TECHNICAL SPECIFICATIONS

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ANNEX II TO THE INVITATION TO TENDER

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TECHNICAL SPECIFICATIONS

REFERENCE TABLES

Audio-photo-video-multimedia laboratory work,

and related supplies and services

Interinstitutional Open Call for tenders

PO/2015-27/A4

Launched by the Audiovisual Services of the European Commission

1

The tables show, in detail, the different requirements outlined in the specifications. They may not be modified.

The tenderer must indicate in the right-hand column “Reference to the tender” (page, chapter,...)” where the information can be found in the offer.

A reference to technical documentation alone is not acceptable.

THESE TABLES MUST BE COMPLETED AND ANNEXED TO THE OFFER

LOT I – AUDIO, VIDEO AND MULTIMEDIA TABLES 1 TO 10

LOT II – PHOTO TABLE 11 TO 13

1_{On behalf of the following institution/agency:}  Audiovisual Unit of the European Parliament;

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SPECIFICATIONS LOT I

SOUND WORKS

REFERENCE TO THE TENDER (Page, chapter, …)

1. All duplication, remasterisation and digitisation must be made in

conformance with best broadcast engineering practice and the appropriate EBU and ITU recommendations and specifications. The operator must describe the professional standards he applies.

SOUND DUPLICATION

The duration of the programmes varies with each order.

The number of copies to be made could vary from a few to several hundred.

REFERENCE TO THE TENDER

(Page, chapter, …)

2. The source programme may be provided by the requesting institution/agency in the following formats (this list is non exhaustive and liable to be updated following needs and advances in technology):

 Quarter inch tape in all formats/speed, notably 4.75, 9.5, 19 or 38cm/s, full- half- or quarter-track,

 DAT (44.1 or 48KHz)

 Audio cassette (MC)

 CD audio

 MD

 MP3 (64Kbps to 192Kbps – professional encoding CBR & VBR)

 Other types of file used in the field of professional audio.

The operator must confirm that he is able to handle these various formats, and will complete the list if need be.

3. The source of the sound programme to duplicate may also be provided by the requesting institution/agency on video tape in the following formats: mainly Betacam SP – 4 tracks, DVCPRO 25, Digital Betacam (625/50) and HDCAM (this list is not exhaustive and liable to be updated following needs and advances in technology).

The operator must confirm that he is able to handle these various formats, and will complete the list if need be.

4. The source programme may also be provided by the requesting institution/agency on CDR, USB stick, hard disk or by FTP in the following formats (non exhaustive list, liable to be updated following needs and advances in technology):

 MP3 file (64Kbps to 192Kbps – professional encoding CBR & VBR)

 Other types of file used in the field of professional audio. The operator must specify the various formats he is able to handle.

5. The operator must describe his copying procedure, and must state the makes and quality of the supports to be used for the copies.

The master must be controlled at the time of the first series of copies. The recordings must be monitored during recording and checked after the recording. Any problems must be signalled to the requesting institution/agency.

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SOUND DIGITISATION

6. The sound programme to digitise may be provided by the requesting institution/agency in the following formats (this list is non exhaustive and liable to be updated following needs and advances in technology):

 Vinyl disk,

 Quarter inch tape in all formats/speed, notably 4.75, 9.5, 19 or 38cm/s, full- half- or quarter-track,

 DAT (44.1 or 48KHz),

 Audio cassette (MC)

It must be transferred on WAV/BWF and MP3 files, delivered on USB stick, hard disk or sent by FTP to the requesting institution/agency.

7. The source of the sound programme to digitise may also be provided by the requesting institution/agency on video tape in the following formats: mainly Betacam SP – 4 tracks, DVCPRO 25, Digital Betacam (625/50) and HDCAM (this list is not exhaustive and is liable to be updated following needs and advances in technology).

The operator must confirm that he is able to handle these various formats, and will complete the list if need be.

8. Digitisation includes cleaning of the audio source, where appropriate.

9. The digitisation process has to be fully supervised by a sound engineer. A detailed report (following specifications to be delivered by the requesting institution/agency) mentioning the reference number, the total duration and all technical problems must be provided for each digitised programme.

10. The operator must describe the different restoration techniques he is able to use for the treatment of frequent problems (mechanical damage, dirt, scratching, sticky shed syndrom, vinegar syndrom) before digitisation.

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VIDEO WORKS

11. _{All duplication, remastering and digitisation must be made in conformance}

with best broadcast engineering practice and the appropriate EBU and ITU recommendations and specifications. The operator must describe the professional standards he applies.

12. The operator must describe his position in relation to the future challenges generated by the evolution of digital video: proof of adaptability shown by the equipment used and the personnel at work.

13. The operator must describe his flexibility: availability in the evening, during week-ends and official holidays

VIDEO DUPLICATION

REFERENCE TO THE TENDER

14. The operator must describe his copying procedure, and must state the makes and quality of the cassettes to be used for the copies.

Due attention must be paid to achieve correct video and audio levels in the programme, and to copying time code and the recordings must be monitored during recording and checked after the recording. Any problems must be signalled to the requesting institution/agency.

15. The source programme may be provided by the requesting institution/agency in the following formats (SD or HD EBU): Digital Betacam, Betacam SP, DVCPRO 25, DVCPRO 50, DVD-R, DVCAM, mini-DV, HDCAM, DVCPRO HD, P2 (including AVC). (This list is non exhaustive and liable to be updated following needs and advances in technology).

16. The Contractor may be required to record the source programme directly from 'Europe by Satellite' (EbS) or another unencrypted DTH/DVB-S service accessible in the geographical area of the Contractor.

The operator must confirm that he is able to receive the EbS signal (reception parameters are available at the following address:

http://ec.europa.eu/avservices/ebs/satellite.cfm?sitelang=en ) and other services of type DTH DVB-S.

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VIDEO DUPLICATION

17. The source programme could also be recorded from the following types of video files (professional quality, equivalent to the EBU standard "high bit rate contribution 422"): MPEG2, MPEG4 (H264 AVC) or DV25/50/100, and other recognized formats and encoding. The current internal archiving formats are DV25/50/100 in MXF.

(This list is non exhaustive and liable to be updated following needs and advances in technology.)

The files will be supplied by the requesting institution/agency on DVD-R, hard disk, memory stick, SATA drive or by FTP or will have to be downloaded by the contractor directly from the websites of the requesting institution/agency (http://ec.europa.eu/avservices for the European Commission, http://www.audiovisual.europarl.europa.eu/ for the European Parliament).

The operator must specify the type of files he can handle.

18. SD = 625/50 (576i25)

HD = European formats recommended by EBU (1080i25, 720p50, 1080psf25, 1080p50)

19. DVD-Video copying = simple copy of a programme on DVD-V, DVD+R or DVD-R. No authoring or menus. Standard labelling.

20. Duplication includes aspect ratio conversion (fixed, standard options including anamorphic using a fixed setting for the whole duration of the video)

21. The operator must state how he will convert between 24, 25, 30, 50 and 60 frame per second systems.

22. The operator must specify the type of convertor (625/50 <> 525/60) used.

23. The operator must describe the type of FTP connection he has.

24. The operator must describe the type of aspect ratio convertor he has.

25. The operator must be able to play all the EBU HD standards (1080i25, 720p50, 1080psf25, 1080p50, 1080p24 etc.).

26. The operator must specify which solutions he has for the conversion between the various HD formats and to SD, and from SD to the HD formats.

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To be completed using this form LOT I – VIDEO - TABLE 5

VIDEO REMASTERING

27. The source programme may be provided by the requesting institution/agency in any of the formats stored in the archives of the requesting institutions/agencies (SD or HD EBU): Betacam, Betacam SP, Betacam SX, DigitalBetacam, BVU, Umatic Low Band, D1, D2, Mini-DV, DVCAM, DVC Pro, 1", HDCAM, DVC Pro HD, DVD.

(This list is non exhaustive and liable to be updated following needs.)

The operator will complete the list with all other formats he is able to remaster.

28. For SD tapes the remastering has to be done onto 1 Digital Betacam 625/50 (4:3 or letterbox) and 1 MXF file (DV25, DV50 or IMX50) (following technical specifications to be delivered by the requesting institution/agency).

29. For HD tapes the remastering has to be done onto 1 HDCam and 1 MXF file (DV50, DV100 or MPEG2 50) (following technical specifications to be delivered by the requesting institution/agency).

30. Remastering includes transcoding, colour conversion and aspect ratio conversation, if necessary.

31. A video engineer will fully supervise the remastering process. A detailed report (following specifications to be delivered by the requesting institution/agency) mentioning the reference number, the total duration and all technical problems must be provided for each remastered programme.

32. The operator must describe the different restoration techniques he is able to use for the treatment of frequent preservation problems (mechanical damage, dirt, scratching, shrinkage, sticky shed syndrom, vinegar syndrom) before remasterisation.

VIDEO DIGITISATION

33. The source programme may be provided by the requesting institution/agency in any of the formats stored in the archives of the requesting institutions/agencies (SD or HD EBU): Betacam, Betacam SP, Betacam SX, DigitalBetacam, BVU, Umatic Low Band, D1, D2, Mini-DV, DVCAM, DVC Pro 25, DVC Pro 50, 1", HDCAM, DVC Pro HD, DVD.

(This list is non exhaustive and liable to be updated following needs.)

The operator will complete the list with all other formats he is able to remaster.

34. Digitisation includes transcoding, colour conversion and aspect ratio conversation, if necessary.

35. Digitisation has to be done to 1 MXF file (DV25, DV50 or IMX50) for SD tapes and to 1 MXF file (DV50, DV100 or MPEG2 50) for HD tapes, following specifications to be delivered by the requesting institution/agency.

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VIDEO DIGITISATION

36. A video engineer will fully supervise the digitisation process. A detailed report (following specifications to be delivered by the requesting institution/agency) mentioning the reference number, the total duration, tc in, tc out and all technical observations and problems must be provided for each digitised programme.

37. The wild sound to be synchronised may be provided on quarter inch tape, 16mm or 35mm SEPMAG, COMMAG or COMOPT, as WAV or MP3 file. The operator must describe the method he uses for the synchronisation of wild sound in connection with the digitisation process.

38. Start and end titles will not be added to the original source programme, but included in the final MXF file in connection with the digitisation process. The operator must describe the method he uses for the insertion of start and/or end titles.

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THE ANSWERS MUST FIGURE IN THIS TABLE.

VIDEO DUPLICATION

EMERGENCY PROCEDURE

39. Estimated time from the retrieval of a Digital Betacam dubmaster (duration: 60 minutes) at the Reception of the Berlaymont building or a file placed on the FTP server of the European Commission and the delivery of 10 labelled Digital Betacam copies, 10 labelled DVD PAL copies and 20 USB Sticks at this same Reception.

Provide information in this box and in the boxes below (for this Table only)

OWN DUPLICATION CAPACITY (WITH NO SUBCONTRACTING) PER FORMAT IN ONE RUN

40. DIGITAL BETACAM DVC PRO HD

Number of machines Number of machines

41. HDCAM DVD+R

42. DVD PAL BLU RAY

43. USB 2 STICK USB 3 STICK

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STANDARD RESOLUTION TRANSFER AND CORRECTION

OF 16MM AND 35MM FILM

44. The source programme may be provided by the requesting institution/agency in the following formats:

16 or 35mm film, of various duration.

The films are presented on reels with optical, commag or sepmag soundtrack. It is a mixture of black and white and colour stocks (negative, reversal and positive).

45. The film transfer has to be done onto 1 MXF file (following technical specifications to be delivered by the requesting institution/agency):

transfer of 16mm film to MXF/MOV (DV25, DV50 or IMX 50), transfer of 35mm film to MXF/MOV (DV50, DV100 or MPEG2 50). A detailed report mentioning all technical problems must be provided.

46. A telecinema with optical and electronic automatic exposure control, colour grading, dirt and scratch concealment and grain concealment.

The operator must specify the type of telecinema he has, and the methods of electronic correction he uses.

47. The film must be electronically graded during transfer, using methods appropriate to the material, to achieve a broadcast neutral colour balance on all sequences on a colour monitor (EBU standard). In most cases, colour correction using joystick type systems during real time transfer will be adequate. The operator will be required to inform the requesting institution/agency if its procedure is inadequate for a particular reel, and - with the authorisation of the requesting institution/agency - proceed to a shot by shot grading.

48. Original monochrome stock must be reproduced with a neutral colour balance (R=G=B).

49. The operator must describe the real time colour correction method he proposes.

50. A video engineer will fully supervise the transfer process. A detailed report (following specifications to be delivered by the requesting institution/agency) mentioning the reference number, the total duration and all technical problems must be provided for each transferred film.

51. The operator must describe the method he uses for the insertion of start and/or end titles in connection with the transfer process.

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FILM/VIDEO HD SCANNING AND TRANSFER

52. The source programme may be provided by the requesting institution/agency in the following formats:

16mm, 35mm film or HDCam, of various durations.

The films are presented on reels with optical, commag or sepmag soundtrack. It is a mixture of black and white and colour stocks (negative, reversal and positive). 53. A 2K scanned master file in EBU/SMPTE recognised formats has to be produced.

The films have to be checked, repaired and cleaned, if necessary, before scanning. 54. High quality restoration has to be applied to the 2K master file by electronic

correction and removal of dirt, scratching, image instability, processing blemishes, colour and exposure errors and other errors on a frame by frame basis as necessary.

The operator must specify his methods of electronic correction.

55. The 2K master file has to be transferred as follows:

 onto data tape and 1 MXF/MOV file (DV50, DV100 or MPEG2 50) (following technical specifications to be delivered by the requesting institution/agency)

 Scanned HDCams onto 16mm/35mm film. The operator must specify the method he uses.

56. A video engineer will fully supervise the scanning and transfer process. A detailed report (following specifications to be delivered by the requesting institution/agency) mentioning the reference number, the total duration and all technical problems must be provided for each transferred film.

COPYING OF A DVD-MASTER

The duration of the DVD varies with each order.

57. Copying of a DVD-Master includes the following elements:

Copy of an already prepared DVD master on DVD+R or DVD-R to DVDs of the same format or Blue-Ray, with box, colour printed jacket in a black plastic DVD box and a good quality colour printed DVD disc label supplied in pdf or doc format

The copies must be monitored during recording and checked after the recording. Any problems must be signalled to the requesting institution/agency.

COPYING OF A USB KEY MASTER

58. An already prepared USB key master has to be loaded onto USB sticks following specifications to be delivered by the requesting institution/agency. The copies must be monitored during recording and checked after the recording. Any problems must be signalled to the requesting institution/agency.

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DVD AND BLU-RAY AUTHORING

(Page, chapter, …) 59. The DVD and Blu-Ray Authoring includes the production of a DVD-Video

(PAL) or Blu-Ray master from one or multiple video tapes (Betacam Digital or DVCPRO) with simple authoring, with possibility of multiple sound tracks and subtitling delivered on file by the Commission.

A video engineer will fully supervise the authoring process. A detailed report (following specifications to be delivered by the requesting institution/agency) mentioning all technical problems must be provided for each DVD or Blu-Ray.

INVENTORY AND CONTROL OF AUDIOVISUAL

DOCUMENTS

60. Inventory work consists in the elaboration of the descriptive data (title, event, reference, format, etc.), and the labelling of the archive media (audio, video, film); the result of this inventory will have to be encoded into the media management system of the requesting institution/agency. As regards the European Commission, she will give the operator to this end access to its database via internet. The requesting institution/agency will ensure the necessary training of the persons charged by the operator with the encoding of the data.

A detailed report of the inventory work has to be provided mentioning the dates and hours of the executed work, the executed tasks and any particular observations and problems regarding the media.

The operator will describe the inventory methods and metadata schema he is familiar with as well as the reporting tools at his disposal.

61. The operator must be able to control the state of conservation of audio, video and film media and to propose adequate measures to preserve/restore the media.

A detailed report of the conservation control has to be provided mentioning the dates and hours of the executed work, the executed tasks and any particular observations and problems regarding the controlled media.

He must describe the methods at his disposal for the control of the state of conservation as well as for the reporting.

62. Transport and temporary storage of the audiovisual material for the purpose

of duplication, remastering, digitisation, inventory or control has to conform to the industrial and professional practices in use.

The operator must describe in detail the transport and storage conditions that he is in a position to guarantee and specify the standards to which he refers (EBU, SMPTE or others).

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SPECIFICATIONS LOT II

PHOTO

REFERENCE

TO THE TENDER

63. All photographic laboratory work must be made in conformance with best photographic practice. The operator must describe the professional standards he applies.

64. The operator must describe his position in relation to the future challenges generated by the evolution of digital photography: proof of adaptability shown by the equipment used and the personnel at work.

65. The operator must describe his flexibility: availability in the evening, during week-ends and official holidays

PHOTO LABORATORY WORK

REFERENCE

66. The films to be developed may be provided by the requesting institution/agency as 120, 135 or 4x5 negative or diapositive films. This list is non exhaustive and liable to be updated following needs.

The operator must specify the range of films he is able to develop.

67. The photos to be printed may be provided by the requesting institution/agency in any of the formats stored in the archives of the Audiovisual Services: electronic files, negatives, internegatives and diapositives (120, 135, 4x5), prints (6x6, 10x15, 15x21, 18x24). This list is non exhaustive and liable to be updated following needs. The operator will complete the list with all other formats he is able to print.

68. Prints on professional photo paper have to be delivered within maximum 3 working days, all other laboratory works within maximum 5 working days.

69. The operator must specify the quality of the prints: guarantee of the colour stability of the photo prints and the perfection of colour accuracy according to good engineering practice.

70. All prints on photo paper have to be done on professional high definition photo paper.

The operator must specify the quality of the photo paper he uses: thickness, chromatic quality, contrast and durability over time

71. The operator must specify the quality of the printing equipment he has.

72. The operator must specify the range of work feasible internally: printings in very big format for interior and exterior, stickers, printing on textiles, .etc.

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DIGITISATION OF NEGATIVES, POSITIVES AND PRINTS

73. The operator must specify the quality of the digitisation equipment he has.

74. The photos to be digitised may be provided in any of the formats stored in the archives of the requesting institution/agency: negatives, internegatives and diapositives (120, 135, 4x5), individual prints or prints sticking in photo albums (6x6, 10x15, 15x21, 18x24). This list is non exhaustive and liable to be updated following needs. The operator will complete the list with all other formats he is able to digitise.

75. Digitisation must include the automatic removal of dust and scratching. The operator must specify the methods at his disposal for dust and scratch removal.

76. The digitisation process has to be fully supervised by qualified staff. A detailed report has to be provided listing all technical observations and problems and the reference numbers of the concerned media.

DIGITISATION OF PAPER DOCUMENTS

REFERENCE

77. The operator must specify the quality of the digitisation equipment he has.

78. The paper documents (handwritten, typoscript or printed) may be provided in any of the formats stored in the archives of the requesting institution/agency: A4, A5, A6: This list is non exhaustive and liable to be updated following needs.

79. Each document may consist of several sheets of paper in different formats with one or double-sided printing.

In case all sheets of a document are one-sided, only the printed sides have to be digitised. In case all sheets of a document are double-sided or a mix of one and double-sided, all sides have to be digitised.

The entirety of the sheets of a document gives result to 1 file.

80. Digitisation has to be done to PDF/A-2 format.

81. The files have to be named following specifications provided by the requesting institution/agency.

82. The digitisation process has to be fully supervised by qualified staff. A detailed report has to be provided listing all technical observations and problems and the reference numbers of the concerned media.

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PHOTO INVENTORY WORK

83. Inventory work consists in the elaboration of the descriptive data (title, event, reference, format, etc.), and the labelling of the archive media (photos); the result of this inventory will have to be encoded into the media management system of the requesting institution/agency. As regards the European Commission, she will give the operator to this end access to its database via internet. The requesting institution/agency will ensure the necessary training of the persons charged by the operator with the encoding of the data.

A detailed report of the inventory work has to be provided mentioning the dates and hours of the executed work, the executed tasks and any particular observations and problems regarding the media.

The operator will describe the inventory methods and metadata schema he is familiar with as well as the reporting tools at his disposal.