Complete Technical Guidelines. Annexe 2, rules of cooperation in the domain DANS of programs LE

Transcription

1 Complete Technical Guidelines ARTE G.E.I.E. April 2015 Annexe 2, rules of cooperation in the domain DANS of programs LE DANS LE DOMAINE DES DOMAINE The update of these Guidelines shall be verified on the ARTE website PROGRAMMES der Regeln für DES die Zusammenarbeit im Programmbereich PROGRA MMES der

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3 Complete Technical Guidelines ARTE G.E.I.E. 3 SUMMARY 1 INTRODUCTION HD STANDARD TAPELESS PROCESS LOUDNESS MULTICHANNEL SOUND CROSS MEDIA PROGRAMMES EN STEREOSCOPIE 3D TECHNICAL GUIDELINES FILE FORMATS VIDEO Normes Format Ready-for-Broadcast formats Production material formats Tolerances Telecine transfers Subjective image quality Upscaling from SD material Safe areas AUDIO Loudness measurement Peak level Loudness Measurement method Current recommendations: Alignment levels Target level full programme integrated loudness level Dynamic profile target values Short Term measurements Synthetic Loudness schemes Synchronisation audio and video PCM Mono Stereo...23

4 4 Complete Technical Guidelines ARTE G.E.I.E Dolby Surround / Dolby PRO-Logic multichannel sound Dolby-E Positioning Dolby-E frames Stereo downmix compatibility Programme configuration metadata Dolby-E channel designation Channel Mode settings Dialog Level settings Types of metadata Mixing technical form Dolby-E encoding technical form Listening conditions TIMECODE Files Tapes COMPLEMENTARY DATA Dolby-E metadata Programme identification sheets P2 metadata SUBTITLING File header (GSI block) Subtitle numbers (TTI block) Technical requirements for numbering subtitles Blank subtitle EBU-authorised characters Subtitling in French Subtitling in German Technical restrictions for Open-subtitling Ready-for-Broadcast and Production specifications PHYSICAL SUPPORTS SPECIFIC TECHNICAL GUIDELINES FOR RFB CONTENT File delivery File deliveries from ARTE France File deliveries from ARTE Deutschland Timecode Files SPECIFIC TECHNICAL GUIDELINES FOR PRODUCTION...36

5 Complete Technical Guidelines ARTE G.E.I.E Post-production Delivery options Video editing Graphic processing Audio file formats for mixing Technical guidelines for live transmission On-site systems Satellite bandwidth Encoding bitrates Encoding latency Securing transmissions Transmission information sheet Coordination via talkback networks Programme return channels SPECIFIC TECHNICAL GUIDELINES FOR S-3D S-3D specifics S-3D quality Using 2D images Depth S-3D broadcast material D broadcasts Shooting material FTP server delivery Physical supports S-3D Titling S-3D subtitling Encoded subtitles Burned-in subtitles Compositing S-3D burned-in subtitles Delivering S-3D subtitle files SUBTITLING GUIDELINES RFB SUBTITLE FILES SUBTITLE LISTS ARTE G.E.I.E. GENERAL GUIDELINES Blank subtitles Subtitle Indicators (S/T or U/T) The first useful subtitle...45

6 6 Complete Technical Guidelines ARTE G.E.I.E The last subtitle Programme title Display times Shot changes Text burned into the picture Characters Additional information Additional guidelines for captioning for the deaf and hard-of-hearing Combining subtitles CAPTIONING FOR THE DEAF AND HARD-OF-HEARING (french version) Colour coding Positioning captions Composition of captions CAPTIONING FOR THE DEAF AND HARD-OF-HEARING (german version) Presence of burned-in captions Colour coding Positioning captions Syntax and sound illustrations AUDIO DESCRIPTION GUIDELINES RFB DELIVERY GUIDELINES GENERAL GUIDELINES FOR THE ARTE GROUP RFB DELIVERY BY ARTE FRANCE RFB DELIVERY BY ARTE GERMANY RFB DELIVERY BY PRODUCERS/DISTRIBUTORS RFB DELIVERY BY MULTILINGUAL SUPPLIERS VERSION NAMES Audio tags Subtitle tags Language versions STEREOSCOPIC 3D TIMECODE SUBTITLING RFB PHYSICAL SUPPORTS Video Audio Timecode Tape labelling...62

7 Complete Technical Guidelines ARTE G.E.I.E Identification card Tape leader and technical specifications Technical record report DVD CREDITS General specifications Closing credits duration TEXT Delivery by ARTE units DELIVERY ADDRESS GUIDELINES FOR PRODUCTIONS ASSEMBLED AT ARTE G.E.I.E RFB COMPONENTS Video guidelines Audio guidelines Delivery OTHER DELIVERABLE ELEMENTS Working audio and/or video components Other content ARTE Journal ARTE Reportage GUIDELINES FOR EXTERNAL PRODUCTIONS FOREWORD GENERAL RULES Scope Operations ARTE G.E.I.E. obligations Producer obligations PRODUCTION GUIDELINES Producer duties Venue survey Logistics Technical Securing transmission Original Version production ARTE G.E.I.E. duties Guidelines for multilingual content Sound...74

8 8 Complete Technical Guidelines ARTE G.E.I.E At the production site: At the ARTE G.E.I.E. site: Live interpreting on the production site Subtitling shows Subtitling equipment Subtitling on the production site/in Strasbourg Work spaces Signal distribution Composing live subtitles Broadcast management and coordination Self-promotion material Credits and inter-titles On-site recording Sharing costs Production costs Multilingual versions Production meeting agendas and work plans GUIDELINES FOR ARTE JOURNAL GUIDELINES FOR NEW MEDIA AUDIOVISUAL FILES Shooting Encoding new media components Producing second language versions Audio files Subtitle files STL Format SRT Format Technical requirements for numbering subtitles Subtitling in French Subtitling in German Subtitling of foreign languages Multilingual versions COPYRIGHT NOTICE CONTACT DELIVERY ADDRESS MARKETING GUIDELINES TECHNICAL GUIDELINES...88

9 Complete Technical Guidelines ARTE G.E.I.E AUDIO CONFIGURATION Programmes that will only be broadcast in Germany: Multilingual versions: FILE DELIVERY File formats Naming components File delivery address PHYSICAL SUPPORTS DELIVERY Physical supports deliveries Delivery address COPYRIGHT NOTIFICATION FORM DELIVERY CONTACTS APPENDICES SAFE AREAS COPYRIGHT NOTIFICATION FORM MIXING TECHNICAL FORM DOLBY-E ENCODING FORM ARTE PROGRAMS SATELLITE BROADCASTS NEWS FTP HD TRANSMISSION SHEET PRODUCTION SHEET DESCRIPTION DES VUES ORACLES Description des vues Oracles pour Arte France : Oracle-Ansicht Beschreibung für ARTE Deutschland: SUBTITLING OF FOREIGN VERSIONS REFERENCES

10 10 Complete Technical Guidelines ARTE G.E.I.E. VERSIONS VERSION DATE UPDATES V1.0 17/10/2013 V /10/2013 V /04/2014 V /11/2014 V /04/ Encoding new media components: Resolutions for HD 16:9 video = 1280 x Details in the encoding table of the New Media elements Naming video files (9.1.3) is removed Instructions for subtitles in SRT format 11.5 Update the table of ARTE programs satellite Broadcast 1.3 Modification of the introduction on Loudness Audio tags et Language versions (Introduction of the audio versions VDO et VME) Encoding new media components (1080p) Subtitles files (TC à 00 :00 :00 :00) Respect of the supplement (R128 s1) of the EBU recommendation R Subtitles of foreign languages for the Web upload ( 11.9) New video encoding profile (1920x1080 : AVC, Main@L4 ou Main@L4.1)

11 Complete Technical Guidelines ARTE G.E.I.E. 11 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 not circulate excerpts of this document.

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13 Complete Technical Guidelines ARTE G.E.I.E 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 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 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.

14 14 Complete Technical Guidelines ARTE G.E.I.E. 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 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 requirements regarding stereoscopic 3D programme production and delivery.

15 Complete Technical Guidelines ARTE G.E.I.E 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 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 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 SMPTE 12M-2: Transmission of Timecode in the Ancillary Data Space

16 16 Complete Technical Guidelines ARTE G.E.I.E Format 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) 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 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 Concerns only deliveries from ARTE Deutschland, in order to rest in the original production format.

17 Complete Technical Guidelines ARTE G.E.I.E. 17 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: Therefore: RGB components must remain between -5 % and 105 % (-35 and 735 mv) 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 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* / / * / / / / * / / * / /

18 18 Complete Technical Guidelines ARTE G.E.I.E. * 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) 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 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 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.

19 Complete Technical Guidelines ARTE G.E.I.E 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 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 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 ) EBU R 128: Loudness normalisation and permitted maximum level of audio signals Loudness 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 Current recommendations: ITU-R BS and 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 accompanying picture

20 20 Complete Technical Guidelines ARTE G.E.I.E 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) 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 Dynamic profile target values Loudness excursions are permitted, measured using the method defined in Short Term measurements, are allowed. As follows: Dialogues: Programmes that last more than 2 00: ± 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: +3 LU max measured Short Term above the Loudness target level

21 Complete Technical Guidelines ARTE G.E.I.E 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 ). 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.

22 Short Term dialogue Loudness excursion (3s) Short Term Loudness excursion (3s) 22 Complete Technical Guidelines ARTE G.E.I.E Synthetic Loudness schemes Loudness Short Term Loudness Peak Loudness LtRt - LoRo - Dual Mono LtRt - LoRo - Dual Mono Range (LRA) Long Programmes Short Programmes Long Programmes Short Programmes Peak levels > 2'00 < 2'00 > 2'00 < 2'00 LUFS LUFS LUFS LUFS 0 dbtp LU -1 dbtp +7 LU Average Loudness level reading -22 LUFS Max -23 LUFS -23 LUFS -23 LUFS Max LUFS Average Loudness level reading Max +3LU -7 LU 0 Dynamic profile management Short term dynamic profile management Peak level management LRA management

23 Complete Technical Guidelines ARTE G.E.I.E 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 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 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 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 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.

24 24 Complete Technical Guidelines ARTE G.E.I.E 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 Programme configuration metadata 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/50 5 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 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 Stereo) and therefore be mono compatible. 5 Concerns only deliveries from ARTE Deutschland

25 Complete Technical Guidelines ARTE G.E.I.E 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 = 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, , etc) Dolby-E channel designation Audio tracks must be designated as per the following table: Channel 1 Channel 2 Channel 3 Channel 4 Channel 5 Channel 6 Channel 7 Channel 8 Left Right Centre LFE Left Surround Right Surround Audio description (receiver mix) or blank (n/a in 16-bit), only available in 20-bit in Dolby-E Audio description (receiver mix) or blank (n/a in 16-bit), only available in 20-bit in Dolby-E

26 26 Complete Technical Guidelines ARTE G.E.I.E Channel Mode settings Set programmes in 5.1 and 5.0 to 3/2. Only enable the LFE Channel for 5.1 programmes Dialog Level settings Follow the method prescribed in EBU R 128 or ITU-R BS Transfer the exact reading to the metadata. This includes short programmes allowing loudness readings below -23 LUFS. Meter all programme channels except LFE 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) (-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. Extended BSI must be enabled for all programmes in 5.1 and 5.0.

27 Dynamic Range Audio Processing Complete Technical Guidelines ARTE G.E.I.E. 27 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 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 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

28 Extended BSI Bitstream info 28 Complete Technical Guidelines ARTE G.E.I.E. Parameter Programme 5.1 Programme 5.0 Programme Music 5.1 Programme Music 5.0 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 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

29 Complete Technical Guidelines ARTE G.E.I.E 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 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 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 requirements. Position of loudspeakers as per ITU-R BS.775. Calibrate the listening system as per EBU Tech 3276 S TIMECODE 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. Timecode in the video essence is not used as reference, but must tally with the essences.

30 30 Complete Technical Guidelines ARTE G.E.I.E 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 Dolby-E metadata See Programme configuration metadata for Dolby-E metadata requirements 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 P2 metadata Always fill in the User Clip Names field in P2 metadata, and increment them during shooting. Clips must always be date and time stamped.

31 Complete Technical Guidelines ARTE G.E.I.E SUBTITLING All subtitled versions must have *.stl extensions, and comply with EBU N19 at level 1 as well as: EBU Technical Standard N : Subtitling data exchange format EBU Tech Doc 3264 (1991): Specification of the EBU subtitling data exchange format EBU Technical Statement D : Subtitling data exchange format File header (GSI block) The GSI block must contain at least: Code page 850 Format STL (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 Subtitle numbers (TTI block) Number subtitles incrementally and continuously starting with 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 , 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

32 32 Complete Technical Guidelines ARTE G.E.I.E 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 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 Subtitling in French The following characters may be used for subtitles in French:! % & ' () * +,. - ; /: < > =? # 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 Subtitling in German The following characters may be used for subtitles in German:,. - ;: _ ' +*! $ % & / () =? < > # 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 No other characters may be used for German subtitles.

33 Complete Technical Guidelines ARTE G.E.I.E 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 Ready-for-Broadcast and Production specifications Please refer to the following chapters for subtitle file production and delivery: 3 Subtitling Guidelines 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.

34 34 Complete Technical Guidelines ARTE G.E.I.E. 2.8 SPECIFIC TECHNICAL GUIDELINES FOR RFB CONTENT File delivery 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 PCM Broadcast Sound Dolby-E Broadcast Sound HRV N Em-HRV-X 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) SND N Em-SND-X-YY A-SND-1-VO.wav SND: PCM Sound YY: version (see 5.6 Version Names) SNE N Em-SNE-X-YY 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 A-SST-VO-FRA.stl SST: Subtitle standard ZZ-ZZZ: version (see 5.6 Version Names) Timecode TCI N Em-TCI-X A-TCI-1.tci TCI: Timecode Technical record report *.pdf N EM.pdf + Oracle view (See ) Subtitle list *.doc or *.pdf _ See 3.2 Subtitle lists

35 Complete Technical Guidelines ARTE G.E.I.E. 35 Type Code Structure Example + Comments Provisional delivery slip Original text Closing credits transcript (certain programme types) _ *.doc or *.pdf *.doc or *.pdf Oracle view (See ) 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 _123.avc N Em: ARTE G.E.I.E. programme number xxx: single delivery number Broadcast Subtitles SST N Em-SST-ZZ- ZZZ A-SST-VO-FRA.stl SST: Subtitle standard ZZ-ZZZ: Version (see 5.6 Version Names) Technical record report *.pdf Oracle view (See ) Subtitle list *.doc or *.pdf _ Provisional delivery slip Oracle view (See ) Original text *.doc or *.pdf _ Closing credits transcript (certain programme types) *.doc or *.pdf _

36 36 Complete Technical Guidelines ARTE G.E.I.E Timecode 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 Post-production Post-production content may encompass rushes, programmes or unfinished programme components, and must comply with the technical requirements in the chapters above 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 Professional discs

37 Complete Technical Guidelines ARTE G.E.I.E 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 Production material formats 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 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 Technical guidelines for live transmission The choice of suppliers and the transmission system require ARTE G.E.I.E. s prior approval 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. The audio signal must be embedded in the video and follow the guidelines in 2.3 Audio.

38 38 Complete Technical Guidelines ARTE G.E.I.E 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, MHz minimum for MPEG-2, 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, Mbit/s, Resolution: Audio rates: 1920 x 1080i 384 Kbit/s PCM Kbit/s Dolby-E 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 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).

39 Complete Technical Guidelines ARTE G.E.I.E 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 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 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.