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31/03/2016
1
Current Technology high spots
NaSTA CONFERE NCE @ LEEDS APRIL 2016
PE TE R W E I TZ E L S E C / TR E A S UR E R S M PTE UK
Let’s start with “what is SMPTE?”
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www.smpte.org/uk
SMPTE
Society of Motion Picture and Television Engineers
Based on three Pillars
� Members – we have 6700 around the world – 570+ in UK
� Education – we run meetings/lectures - in about 20 places in UK..... And webcast and Conferences and courses plus Journal
� Standards - over 800 fundamentals for Film TV and Digital media
And is 100 Years Old
www.smpte.org/uk
.... And we support Student Production
Hollywood October 2016 – see https://www.smpte.org/ATC/student-film-fest
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www.smpte.org/uk
SMPTE – HPA Student Film Festival
6 Categories � Best creative use of entertainment technology to engage the audience in the
story – narrative format. (max. five min.)
� Best creative use of entertainment technology to engage the audience in the story – narrative format. (max. 30 sec.)
� Best portrayal of entertainment technology in the film – documentary format. (max. five min.)
� Best portrayal of entertainment technology in the film – documentary format. (max. 30 sec.)
� Best use of virtual reality in storytelling – narrative format. (max. three min.)
� Best use of mobile device or tablet to convey a story – narrative format. (max. three min.)
See https://www.smpte.org/news-events/news-releases/smpte-and-hpa-issue-call-entries-2016-smpte-hpa-student-film-festival
www.smpte.org/uk
And we encourage
Student members Free for the first year then $10 and you get � Meeting others working in our industries
- that what SMPTE meetings are all about
� Receiving the Motion Imaging Journal- 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 and conferences
� Courses at member discount rates – you can easily save your subscription (and it can be offset against tax)
� Being supported by those in 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 societyfor those working with the moving image, its audio and metadata
- on any platform - Film, Television , Digital media
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What I told the non- techiesSPECIFICATI O NS AND METAD ATA
www.smpte.org/uk
Specifications
Take Standards (fundamentals for Film TV and Digital media) which enable interoperability - SMPTE sets Standards
And the specification provides a Profile for use within a smaller group
e.g UK Specification for TV limits frame rate to 25Hz (not 60 or “59.94”)
In the UK two key specification bodies
� Digital Television Group DTG “ D Book” http://www.dtg.org.uk/
how Broadcasters and Receivers work = “Freeview HD” mark
� Digital Production Partnership “DPP” https://www.digitalproductionpartnership.co.uk/
How Producers deliver Programmes to Broadcasters (technical and metadata)
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www.smpte.org/uk
Metadata basics
Content = Essence + Metadata
Audio Video etc. material
Text describing the Essence and / or its use
www.smpte.org/uk
Specifications and metadata
Programme makers (Non techies) need to know something about the technical side (and vice versa)
Standards are world wide set by experts (like SMPTE) by due process
Specifications restrict what you can do - to aid interoperability – and thus reduce the technology that you need to know.
Metadata is an important part of the Production Workflow – it tells you what is the AV material (Essence) -without it – you have not got a programme / Clip / Item......
The DPP has specifications and background can help you understand what /why professionals use So that you can select the bits /ideas that work for your Station
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What excites the techies U HD AND IP (PLU S VR)
One Original Ra�onale for UHDTV → Immersion
According to ITU-R Report BT.2246: “UHDTV is … intended to provide viewers with … a wide field of
view that virtually covers all of the human visual field ….”
80 degree FOV30 degree FOV
Not “There”
“There”Subjective
Scores
Not “There”
“There”Subjective
Scores
Based on research reported by Yamashita et al. “Super Hi-Vision” Video Parameters for Next-Generation Television. SMPTE Mot. Image J. May-June 2012 vol. 121 no. 463-68 (NHK Science & Tech Res. Labs)
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www.smpte.org/uk
Pixels
UHD1 incorrectly called “4k”
4x pixel of HD so 1920*2 = 3840 pixels per line and 1080*2= 2160 lines per frame
And it is PROGRESSIVE Scanned
But to see the pixels you need to be 1.5 Picture Height (1.5H) from the screen (visual acuity one minute of arc)
so for a 42” TV H=550mm Distance = 780mm or 65” TV H= 910mm Distance = 1360mmor ipad H=150mm Distance = 225mm
“Our key results are a median absolute viewing distance of 2.63m, and a median relative viewing distance of 5.5 times the screen height (5.5.H).”
See http://www.bbc.co.uk/rd/publications/whitepaper287
www.smpte.org/uk
UHD
It is Not just “4k” actually 3920*2060 4 times as many pixels than HD
But it has better pixels “UHD1ph2” using
� High Dynamic Range (HDR) Blacks backer , whites whiter and highlights fantastic
� Wide Colour Gamut (WCG)
� Immersive audio –Using Objects
� High Frame Rate so that motion looks smooth
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Real World Light Examples
Light units are in
candela/m2, more
conveniently spoken -
“Nits”170,000
nits
0.25
nits
15
nits
133,000
nits
15
nits
300,000
nits
6000
nits15
nits
300
nits
185
nits
10,000
nits
www.smpte.org/uk
Luminance Dynamic Range Display Device
~ 0.1 ~ 600
~ 2500
~ 0.005 ~3000 ~20,000
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www.smpte.org/uk
High Dynamic Range
More bits per pixel
– at the moment 10 bits in studio (SMPTE & BT 601 &709)but only 8 bits at emission
So UHD BT2020 has a 10 bit Profile for emission – may not be quite enough!
But things are not linear
Camera Signal Display
www.smpte.org/uk
Pre- and post- colour grading images
18© 2015 • Powered by SMPTE® Professional Development Academy • www.smpte.org `
This is what a TV Camera needs to put out
This is what a film camera outputs so that it has all the detail to be graded
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www.smpte.org/uk
HLG
� E 1 ln 1 0 E 1 ln 1 0
See http://www.bbc.co.uk/rd/publications/whitepaper309
www.smpte.org/uk
Total HLG chain
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From photons to colour the WCG
Real objects
Wavelengths of Light from Sun
Optical transmission of the eye
Cone sensitivity
Spectral locus
Pointer’s gamut
of real surface
colors
CIE Chromaticity (u’, v’)
Rationale for Enhanced Colour Gamut
Surface color of real objects often
lie outside HDTV gamut (Rec 709)
… but mostly within the UHDTV
gamut
(ITU-R Rec. BT.2020)
From Report ITU-R BT.2246-1 (2012)
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Wider Field of View → Higher Frame Rate Needed
Viewers are more susceptible to flicker in wide Field-of-
View (FOV).
UHDTV needs a higher frame rate for very big displays.
80 degree FOV
30 degree FOV
From Report ITU-R BT.2246-1 (2012)
www.smpte.org/uk
Shooting at Higher Frame Rate
48 FPS1/60 of a second
24 FPS1/48 of a second
60 FPS1/120 of a second
180°
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www.smpte.org/uk
Differences at 60 FPS
180° 270° 358°
Putting it all together
What do we want?
“A Sense of Realness”
What is the Perceptual
Basis?
YES
Higher Resolution
Enhanced Color
Gamut
Higher Bit Depth
Higher Frame Rate
Sense of Being There
Natural Colors
Sense of Light
Natural Motion
Seeing Through the Window
Field-of-View (FOV)
Pointer’s Gamut
Dynamic Range
Smooth Pursuit
Hyperacuity
YES
YES *
YES
YES
YES* YES*
YES*YES
… and more efficient video compression in all cases!
Constancy of Illumination Flicker Fusion YES
YES
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www.smpte.org/uk
22.2ch sound microphone
27
-30
-20
-10
0
0
o
30
o
60
o
90
o
120
o
150
o
180
o
210
o
240
o
270
o
300
o
330
o
-30
-20
-10
0
250Hz
500Hz
1kHz
2kHz
4kHz
8kHz
12kHz
16kHz
Diameter 45 cm
www.smpte.org/uk
22.2 multichannel sound - speaker layout
28
TpSiL TpSiR
TpBL
TpBC
TpBR
α1 α
1
α3
α3
180°
90°
TpC
TpFR
TpFC
TpFL
Top Middle Bottom
But you need speakers in the right place !
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www.smpte.org/uk
Object audio
Instead of sending discrete audio tracks with a 1 to 1 relationship microphone to Loudspeakers
How about sending Audio Object – which have instructions on how they should be put in the sound stage
Which the receiver box can relate to the loudspeakers it has and where they are!
Most Audio fits in a 5.1 (7.1) mix – so use objects to add to this
And can be rendered to work from Headphone (binaural) to many speakers – and they need not be everywhere Wave front technology means that say 200 Speakers around the TV Can work just as well as speakers anywhere in the room
www.smpte.org/uk
3D panning
Different viewControl multiple sound sources
Controls for Object audio
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www.smpte.org/uk
Object Audio gives Viewers (limited) control
Viewers could be Given different commentaries , Languages , Dialog enhance
And object audio is used now (and for 14 years on UK DTT) for Audio Description
The narrators voice has a pan byte – and a fade byte to dim Prog Sound
AD receiver mix
Normal Prog sound to LS
Narrator volumeReceiver mix volume
Normal volume
Narrator
L
R
www.smpte.org/uk
RECAP – what not to forget
• Current CE trends recognise only resolution
• Research has shown resolution is not enough
• UHD is a matter of:
• the full broadcast eco-system from glass-to-glass
• a mid to longer term effort and comes in technology phases
UHD video quality = Res + HFR + HDR + Col + Advanced Audio
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www.smpte.org/uk
HEVC aka H.265
www.smpte.org/uk
HEVC
Coding unitsfrom 64*64 to 4*4Independent coding modes
35 motion vectors to sub pixel Transform size
32*32,16*16,8*8,4*4
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IP – using commodity IT
www.smpte.org/uk
IP in broadcasting is “old Technology”
Carrying Live Video over Computer Networks rather than Coaxial cables
Circuits from Telcos have been IP for over 15 years – and are used by broadcasters for inter site links ( usually Compressed as Native TV very high bit rates wrt Networks thenRec 601 270 Mbit/sec SD is 30 years old)
Files go well over IP networks!
But recently the Bitrates from IT Industry is greater than TV ....
So “cheap” “commodity” IT kit could be used for broadcast uses –even long Telco circuits may be cheaper Uncompressed...(remote working)
AND IT bitrates are out running even UHD!!! (just about)
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www.smpte.org/uk
Why IP – this is what Fox say
1.To enhance the flexibility & agility of the video plant 2.Denser than SDI and inherently bi-directional 3.Agnostic to resolution, bit depth, and frame rate 4.Compatible with network interfaces on commodity Ethernet switches and commodity servers 5.Flexible association of streams into desired groups of media 6.Network-based registration and discovery of devices, streams, and media capabilities 7.The “on-ramp” to the software-oriented, virtualized video production plant
www.smpte.org/uk
SMPTE ST 2022-6 just packetise SDI
embed
Packetise Depacketise
De-embed
ST259 & ST272 SDST292 & ST299-1 HDST424 & ST 299-2 3GHD
ST 2022-6 ST259 & ST272 SDST292 & ST299-1 HDST424 & ST 299-2 3GHD
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www.smpte.org/uk
But its is better to have separate V A M
VSF TR03 or AMWA NMI https://github.com/FOXNEOAdvancedTechnology/RFC4175-dissector
Basic standards TR 03
Video Flows
IETF RFC 4175 (uncompressed)
Active video
Good beyond 8K resolution
Audio Flows
IETF RFC 3190 (AES67)
24-bit 48kHz PCM
Ancillary Data
IETF draft-ietf-payload-rtp-ancillary
Clock Distribution
IEEE 1588 PTP
SMPTE ST 2059-2 Profile
Synchronization
RTP Clock Source Signalling in SDP
Flow Association
Session Description Protocol (SDP)
VSF TR-04 Allows 2022-6 SDI in RTP to be synced with TR-03 elements
http://www.videoservicesforum.org/download/technical_recommendations/VSF_TR-03_DRAFT_2015-10-19.pdf
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www.smpte.org/uk
HD SDI wastes say 30% bit rate
Since everything goes into 1.485 Gbps…
Image Format Active Video Ancillary Ancillary Video inMbps Mbps Overhead 9.5G (ST 2022-6= 6)
1080i59.94 1,243 241 16.2% 7720p59.94 1,105 379 25.5% 81080i50 1,037 448 30.2% 8720p50 922 563 37.9% 9
Dalet
www.smpte.org/uk
Software Defined Networks -SDN
“Normal” IP networks work by the routers negotiating locally with adjacent routers on how they pass data between them.
SDN’s
1. Decouple the Control and Data planes
2. Logically centralized control
3. Exposure of abstract network resources and state to external applications
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www.smpte.org/uk
The typical IP network ( v simple explanation)
Where does each packet go????
If by local negotiations could be
1-2-6 or 1-2-3-4-5-6 or 1-3-2-4-6 or 1-3-2-4-5-6 etc.
control
control
control
control
control
control
3
4
5
62
1
So do they arrive in the same order or at all?
www.smpte.org/uk
The typical SDN ( v simple explanation)
Where does each packet go????
Control and monitoring
3
4
5
62
1
The controller sets up the route and all the packets go the same way And don’t get lost!
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www.smpte.org/uk
Virtualisation
This abstracts the function away from the physical infrastructure
SDN is an visualised network
“The cloud” is visualised Processing or Storage or Connectivity
Broadcast devices ( e.g. Aperi) can be amplifier or coder or ???
Thus systems architecture at the Higher “Requirements” level and Low “Physical” level is very important - and within that the network is the most important as it joins everything together- without loosing packets
www.smpte.org/uk
Weitzel’s three rules of IP
1. Every packet counts
2. ALL it needs is JUST best Practise
3. It is complex because of interrelationships
see the AES lecture slides at www.weitzel.tv
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www.smpte.org/uk
SMPTE in the UK
UK Section serving all who are working with the technology of moving pictures
and associated sound & metadata– creatively, practically and innovatively
in any format, and on any platform
One hundred years of serving the Industries of the Moving Image throughout the world by our Members Education Standards
Jobs
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www.smpte.org/uk
From University to work
Where do you start?
Tech Ops
The Rest SupportDesignDevelopment
SysDesign
PM Projects
Support Maint
Service Providers
R&D
Bigger Broadcasters
Broadcasters Systems
integrators Manufacturers
(IABM) BB
IT Ops
www.smpte.org/uk
The Industries Broadcasting/ Film / Digital Media
Broadcasters – Sky BBC itv ...... Discovery ....Majan Bauer , Netflix
Service providers
MPC , The Farm, FramestoreRed Bee, Ericsson, SBS, Easel.tvDock 10, NEP, CTV..... Bowtie , Adlib
BT M&B BT Sport BT ...... Arqiva ....... WTN ViewSat
ATOS ..... Accenture
Manufacturers/ Suppliers – & Systems Integrators
The Rest – Universities, Production Companies ..... Yourself – go freelance! Or start your own company
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www.smpte.org/uk
What makes a Broadcast engineer different ?
� Understands Content (& content makers)
� Content = essence and metadata
� Understands Availability (& Audience)
� Planning , Timeliness, Prioritisation
� Takes care of the (essential) detail
� Aware of everything end to end
� Basics / Fundamentals -- Analyse / Reason Document / Note -- Remember/ Recall Inspired Logical Thought -- Communicate
www.smpte.org/uk
Getting experience
Your Hobbies/ Interests – etcMusic/ Photography/ Dramatics/ Games/ Programming /NASTA
Your Studies
What have / How have you learnt, inside& outside the course
Your Work
� Intern/ related areas
� Something very different / International
Your Contacts.....
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www.smpte.org/uk
What businesses look for
� Passion/Persistence/Planning
� Awareness/Knowledge
� Ability to learn and explainRemember CONTENT/AVAILABLITY / DETAIL/ E2E Written – CV etc, Emails
+ Linked in FBook
Face to Face - Interviews / References + Open days / SMPTE meetings
www.smpte.org/uk
And Work.......
Your first job is
� Opportunity to find out more & experiment
� Where you can establish yourself in Industry
� A Place to move from......
....As you find out more about yourself and what the industries can offer you.....
....... Non technical as much as technical
To help you – your ColleaguesSMPTE UK & its graduate initiative
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www.smpte.org/uk
The evolving role of the broadcast engineer
Broadcasting is close to the bleeding edge of Technologyso you are always learning –
But equipment lasts many years
and technology can take many years fromlab demonstrator to being in everyone’s home
..... And it is speeding up! (but not as fast as you may think)
You will change job direction in first
few years
www.smpte.org/uk
SMPTE in the UK
UK Section serving all who are working with the technology of moving pictures
and associated sound & metadata– creatively, practically and innovatively
in any format, and on any platform
One hundred years of serving the Industries of the Moving Image throughout the world by our Members Education Standards