Current Technology high spots
Na S TA C O NFERE NC E @ L EEDS A P RI L 20 16
P E T E R W E I T Z E L S E C / T R E A S U R E R S M P T E U K
Let’s start with
“what is SMPTE?”
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
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
Coursesat 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 society
for those working with the moving image, its audio and metadata - on any platform - Film, Television , Digital media
What I told the non- techies
S PE C IF IC ATI O N S A N D ME TA D ATA
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)
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
What excites the techies
U HD A N D 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 FOV 30 degree FOV
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 = 1360mm or 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 hasbetter pixels
“UHD1
ph2” usingHigh Dynamic Range (HDR)
Blacks backer , whites whiter and highlights fantastic
Wide Colour Gamut (WCG)
Immersive audio –
Using Objects
High Frame Rate
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 nits 15 nits 300 nits 185 nits 10,000 nits
Luminance Dynamic Range Display Device
~ 0.1 ~ 600 ~ 2500
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
www.smpte.org/uk
HLG
E 1 ln 1 0 E 1 ln 1 0
See http://www.bbc.co.uk/rd/publications/whitepaper309
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)
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)
Shooting at Higher Frame Rate
48 FPS 1/60 of a second 24 FPS 1/48 of a second 60 FPS 1/120 of a second 180°
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
www.smpte.org/uk
22.2ch sound microphone
27 - 3 0 - 2 0 - 1 0 0 0 o 3 0 o 6 0 o 9 0 o 1 2 0 o 1 5 0 o 1 8 0 o 2 1 0 o 2 4 0 o 2 7 0 o 3 0 0 o 3 3 0 o - 3 0 - 2 0 - 1 0 0 2 5 0 H z 5 0 0 H z 1 k H z 2 k H z 4 k H z 8 k H z 1 2 k H z 1 6 k H zDiameter
45 cm
22.2 multichannel sound - speaker layout
TpSiL TpSiR TpBL TpBC TpBR α 1 α1 α 3 α3 180° 90° TpC TpFR TpFC TpFL
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 view
Control multiple
sound sources
Controls for
Object audio
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 apanbyte – and a fadebyte to dim Prog Sound
AD receiver mix
Normal Prog sound to LS
Narrator volume
Receiver mix volume
Normal volume Narrator
L R
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
www.smpte.org/uk
HEVC aka H.265
www.smpte.org/ukHEVC
Coding units from 64*64 to 4*4 Independent coding modes 35 motion vectorsto sub pixel Transform size
IP – using commodity IT
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 then Rec 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)
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 SD ST292 & ST299-1 HD ST424 & ST 299-2 3GHD ST 2022-6 ST259 & ST272 SD ST292 & ST299-1 HD ST424 & ST 299-2 3GHD
www.smpte.org/uk
But its is better to have separate V A M
VSF TR03 or AMWA NMI https://github.com/FOXNEOAdvancedTech nology/RFC4175-dissector
Basic standards TR 03
Video Flows IETF RFC 4175 (uncompressed) Active videoGood beyond 8K resolution Audio Flows IETF RFC 3190 (AES67) 24-bit 48kHz PCM Ancillary Data 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
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 in
Mbps Mbps Overhead 9.5G (ST 2022-6= 6) 1080i59.94 1,243 241 16.2% 7 720p59.94 1,105 379 25.5% 8 1080i50 1,037 448 30.2% 8 720p50 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
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 6 2 1
So do they arrive in the same order or at all?
The typical SDN
( v simple explanation)Where does each packet go????
Control
and monitoring3 4 5 6 2 1
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
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
www.smpte.org/uk
From University to work
Where do you start?
Tech Ops The Rest Support Design Development Sys Design PM Project s Support Main t Service Providers R&D Bigger Broadcasters Broadcasters
Systems
integrators
Manufacturers (IABM) B BIT Ops
www.smpte.org/uk
The Industries
Broadcasting
/ Film / Digital MediaBroadcasters – Sky BBC itv ... Discovery ....Majan Bauer ,
Netflix
Service providers
MPC , The Farm, Framestore Red Bee, Ericsson, SBS, Easel.tv Dock 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 companywww.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
Getting experience
Your Hobbies/ Interests – etc
Music/ Photography/ Dramatics/ Games/ Programming /NASTA
Your Studies
What have / How have you learnt, inside& outside the course
Your Work
Intern/ related areas
www.smpte.org/uk
What businesses look for
Passion/Persistence/Planning
Awareness/Knowledge
Ability to learn and explain
Remember 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 Colleagues
www.smpte.org/uk
Broadcasting
is close to the bleeding edge of Technology
so you are always learning –
But equipment lasts many years
and technology can take many years from
lab 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 year
s
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
