Development and Implementation of Multimedia and Digital TV Curricula. Project No: EPP AL-EPPKA2-CBHE-JP

Development and Implementation of Multimedia and Digital TV Curricula

Project No: 586318-EPP-1-2017-1-AL-EPPKA2-CBHE-JP

Multimedia and Broadcasting

Overview:

• Digital broadcasting

• Codecs

• Distribution of multimedia genres

• The Composition of images and shots

Digital broadcasting

Digital links thanks to the use of data compression, generally have greater spectral efficiency

Content providers

• can provide more services

• a higher-quality signal

Some countries have completed a Digital television transition.

• digital signals for broadcasting over radio frequency bands.

• television broadcasting (especially satellite television) is widespread.

• audio broadcasting is being adopted more slowly for radio broadcasting

Advantages of digital broadcasting

• High definition and sound quality

• ”One-seg services”

• Datacasting

• EPG

• Multicasting

• Interactive service

• Accessibility

Broadcasting

Analogue broadcasting is switching off

• Terrestrial DVB – T ... DVB – T2

• Satellite DVB – S ... DVB – S2

• Cable DVB - C ... DVB – C2

New formats for digital television broadcasts use the MPEG-2 video coding format and include:

• ATSC (Advanced Television Systems Committee) – USA, Canada, Mexico, Korea

• DVB (Digital Video Broadcasting) – Europe

• ISDB (Integrated Services Digital Broadcasting) – Japan

• ISDB-Tb – uses the MPEG-4 video coding format – Brazil, Argentina

• DMB (Digital Multimedia Broadcasting) – Korea

Broadcasting

DVB – Digital Video Broadcasting

• Europa,

• modulation QPSK (DVB-S),

• modulation QAM (DVB-C),

• modulation DVB-T (COFDM),

• broadcasting on 5, 6, 7 MHz,

• data stream 4-32 Mbps,

• DVB-C work in 2 – 10 MHz to 64 Mbps.

Broadcasting

Dark blue:

DVB–T2

Blue:

DVB–T and DVB–T2

Light blue:

DVB–T

Broadcasting

DVB-T DVB-T2

input interface TS - transport stream Multi TS withGSE - Generic Stream Encapsulation

FEC

Convolutional code + Reed Solomon 1/2,

2/3, 3/4 ,5/6, 7/8

LDPC + BCH 1/2, 3/5, 2/3, 3/4, 4/5, 5/6

Modulation QPSK, 16-QAM, 64-

QAM QPSK, 16-QAM, 64-QAM, 256-QAM

Guard interval 1/4, 1/8, 1/16, 1/32 1/4, 19/128, 1/8, 19/256, 1/16, 1/32, 1/128 number of carrier

frequencies 2k, 8k 1k, 2k, 4k, 8k, 16k, 32k Band of multiplex 6, 7, 8 MHz 5, 6, 7, 8, 10 MHz

bitrate 24 Mbit/s 40 Mbit/s

maximum bitrate 31,7 Mbit/s (for 8

MHz) 45,5 Mbit/s (for 8 MHz)

SNR 16,7 dB 10,8 dB

DVB-T versus DVB-T2:

Broadcasting

DVB-T versus DVB-T2:

Parametr DVB-T DVB-T2

Band [MHz] 8 10

Bit Rate [Mbit/s] < 25 > 30

Modulation 64 QAM 256 QAM

Broadcast mode 2K, 8K 1k, 2k, 4k, 8k, 16k, 32k

Guard interval 1/4, 1/8, 1/16, 1/32 1/4, 1/8, 1/16, 1/32, 1/128, 19/128, 19/256

Encoding ratio 1/2, 2/3, 3/4, 5/6, 7/8 1/2, 3/5, 2/3, 3/4, 4/5, 5/6

Broadcasting

DVB-C versus DVB-C2:

DVB-C DVB-C2

Input Interface Single Transport Stream (TS)

Multiple Transport Stream and Generic Stream Encapsulation (GSE)

Modes Constant Coding &

Modulation

Variable Coding & Modulation and Adaptive Coding & Modulation FEC Reed Solomon (RS) LDPC + BCH 1/2, 2/3, 3/4, 4/5, 5/6, 8/9,

9/10

Modulation Single Carrier QAM absolute OFDM

Modulation

Schemes 16- to 256-QAM 16- to 4096-QAM

Guard Interval Not Applicable 1/64 or 1/128 Inverse Fast

Fourier transform (IFFT) size

Not Applicable 4k[6]

Interleaving Bit-Interleaving Bit- Time- and Frequency-Interleaving

Pilots Not Applicable Scattered and Continual Pilots

Broadcasting

DVB-S versus DVB-S2:

DVB-S DVB-S2

Input interface Single transport stream (TS)

Multiple transport stream and generic stream encapsulation (GSE)

Modes Constant coding &

modulation

Variable coding & modulation and adaptive coding & modulation FEC Reed–Solomon (RS)

1/2, 2/3, 3/4, 5/6, 7/8

LDPC + BCH 1/4, 1/3, 2/5, 1/2, 3/5, 2/3, 3/4, 4/5, 5/6, 8/9, 9/10

Modulation Single-carrier QPSK Single-carrier QPSK with multiple streams Modulation

schemes

BPSK, QPSK, 8PSK,

16QAM BPSK, QPSK, 8PSK, 16APSK, 32APSK Interleaving Bit-interleaving Bit-interleaving

Pilots N/A Pilot symbols

Broadcasting

DVB also defines data connections DVB-DATA - EN 301 192

DVB-RC return channels for several media DECT, GSM, PSTN/ISDN, satellite etc.

DVB-IPTV: Internet Protocol

DVB-NPI: network protocol independent Older technologies

DVB-TXT teletext

DVB-VBI vertical blanking interval data

also supported by the standards to ease conversion.

DVB-SUB for subtitling are available.

Codec

• "codec" is a concatenation of "encoder" and "decoder„

• electronic circuit or software that compresses or decompresses digital video or audio

• converts uncompressed data to a compressed format or vice versa. In the context of data compression,

• device that only compresses is typically called an encoder

• device that one that only decompresses is a decoder.

Video codec

• HEVC

• H.262/MPEG-2 Part 2

• H.264/MPEG-4 AVC

• AVS

• VC-1

Codec

Video codec

• HEVC

• H.262/MPEG-2 Part 2

• H.264/MPEG-4 AVC

• AVS

• VC-1

Audio codec

• MP2

• MP3

• AC-3

• E-AC-3

• AAC

• HE-AAC

Codec

Video codec

High Efficiency Video Coding (HEVC)

• also known as H.265 and MPEG-H Part 2,

• video compression standard, one of several potential successors to the widely used AVC (H.264 or MPEG-4 Part 10).

• In comparison to AVC, HEVC offers about double the data compression ratio at the same level of video quality,

• substantially improved video quality at the same bit rate.

• supports resolutions up to 8192×4320, including 8K UHD.

Codec

Video codec

H.262 or MPEG-2 Part 2

• formally known as ITU-T Recommendation H.262 and ISO/IEC 13818-2, also known as MPEG-2 Video)

• video coding format developed and maintained jointly by ITU-T Video Coding Experts Group (VCEG) and ISO/IEC Moving Picture Experts Group (MPEG).

• It is the second part of the ISO/IEC MPEG-2 standard.

• The ITU-T Recommendation H.262 and ISO/IEC 13818-2 documents are identical.

• The standard is available for a fee from the ITU-T and ISO.

Codec

Video codec

H.264 or MPEG-4 Part 10, Advanced Video Coding (MPEG-4 AVC)

• block-oriented motion-compensation-based video compression standard.

• As of 2014 it is one of the most commonly used formats for the recording, compression, and distribution of video content.

• supports resolutions up to 8192×4320, including 8K UHD.

Codec

Audio codec

MPEG-1 Audio Layer II or MPEG-2 Audio Layer II

• MP2, sometimes incorrectly called Musicam or MUSICAM

• loss audio compression format defined by ISO/IEC 11172-3 alongside MPEG-1 Audio Layer I and MPEG-1 Audio Layer III (MP3).

• MP3 is much more popular for PC and Internet applications,

• MP2 remains a dominant standard for audio broadcasting

Codec

Audio codec

Dolby Digital

• is the name for audio compression technologies developed by Dolby Laboratories.

• Originally named Dolby Stereo Digital until 1994,

• except for Dolby TrueHD,

• the audio compression is lossy

• The first use of Dolby Digital was to provide digital sound in cinemas from 35mm film prints;

• today, it is now also used for other applications such as TV broadcast, radio broadcast via

satellite, DVDs, Blu-ray discs and game consoles.

Codec

Audio codec

High-Efficiency Advanced Audio Coding (HE-AAC)

• loss data compression of digital audio defined as an MPEG-4 Audio profile in ISO/IEC 14496-3. It is an extension of Low

• Complexity AAC (AAC LC) optimized for low-bitrate applications such as streaming audio.

• HE-AAC version 1 profile (HE-AAC v1) uses spectral band replication (SBR) to enhance the compression efficiency in the frequency domain.

• version 2 profile (HE-AAC v2) couples SBR with Parametric Stereo (PS) to enhance the compression efficiency of stereo signals.

• standardized and improved version of the AACplus codec.

• used in digital radio standards like DAB+ and Digital Radio Mondiale.

Distribution of multimedia genres

Basic features for creating of multimedia materials

The nature of multimedia materials:

Information Entertaining Advertising Education

Unwritten rules to create any multimedia work

Distribution of multimedia genres

Orientation in journalistic styles and their use:

News

• newly received or noteworthy information,

• especially about recent or important events,

• short,

• factual,

• objective maximum

Distribution of multimedia genres

Orientation in journalistic styles and their use:

Commentary

• an expression of opinions,

• offering of explanations about an event or situation

• subjective formation with author's opinion

Gloss, Comment

• a verbal or written and maybe a video remark expressing an opinion or reaction

• short and witty commentary with striking punchline

Distribution of multimedia genres

Orientation in journalistic styles and their use:

Essay

• a short piece of writing on a particular subject,

• more authors own opinion

Journalism

• the activity or profession of writing for:

• Newspapers, magazines

• broadcasting news on radio or television

• all, but not news

Distribution of multimedia genres

Orientation in journalistic styles and their use:

Documentary

• a movie or a television or radio program that provides a factual record or report

• is not necessarily the actual

• historical, geographical and natural history

Reportage or report

• the reporting of news, for the press and the broadcast media

• Interestingly processing of current or significant events or environment based on direct

observation or documentary material

Distribution of multimedia genres

Orientation in journalistic styles and their use:

Reportage

• Reacts to current events

• Journalist position as the creator of the story

• It has a faster tempo and "action" than a document camera

• Usually is the shorter time than document

• Author can act as an active guide through the story

• Often intertwined with journalistic style

• Is actual, current, live

Distribution of multimedia genres

The report(age) should contain:

Who, what

• who and what is about Where, when

• important especially from social events How

• specifies record event Why

• reason why is recorded Evaluation

• it should be objective

Distribution of multimedia genres

The main principles for video reporting (reportage) Introduction

• a show who and what the story is about Location

• let us know where and when the report was going Multiple shots from one activity, place

• multiple times from different angles and places Interviews

• the main persons Conclusion

• the reporter summarizes the whole event

Distribution of multimedia genres

Fundamentals of the production of reportage

Editor and reporter

• creates and makes decisions on reportage

• bears the final responsibility for her appearance

• leads the team - cameraman, sound engineer and film editor.

• important is the preparation of documents and materials

• be at least generally creating reportage in the image

• preparation almost always takes more time than implementation.

Distribution of multimedia genres

Fundamentals of the production of reportage

Cameraman

• He has the task to get enough of video and film material

• The material will be used to display the coverage reportage.

• To make a video shots from various positions and in different modes.

• Is not a compact material that describes the events chronologically,

• Choose the best shots that will be used in the final work.

• Length sequences is recorded in seconds

• The overall impression is an action and a more attractive appearance

Distribution of multimedia genres

Fundamentals of the production of reportage

Film editor

• Editors instruction and scenario.

• Connect parts of report in its final form.

• First is processed soundtrack – audio.

• This is usually total time of reportage .

• In creating soundtracks use the method of "Timecode".

Distribution of multimedia genres

Fundamentals of the production of reportage

Parts of timecode Asynchronous audio

• Only sound without pictures (audio without video)

• Means commentary, which are usually produced after the filming and form a storyline Synchronous audio

• sound with pictures (audio with video)

• interviews with respondents

• Add title of respondent

Distribution of multimedia genres

Fundamentals of the production of reportage

Parts of timecode

• Both asynchronous and synchronous audio is transcribed into text in scenario

• This way is composed audio (soundtrack) and created the basic time information about reportage

• The finished audio is covered of visual material filmed.

• We never edit (cut) the same time video and audio.

Distribution of multimedia genres

Proccess of make good multimedia event

• Find the events

• Find as much information about it = concept

• Go and make record videos and interviews

• Subscript a interviews to text

• Create and record commentary = scenario

• Finish and capture to multimedia

Distribution of multimedia genres

Film documentary, multimedia clip, video presentation...

Find as much information about it = concept Create scenario

• Detailed text description

• Description of situation

• Description of time

• Description of composition Go and make record videos

Finish and capture to multimedia

Distribution of multimedia genres

Video archive

create list of partial video seqences short video sequences

careful records:

• Name of file (archive_001.avi, .mts, ...)

• Name of situation (...walking people in the street)

• Detailed description of the situation

• Time

• Location (indoor, outdoor)

• Light conditions (sunny, cloudly,.., artificial lighting …)

• Climate conditions (rain, snow…)

• Camera (complex, detail, …)

• Move of camera (from complex ti detail, from left to right…).

The composition of the image and the shot

• Good composition determines the layout and the relationships of the individual elements in the shot or in multiple shots.

• When watching an object in real life (for example, we talk to someone), our brain focuses on this object and we do not see the rest of the image around, even though our eyes still see it.

• If we want the viewer to give attention to a particular object, this object must occupy a sufficiently large area within the image, as if we perceive it with our brain.

• If the subject occupies less space, the viewer will concentrate more on the scene around

(and of course it may be the purpose).

The composition of the image and the shot

• A composition that transcends the edges of a shot - such a composition is then made up of multiple shots - a two-person interview.

• In the first shot, we see one person watching something behind the edge of the shot (he can say something about it).

• In another shot we see another person standing, watching the opposite side of the shot and talking - this is a conversation of two people, we also know their arrangement in space, within two shots.

• If a person follows the right edge of a shot - good to place it in the left third, to follows the left edge - should be in the right third of the image.

• The vertical position - it is necessary to be careful that the characters have eyes at least

roughly the same height or that their viewing direction is in one line (against each other).

The composition of the image and the shot

The rule of thirds

• There is a tendency to place the main objects in the scene in the middle

• It is not a bad idea especially for axially symmetrical objects (eg the interior of the cathedral, etc.).

• The image will be much more interesting and better if we place the central objects on one of the lines dividing the image into thirds (horizontal and vertical)

• It is even better to place the object in one of the intersections of lines dividing the image

into thirds

The composition of the image and the shot

The rule of thirds

The composition of the image and the shot

Objects in an image and an odd number rule

• The main ones (those that determine the meaning of the content of the shot),

• Side-by-side (complement the content of the image can be part of the background),

• Disturbing (objects that interfere with the shot, but do not change the main sense);

• Confusing (objects that completely change the meaning of the shot).

• The odd-numbered rule - if the number of elements (of the same kind - one main and one side object can not be considered objects of the same kind) in the odd scene, one always gets in the middle and will be framed by others,

• In addition, there will be no "competition for attention„(this can very easily happen if two

major elements are in focus).

The composition of the image and the shot

Types and length of shots

• The length of the shot should be at least 4 seconds, or even more - in a shorter view the viewer will not notice anything and the short shots used for the quick cut effect can be made by shortening longer shots while it is not possible.

• On the contrary, the length of the edited shot may be even shorter - the length of the shot

should correspond to the amount of information it gives to the viewer, but it depends on

the specific situations

The composition of the image and the shot

Types of shots

• A large unit shot (sometimes also an established unit) - this shot is usually placed at the beginning (this does not necessarily mean that it is the first, but the first) scene to take place in a new environment. The goal of the shot is to show where the action takes place, the viewer also helps in later orientation in the scene.

• The whole shot - the viewer's attention is directed to the sensed object in relation to the environment (the object's action is essential in relation to the surroundings). In humans, it is a shot when it is still visible all over the head and under the feet.

• American Plan (in the US, called semi-collar shot) - the emphasis is placed here on the person (or the object) we shoot, the person is still space, the character is in the shot from the knees upwards. The aim is to see the actors' mimes, in the context of their body

language, to use in the dialogue of several people. The environment can be suppressed by

low depth of field

The composition of the image and the shot

Types of shots

• Semi-collar shot - In Europe and Russia means a shot of a person from the waist up.

Purpose and use is the same as the American plan (object emphasis, second-order environment), but is not used so often for more than two people.

• Half detail - a shot that shows the mimics of the scanned figure, including the head, neck and shoulders. Surroundings completely suppressed.

• Detail - Head shot (for figures), the head may be slightly cut off from above. This type of

engagement can also capture an object that is detailing in relation to the environment

(that is, in the interior of the handle, the exterior of the entire door) or the activity (the

shot of a man's hands as he cuts the onion).

The composition of the image and the shot

Types of shots

• Big detail - shows "little things". In humans, it can be eye-catching, for other objects, for example, insects climbing on the dining table.

• Panning and tilt shot - In this shot, the camera rotates from one side to the other. The shot must begin and end with a static shot (the camera "starts" and then slows down and

stops). It is also important that the radius of rotation is not too large and the camera does not turn too fast. Tilt shot means that the camera is tilted from top to bottom (or vice

versa)

• Zoom - Changing the focal length of the lens, changing the camera angle. Is recommend

using this shot as little as possible, only in extreme cases.

The composition of the image and the shot

Example of eight diferent shot sizes

The composition of the image and the shot

Thanks for Attention