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Current Technology high spots

NaSTA CONFERE NCE @ LEEDS APRIL 2016

PE TE R W E I TZ E L S E C / TR E A S UR E R S M PTE UK

Let’s start with “what is SMPTE?”

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www.smpte.org/uk

SMPTE

Society of Motion Picture and Television Engineers

Based on three Pillars

� Members – we have 6700 around the world – 570+ in UK

� Education – we run meetings/lectures - in about 20 places in UK..... And webcast and Conferences and courses plus Journal

� Standards - over 800 fundamentals for Film TV and Digital media

And is 100 Years Old

www.smpte.org/uk

.... And we support Student Production

Hollywood October 2016 – see https://www.smpte.org/ATC/student-film-fest

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www.smpte.org/uk

SMPTE – HPA Student Film Festival

6 Categories � Best creative use of entertainment technology to engage the audience in the

story – narrative format. (max. five min.)

� Best creative use of entertainment technology to engage the audience in the story – narrative format. (max. 30 sec.)

� Best portrayal of entertainment technology in the film – documentary format. (max. five min.)

� Best portrayal of entertainment technology in the film – documentary format. (max. 30 sec.)

� Best use of virtual reality in storytelling – narrative format. (max. three min.)

� Best use of mobile device or tablet to convey a story – narrative format. (max. three min.)

See https://www.smpte.org/news-events/news-releases/smpte-and-hpa-issue-call-entries-2016-smpte-hpa-student-film-festival

www.smpte.org/uk

And we encourage

Student members Free for the first year then $10 and you get � Meeting others working in our industries

- that what SMPTE meetings are all about

� Receiving the Motion Imaging Journal- full of the latest techniques and news from SMPTE sections around the World

� Participating the Technology relevant webcasts at no Charge

� Access our archive - Look back over SMPTEs work over the past 100 years

� Attending events and conferences

� Courses at member discount rates – you can easily save your subscription (and it can be offset against tax)

� Being supported by those in our industries through the Graduate Initiative

� Taking part in standards work and directing the way our industries move

� Just being an active member of the world’s largest Members societyfor those working with the moving image, its audio and metadata

- on any platform - Film, Television , Digital media

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What I told the non- techiesSPECIFICATI O NS AND METAD ATA

www.smpte.org/uk

Specifications

Take Standards (fundamentals for Film TV and Digital media) which enable interoperability - SMPTE sets Standards

And the specification provides a Profile for use within a smaller group

e.g UK Specification for TV limits frame rate to 25Hz (not 60 or “59.94”)

In the UK two key specification bodies

� Digital Television Group DTG “ D Book” http://www.dtg.org.uk/

how Broadcasters and Receivers work = “Freeview HD” mark

� Digital Production Partnership “DPP” https://www.digitalproductionpartnership.co.uk/

How Producers deliver Programmes to Broadcasters (technical and metadata)

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www.smpte.org/uk

Metadata basics

Content = Essence + Metadata

Audio Video etc. material

Text describing the Essence and / or its use

www.smpte.org/uk

Specifications and metadata

Programme makers (Non techies) need to know something about the technical side (and vice versa)

Standards are world wide set by experts (like SMPTE) by due process

Specifications restrict what you can do - to aid interoperability – and thus reduce the technology that you need to know.

Metadata is an important part of the Production Workflow – it tells you what is the AV material (Essence) -without it – you have not got a programme / Clip / Item......

The DPP has specifications and background can help you understand what /why professionals use So that you can select the bits /ideas that work for your Station

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What excites the techies U HD AND IP (PLU S VR)

One Original Ra�onale for UHDTV → Immersion

According to ITU-R Report BT.2246: “UHDTV is … intended to provide viewers with … a wide field of

view that virtually covers all of the human visual field ….”

80 degree FOV30 degree FOV

Not “There”

“There”Subjective

Scores

Not “There”

“There”Subjective

Scores

Based on research reported by Yamashita et al. “Super Hi-Vision” Video Parameters for Next-Generation Television. SMPTE Mot. Image J. May-June 2012 vol. 121 no. 463-68 (NHK Science & Tech Res. Labs)

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www.smpte.org/uk

Pixels

UHD1 incorrectly called “4k”

4x pixel of HD so 1920*2 = 3840 pixels per line and 1080*2= 2160 lines per frame

And it is PROGRESSIVE Scanned

But to see the pixels you need to be 1.5 Picture Height (1.5H) from the screen (visual acuity one minute of arc)

so for a 42” TV H=550mm Distance = 780mm or 65” TV H= 910mm Distance = 1360mmor ipad H=150mm Distance = 225mm

“Our key results are a median absolute viewing distance of 2.63m, and a median relative viewing distance of 5.5 times the screen height (5.5.H).”

See http://www.bbc.co.uk/rd/publications/whitepaper287

www.smpte.org/uk

UHD

It is Not just “4k” actually 3920*2060 4 times as many pixels than HD

But it has better pixels “UHD1ph2” using

� High Dynamic Range (HDR) Blacks backer , whites whiter and highlights fantastic

� Wide Colour Gamut (WCG)

� Immersive audio –Using Objects

� High Frame Rate so that motion looks smooth

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Real World Light Examples

Light units are in

candela/m2, more

conveniently spoken -

“Nits”170,000

nits

0.25

nits

15

nits

133,000

nits

15

nits

300,000

nits

6000

nits15

nits

300

nits

185

nits

10,000

nits

www.smpte.org/uk

Luminance Dynamic Range Display Device

~ 0.1 ~ 600

~ 2500

~ 0.005 ~3000 ~20,000

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www.smpte.org/uk

High Dynamic Range

More bits per pixel

– at the moment 10 bits in studio (SMPTE & BT 601 &709)but only 8 bits at emission

So UHD BT2020 has a 10 bit Profile for emission – may not be quite enough!

But things are not linear

Camera Signal Display

www.smpte.org/uk

Pre- and post- colour grading images

18© 2015 • Powered by SMPTE® Professional Development Academy • www.smpte.org `

This is what a TV Camera needs to put out

This is what a film camera outputs so that it has all the detail to be graded

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www.smpte.org/uk

HLG

� E 1 ln 1 0 E 1 ln 1 0

See http://www.bbc.co.uk/rd/publications/whitepaper309

www.smpte.org/uk

Total HLG chain

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From photons to colour the WCG

Real objects

Wavelengths of Light from Sun

Optical transmission of the eye

Cone sensitivity

Spectral locus

Pointer’s gamut

of real surface

colors

CIE Chromaticity (u’, v’)

Rationale for Enhanced Colour Gamut

Surface color of real objects often

lie outside HDTV gamut (Rec 709)

… but mostly within the UHDTV

gamut

(ITU-R Rec. BT.2020)

From Report ITU-R BT.2246-1 (2012)

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Wider Field of View → Higher Frame Rate Needed

Viewers are more susceptible to flicker in wide Field-of-

View (FOV).

UHDTV needs a higher frame rate for very big displays.

80 degree FOV

30 degree FOV

From Report ITU-R BT.2246-1 (2012)

www.smpte.org/uk

Shooting at Higher Frame Rate

48 FPS1/60 of a second

24 FPS1/48 of a second

60 FPS1/120 of a second

180°

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www.smpte.org/uk

Differences at 60 FPS

180° 270° 358°

Putting it all together

What do we want?

“A Sense of Realness”

What is the Perceptual

Basis?

YES

Higher Resolution

Enhanced Color

Gamut

Higher Bit Depth

Higher Frame Rate

Sense of Being There

Natural Colors

Sense of Light

Natural Motion

Seeing Through the Window

Field-of-View (FOV)

Pointer’s Gamut

Dynamic Range

Smooth Pursuit

Hyperacuity

YES

YES *

YES

YES

YES* YES*

YES*YES

… and more efficient video compression in all cases!

Constancy of Illumination Flicker Fusion YES

YES

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www.smpte.org/uk

22.2ch sound microphone

27

-30

-20

-10

0

0

o

30

o

60

o

90

o

120

o

150

o

180

o

210

o

240

o

270

o

300

o

330

o

-30

-20

-10

0

250Hz

500Hz

1kHz

2kHz

4kHz

8kHz

12kHz

16kHz

Diameter 45 cm

www.smpte.org/uk

22.2 multichannel sound - speaker layout

28

TpSiL TpSiR

TpBL

TpBC

TpBR

α1 α

1

α3

α3

180°

90°

TpC

TpFR

TpFC

TpFL

Top Middle Bottom

But you need speakers in the right place !

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www.smpte.org/uk

Object audio

Instead of sending discrete audio tracks with a 1 to 1 relationship microphone to Loudspeakers

How about sending Audio Object – which have instructions on how they should be put in the sound stage

Which the receiver box can relate to the loudspeakers it has and where they are!

Most Audio fits in a 5.1 (7.1) mix – so use objects to add to this

And can be rendered to work from Headphone (binaural) to many speakers – and they need not be everywhere Wave front technology means that say 200 Speakers around the TV Can work just as well as speakers anywhere in the room

www.smpte.org/uk

3D panning

Different viewControl multiple sound sources

Controls for Object audio

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www.smpte.org/uk

Object Audio gives Viewers (limited) control

Viewers could be Given different commentaries , Languages , Dialog enhance

And object audio is used now (and for 14 years on UK DTT) for Audio Description

The narrators voice has a pan byte – and a fade byte to dim Prog Sound

AD receiver mix

Normal Prog sound to LS

Narrator volumeReceiver mix volume

Normal volume

Narrator

L

R

www.smpte.org/uk

RECAP – what not to forget

• Current CE trends recognise only resolution

• Research has shown resolution is not enough

• UHD is a matter of:

• the full broadcast eco-system from glass-to-glass

• a mid to longer term effort and comes in technology phases

UHD video quality = Res + HFR + HDR + Col + Advanced Audio

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www.smpte.org/uk

HEVC aka H.265

www.smpte.org/uk

HEVC

Coding unitsfrom 64*64 to 4*4Independent coding modes

35 motion vectors to sub pixel Transform size

32*32,16*16,8*8,4*4

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IP – using commodity IT

www.smpte.org/uk

IP in broadcasting is “old Technology”

Carrying Live Video over Computer Networks rather than Coaxial cables

Circuits from Telcos have been IP for over 15 years – and are used by broadcasters for inter site links ( usually Compressed as Native TV very high bit rates wrt Networks thenRec 601 270 Mbit/sec SD is 30 years old)

Files go well over IP networks!

But recently the Bitrates from IT Industry is greater than TV ....

So “cheap” “commodity” IT kit could be used for broadcast uses –even long Telco circuits may be cheaper Uncompressed...(remote working)

AND IT bitrates are out running even UHD!!! (just about)

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www.smpte.org/uk

Why IP – this is what Fox say

1.To enhance the flexibility & agility of the video plant 2.Denser than SDI and inherently bi-directional 3.Agnostic to resolution, bit depth, and frame rate 4.Compatible with network interfaces on commodity Ethernet switches and commodity servers 5.Flexible association of streams into desired groups of media 6.Network-based registration and discovery of devices, streams, and media capabilities 7.The “on-ramp” to the software-oriented, virtualized video production plant

www.smpte.org/uk

SMPTE ST 2022-6 just packetise SDI

embed

Packetise Depacketise

De-embed

ST259 & ST272 SDST292 & ST299-1 HDST424 & ST 299-2 3GHD

ST 2022-6 ST259 & ST272 SDST292 & ST299-1 HDST424 & ST 299-2 3GHD

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www.smpte.org/uk

But its is better to have separate V A M

VSF TR03 or AMWA NMI https://github.com/FOXNEOAdvancedTechnology/RFC4175-dissector

Basic standards TR 03

Video Flows

IETF RFC 4175 (uncompressed)

Active video

Good beyond 8K resolution

Audio Flows

IETF RFC 3190 (AES67)

24-bit 48kHz PCM

Ancillary Data

IETF draft-ietf-payload-rtp-ancillary

Clock Distribution

IEEE 1588 PTP

SMPTE ST 2059-2 Profile

Synchronization

RTP Clock Source Signalling in SDP

Flow Association

Session Description Protocol (SDP)

VSF TR-04 Allows 2022-6 SDI in RTP to be synced with TR-03 elements

http://www.videoservicesforum.org/download/technical_recommendations/VSF_TR-03_DRAFT_2015-10-19.pdf

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www.smpte.org/uk

HD SDI wastes say 30% bit rate

Since everything goes into 1.485 Gbps…

Image Format Active Video Ancillary Ancillary Video inMbps Mbps Overhead 9.5G (ST 2022-6= 6)

1080i59.94 1,243 241 16.2% 7720p59.94 1,105 379 25.5% 81080i50 1,037 448 30.2% 8720p50 922 563 37.9% 9

Dalet

www.smpte.org/uk

Software Defined Networks -SDN

“Normal” IP networks work by the routers negotiating locally with adjacent routers on how they pass data between them.

SDN’s

1. Decouple the Control and Data planes

2. Logically centralized control

3. Exposure of abstract network resources and state to external applications

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www.smpte.org/uk

The typical IP network ( v simple explanation)

Where does each packet go????

If by local negotiations could be

1-2-6 or 1-2-3-4-5-6 or 1-3-2-4-6 or 1-3-2-4-5-6 etc.

control

control

control

control

control

control

3

4

5

62

1

So do they arrive in the same order or at all?

www.smpte.org/uk

The typical SDN ( v simple explanation)

Where does each packet go????

Control and monitoring

3

4

5

62

1

The controller sets up the route and all the packets go the same way And don’t get lost!

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www.smpte.org/uk

Virtualisation

This abstracts the function away from the physical infrastructure

SDN is an visualised network

“The cloud” is visualised Processing or Storage or Connectivity

Broadcast devices ( e.g. Aperi) can be amplifier or coder or ???

Thus systems architecture at the Higher “Requirements” level and Low “Physical” level is very important - and within that the network is the most important as it joins everything together- without loosing packets

www.smpte.org/uk

Weitzel’s three rules of IP

1. Every packet counts

2. ALL it needs is JUST best Practise

3. It is complex because of interrelationships

see the AES lecture slides at www.weitzel.tv

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www.smpte.org/uk

SMPTE in the UK

UK Section serving all who are working with the technology of moving pictures

and associated sound & metadata– creatively, practically and innovatively

in any format, and on any platform

One hundred years of serving the Industries of the Moving Image throughout the world by our Members Education Standards

Jobs

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www.smpte.org/uk

From University to work

Where do you start?

Tech Ops

The Rest SupportDesignDevelopment

SysDesign

PM Projects

Support Maint

Service Providers

R&D

Bigger Broadcasters

Broadcasters Systems

integrators Manufacturers

(IABM) BB

IT Ops

www.smpte.org/uk

The Industries Broadcasting/ Film / Digital Media

Broadcasters – Sky BBC itv ...... Discovery ....Majan Bauer , Netflix

Service providers

MPC , The Farm, FramestoreRed Bee, Ericsson, SBS, Easel.tvDock 10, NEP, CTV..... Bowtie , Adlib

BT M&B BT Sport BT ...... Arqiva ....... WTN ViewSat

ATOS ..... Accenture

Manufacturers/ Suppliers – & Systems Integrators

The Rest – Universities, Production Companies ..... Yourself – go freelance! Or start your own company

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www.smpte.org/uk

What makes a Broadcast engineer different ?

� Understands Content (& content makers)

� Content = essence and metadata

� Understands Availability (& Audience)

� Planning , Timeliness, Prioritisation

� Takes care of the (essential) detail

� Aware of everything end to end

� Basics / Fundamentals -- Analyse / Reason Document / Note -- Remember/ Recall Inspired Logical Thought -- Communicate

www.smpte.org/uk

Getting experience

Your Hobbies/ Interests – etcMusic/ Photography/ Dramatics/ Games/ Programming /NASTA

Your Studies

What have / How have you learnt, inside& outside the course

Your Work

� Intern/ related areas

� Something very different / International

Your Contacts.....

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www.smpte.org/uk

What businesses look for

� Passion/Persistence/Planning

� Awareness/Knowledge

� Ability to learn and explainRemember CONTENT/AVAILABLITY / DETAIL/ E2E Written – CV etc, Emails

+ Linked in FBook

Face to Face - Interviews / References + Open days / SMPTE meetings

www.smpte.org/uk

And Work.......

Your first job is

� Opportunity to find out more & experiment

� Where you can establish yourself in Industry

� A Place to move from......

....As you find out more about yourself and what the industries can offer you.....

....... Non technical as much as technical

To help you – your ColleaguesSMPTE UK & its graduate initiative

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www.smpte.org/uk

The evolving role of the broadcast engineer

Broadcasting is close to the bleeding edge of Technologyso you are always learning –

But equipment lasts many years

and technology can take many years fromlab demonstrator to being in everyone’s home

..... And it is speeding up! (but not as fast as you may think)

You will change job direction in first

few years

www.smpte.org/uk

SMPTE in the UK

UK Section serving all who are working with the technology of moving pictures

and associated sound & metadata– creatively, practically and innovatively

in any format, and on any platform

One hundred years of serving the Industries of the Moving Image throughout the world by our Members Education Standards