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31/03/2017
1
Metadataand how not to loose your content
N A STA C ON FEREN C E 2017 @ GUI L D TV
PE T E R WE I T Z E L – H ON S E C A ND T RE A S URE R S MPT E UK
Let’s start with What is SMPTE
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SMPTE is .....
The worlds largest members society for those working with the moving image
– and its audio and metadata Built on Three Pillars
• Membership - we have about 7000 members - 550 in UK
• Education – Journals (from 1916) webinars courses conferences
• Standards - over 800 enabling interoperability
Very Active in the UK • - c36 meetings from Southampton to Salford & Newbury to Ipswich
• One VP 3 Directors and 1 Governor on SMPTE Board ( out of 4/9/16)
• The third largest section in SMPTE ( after Hollywood and New York)
• 5 student chapters – and this link with NaSTA – backed by £500 to the NaSTA tech award winner
Something you Should Join – Its free for Students for a year and then $10 £7 after that
Something that will help your Career www.smpte.org/uk
SMPTE is .....
The worlds largest members society for those working with the moving image
– and its audio and metadata Built on Three Pillars
• Membership - we have about 7000 members - 550 in UK
• Education – Journals (from 1916) webinars courses conferences
• Standards - over 800 enabling interoperability
Very Active in the UK • - c36 meetings from Southampton to Salford & Newbury to Ipswich
• One VP 3 Directors and 1 Governor on SMPTE Board ( out of 4/9/16)
• The third largest section in SMPTE ( after Hollywood and New York)
• 5 student chapters – and this link with NaSTA – backed by £500 to the NaSTA tech award winner
Something you Should Join – Its free for Students for a year and then $10 £7 after that
Something that will help your Career www.smpte.org/uk
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UK section
UK Section serves all who are working with the technology of moving picturesand associated sound & metadata
– creatively, practically and innovativelyin any format, and on any platform.
www.smpte.org/uk
So what is metadata?
One definitions
Its the bits about bits
Another
Content = Essence + Metadata
Essence is the audio and video which makes up the item
So metadata is what make it count that you can use, sell, view etc. !
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Some simple examples
“Free Radio Birmingham” “96.4 FM” Or “11C (220.352 MHz) CAB2”
“BBC Midlands News”
“The Latest news, sport and weather for the West Midlands [S] Followed by national weather”
Rights Holder = Guild Tv
Types
All need a Unique ID (UID) and there are other IDs – Packet ID (PID)
Technical Metadata – often Machine only readable
Production / Descriptive metadata - mostly Human readable• Mandatory (really mean it) e.g Video PID
• Mandatory (as Required by ......) e.g. Prog title
• Optional (May be good idea to have ) e.g. Device Serial no or Comment
• Optional (Probably not needed for your workflow) e.g. Iris setting
• Persistent (for how long?)
• Temporary
• How can you change things – when do you increment for a version?
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Some examples
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Production
Delivery and enjoyment
Interaction
Some examples Plan commission
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Interaction
Treatment(W) Title ScriptRecce notesRecce photosContractsRisk assessment
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Some examples
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Interaction
Camera script Kit listCodec planComms set up
Shot loggingRecording report Camera metadata
EDLText of captionsCommentary script
Prog as RecProg as TX Delivery documentation
Some examples
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Interaction
Delivery DocumentationSchedule Trails list
Prog as Bcast TX Log
EPG InfoWeb linksSocial media links
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Some examples
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Interaction
DVB SI MPEG DASH seg.EPG per Platform+ Platform metadata
Some examples
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Interaction
EPGPersonalisation Interactive triggersWeb linksBARB ratingsAudience emails
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Tech 3349 Acquisition Tech Metadata
EBU tech 3349 – as an example of Tech metadata
(A bit old! – but highlights some of the issues – and is all optional! )
Lens metadata based on SMPTE RDD 18;
Camera metadata based on SMPTE RDD 18;
Device metadata based on EBU Tech 3301;
Audio metadata based on EBU Tech 3301;
Video metadata based on EBU Tech 3301;
Microphone metadata based on "2020 3D Media Special Sound & Vision" Deliverable 3.5 - Metadata Representation for 3D Cinema Production
Tech 3349 some features of Lens metadata
UID
F or T number
Iris ring position
Focus position – image plane and front of lens
Focus ring position
Zoom Focal length
Zoom ring Position
Lens type/ser no/ manufacturer/ model/ Comments
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Tech 3349 example of device metadata
UID
Device type
Device Description
Device manufacturer
Device model Number
Device Serial number
Device Software version
Device comment
Camera Unit metadata Ref = UID
Lens Unit metadata Ref = UIDThis is metadata on metadata
Acquisition Metadata you should use
EBU tech 3349 – as an example of Tech metadata
(A bit old! – but highlights some of the issues – and is all optional! )
Lens metadata based on SMPTE RDD 18;
Camera metadata based on SMPTE RDD 18;
Device metadata based on EBU Tech 3301;
Audio metadata based on EBU Tech 3301;
Video metadata based on EBU Tech 3301;
Microphone metadata based on "2020 3D Media Special Sound & Vision" Deliverable 3.5 - Metadata Representation for 3D Cinema Production
Whose / what kitare you using ?And any “Special settings” etc.
Set up and “Recording Report”
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Special types – Time code/ Time label
Timecode (SMPTE ST12 – ITU-BR 780-2)
Identifies a frame at 24 25 30 30/1.001 Fps (ST12-1)or 48 50 60 60/1.001 FPS (ST12-3) in hh:mm:ss:ff (*) format
hh limited to 0-23 except that (I think) 24:00:00:00 =00:00:00:00
Adjacent Frames are Monotonic except for 30 or 60/1.001 (Fractional Frame rates or Drop Frame time code)
Other issues • Setting time code reference e.g 00:00:00:00 or TOD or 10:00:00:00
• Multiple time codes per frame - e.eg slo-mo
• Not same as Frame count
• Does not work on HFR
• Or really for audio!
Special types – Time labels
Film and Tape are just stored linear video/ Audiothus Time code is fundamentally a linear signal
But these days Video and audio are stored as files and may not have full frames
– thus does a time with video really mean anything ???
If you are labelling time – should that label have “other info”
Ask the users!!!!! (not the manufactures directly)
SMPTE held Time Code Summits in Hollywood and New York (evenings)and a whole day in London at BT Tower –including Lunch @635Ft!
ANSWER – a pure-ish Time only label with time based on PTP (IEEE1588)as used in Future Digital video (ST2110 –other lecture!) & Digital audio AES67
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Special type Subtitles
This was the cause of a major Transatlantic Row!
Europe said that Subtitles were essence - because they were part of the Programme
USA said that they were metadata – because they wren not Video or audio
- This is mainly a cultural/ Regulatory issue
But they are Content
Essence = “ this is Subtitle Text”
Metadata = Time in / Time Out ( but is colour and position metadata or essence! )
But if Subtitles are used as a transcript they are Metadata!Including who is speaking!
UK delivery specification - DPP
Problem to solve ... In 2009
How to unify what a Programme maker delivers to UK Major Broadcasters BBC itv Ch. 4 ....Sky.... Ch5 ...... BT Sport ..STV ..TG4
Because an Programme maker makes programmes for more than one broadcasters
and it would save money , stop errors and just be more efficient
AND the world was changing to File delivery (spec 2012-F- Day Oct 14) (and also look at tape 2011 and live delivery)
www.digitalproductionpartnership.co.uk
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DPP Specification
Three Parts
Part 1 Picture and sound quality and QC requirements;
Part 2 Additional technical requirements for File programme delivery;
Part 3 Broadcaster specific requirements that are unique to the Broadcaster Name.
Metadata is in all parts – Audio e.g. technical for Dolby
But the main details are in Part 2
Rough summary of the Essence requirements
Part 1 General Requirements
Section 1 VideoSD/HD/UHD (BT601/709/2020&2110)Levels line up etc.Camera Quality required (note DSLR & Drones ) POST production Codec issues Up convert Archive etc.Safe text areas
Section 2 2 Audio DialogueLoudness Stereo and Surround - how it should be mixed (+Dolby Metadata)“lip sync”
Section 3 QCGeneral Quality PSE
AQC and Eyeballing
https://www.digitalproductionpartnership.co.uk/download/dpp-eyeball-qc-report-template-3/
Part 2 File delivered Programmes
Section4 Program Format Programme Layout (=“when Bars” and SOM)Parting Start and end ( =when Black, Silence Living holdClocks Audio tracksClosed captions
Section 5 File RequirementsVideo Codecs Audio Time code
Metadata
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DPP – What they say about Quality 3.1.1. General Video Quality
The picture must be well lit and reasonably but not artificially sharp.
The picture must be free of excessive noise, grain and digital compression artefacts.
The picture must be free of excessive flare, reflections, lens dirt, markings and obstructions (e.g. lens hood), and lens aberrations.
Movement must appear reasonably smooth and continuous, and must not give rise to distortions or break-up to moving objects, or cause large changes in resolution.
The picture must be free of excessive black crushing and highlight compression. Hard clipping of highlights (e.g. by legalisers) must not cause visible artefacts on screen.
There must be no noticeable horizontal or vertical aliasing, i.e. jagged lines, or field-rate or frame-rate fluctuations in fine detail.
Colour rendition, especially skin tones, must be consistent throughout, and provide a realistic representation of the scene portrayed unless it is altered as an editorially essential visual effect.
The picture must be stable and continuous – i.e. no jumps, movements, shifts in level or position. There should be no flash frames or very short shots unless editorially essential.
There must be no visible contouring / artefacts caused by digital processing. Quantisation noise must not be apparent.
There must be no noticeable spurious signals or artefacts e.g. streaking, ringing, smear, echoes, overshoots, moiré, hum, cross-talk etc.
3.1.2. General Audio Quality
Sound must be recorded with appropriately placed microphones, giving minimum background noise and without peak distortion.
The audio must be free of spurious signals such as clicks, noise, hum and any analogue distortion.
The audio must be reasonably continuous and smoothly mixed and edited.
Audio levels must be appropriate to the scene portrayed and dynamic range must not be excessive. They must be suitable for the whole range of domestic listening situations.
Surround and Stereo audio must be appropriately balanced and free from phase differences which cause audible cancellation in mono.
The audio must not show dynamic and/or frequency response artefacts due to the action of noise reduction or low bit rate coding systems.
Search for “TECHNICAL SPECIFICATION FOR THE DELIVERY OF TELEVISION PROGRAMMES AS AS-11 FILES”
And you will find everyone's spec
http://dpp-assets.s3.amazonaws.com/wp-content/uploads/specs/bbc/TechnicalDeliveryStandardsBBC.pdf
DPP meta data schema
Minimal Set of Programme Domain Specific Metadata needed – these probably applies to anyone's programme
Series Title
Episode title / Episode number
Programme Title ( think version )
Synopsis (not for EPG – but sort of a check )
(Genre)
You can down load a free tool for this https://www.digitalproductionpartnership.co.uk/metadata-application-download-v1-2/
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DPP meta data schema
Minimal Set of Programme Domain Specific Metadata needed – this probably applies to anyone's programme
Completion date
Copyright Year
Originator
Distributor
Contact Email
Contact Phone number
You can down load a free tool for this https://www.digitalproductionpartnership.co.uk/metadata-application-download-v1-2/
DPP meta data schema
Minimal Set of Programme Domain Specific Metadata needed the more techy bits!!
Picture RatioAFD
Product PlacementTextless elements Programme TextProgramme Text Language
Total Prog duration Line up start Indent clock start Part number Part total
Part Start of Media (SOM) Part Duration Total (hard) Parts
3D
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DPP meta data schema
Set of Invision Access services
Open captions Present Open captions Language
Signing Present Signing Language
Set of Content details
Video Comments
PSE/PSE Manufacturer / PSE Version
Audio Comments
Audio Primary/ secondary /Tertiary Languages
Loudness
Sum up - useful fields from DPP Schema
• Series Title
• Episode title / Episode number
• Programme Title ( think version )
• Synopsis not for EPG – but sort of a check
• Completion date /Copyright Year
• Originator /Distributor
• Contact Email
• Contact Phone number
• Total Prog duration
• Part Start of Media
• Video Comments
• Audio Comments
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Metadata Persistence
Good practice says
Enter Metadata (manually or automatically) at the earliest time
But where is it needed? – and thus how far down the chain do you need to persist it –or for how long do you keep it!
Bearing in mind that loosing it could mean your programme is lost!
But do you want to spend time / money etc. on handling information you do not need!
And what happens when metadata changes? Think when the final title for the programme is decided????
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Production
Delivery and enjoyment
Interaction
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Metadata Persistence Pass down the chain
Aka “Work out your workflow”
Example – Time code
Can you easily compile a EDL without knowing the source (file/tape) and the Camera time code?
How can you add subtitles to the Pragmas if you do not have time Codie as meat add to link the heard speech and the subtitle Text?
In bath of these the Information passes from one stage to another –BUT in POST the camera time code is lost and the Programme time cider becomes important and is passed to play out ...
Metadata Persistence “keep in file”
... Where you can easily find it!
Example a recce photographs
This is likely to persists onto shooting – as you will need to know where you found a good shot / Location.......
BUT after that.........
What if you want to go there again ...... If you have the photo ....(I use my phone to photograph Mic positioning )
OR
The programme website wants a picture of the location..
Metadata becomes essence!!!!
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Persistence of metadata
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Interaction
Recce photos
Camera timecodes
Prog timecode
Location edit qc subtitle Playout
(W) Title
Web linksM to E
Plan & Commission
Acquire, Create & Manage
Package & Publish/Playout
Consume & InteractDistribute
Production
Delivery and enjoyment
Interaction
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There is a a lot more!
There is a lot going on in the technology of the moving pictures industries -and many relearning fundamentals
Today I have only looked at two areas
BUT what matters is that the technology helps and enhances the storytelling which get the money flowing in...
– technology on its own is waste of time and money ....
I asked one chief engineer what his Priorities were
• UHD... Practically HDR , but all the other issues of WCG HFR *
• VR and 360 deg videos ( which are not the same thing) – And AR
• Remote Production
• Scalable Cross platform compliance
• IP Production *
• IMF (interoperable mastering format ST 2067)*
• DPP Specs and metadata
• Object audio
Questions ??
You have the persistence to stay to the end - what more do you want to know!
Find this slide pack and how to join SMPTE – at www.smpte.org/uk
If your Station wants to get in touch – [email protected](use Subject: NaSTA <Station Name> )
Next some extra slides with Links to useful things!
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Useful Links
Standards bodies
www.smpte.org/standards
www.itu.int BT 601, 709 2020 2100
www.etsi.org DVB specs etc.
Specification bodies
www.digitalproductionpartnership.co.uk
www.dtg.org
www.Amwa.tv
www.nmos.tv
Useful links
Files are made using MXF SMPTE ST337 As a wrapper /Data model
See http://academy.dalet.com/video-gallery/bruces-shorts/what-mxf
A particular Flavour of MXF is uses in the Application specificationsAS by Amwa – DPP uses AS11 as the basis
There are Other File formats using MXF – the up and coming one is IMF see https://mrmxf.com/shorts/
And to explain the all Mr MXF ....
http://academy.dalet.com/video-gallery/file-formats-what-f-are-all-these-formats
Mr MXF is SMPTE fellow and UK governor Bruce Devlin and he is looking for you to help him! https://mrmxf.com/shorts/?sponsor
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Why join SMPTE - go to www.smpte.org/uk
Join in our success
Meeting others working in our industries - that what SMPTE meetings are all about
Receiving the Motion Imaging Journal (not associate members) how-to- full of the latest techniques and news from SMPTE sections around the World
Participating the Technology relevant webcasts at no Charge
Access our archive - Look back over SMPTEs work over the past 100 years
Attending events conferences and Courses at member discount rates– you can easily save your subscription (and it can be offset against tax)
Discounts on conference papers, proceedings and Standards in the SMPTE Digital Library
Getting Preferential booking for our meetings
Supporting those joining our industries through the Graduate Initiative
Taking part in standards work and directing the way our industries move
Just being an active member of the world’s largest Members society for those working with the moving image, its audio and metadata- on any platform - Film, Television , Digital media
Join us and Join in
Student Members First year Free – Following Years only $10
Go to www.smpte.org/uk and click on “Student members free” link https://www.smpte.org/store/product/membership-individual-studentbut choose “Pay Later” as your payment method.When it askes for the name of your lecturer etc. put “NaSTA Weitzel” (When you join, you will be asked to set up an online account you will use to access your membership benefits)
Once you have joined, email us at [email protected] will make your membership active, and send you a welcome email.
And problems email SMPTE Home office (East Coast USA) [email protected] and all will happen!
AND TAKE PART _ UK meetings plus the webcasts and by contacting any SMPTE member ( via website!)
YOU have a better idea of the future than we do!!