Complete Technical Guidelines
ARTE G.E.I.E.
Annexe 2, rules of cooperation in the domain of programs
DANS LE DOMAINE DES
PROGRAMMES
der „Regeln für die Zusammenarbeitim Programmbereich“
April 2015
DANS LE
DOMAINE
DES
PROGRA
MMES
der „Regeln für dieThe update of these Guidelines shall be verified on the ARTE website
1
SUMMARY
1 INTRODUCTION ...13 1.1 HD STANDARD ...13 1.2 TAPELESS PROCESS ...13 1.3 LOUDNESS ...13 1.4 MULTICHANNEL SOUND ...13 1.5 CROSS MEDIA ...14 1.6 PROGRAMMES EN STEREOSCOPIE 3D ...14 2 TECHNICAL GUIDELINES ...15 2.1 FILE FORMATS ...15 2.2 VIDEO ...15 2.2.1 Normes ...15 2.2.2 Format ...16 2.2.2.1 Ready-for-Broadcast formats ...162.2.2.2 Production material formats ...16
2.2.3 Tolerances ...16
2.2.4 Telecine transfers ...17
2.2.4.1 Subjective image quality ...18
2.2.5 Upscaling from SD material ...18
2.2.6 Safe areas ...18 2.3 AUDIO ...19 2.3.1 Loudness measurement ...19 2.3.1.1 Peak level ...19 2.3.1.2 Loudness ...19 2.3.1.2.1 Measurement method ...19 2.3.1.2.2 Current recommendations: ...19 2.3.1.3 Alignment levels ...20
2.3.1.4 Target level full programme integrated loudness level ...20
2.3.1.5 Dynamic profile target values ...20
2.3.1.5.1 Short Term measurements ...21
2.3.1.5.1 Synthetic Loudness schemes ...22
2.3.2 Synchronisation audio and video ...23
2.3.3 PCM ...23
2.3.3.1 Mono ...23
2.3.3.3 Dolby Surround / Dolby PRO-Logic multichannel sound ...23
2.3.4 Dolby-E ...24
2.3.4.1 Positioning Dolby-E frames ...24
2.3.4.2 Stereo downmix compatibility ...24
2.3.4.3 Programme configuration metadata ...25
2.3.4.4 Dolby-E channel designation ...25
2.3.4.5 Channel Mode settings...26
2.3.4.6 Dialog Level settings ...26
2.3.4.7 Types of metadata ...26
2.3.5 Mixing technical form ...29
2.3.6 Dolby-E encoding technical form ...29
2.3.7 Listening conditions ...29 2.4 TIMECODE ...29 2.4.1 Files ...29 2.4.2 Tapes ...30 2.5 COMPLEMENTARY DATA ...30 2.5.1 Dolby-E metadata ...30
2.5.2 Programme identification sheets ...30
2.5.3 P2 metadata ...30
2.6 SUBTITLING ...31
2.6.1 File header (GSI block) ...31
2.6.2 Subtitle numbers (TTI block) ...31
2.6.3 Technical requirements for numbering subtitles ...31
2.6.3.1 Blank subtitle ...32
2.6.3.2 EBU-authorised characters ...32
2.6.3.2.1 Subtitling in French ...32
2.6.3.2.2 Subtitling in German ...32
2.6.3.3 Technical restrictions for Open-subtitling ...33
2.6.3.4 Ready-for-Broadcast and Production specifications ...33
2.7 PHYSICAL SUPPORTS ...33
2.8 SPECIFIC TECHNICAL GUIDELINES FOR RFB CONTENT ...34
2.8.1 File delivery ...34
2.8.1.1 File deliveries from ARTE France ...34
2.8.1.2 File deliveries from ARTE Deutschland ...35
2.8.2 Timecode ...36
2.8.2.1 Files ...36
2.9.1 Post-production ...36
2.9.1.1 Delivery options...36
2.9.1.2 Video editing ...37
2.9.1.3 Graphic processing ...37
2.9.1.4 Audio file formats for mixing ...37
2.9.2 Technical guidelines for live transmission ...37
2.9.2.1 On-site systems ...37
2.9.2.2 Satellite bandwidth ...38
2.9.2.3 Encoding bitrates ...38
2.9.2.4 Encoding latency ...38
2.9.2.5 Securing transmissions ...38
2.9.2.6 Transmission information sheet ...39
2.9.2.7 Coordination via talkback networks ...39
2.9.2.8 Programme return channels ...39
2.10 SPECIFIC TECHNICAL GUIDELINES FOR S-3D ...40
2.10.1 S-3D specifics ...40 2.10.1.1 S-3D quality ...40 2.10.1.2 Using 2D images ...40 2.10.1.3 Depth ...40 2.10.2 S-3D broadcast material ...41 2.10.3 2D broadcasts ...41 2.10.4 Shooting material ...41 2.10.4.1 FTP server delivery ...41 2.10.4.2 Physical supports ...41 2.10.5 S-3D Titling ...42 2.10.6 S-3D subtitling...42 2.10.6.1 Encoded subtitles ...42 2.10.6.2 Burned-in subtitles ...42
2.10.6.3 Compositing S-3D burned-in subtitles ...43
2.10.6.4 Delivering S-3D subtitle files ...43
3 SUBTITLING GUIDELINES ...44
3.1 RFB SUBTITLE FILES ...44
3.2 SUBTITLE LISTS ...44
3.3 ARTE G.E.I.E. GENERAL GUIDELINES ...44
3.3.1 Blank subtitles ...44
3.3.2 Subtitle Indicators (S/T or U/T) ...44
3.3.4 The last subtitle ...45
3.3.5 Programme title ...45
3.3.6 Display times ...45
3.3.7 Shot changes ...45
3.3.8 Text burned into the picture...45
3.3.9 Characters ...45
3.3.10 Additional information...46
3.3.11 Additional guidelines for captioning for the deaf and hard-of-hearing ...46
3.3.12 Combining subtitles ...46
3.4 CAPTIONING FOR THE DEAF AND HARD-OF-HEARING (french version) ...47
3.4.1 Colour coding ...47
3.4.2 Positioning captions ...47
3.4.3 Composition of captions ...48
3.5 CAPTIONING FOR THE DEAF AND HARD-OF-HEARING (german version) ...49
3.5.1 Presence of burned-in captions ...49
3.5.2 Colour coding ...49
3.5.3 Positioning captions ...49
3.5.4 Syntax and sound illustrations ...49
4 AUDIO DESCRIPTION GUIDELINES ...50
5 RFB DELIVERY GUIDELINES ...51
5.1 GENERAL GUIDELINES FOR THE ARTE GROUP ...51
5.2 RFB DELIVERY BY ARTE FRANCE ...51
5.3 RFB DELIVERY BY ARTE GERMANY ...53
5.4 RFB DELIVERY BY PRODUCERS/DISTRIBUTORS ...54
5.5 RFB DELIVERY BY MULTILINGUAL SUPPLIERS ...55
5.6 VERSION NAMES ...56 5.6.1 Audio tags ...56 5.6.2 Subtitle tags ...56 5.6.3 Language versions ...57 5.7 STEREOSCOPIC 3D ...61 5.8 TIMECODE ...61 5.9 SUBTITLING ...61 5.10 RFB PHYSICAL SUPPORTS ...61 5.10.1 Video ...61 5.10.2 Audio ...61 5.10.3 Timecode ...62 5.10.4 Tape labelling ...62
5.10.5 Identification card ...62
5.10.6 Tape leader and technical specifications ...63
5.10.7 Technical record report ...65
5.11 DVD ...65
5.12 CREDITS ...66
5.12.1 General specifications ...66
5.12.2 Closing credits duration ...66
5.13 TEXT ...66
5.13.1 Delivery by ARTE units ...67
5.14 DELIVERY ADDRESS ...67
6 GUIDELINES FOR PRODUCTIONS ASSEMBLED AT ARTE G.E.I.E. ...68
6.1 RFB COMPONENTS ...68
6.1.1 Video guidelines ...68
6.1.2 Audio guidelines ...68
6.1.3 Delivery ...69
6.2 OTHER DELIVERABLE ELEMENTS ...69
6.2.1 Working audio and/or video components ...69
6.2.2 Other content ...69
6.2.2.1 ARTE Journal ...70
6.2.2.2 ARTE Reportage ...70
7 GUIDELINES FOR EXTERNAL PRODUCTIONS ...71
7.1 FOREWORD ...71
7.2 GENERAL RULES ...71
7.2.1 Scope ...71
7.2.2 Operations ...71
7.2.3 ARTE G.E.I.E. obligations ...71
7.2.4 ‘Producer’ obligations ...71 7.3 PRODUCTION GUIDELINES ...72 7.3.1 ‘Producer’ duties ...72 7.3.1.1 Venue survey ...72 7.3.1.2 Logistics ...72 7.3.1.3 Technical...73 7.3.1.4 Securing transmission ...73
7.3.1.5 Original Version production ...73
7.3.2 ARTE G.E.I.E. duties ...74
7.3.3 Guidelines for multilingual content...74
7.3.3.1.1 At the production site: ...74
7.3.3.1.2 At the ARTE G.E.I.E. site: ...75
7.3.3.2 Live interpreting on the production site ...76
7.3.3.3 Subtitling shows ...77
7.3.3.3.1 Subtitling equipment ...77
7.3.3.3.2 Subtitling on the production site/in Strasbourg ...77
7.3.3.3.3 Work spaces ...78
7.3.3.3.4 Signal distribution ...78
7.3.3.3.5 Composing live subtitles ...78
7.3.3.4 Broadcast management and coordination ...79
7.3.3.5 Self-promotion material ...79
7.3.3.6 Credits and inter-titles ...79
7.3.3.7 On-site recording ...79
7.3.3.8 Sharing costs ...80
7.3.3.9 Production costs...80
7.3.3.10 Multilingual versions ...81
7.3.3.11 Production meeting agendas and work plans ...82
8 GUIDELINES FOR ARTE JOURNAL ...82
9 GUIDELINES FOR NEW MEDIA ...83
9.1 AUDIOVISUAL FILES ...83
9.1.1 Shooting...83
9.1.2 Encoding new media components...83
9.1.3 Producing second language versions ...84
9.1.3.1 Audio files ...84
9.1.3.2 Subtitle files ...84
9.1.3.2.1 STL Format ...84
9.1.3.2.2 SRT Format ...84
9.1.4 Technical requirements for numbering subtitles ...85
9.1.4.1.1 Subtitling in French ...85
9.1.4.1.2 Subtitling in German ...85
9.1.4.1.3 Subtitling of foreign languages ...86
9.1.5 Multilingual versions ...86 9.2 COPYRIGHT NOTICE ...86 9.3 CONTACT ...86 9.4 DELIVERY ADDRESS ...87 10 MARKETING GUIDELINES ...88 10.1 TECHNICAL GUIDELINES ...88
10.2 AUDIO CONFIGURATION ...88
10.2.1 Programmes that will only be broadcast in Germany:...88
10.2.2 Multilingual versions: ...88
10.3 FILE DELIVERY...88
10.3.1 File formats ...88
10.3.2 Naming components ...89
10.3.3 File delivery address ...89
10.4 PHYSICAL SUPPORTS DELIVERY ...89
10.4.1 Physical supports deliveries ...89
10.4.2 Delivery address ...89
10.5 COPYRIGHT NOTIFICATION FORM ...89
10.6 DELIVERY ...90
10.7 CONTACTS ...90
11 APPENDICES ...91
11.1 SAFE AREAS ...91
11.2 COPYRIGHT NOTIFICATION FORM ...92
11.3 MIXING TECHNICAL FORM ...93
11.4 DOLBY-E ENCODING FORM ...94
11.5 ARTE PROGRAMS SATELLITE BROADCASTS ...95
11.6 NEWS FTP HD TRANSMISSION SHEET ...96
11.7 PRODUCTION SHEET ...97
11.8 DESCRIPTION DES VUES ORACLES ... 104
11.8.1 Description des vues Oracles pour Arte France : ... 104
11.8.2 Oracle-Ansicht Beschreibung für ARTE Deutschland: ... 106
11.9 SUBTITLING OF FOREIGN VERSIONS... 108
VERSIONS
VERSION DATE UPDATES
V1.0 17/10/2013
V1.01 17/10/2013 9.1.2 Encoding new media components:
Resolutions for HD 16:9 video = 1280 x 720
V1.02 01/04/2014
9.1.2 Details in the encoding table of the New Media elements Naming video files (9.1.3) is removed
9.1.4.2 Instructions for subtitles in SRT format
11.5 Update the table of “ARTE programs satellite Broadcast”
V1.03 24/11/2014
1.3 Modification of the introduction on Loudness
5.6.1 Audio tags et 5.6.3 Language versions (Introduction of the audio versions VDO et VME)
9.1.2 Encoding new media components (1080p) 9.1.3.2 Subtitles files (TC à 00 :00 :00 :00)
V1.04 06/04/2015
2.3.1.4 Respect of the supplement (R128 s1) of the EBU recommendation R128
9.1.4.1 Subtitles of foreign languages for the Web upload (§ 11.9)
9.1.2 New video encoding profile (1920x1080 : AVC, Main@L4 ou [email protected])
Document structure:
The first part of this document discusses production and delivery technical guidelines for all programmes, and the second part contains particular requirements for organising specific ARTE G.E.I.E. operations.
Important:
We have compiled these ARTE G.E.I.E. guidelines here to provide a single document containing them all and to update them more easily and efficiently.
The information in this document is only valid in its entirety. So do
2
1 INTRODUCTION
The guidelines in this document are mandatory for all programme content supplied to ARTE G.E.I.E., and apply to production and broadcast operations alike.
They cover content made in-house as well as outsourced material.
We require TV-compatible versions of all programme video and audio content.
Most of these technical requirements tally with European Broadcasting Union (EBU) recommendations, TPRF-HDTV guidelines (ARD, ZDF, ORF and SRG/SSR), FICAM, HD Forum and CST recommendations, and rules from all stated standard setters.
Particular requirements for ARTE G.E.I.E.’s various operations complete these guidelines. 1.1 HD STANDARD
ARTE G.E.I.E.’s entire production-to-broadcast technical infrastructure has been all-HD since June 2012.
The authorised delivery format is 1080i/25 (EBU Tech 3299 nomenclature). 1.2 TAPELESS PROCESS
ARTE G.E.I.E.’s in-house technical infrastructure is 100 % engineered to exchange and process MXF-encapsulated AVC-Intra Essence tapeless files. This tapeless infrastructure requires delivery-to-broadcast metadata management.
1.3 LOUDNESS
The switch from QPPM-based audio adjustment to Loudness normalisation (EBU R 128) has been effective since 1 January 2012. All productions must therefore comply with the associated standards.
Everyone working on sound needs to be aware that LOUDER is not necessarily better! The delivery of programs and production elements of ‘old’ material must also respect the EBU recommendation R128 (Loudness, LRA…).
1.4 MULTICHANNEL SOUND
Multichannel sound provides a superior audio immersion experience on HDTV and is required in addition to stereo audio format deliveries.
1.5 CROSS MEDIA
Media delivered to ARTE G.E.I.E. may be used on Broadcast channels as well as on a variety of Broadband-enabled ARTE multimedia platforms (e.g. connected TVs).
ARTE G.E.I.E. uses the same technical and operational systems (Media Asset Management, workflows and tools) to deliver comparable media quality regardless of its destination (Broadcast and/or Broadband).
In other words, always aim for HD quality as defined in these guidelines (See § 2.2.2
Format), for every medium, as early as the production phase.
1.6 PROGRAMMES EN STEREOSCOPIE 3D
Given the volume of available programmes and the lack of a dedicated broadcast outlet, ARTE G.E.I.E. is not yet in a position to release a continuous stream of stereoscopic 3D (S-3D) programmes.
ARTE nevertheless can purchases, produces, coproduces and broadcasts 3D programmes – on “special feature” operations – in order to build a bank to feed future broadcasts and use as VoD.
Please see § 2.10 Specific technical guidelines for S-3D, which covers ARTE G.E.I.E.’s
2 TECHNICAL GUIDELINES 2.1 FILE FORMATS
Most rushes and programmes are delivered digitally.
Wrap video, audio and metadata content in OP1a MXF (*.mxf) files. Video files: AVC-Intra 100, 1080i/25
Audio files: Wave
Supply subtitle files (*.stl) to N19 Standard at level 1 (EBU Tech 3264). 2.2 VIDEO
Please avoid cascading and/or converting HD programmes in any way that will downgrade quality during production. Whenever possible, use the same format throughout the production process. Always use formats that match or exceed the ones that ARTE G.E.I.E. accepts (see § 2.2.2 Format). The use of unacceptable formats must, under no circumstances, be concealed by the delivery media (AVC-Intra 100 files or HDCAM SR tapes).
The requirements above apply to all programme purchases unless ARTE G.E.I.E. signs off on exceptions beforehand.
2.2.1 Normes
4:2:2 HD 1080i/25, i.e. ‘System 2’, is mandatory for all video content, as per EBU Tech
3299 on High Definition (HD) Image Formats for Television Production and in keeping with EBU Technical Report 005 nomenclature.
HD video signals must also comply with the following technical guidelines:
SMPTE 274M: 1920x1080 Image Sample Structure Digital Representation and Digital Timing Reference Sequences for Multiple Picture Rates
ITU-R BT.709-5: Parameter values for the HDTV standards for production and international programme exchange
SMPTE 292M: Bit-Serial Digital Interface for High-Definition Television Systems
SMPTE 291M: Ancillary Data Packet and Space Formatting
SMPTE 334M: Vertical Ancillary Data Mapping
2.2.2 Format
2.2.2.1 Ready-for-Broadcast formats
ARTE G.E.I.E. accepts the following HD RFB content formats (listed in order of preference):
AVC-Intra 100, 112 Mbps (4.2.2, 1920 x 1080, 10-bit)
XDCAM HD422, “Long GOP”, 50 Mbps (4.2.2, 1920 x 1080, 8-bit)
2.2.2.2 Production material formats
ARTE G.E.I.E. recommends the following codecs for new HD productions (again, in order of preference):
AVC-Intra 100, 112 Mbps (4.2.2, 1920 x 1080, 10-bit)
DNxHD 185x, 184 Mbps (4.2.2, 1920 x 1080, 10-bit)
ProRes HQ, 184 Mbps (4.2.2, 1920 x 1080, 10-bit)
XDCAM HD422, “Long GOP”, 50 Mbps (4.2.2, 1920 x 1080, 8 bit) 3
AVC-Intra, 112 Mbps (4.2.2, 1280 x 720, 10-bit) 4
You may use any higher quality formats during production processes. If you do, however, only convert content to an ARTE-approved delivery format once.
2.2.3 Tolerances
The table below lists the tolerances that broadcasters accept on HD video components. Measure the variables below in two colour spaces: RGB and YUV.
Colour space RGB YUV
Luminance (Y) 700 mV 700 mV
High (Y max) +5 % i.e. 735 mV +3 % i.e. 721 mV
Low (Y min) - 5 % i.e. -35 mV -1 % i.e. -7 mV
3 Concerns only deliveries from ARTE Deutschland, in order to rest in the original production format.
4
Video levels and the gamut (illegal signals)
HD digital signals are assessed in light of Recommendation ITU-R BT709-5 Part 2. All programme video signal levels must remain within specified limits, to be used without adjustment. All video signal excursions outside the appropriate colour space are gamut errors.
Measuring signal levels
Digital video levels are usually measured using a waveform monitor, which displays a waveform like the ones on traditional oscilloscopes and gauges mV or percentages. The boundaries are defined in relation to a level of black and a level of white. The levels of black for R, G and B are 0 % or 0 mV, and the levels of white for the three components are 100 % or 700 mV.
Each image signal component is allowed to vary between 0 and 100 % (or 0 mV and 700 mV). This equates to digital sample levels between 16 and 235 (8-bit systems) or between 64 and 940 (10-bit systems).
Tolerance for out-of-gamut signals
In practice, it is difficult to avoid generating signals that travel slightly outside this range. It is therefore considered reasonable to allow a small degree of tolerance, which EBU R 103 defines as follows:
RGB components must remain between -5 % and 105 % (-35 and 735 mV) Therefore:
Luminance (Y) must remain between -1 % and 103 % (-7 mV and 721 mV) Slight transient overshoots and undershoots are generally filtered out before measuring, and an error will only be displayed where the out-of-gamut signals cover at least 1 % of the image area. Many monitoring devices are designed to detect errors based on this specification.
2.2.4 Telecine transfers
The rule is that new programmes deliveries based on old films should as far as possible respect the original work. Film picture formats, however, do not always fit the current 16:9 TV picture format. This is especially true in the case of feature films originally made for cinema screens. When this happens, the goal is to respect the director’s original intentions regarding image content, as far as possible.
The table below shows where the useful lines are to be placed vertically, based on the picture format.
Source image
format Pixels/line Start lines End lines Active lines / field
1.33* 1440 21 / 584 560 / 1123 540
1.66* 1800 21 / 584 560 / 1123 540
1.77 1920 21 / 584 560 / 1123 540
1.85* 1920 32 / 595 549 / 1112 518
* There are two methods to respect the intentions underlying the original work when fitting it into HD 16:9 screens:
Keep the original format. In this case:
Formats lower than 1.77 will have black bars to the left and right of the picture (Pillarboxing) on 16:9 screens
Formats higher than 1.77 will have black bars above and below the picture (Letterboxing) on 16:9 screens
Crop the material one shot at a time during post-production to fit it into a 16:9 screen (in the case of productions using archive footage, for example)
2.2.4.1 Subjective image quality Images must be suitably rendered:
Telecine images must free from any scratches, dust, gelatine stains, defects due to colour correction, etc.
Pictures must not include excessive noise levels or flicker, or contain defects caused by compression systems or overusing noise-reduction processes, etc
Blacks must not be crushed, and details should be perceptible in dark areas
Closing credits must be legible on video
2.2.5 Upscaling from SD material
The following rules apply to converting SD material for an HD programme:
Centre ‘narrow’ format images (1.33 - 4:3, 1.66) horizontally (Pillarbox) Centre ‘wide’ format images (1.85, 2.35, etc.) vertically (Letterbox)
Pictures may be zoomed for artistic purposes, as long as you keep the new picture consistent with the original framing and respect of the original artistic intention.
2.2.6 Safe areas
The goal is to display all titles, fonts and graphics exactly as they were produced, on all devices. The best way to do that is to place them in the recommended title fields.
The requirements are in appendix § 11.1 Safe Areas, and apply to all ARTE G.E.I.E. deliveries and productions.
The green box delimits the area where you can position titles; the red box delimits the area for subtitles.
2.3 AUDIO
ARTE France RFB deliveries may comprise as many as 8 AES tracks.
ARTE Deutschland RFB deliveries travel via the ARD VFT (Video File Transfer) system, which can handle 4 AES tracks (the equivalent of 4 dual mono tracks, 4 stereo tracks, 4 Dolby-E tracks or a combination of them).
Deliveries to Production teams may comprise up to 16 tracks.
2.3.1 Loudness measurement
The unit of measurement is the LUFS.
LUFS stands for Loudness Unit relative to the Full Scale. A LUFS reading shows a weighted measurement K (Leq(R2LB)) on that Full Scale.
LUFS ranges are calibrated based on 1dB increments. A +1dB increase in the measured signal will add +1dB to the reading on the LUFS scale.
2.3.1.1 Peak level
The control of the peak levels is measured using a True Peak level meter. The peak level must not exceed -1dB TP (on PCM and on Dolby-E systems). The following recommendations apply:
SMPTE 299M: “24-bit Digital Audio Format for SMPTE 292 M Bit-Serial Interfaces” AES: “True Peak” and “Sample Peak” definitions (see ITU BS.1770-2)
EBU R 128: Loudness normalisation and permitted maximum level of audio signals 2.3.1.2 Loudness
2.3.1.2.1 Measurement method
The method involves measuring 100 % of the useful content in a programme using a device that runs the algorithm prescribed in EBU R 128 and appended Tech Docs 3341, 3342, 3343 and 3344, and delivers a LUFS/dB reading.
2.3.1.2.2 Current recommendations:
ITU-R BS.1770-1 and 1770-2 Algorithms to measure audio programme loudness and true-peak audio level
EBU R 128: Loudness normalisation and permitted maximum level of audio signals
EBU Tech Doc 3341 Loudness Metering: ‘EBU Mode’ metering to supplement
loudness normalisation in accordance with EBU R 128
EBU Tech Doc 3342 Loudness Range: A measure to supplement loudness normalisation in accordance with EBU R 128
EBU Tech Doc 3343 Practical Guidelines for Production and Implementation in accordance with EBU R 128
EBU Tech Doc 3344 Practical Guidelines for Distribution systems in accordance with EBU R 128
ITU-R BS.775: ‘Multichannel stereophonic sound system with and without
2.3.1.3 Alignment levels
The alignment level reading on a Full Scale digital peak meter is -18 dBFS when sinusoidal signal frequency is at 1000 Hz.
A 1000 Hz alignment signal at -18 dBFS should display Loudness level at -18 LUFS on an EBU-mode measuring device, when the signal is present on the left and right channels of a stereo or 5.1 programme.
Mixes: audio signals should not exceed -1 dB TP (True Peak) 2.3.1.4 Target level full programme integrated loudness level
Regardless of the type of mix, the target level full programme integrated loudness level is:
Programmes that last more than 2’00:
-23 LUFS (and ±1 LU is tolerated on live broadcasts)
Programmes that last 2’00 or less (Trailers, …):
Two Loudness measurement parameters are to be respected:
- 23 LUFS (± 0.5 LU is tolerated) in Program Loudness
Short Term measurement mandatory which must be less than or equal to -20 LUFS.
Except for programs which, for artistic reasons, target loudness may be lower than -23 LUFS (possibly mute programs) ARTE reserves the right to claim a new corrected delivery.
2.3.1.5 Dynamic profile target values
Loudness excursions are permitted, measured using the method defined in § 2.3.1.5.1
Short Term measurements, are allowed. As follows:
Programmes that last more than 2’00:
Dialogues:
± 7 LU measured around the Loudness target value using the Short Term mode
Loudness Range (LRA):
Lower than or equal to 20 LU (see EBU Tech 3342)
NB: one common best practice involves keeping LRA between 5 and 15 LU in order to conserve an aeration of the programme.
Programmes that last 2’00 or less:
Full programme duration:
2.3.1.5.1 Short Term measurements
The method to measure short-term dynamic loudness:
Measure a programme’s dynamic loudness using devices that display readings in sliding 3-second windows (in LUFS, weighted as per ITU-R BS.1770-2).
Concerning dialogue level measurement, a value measurement will be taken, if the Quality Assurance operator notes a lack of dialogue intelligibility. Spot check measurement will be made on the dialogues in question.
2.3.1.5.1 Synthetic Loudness schemes L o u d n e s s S h o rt T e rm L o u d n e s s P e a k L o u d n e s s 5 .1 - L tR t - L o R o - D u a l M o n o 5 .1 - L tR t - L o R o - D u a l M o n o R a n g e (L R A ) L o n g Pr o g ra m m e s Sh o rt Pr o g ra m m e s L o n g Pr o g ra m m e s Sh o rt Pr o g ra m m e s Pe a k l e v e ls > 2 '0 0 < 2 '0 0 > 2 '0 0 < 2 '0 0 L U F S L U F S L U F S L U F S 0 d B T P LU -1 d B T P + 7 L U M a x + 3 L U -2 2 L U F S M a x -2 3 L U F S -2 3 L U F S -2 3 L U F S M a x + 2 0 -2 4 L U F S -7 L U 0 D yn a m ic p ro fi le m a n a g e m e n t Sh o rt te rm d yn a m ic p ro fi le m a n a g e m e n t Pe a k l e v e l m a n a g e m e n t L R A m a n a g e m e n t Sh ort T erm d ia lo gu e Lo ud ne ss e xc urs io n ( 3s ) A v e ra g e L o u d n e s s le v e l re a d in g A v e ra g e L o u d n e s s le v e l re a d in g Sh ort T erm Lo ud ne ss e xc urs io n ( 3s )
2.3.2 Synchronisation audio and video
Audio and video signals must be synchronous, and the tolerance levels below tally with EBU R 37:
Either sound ≤ 40ms before picture Or sound ≤ 60ms after picture
By default, Dolby-E encoded audio tracks are recorded in sync with video. The sound will be 1 frame behind the picture after Dolby-E decoding without video lag compensation.
2.3.3 PCM
PCM is mandatory for all audio versions delivered for broadcast. RIFF structure and WAV format are also mandatory for file delivery. Sampling frequency must be 48 kHz.
Preferably use 24-bit quantisation, especially for native HD programmes. Otherwise, use 16-bit (especially for up-converted SD sources).
For one same programme, the quantisation should be identical for all the tracks.
Always supply 2 channels (stereo or duplicate tracks). This also applies to Op1a MXF file deliveries.
Picture synchronisation: the start of the sound file must always match the programme TC IN. The duration of each audio file must be identical to the duration of the video.
2.3.3.1 Mono
Always deliver 2 contiguous mono audio tracks (1 AES or 1 WAV stereo file), PCM recorded signals, no bitrate compression.
To ensure they are compatible with stereo signals, the 2 tracks containing the mono signal must be identical and in phase.
2.3.3.2 Stereo
Always deliver 2 contiguous audio tracks, PCM recorded signals, no bitrate compression. Use the odd-numbered track for the left channel and the even-numbered track for the right channel.
To ensure mono downmix compatibility, the phase must be dominantly positive. 2.3.3.3 Dolby Surround / Dolby PRO-Logic multichannel sound
Surround (LCRS) to Stereo Lt/Rt downmixes must conserve spatial sound coherence, and must not alter sound message intelligibility or timbre.
Dolby Surround is a 3.1 system comprising 3 forward channels and 1 Surround channel (bandwidth-limited), which feed through 2 Surround loudspeakers (LS and RS) in the reference output configuration (ITU-R BS.775-2).
Never decode Lt/Rt Surround original content as LCRS to feed Dolby-E channels in 5.1 configurations, and never subject this content to decoding and Lt/Rt re-mastering.
2.3.4 Dolby-E
The PCM versions are the principal broadcast versions, and PCM delivery is mandatory in all cases.
Dolby-E version delivery and broadcast complement – i.e. do not replace the PCM version delivery.
See § 2.3.4.3 Programme configuration metadata 2.3.4.1 Positioning Dolby-E frames
Always record Dolby-E data perfectly in sync with the picture (Dolby-E In-sync mode). Position the start of the Dolby-E frame relative to the video as follows:
Video line: reference line 20 (±3 lines tolerance) for 1080i/25
Video line: reference line 28 (±2 lines tolerance) for 720p/505
Positioning must be identical during the entire programme (Insert problem). On tapes, the position on the technical line-up must also be identical to that of the programme.
2.3.4.2 Stereo downmix compatibility
When downmixing 5.1 or 5.0 to stereo after Lt/Rt or Lo/Ro gain adjusting and mastering (especially in the case of music programmes), as per metadata settings (see 0), always maintain:
Spatial coherence between sound and picture
Speech level and intelligibility
The balance of the various elements in the mix
Frequency balance in the mix
The downmix stereo signal phase characteristics must comply with the same requirements as PCM stereo signals (see § 2.3.3.2 Stereo) and therefore be mono compatible.
5
2.3.4.3 Programme configuration metadata
Dolby-E format is used for multichannel audio version programmes. The programme configuration settings for ARTE follow:
5.0 and 5.1 format multichannel programmes:
Programme configuration = 5.1 +2
Channel mode = 3/2 (programme 1)
Channel mode = 2/0 (programme 2)
Used later for the audio description (receiver mix). Use 20-bit quantisation if possible.
If not, 16-bit quantisation is acceptable in the following case:
5.0 and 5.1 format multichannel programmes:
Programme configuration = 5.1
Channel mode = 3/2
ARTE G.E.I.E. does not accept other programme configuration settings (2.0, 2+2+2+2, etc). 2.3.4.4 Dolby-E channel designation
Audio tracks must be designated as per the following table: Channel 1 Left
Channel 2 Right Channel 3 Centre
Channel 4 LFE
Channel 5 Left Surround Channel 6 Right Surround
Channel 7 Audio description (receiver mix) or blank (n/a in 16-bit), only available in 20-bit in Dolby-E
Channel 8 Audio description (receiver mix) or blank (n/a in 16-bit), only available in 20-bit in Dolby-E
2.3.4.5 Channel Mode settings
Set programmes in 5.1 and 5.0 to 3/2. Only enable the LFE Channel for 5.1 programmes. 2.3.4.6 Dialog Level settings
Follow the method prescribed in EBU R 128 or ITU-R BS.1770-2.
Transfer the exact reading to the metadata. This includes short programmes allowing loudness readings below -23 LUFS.
Meter all programme channels except LFE. 2.3.4.7 Types of metadata
The table below distinguishes 6 categories of Dolby-E metadata that need to be provided during encoding:
Metadata must be provided by the Sound Engineer within the given tolerances
Fixed metadata value, independent of the programme type (not modifiable)
Default metadata (modifiable) 0.707 (-3 dB)
default value
Metadata provided by the Sound Engineer and checked by the broadcaster
Default Metadata depending on the type of programme (music, film, etc) Metadata dependent on the type of mix
Any and all changes to metadata that are not modifiable in the table above will entail broadcast rejection unless modification is substantiated in the appropriate Dolby-E encoding and mixing forms (see § 11.3 Mixing technical form and § 11.4 Dolby-E Encoding form) and submitted for ARTE G.E.I.E. approval.
Parameter Programme 5.1 Programme 5.0 Programme Music 5.1 Programme Music 5.0 Dialogue Level Dialogue -23 LUFS ±1 dB Dialogue -23 LUFS ±1 dB Dialogue -23 LUFS ±1 dB Dialogue -23 LUFS ±1 dB
(to measure) (to measure) (to measure) (to measure)
Programme Name Text Text Text Text
A ud io Proc es s ing Channel Mode 3/2 3/2 3/2 3/2
LFE Channel Enable Disable Enable Disable
DC Filter Enable Enable Enable Enable
Lowpass Filter Enable Enable Enable Enable
LFE Lowpass Filter Enable Disable Enable Disable
Srnd Phase Shift Enable Enable Disable Disable
Srnd 3 dB Atten Disable Disable Disable Disable
D
yn
ami
c Ra
ng
e Line Mode Pro Film Light Film Light Music Light Music Light
RF Mode Pro Film
Standard Film Standard Music Standard Music Standard RF Overmod Protect Disable Disable Disable Disable
Parameter Programme 5.1 Programme 5.0 Programme Music 5.1 Programme Music 5.0 B it st ream i n fo
Bitstream Mode Main Complete Main Complete Main Complete Main Complete Center Dwnmx Level enter data enter data enter data enter data Srnd Dwnmx Level enter data enter data enter data enter data
Dolby Srnd Mode Not indicated Not indicated
Not Dolby Srnd
Not Dolby Srnd
Copyright bit Yes Yes Yes Yes
Original Bitstream Yes Yes Yes Yes
Audio Production Info No No No No
Mix Level N/A N/A N/A N/A
Room type N/A N/A N/A N/A
E xtend ed B S I
Pref. Stereo Dwnmx Lt/Rt Lt/Rt Lo/Ro Lo/Ro
Lt/Rt Center Mix Level enter data enter data enter data enter data
Lt/Rt Srnd Mix Level enter data enter data enter data enter data
Lo/Ro Center Mix Level enter data enter data enter data enter data
Lo/Ro Srnd Mix Level enter data enter data enter data enter data
Dolby Srnd EX Mode Not Surround EX Not Surround EX Not Surround EX Not Surround EX A/D Converter Type Standard Standard Standard Standard
2.3.5 Mixing technical form
Each programme delivered for mixing requires a mixing form for each language version (see § 11.3 Mixing technical form for the template).
At ARTE G.E.I.E.’s request, this document may also be sent electronically.
Not supplying this document can lead to misunderstandings about the artistic intention during checks, and in such cases entail content rejection.
2.3.6 Dolby-E encoding technical form
Each delivery containing Dolby-E tracks requires a Dolby-E encoding technical form (see 11.4 Dolby-E encoding form for the template).
At ARTE G.E.I.E.’s request, this document may also be sent electronically.
2.3.7 Listening conditions
Programmes are checked on listening systems aligned at 74 dB(C) SPL on each channel except LFE, which is aligned at 78 dB(C) SPL, with pink noise at -18 dBFS.
This level is considered the one where overall dynamics, dialogue intelligibility and timbre match TV broadcasts.
Audio mixing, mastering, encoding and quality control systems require loudspeakers that comply with Standard IEC 60268-5 requirements.
Position of loudspeakers as per ITU-R BS.775.
Calibrate the listening system as per EBU Tech 3276 S1. 2.4 TIMECODE
2.4.1 Files
Timecode on MXF file deliveries must conform to EBU R 122 guidelines. Always note source Timecode in the MXF container ‘Material Package’.
Timecode must be continuous, and no Timecode skips or overlaps are allowed.
2.4.2 Tapes
The following rules apply to tape Timecodes:
Timecodes must meet SMPTE 291M specifications
LTC and D-VITC (1 and 2) codes must be identical and synchronous
VITC 1 and 2 codes must comply with SMPTE 12M-2 specifications, i.e. be positioned on lines 9 and 571 in the VANC
The Timecodes at the start of the programme must be 10:00:00:00
The Timecodes must be progressive and continuous (on colour bars and run out too)
The Timecodes must be progressive and continuous from one tape to the next for recordings on consecutive tapes
The dub Timecode must be identical to the HD master tape Timecode 2.5 COMPLEMENTARY DATA
2.5.1 Dolby-E metadata
See § 2.3.4.3 Programme configuration metadata for Dolby-E metadata requirements.
2.5.2 Programme identification sheets
Programme identification sheets (.pdf files or hard copies) must include:
The programme’s ID The lab’s/producer’s name The programme’s title The programme’s subtitle
Tape order, if and as appropriate
The list of audio versions and designation
Clear indication of the audio formats (PCM, Dolby-E)
Clear indication that it is a Dolby Surround (if that is the case)
The TC In and TC Out
The programme’s duration
A full description of delivery encoding
Information about the various video digital compression systems used, specifying the type of compression and bitrate
2.5.3 P2 metadata
Always fill in the User Clip Names field in P2 metadata, and increment them during shooting.
2.6 SUBTITLING
All subtitled versions must have *.stl extensions, and comply with EBU N19 at level 1 as well as:
EBU Technical Standard N19-1997: Subtitling data exchange format
EBU Tech Doc 3264 (1991): Specification of the EBU subtitling data exchange format
EBU Technical Statement D69-1997: Subtitling data exchange format
2.6.1 File header (GSI block)
The GSI block must contain at least:
Code page 850
Format STL 25.01 (25 frames/second)
Character Code: Latin
Language Code (e.g. French = 0F and German =08 in hexadecimal code)
Programme Title: fill in
Number of lines: 23
Timecode at the start of programme: fill in
For other languages, than German and French, likely to be used by ARTE, see § 11.9,
Subtitling of foreign versions
2.6.2 Subtitle numbers (TTI block)
Number subtitles incrementally and continuously starting with 1.
2.6.3 Technical requirements for numbering subtitles
With the exception of subtitle files for manual synchronisation (Live), each TTI block (including the extension blocks) must state the Timecode In (TCI) and Timecode Out (TCO) for each subtitle.
The following guidelines apply:
The number of characters (including spaces and control characters) on each line must be lower than or equal to 40 (ETS 300 706, May 1997)
Use double-height, single-width characters
Do not place subtitles in the first 10 useful frames of a programme (audio or video). If a programme has more than one consecutive essence file, display each file’s first subtitle 10 frames into each file or later
Allow at least 5 frames between two subtitles
Remove the last subtitle, at the latest, 1 second before programme TC Out
Never place a subtitle over the programme Copyright
Only include text for broadcast in the subtitle file. Do not fill out any additional fields or create any zero-duration subtitles
2.6.3.1 Blank subtitle
Use the first TTI block for a blank subtitle to synchronise subtitles at the start of the programme.
This blank subtitle encompasses:
A subtitle number (SN code), see 0 Subtitles numbers (TTI block)
The TC In at the Timecode at the start of the programme. Display the TC Out for at least 5 frames and no longer than 1 second
Minimal text content (TF codes), such as 0B 0B 0A 8F (8F values complete the block)
Actual position information as per EBU N19, but the vertical position (VP-code) and horizontal position (JC-code) are indifferent
2.6.3.2 EBU-authorised characters
The subtitle file must comply with the EBU N19 standard on Subtitling Data Exchange Format (EBU Tech 3264-E) at level 1, which does not allow italics.
Only use the characters allowed in this standard for each subtitling language. Using any disallowed characters will cause errors during broadcasts.
2.6.3.2.1 Subtitling in French
The following characters may be used for subtitles in French: ! ” % & ' () * +,. - ; /: < > = ?#
1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
é â à ç è ê ë ï î ô û ù
No other characters may be used for French subtitles.
2.6.3.2.2 Subtitling in German
The following characters may be used for subtitles in German: ,. - ;: _ ' +*! ” § $ % & / () = ? ° < > #
1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
ä Ä ü Ü ö Ö ß
2.6.3.3 Technical restrictions for Open-subtitling
The ARTE control room broadcasts programmes via a number of routes, in different language versions subtitled simultaneously, and they are encoded and burned into the image without boxing.
This does not apply to captioning for the deaf and hard-of-hearing, which is only broadcast encoded (Teletext or DVB subtitling).
The following additional restrictions apply to Open-subtitling:
The Helvetica Medium Condensed NOB Latin 46A font (yellow with 3-pixel black outlines) used by subtitle generators for burned-in subtitles must be proportionally sized. So be especially careful with text that contains a large number of wide characters per line. A line of upper-case W, for example, contains a maximum of:
32 characters on a native 16:9 programme
30 characters on a 4:3 (Pillarbox) programme
11 double-height lines
Justification codes to burn in subtitles in the right position are mandatory. Never use spaces to position text
2.6.3.4 Ready-for-Broadcast and Production specifications
Please refer to the following chapters for subtitle file production and delivery:
§ 3 Subtitling Guidelines
§ 7.3.3.3 Subtitling shows
§ 11.9 Subtitling of foreign versions
2.7 PHYSICAL SUPPORTS
We only accept physical supports when file-transfer delivery is unfeasible, or for back-up purposes.
HDCAM SR (4.2.2, 1920 x 1080, 10-bit) is required for all content bound for broadcast delivered on physical media to ARTE G.E.I.E.
2.8 SPECIFIC TECHNICAL GUIDELINES FOR RFB CONTENT 2.8.1 File delivery
2.8.1.1 File deliveries from ARTE France
ARTE France sends RFB files via FTP on a server hosted at ARTE G.E.I.E., on a dedicated line. An .MD5 file travels with each data file to verify transfer.
The HiRes files are delivered encapsulated RAW-Format, for the video AVC-Intra at 112 Mb/s, for the audio wave format accompanied by a file *.tci, containing the Timecode.
Type Code Structure Example + Comments
HD Broadcast Video
HRV N°Em-HRV-X 012345-000-A-HRV-1.avc
N°Em: ARTE G.E.I.E. programme number
HRV: High Resolution Video
X: programme part number, starting with 1 (a long programme may comprise several files)
PCM Broadcast Sound
SND N°Em-SND-X-YY 012345-000-A-SND-1-VO.wav SND: PCM Sound
YY: version (see § 5.6 Version
Names)
Dolby-E Broadcast Sound
SNE N°Em-SNE-X-YY 012345-000-A-SNE-1-VO.wav SNE: Dolby-E 5.1 or 5.0 Sound YY: version (see § 5.6 Version
Names) Broadcast Subtitles SST N°Em-SST-ZZ-ZZZ 012345-000-A-SST-VO-FRA.stl SST: Subtitle standard
ZZ-ZZZ: version (see § 5.6 Version
Names)
Timecode TCI N°Em-TCI-X 012345-000-A-TCI-1.tci
TCI: Timecode Technical record report *.pdf N°EM.pdf + Oracle view (See § 11.8.1) Subtitle list *.doc or
Type Code Structure Example + Comments
Provisional delivery slip
_ Oracle view (See
§ 11.8.1) Original text *.doc or
*.pdf _ Closing credits transcript (certain programme types) *.doc or *.pdf _
2.8.1.2 File deliveries from ARTE Deutschland
Essence components are encapsulated in OP1a MXF files.
HiRes video format is H264, AVC-Intra, 112 Mb/s, extension (*.avc). Otherwise, XDCAM HD422, Long-GOP, 50 Mbps may also be accepted.
Type Code Structure Example + Comments
HD Video / Audio Broadcast
N°Em_xxx 012345-000_123.avc
N°Em: ARTE G.E.I.E. programme number
xxx: single delivery number Broadcast Subtitles SST N°Em-SST-ZZ-ZZZ 012345-000-A-SST-VO-FRA.stl SST: Subtitle standard
ZZ-ZZZ: Version (see § 5.6 Version
Names)
Technical record report
*.pdf Oracle view (See § 11.8.2)
Subtitle list *.doc or *.pdf
_
Provisional delivery slip
Oracle view (See § 11.8.2)
Original text *.doc or *.pdf _ Closing credits transcript (certain programme types) *.doc or *.pdf _
2.8.2 Timecode 2.8.2.1 Files
If you deliver a file in an MXF container, always note the source Timecode in the ‘Material Package’. Timecode need to be incremental and continuous, and no Timecode skips or overlaps are allowed.
The Timecode inserted into the video essence is not used as a reference, but needs to be incremental, continuous and consistent with the essences and subtitling metadata.
When a programme comprises more than one consecutive essence file, the Timecode needs to be incremental and consistent from one essence file to the next.
For ARTE France, source Timecode is recorded in the “.tci” text files with the essences. For ARTE Deutschland, source Timecode are extracted from the MXF container and compared to the metadata recorded in the appropriate databases. Any inconsistency will entail file rejection.
2.9 SPECIFIC TECHNICAL GUIDELINES FOR PRODUCTION
Please read about the organisational aspects of various production types in the following chapters:
§ 6 Guidelines for productions assembled at ARTE G.E.I.E.
§ 7 Guidelines for external productions
2.9.1 Post-production
Post-production content may encompass rushes, programmes or unfinished programme components, and must comply with the technical requirements in the chapters above.
2.9.1.1 Delivery options
We accept deliveries on several media, but please make sure the ones you choose are consistent with the video formats and files, and original file structures. The options follow, in order of preference:
Memory cards or hard drives
File transfers
In certain exceptional cases, we can accept deliveries on magnetic media. The formats ARTE G.E.I.E. accepts follow, in order of preference:
HDCAM SR tapes
2.9.1.2 Video editing
ARTE G.E.I.E. post-produces video on Avid systems (AVC Intra 100). Avid project deliveries need to be compatible with the software versions in use.
See also § 2.2.2.2 Production material formats 2.9.1.3 Graphic processing
ARTE G.E.I.E. post-produces graphics on Autodesk (Flame) and Adobe systems. Graphic project deliveries need to be compatible with software versions in use.
Preferably, deliver non-compressed TGA components. Any other deliveries require prior file type and format approval.
2.9.1.4 Audio file formats for mixing
ARTE G.E.I.E. post-produces audio on Pro-Tools systems. Pro-Tools session deliveries need to be compatible with software versions in use.
We accept the following audio file formats:
WAV
BWF
We prefer embedded-type Wave files for multichannel sound deliveries. Otherwise, please name each file to identify the type of track (L, R, C, LFE, LS and RS).
Deliver Wave format audio files following the RIFF structure.
The required sampling frequency is 48 KHz and resolution 24-bit PCM. Prior approval is required for 16-bit deliveries.
Video syncing: the start of the file must always tally with the programme’s TC In. See also § 2.3 Audio.
2.9.2 Technical guidelines for live transmission
The choice of suppliers and the transmission system require ARTE G.E.I.E.’s prior approval.
2.9.2.1 On-site systems
Video signal distribution from the OB vehicle or gallery producing live or time-delayed programmes to the uplink must be doubled (primary/backup) and make use of separate distinct distribution amplifiers and encoding systems (but they should be of the same type, if possible). This doubled distribution must be digital HD and follow the guidelines in § 2.2
Video.
2.9.2.2 Satellite bandwidth
Existing capacity and bandwidth cost limit HD quality. ARTE G.E.I.E. recommends minimum 18 MHz transponders:
18 MHz minimum for MPEG-4, 4.2.2
24 MHz minimum for MPEG-2, 4.2.2 2.9.2.3 Encoding bitrates
The ‘Producer’ is required to deliver signals in one of the formats below to the ARTE G.E.I.E. node:
Compression codec: MPEG-4 (H.264) MPEG-2
Minimum rates: 32 Mbit/s, 4.2.2. 42 Mbit/s, 4.2.2
Resolution: 1920 x 1080i
Audio rates:
384 Kbit/s PCM 2 304 Kbit/s Dolby-E
2.9.2.4 Encoding latency
Encoding latency on programmes requiring return channels (audio only or audio and video) to the live venue (full duplex, simultaneous translation at ARTE G.E.I.E., etc), must be below 500ms.
2.9.2.5 Securing transmissions
By securing, ARTE G.E.I.E. means a second transmission as follows:
Same origin, same destination
Same transmission times
Same programme content
Same format
Different transmission carrier
If the above is impossible, ARTE G.E.I.E. requires at least backup reception in a site outside Strasbourg (Paris or Frankfurt).
2.9.2.6 Transmission information sheet Reservations must contain the following:
The programme’s title The satellite uplink location
Transmission start and end date(s)
Test transmission start and end times
Live broadcast start and end times
The satellite’s name Its orbital position
The transponder’s bandwidth The transponder and channel(s)
The uplink/polarisation frequency
The downlink/polarisation frequency
Modulation
FEC
Symbol Rate
Roll-off factor
Total Bitrate
Audio (1 to 4 AES pairs)
The uplink provider’s name
The identification (Earth Station Code)
The operator’s and/or uplink’s name and telephone number
2.9.2.7 Coordination via talkback networks
Coordination between the teams at the live broadcast venue and the teams at ARTE G.E.I.E. in Strasbourg requires setting up ‘Production’ and ‘Technical’ talkback networks via audio codecs backed up by 2 telephone patches in the production vehicle. The equipment that Production teams provide must be configured and compatible with the equipment at the ARTE G.E.I.E. node in Strasbourg.
Generally speaking, ARTE G.E.I.E. makes arrangements to reserve ISDN lines. ARTE G.E.I.E. and/or the Producer supervise installation on-lining.
2.9.2.8 Programme return channels
Return channels are required on all live broadcast productions. The table in Appendix § 11.5 ARTE programme satellite broadcasts provides the satellite reception settings.
Live broadcasts with subtitles in two languages (e.g. opera) require two return channels (German and French) to the subtitling unit.
2.10 SPECIFIC TECHNICAL GUIDELINES FOR S-3D
The technical requirements and guidelines for HD programmes in this document also apply to Stereoscopic 3D (S-3D)6.
As this type of broadcast is a ‘feature’, prior coordination with ARTE G.E.I.E. is required. As depth of these programmes’ is a distinctive feature, the sound needs to be multichannel and delivered encoded as Dolby-E as well as PCM, as per § 0 Dolby-E.
2.10.1 S-3D specifics 2.10.1.1 S-3D quality
Absolutely no vertical disparity between left frames and right frames is allowed in any part of any image.
Light, colour and definition of both images need to match precisely.
Perfectly synced cameras must feed both frames and absolutely no time delays are allowed.
2.10.1.2 Using 2D images
An S-3D programme must include at least 75 % native 3D pictures.
The programme’s editorial angle substantiates the use of 2D pictures (archive footage, for example), and determines how to process them.
The 2D pictures or 2D to 3D picture conversion sources must be HD. They require specific post-production, based on 3D scene compositing requirements. No single post-produced sequence may exceed 1 minute.
2.10.1.3 Depth
Programme depth must remain within acceptable limits for 40-inch to 70-inch TV sets, i.e.:
Positive horizontal disparity (on the screen) lower than or equal to 2 %
Negative horizontal disparity (off the screen) lower than or equal to 2 %
Negative horizontal disparity over 2 % is acceptable if it only concerns a part of the picture and is relatively brief (less than 1 minute).
Floating windows are required for window violations (floating windows may not exceed 1 %), and smoothing is likewise necessary if shot changes require sharp accommodation shifts.
6
2.10.2 S-3D broadcast material
The following material is required for S-3D broadcasts:
1 Side by Side broadcast copy (1920 x 1080, 2 horizontal-anamorphic pictures, 960 x 1080)
1 Full HD (1920 x 1080)picture master for the left eye
1 Full HD (1920 x 1080)picture master for the right eye
1 subtitle file per language version (if required) All the masters must be delivered with identical Timecodes. They must all contain the same audio tracks.
See § 2.10.5 S-3D Titling and 2.10.6 S-3D subtitling for programmes with burned-in content.
2.10.3 2D broadcasts
As 2D broadcasts still account for the bulk of all broadcasts, please deliver a specific 2D version that lasts exactly the same duration as the S-3D version.
2.10.4 Shooting material
Please deliver all material (rushes, spots, etc.) to ARTE G.E.I.E. via FTP server or physical support:
2.10.4.1 FTP server delivery
The FTP server address is ftp://ftptec.arte.tv.
Please ask the production team you are working with for your ID and password. 2.10.4.2 Physical supports
Deliver pictures for each eye on separate drives, in the following order of preference:
P2 cards
2.10.5 S-3D Titling
Titling, here, encompasses opening and closing credits, and all burned-in titles. Titling script depth may not exceed 4 % (-2 % / +2 %).
Within that depth bracket, position titles in such a way as to blend them into the composition, parallax and colour.
In line with that, ARTE G.E.I.E recommends centring opening and closing credits, and differentiating composition depth for objects (e.g. logos) and text lines. Speakers’ names and all other burned-in content must be positioned in the comfort zone.
Standing linguistic requirements apply to production and coproduction titling, meaning that titling is bilingual.
ARTE G.E.I.E. will add titling to international purchases delivered as clean feeds.
2.10.6 S-3D subtitling
ARTE G.E.I.E. does not have the equipment to handle S-3D (depth) encoded subtitles (teletext, DVB subtitling, etc.) or burned-in ones.
S-3D subtitling adds a layer of complexity for viewers. If an entire programme is subtitled, to avoid tiring users, preferably encode subtitles (especially for the deaf and hard-of-hearing).
2.10.6.1 Encoded subtitles
Always follow all § 3.3 ARTE G.E.I.E. General Guidelines, as well as the guidelines below for 3D subtitles. In addition to these recommendations, for a caption to be displayed in S-3D, it must take account of the following points.
2.10.6.2 Burned-in subtitles
As ARTE is a bilingual channel (French and German), burned-in subtitling entails delivering specific Side By Side RFB content for each version (a French Master Side By Side AND a German Master Side By Side).
Full HD masters (left eye and right eye) must remain ‘Clean’.
Keep this subtitling method for short passages required by the programme itself (e.g. a brief sequence in a foreign language during a film).
2.10.6.3 Compositing S-3D burned-in subtitles
The following guidelines apply, over and above the ones in § 3.3 ARTE G.E.I.E. General
Guidelines:
Place subtitles in areas that do not provide meaningful indications of depth, and always place them in the comfort zone
Adjust reading time to viewer accommodation time
Accommodating focus on subtitles displaying in front of a character may take over 1 second. Generally speaking, display times are longer than in 2D content
Stereoscopy renders volume by optimising the photographic quality of the lights. In other words, it is important to limit subtitle intensity and contrast. Working on the texture or shading will enhance final visual comfort.
2.10.6.4 Delivering S-3D subtitle files
The same guidelines apply for 2D programme subtitling and S-3D-specific subtitle files. Until we have reliable workflows and tools that can process depth metadata in subtitling production systems, please deliver this stereoscopic display metadata in a separate file.
3 SUBTITLING GUIDELINES 3.1 RFB SUBTITLE FILES
Subtitle files are delivered to servers via a dedicated interface.
§ 5.2 RFB delivery by ARTE France
§ 5.3 RFB delivery by ARTE Germany § 5.4 RFB delivery by Producers/Distributors § 5.5 RFB delivery by Multilingual Suppliers
3.2 SUBTITLE LISTS
Attach a Windows-compatible file containing the full list of subtitles (post-correction) to the subtitle file.
Provide the following information in the header:
Ordered by:
Supplied by:
Translated-Subtitled by:
The title of the original version
The title of the second language version
The ARTE G.E.I.E. programme number
The delivered version date
3.3 ARTE G.E.I.E. GENERAL GUIDELINES
The rules for compositing subtitles apply to all types of subtitles (text, S/T-U/T indications and blank subtitles).
Bear in mind the guidelines for safe areas when you position subtitles. See § 11.1, Safe
Areas (red frame).
3.3.1 Blank subtitles
Place the blank subtitle on the programme’s first frame. The blank subtitle’s duration must be 5 frames.
3.3.2 Subtitle Indicators (S/T or U/T)
This indication is mandatory on programmes produced live (off ARTE G.E.I.E. sites).
It tells the broadcast control room that the programme contains subtitles in French (S/T) or German (U/T).
The requirements for these indications:
Double height
Upper case (S/T for French, U/T for German)
Right-justified on line 22 (16h), precisely 10 seconds after the start of the programme
3.3.3 The first ‘useful’ subtitle
Do not place any subtitles in the programme’s first 10 useful frames (picture or sound).
3.3.4 The last subtitle
Place the translator’s name, supplier’s name, etc. in the closing credits, in such a way as to disrupt reading as little as possible.
The last subtitle must always disappear before the programme Copyright appears.
If there is no programme Copyright, the last subtitle must disappear at the latest 1 second before programme’s last frame.
3.3.5 Programme title
The ARTE G.E.I.E. editorial staff will provide the title of the 2nd language version. Display this title for at least 4 seconds (whenever possible).
This title must never cover the original title.
3.3.6 Display times
The guidelines:
Display subtitles for at least 1 second and at most 10 seconds, depending on subtitle size
Allow at least 5 frames between the time one subtitle disappears and the time the next one appears
3.3.7 Shot changes
As a general rule, a subtitle should not overlap a shot change.
A subtitle should disappear at least 4 frames before shot changes and, likewise, appear at least 4 frames after shot changes.
Subtitles may however overlap if necessary, provided they appear at least 1 second before and disappear at least 1 second after the shot change.
3.3.8 Text burned into the picture
Various types of burned-in text may require subtitling, including the programme title, programme subtitle, episode title, contributors’ names, their job titles, work titles, dates, subtitles in another language (when there is no International Version (VI) picture), and so forth.
Subtitling must never cover this burned-in text: place subtitles elsewhere in the picture or time-stagger them. See § 2.6.3.3 Technical restrictions for Open-subtitling.
3.3.9 Characters
The following guidelines apply to the characters you use:
Double height, single width
Whenever possible, place them in Teletext rows 20 (14h) and 22 (16h)
Use yellow letters on black backgrounds
Use a maximum of 40 characters per line, including spaces and control characters