadcast

Broadband TV consortium.

Panoramic CameraBBC R&D installed a panoramic camera

at The Proms for one concert. This is the

only prototype of its kind – it has a fi eld

of view of 180 degrees and is six times the

resolution of HD. It was developed as part

of the FascinatE European Framework 7

collaborative project in which we are

a partner.

Sibyl Prototype LaunchedThe prototype Sibyl recommender was

launched, which is a stand-alone tool and

does not rely upon history or preferences.

HIGHLIGHTS OF THE YEARCONTINUED

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0908

In July 2012 a crowd of people sat watching the Olympic opening ceremony. They were having a very good time, clapping and cheering throughout the evening with the best seats in the stadium. But they weren’t in the Olympic Stadium, they were four miles away in BBC Broadcasting House. Other groups of people were in Bradford, Glasgow, the USA and Japan. All were watching Super Hi-Vision (SHV).

This was the culmination of four years of collaboration with NHK Science and Technology Research Laboratories. The pictures were on an 8m wide screen with a resolution of 7680 x 4320 pixels, accompanied by a 22.2 multichannel 3-dimensional sound system. The combined effect was to transport the people in the viewing theatre right into the stadium. NHK, OBS and the BBC collaborated to bring about this realistic demonstration together with the help of NTT, BT, Atos, Janet, Géant2, Internet2 and Sinet4.

There were three SHV cameras in the Olympic Park, each connected to NHK’s Outside Broadcast

The coded signals were transported on a pair of Transport Streams to a pair of TS/IP converters to produce a pair of IP data streams for each theatre at about 350 Mbit/s in total. Two data streams were produced because the total bit rate was too high to be carried on one Transport Stream. Unicast UDP was used to transmit the data to the theatres in the UK with some Forward Error Protection to guard against minor data packet loss. Transmission to the USA and Japan used extra FEC. Multicast was used within Japan. We showed that IP networks can reliably carry high bit rate time critical video and audio, but care is needed in the way the links are set up.

At the theatres, the signal was decoded and displayed on 250-inch or 300-inch screens using projectors with 8k resolution and the audio sent to the 22.2-channel audio system.

Telepresence had come of age.

content package and the other for the Japanese content. The SHV content had 16 times the data of HDTV, so rendering and processing time was slow, even using very powerful work stations. Even so, the NHK production team and a BBC editor were able to edit a new content package overnight ready for showing the next day. There was also a dedicated SHV graphic station used to add captions and make up title sequences.

The sound was edited in the control gallery for Studio 0, which had been transformed into a 22.2-channel editing suite with an array of 24 speakers surrounding the audio mixer operator. The speakers were arranged at three heights: fl oor, mid and ceiling heights, plus one speaker directly overhead. Skilled sound editing was needed to maintain a realistic feeling of telepresence in the short time available for editing. Each audio channel was encoded at 384 kbit/s using AAC and the video encoded in sections using H.264 encoders giving a total of 280 Mbit/s.

vehicle which sent the camera pictures to the SHV Production Centre at BBC Television Centre. Audio from NHK’s microphones and from micro phones in the Olympic Park was mixed in a separate audio truck into 22.2 channels of immersive surround sound and sent to the SHV Production Centre for further refi nement. The connection from the Outside Broadcast vehicles to the SHV Production Centre was via an optical fi bre link carrying the SHV signals uncompressed at 24 Gbit/s over eight wavelengths. For security and resilience, a backup fi bre link took a different route across London.

The SHV Production Centre inside Studio 0 at BBC Television Centre consisted of editing, storage, transmission and pre-view facilities. Editing was initially carried out on a down- converted HD proxy using an HD editing station. This generated an EDL (Edit Decision List) that could be used to drive either of the two SHV editing stations where the content package could be further refi ned: one SHV editor was for the UK/USA

10 11

On the morning of Saturday 11th August 2012 BBC diving commentator Leon Taylor talked to Mishal Husain about Tom Daley’s below par performance in the men’s 10m platform diving preliminary round. During the discussion they played videos of two of Daley’s dives with graphics added to describe the size of the splash and the angle of entry.

The system producing these measurements came out of the biomechanics project. The analysis was automatic and worked live – the system examined the video frame by frame to extract the diver and splash from the rest of the scene. It then measured the size of the splash and the angle the diver made as he or she entered the water and displayed the results to the viewer.

After developing a prototype (which inevitably became known as the ‘splashometer’) we worked

with our licensee, Red Bee Media, to develop a full product that could be sold around the world. They tested the system at the US Diving Trials earlier in the year and worked with NBC during the Olympics to add the analysis to their diving coverage shown in the United States. It received a large social media response and even gained some celebrity fans.

The motivation behind this work was to help viewers to gain a better understanding of what differentiates a good dive from a bad. In events such as diving where scores are awarded by judges it can sometimes be quite opaque to the typical viewer why one diver might score better than another. With tools such as this we aimed to extract measures of performance that can be directly compared between different competitors. The simplest part of the dive where we could do this analysis is on the entry.

Here the diver should enter the water as straight and as smoothly as possible. If he or she is off vertical then a lower score is given. Similarly, a large splash indicates that the entry to the water has not been smooth and the score drops accordingly.

Some viewers were quick to point out that they could already see how big a splash might be, but the key development with this tool – as well as retaining on screen information about the blink-or-you’ll-miss-it dive entry – is to move from a qualitative judgement (‘that was a bad splash’ or ‘he was off vertical there’) towards an automatically generated quantitative judgement (‘that splash scored 75% on the scale’ or ‘he over rotated by 10 degrees’). Once you had a measure for performance you could start to use that information in interesting ways – perhaps using it to fi nd which were the best or worst entries,

or to get a list of all the dives where the diver has over or under rotated? At its most simple it facilitated in comparisons, as in the BBC analysis where it showed the marked contrast between the two Daley dives.

Obviously these scores don’t tell the whole story – the entry is only one aspect of the dive and the degree of diffi culty makes a huge difference to the fi nal score – that’s why an expert like Leon Taylor is there to explain the complete dive and the nuances that a system like this can’t hope to understand. For most viewers, experts are the best source of insights into an event but this offers them a tool to aid them with their work.

We are continuing to work on new developments so in the future we might be able to get measures for other aspects of the dive or apply the same idea to different events.

The BBC’s pledge for the coverage of the London 2012 Olympic Games was that the audience would ‘never miss a moment’. BBC R&D worked with colleagues from across the BBC, the broadcast platforms and the BBC’s technology partners to turn that vision into reality. BBC Three was extended to run for 24 hours a day and 50 temporary television channels were launched to provide live coverage of virtually all events.

24 simultaneous live HD streams were produced by BBC Sport in Salford and were available to satellite viewers on Sky and Freesat and on Virgin Media cable. SD versions of all 24 streams were created for non-HD viewers. BBC R&D ensured that the picture quality on all platforms matched the BBC’s standards. This required testing of the links between London and Salford and of the emission encoders used for all platforms.

Coverage of the opening ceremony provided an additional problem on Freeview. The original plan was to broadcast the ceremony on different services at the same time. This would have allowed News to provide their own coverage on the BBC News channel and the opening ceremony to be broadcast with audio description on one of the Red Button services. There was also simultaneous coverage in the Ten O’Clock News which moved to BBC Two for the evening. As the allocation of bandwidth in the statistical multiplex relies on variation in content between services, this would not have resulted in acceptable picture quality, especially as some sections of the opening ceremony were among the most demanding sequences to code that the BBC has ever broadcast. BBC R&D tested a number of different scenarios to determine the best way to fulfi l the maximum number of requirements while maintaining acceptable picture quality, and provided advice to allow the London 2012 Steering Group to resolve the situation.

During the Olympics BBC Three was extended into a 24 hour service. This was possible because Parliament was not sitting, which meant that the BBC Parliament service could be removed to release some bandwidth. However, the bandwidth gained by suspension of BBC Parliament was not suffi cient to carry a service whose main content is sport. This meant a major reconfi guration of the BBC multiplex which carries all BBC SD and radio services on Freeview was necessary. BBC R&D created the confi guration changes, and tested and tuned the picture quality to ensure that it was as good as possible. BBC R&D worked with colleagues in BBC Distribution and Atos to ensure that the confi guration was deployed smoothly. With the short gap between the start of Parliament’s summer recess and the London 2012 opening ceremony there was no scope for anything to go wrong.

When the pictures are coded the available bandwidth is shared in a ‘statistical multiplex’ between services depending on the complexity of each frame of video. The scheduling of the events during London 2012 meant that all 24 streams were not always in use. The variation of the number of streams and the differing complexity of each sport risked major variation in picture quality during the Games. BBC R&D tested the bandwidth demands of the various sports and provided guidelines to the schedulers to maintain consistent and acceptable picture quality at all times.

Due to limitations in bandwidth it was not possible to put the 24 streams on Freeview, so on this platform an extra Red Button SD service was added in the evenings when CBBC is not on air, and an extra Red Button HD service was deployed. The HD service was also used by Channel 4 to provide extra coverage of the Paralympic Games.

1312

Upgrades and enhancements across the board:

2000 BBC R&D’s handheld digital radio camera used for live broadcasts

2001 Speech recognition used as an aid to provide subtitles

2002 Freeview launched

2006 World’s fi rst end-to-end MIMO broadcast system tested

2008 Freesat service launched. Dirac Pro used by BBC to deliver Beijing Olympics in HD

2009 Freeview HD service launched using DVB-T2 transmission standard

2010 Live delivery of Super-Hi Vision via the internet from our studio to NHK in Japan.

Decade of debate: stick with analogue systems, wait for digital, or a hybrid?

1982 BBC Microcomputer, from Acorn, released

1982 HDTV studies commence in earnest

1984 Video watermarking – electronically labelling television pictures – devised

1985 LF Radio Teleswitching service commences enables the Electricity Supply Industry to optimise power distribution at peak demand times

1986 BBC’s NICAM 728 system for digital stereo sound accepted as British Standard

1987 Join Eureka 147 collaborative group, which developed the DAB standard.

BBC R&D ACHIEVEMENTS OVER THE YEARS

Latest integrated circuits used for signal processing:

1970 Digital line-store standards converter work commences

1972 Teletext experiments begin

1974 BBC R&D demonstrates world’s fi rst digital television recorder

1975 Successful transmission of digital television signals

1976 First transmissions of digital television over INTELSAT satellite; CARFAX road traffi c information service principle demonstrated

1978 First digital stereophonic sound broadcast experiments – leading to NICAM stereo sound.

Start of digital radio and television broadcasting, and launch of BBC Online. Virtual production techniques evolving to provide powerful production tools:

1990 First DAB trials

1995 The new Digital Radio service started in September

1996 First fully compliant test of the new DVB transmission standard

1997 BBC internet services start

1998 BBC launches digital satellite and terrestrial television services

1999 Digital Text service (replacement for analogue Teletext) successfully launched on DTT.

1970s 1980s 1990s

Research mainly concerned with short-wave broadcasting, studio developments, developing the Simultaneous Broadcast system, and television:

1930 BBC Research Department formed in April

1936 First regular high defi nition television service launches

1937 First close-talking noise-cancelling ribbon microphone giving broadcast speech, the L1.

The start of work on stereo radio; fi rst transatlantic signals (and so need for standards conversion); transistors being used in commercial equipment:

1953 Suppressed-frame telerecording equipment designed, and used at Coronation

1958 VERA (Vision Electronic Recording Apparatus), fi rst video tape machine used by the BBC

1959 First transatlantic television transmission by BBC R&D’s ‘Cablefi lm’; stereophonic tests using EMI-Percival system; investigations into TV picture storage begin.

The start of FM radio; colour television started to look viable; and new magnetic recording techniques started coming into operation:

1945 First VHF/FM transmission tests from Alexandra Palace; Type D disk recorder brought into service

1947 Early measurements on the magnetic properties of recording tape

1949 Work starts on smaller, light, higher sensitivity commentator’s microphone, the L2, to replace the L1. Simple colour channel set up.

Satellite communications used for the fi rst time in broadcasting; digital techniques transform sound and picture communication:

1962 First transatlantic colour TV link by satellite, using BBC R&D’s slide scanner

1963 NTSC, SECAM and PAL colour demonstrations to EBU and OIRT

1964 First studies into digital techniques for television

1967 BBC Two transmits fi rst regular colour television service in Europe.

1930s 1940s 1950s 1960s

2000s

SOME HIGHLIGHTS OF BBC R&D’SINNOVATION OVER THE YEARS

1514

PUBLICATIONS

WHP201 Affective Classifi cation of Large Scale Broadcast Archives

Sam Davies, Denise Bland

WHP204 Techniques for high-performance DAB and DVB-T on-Channel Repeaters

Peter Moss, Adam Wiewiorka

WHP210 Scene Segmentation using Multiple Metrics

M. Pindoria

WHP216 DVB-T2 Receiver Buffer Model (RBM): Theory & Practice

C.R. Nokes, O.P. Haffenden

WHP221 Upping the Auntie – A Broadcaster’s Take on Ambisonics

Chris Baume, A. Churnside

WHP222 Measuring PLT Interference on the Mains

Aaron Chadha, Ranulph Poole

WHP223 Protection of Broadcast Cells with Mixed Mode Reception using the

Database Approach

Mark Waddell

WHP224 Initial Considerations for Protection of PMSE

Mark Waddell, Andrew Lillywhite, Edgar Reihl, Karl Brookes, Frank Ernst, Matthias

Fehr, Wolfgang Bilz, Brian Copsy

WHP225 Initial Analysis of TV White Space Availability in the UK

Mark Waddell, Shyamalie Thilakawardana

WHP226 Measured DVB-T Protection Ratios in the presence of Interference

from White space Devices

Mark Waddell, Tim Harrold

WHP227 Construction of a TVWS database from DTT Coverage Data

Mark Waddell, Kostas Tsioumparakis, Dave Darlington

WHP228 Musical Moods: A Mass Participation Experiment for the Affective

Classifi cation of Music

Sam Davies, Penelope Allen, Mark Mann, Trevor Cox

WHP230 Measurement of Human Sensitivity across the Vertical-Temporal Video

Spectrum for Interlacing Filter Specifi cation

K.C. Noland

WHP231 A Pilot Study for Mood-based Classifi cation of TV Programmes

Jana Eggink, Penelope Allen, Denise Bland

WHP232 Large Scale Experiment for Mood-based Classifi cation of TV Programmes

Jana Eggink, Penelope Allen, Denise Bland

WHP233 Archive Preservation File Format: DigiBeta System

Philip de Nier

WHP234 Enhancing Viewer Engagement Using Biomechanical Analysis of Sport

Robert Dawes, Bruce Weir, Chris Pike, Paul Golds, Mark Mann, Martin Nicholson

WHP235 Web delivery of free-viewpoint video of sport events

Chris Budd, Oliver Grau, Peter Schübel

WHP236 RE@CT – Immersive production and delivery of interactive 3D content

Oliver Grau, Edmond Boyer, Peng Huang, David Knossow, Emilio Maggio,

David Schneider

WHP242 Improving the Experience of Media in the Connected Home with a

New Approach to Inter-Device Communication

S.J.E. Jolly, M.J. Evans

WHP243 An Experiment in Social TV for Automating Content Sharing via

Social Networks

Vinoba Vinayagamoorthy, Jerry Kramskoy

WHP244 Improving Screen Content Coding in HEVC by Transform Skipping

Marta Mrak, Ji-Zheng Xu

WHP245 Multi-Loop Quality Scalability based on High Effi ciency Video Coding

Glenn Van Wallendael, J. De Cock, R. Van de Walle, Marta Mrak

WHP246 Adaptive Transform Skipping for Improved Coding of Motion

Compensated Residuals

Andrea Gabriellini, Matteo Naccari, Marta Mrak, David Flynn, Glenn Van Wallendael

WHP253 Performance of an Experimental TV White Space Base Station for

Mobile and Fixed Broadband Applications

Mark Waddell, Shyamalie Thilakawardana, Tim Harrold, Phil Kesby, Steve Cherry

1716

CONTACT DETAILS

For more information about BBC R&D, who we are and what we do – including regular updates on our current projects – please check out our website at www.bbc.co.uk/rd

For media enquiries please contact BBC Press Offi ce on 020 8576 1865 or email at press.offi ce@bbc.co.uk