Current Technology high spots

Current Technology high spots NaSTA CONFERENCE @ LEEDS APRIL 2016 PETER WEITZEL SEC/ TREASURER SMPTE UK Let s start with what is SMPTE? 1

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... And we support Student Production Hollywood October 2016 see https://www.smpte.org/atc/student-film-fest 2

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-issuecall-entries-2016-smpte-hpa-student-film-festival 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 society for those working with the moving image, its audio and metadata -on any platform -Film, Television, Digital media 3

What I told the non- techies SPECIFICATI O NS AND METADATA 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) 4

Metadata basics Content = Essence + Metadata Audio Video etc. material Text describing the Essence and / or its use 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 5

What excites the techies UHD AND IP (PLUS VR) One Original Raonale for UHDTV Immersion According to ITU-R Report BT.2246: UHDTVis intended to provide viewers with a wide field of view that virtually covers all of the human visual field. 30 degree FOV 80 degree FOV Not There Subjective Scores There Not There Subjective Scores There 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) 6

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 = 1360mm or 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 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 7

Real World Light Examples 133,000 nits 15 nits 0.25 nits 300 nits Light units are in candela/m 2, more conveniently spoken - Nits 170,000 nits 300,000 nits 6000 nits 15 nits 15 nits 10,000 nits 185 nits Luminance Dynamic Range Display Device ~ 0.005 ~3000 ~20,000 ~ 0.1 ~ 600 ~ 2500 8

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 Pre- and post- colour grading images This is what a film camera outputs so that it has all the detail to be graded This is what a TV Camera needs to put out 2015 Powered by SMPTE Professional Development Academy www.smpte.org` 18 9

HLG E 1 ln 1 0 E 1 ln 1 0 See http://www.bbc.co.uk/rd/publications/whitepaper309 Total HLG chain 10

From photons to colour the WCG Wavelengths of Light from Sun Optical transmission of the eye Real objects Spectral locus Cone sensitivity CIE Chromaticity (u, v ) Pointer s gamut of real surface colors 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) 11

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) Shooting at Higher Frame Rate 180 24 FPS 1/48 of a second 48 FPS 1/60 of a second 60 FPS 1/120 of a second 12

Differences at 60 FPS 180 270 358 Putting it all together What do we want? A Sense of Realness What is the Perceptual Basis? Higher Resolution Enhanced Color Gamut Higher Bit Depth Higher Frame Rate Sense of Being There Field-of-View (FOV) YES YES* YES* Natural Colors Pointer s Gamut YES YES Sense of Light Dynamic Range YES YES * YES* Natural Motion Smooth Pursuit YES Constancy of Illumination Flicker Fusion YES Seeing Through the Window Hyperacuity YES and more efficient video compression in all cases! 13

22.2ch sound microphone 0-10 -20-30 -30 270 o 300 o 330 o 0 o 30 o 60 o 90 o 250Hz 500Hz 1kHz 2kHz 4kHz 8kHz 12kHz 16kHz -20-10 240 o 120 o Diameter 45 cm 0 210 o 180 o 150 o 27 22.2 multichannel sound - speaker layout TpFC TpFL TpFR α1 α1 TpSiL α3 90 α3 180 TpSiR TpC TpBL TpBR TpBC Top Middle Bottom But you need speakers in the right place! 28 14

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 3D panning Control multiple sound sources Different view Controls for Object audio 15

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 apanbyte and a fadebyte to dim Prog Sound Narrator L R Narrator volume Receiver mix volume Normal volume AD receiver mix Normal Prog sound to LS 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 16

HEVC aka H.265 HEVC Coding units from 64*64 to 4*4 Independent coding modes 35 motion vectors to sub pixel Transform size 32*32,16*16,8*8,4*4 17

IP using commodity IT 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 then Rec 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) ANDIT bitrates are out running even UHD!!! (just about) 18

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 SMPTE ST 2022-6 just packetise SDI ST259 & ST272 SD ST292 & ST299-1 HD ST424 & ST 299-2 3GHD Packetise ST 2022-6 ST259 & ST272 SD ST292 & ST299-1 HD ST424 & ST 299-2 3GHD Depacketise embed De-embed 19

But its is better to have separate V A M VSF TR03 or AMWA NMI https://github.com/foxneoadvancedtech nology/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 20

HD SDI wastes say 30% bit rate Since everything goes into 1.485 Gbps Image Format Active Video Ancillary Ancillary Video in Mbps Mbps Overhead 9.5G (ST 2022-6= 6) 1080i59.94 1,243 241 16.2% 7 720p59.94 1,105 379 25.5% 8 1080i50 1,037 448 30.2% 8 720p50 922 563 37.9% 9 Dalet 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 21

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 2 control 6 1 4 control 3 control 5 So do they arrive in the same order or at all? The typical SDN ( v simple explanation) Where does each packet go???? Control and monitoring 2 6 1 4 3 5 The controller sets up the route and all the packets go the same way And don t get lost! 22

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 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 23

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 24

From University to work Where do you start? Bigger Broadcasters Broadcasters Service Providers Support Tech IT Ops Main Ops t Systems integrators Project PM s Sys Design Manufacturers (IABM) Support Design Development B B R&D The Rest The Industries Broadcasting/ Film / Digital Media Broadcasters Sky BBC itv... Discovery...Majan Bauer, Netflix Service providers MPC, The Farm, Framestore Red Bee, Ericsson, SBS, Easel.tv Dock 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 25

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 Getting experience Your Hobbies/ Interests etc Music/ 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... 26

What businesses look for Passion/Persistence/Planning Awareness/Knowledge Ability to learn and explain Remember CONTENT/AVAILABLITY / DETAIL/ E2E Written CV etc, Emails + Linked in FBook Face to Face -Interviews / References + Open days / SMPTE meetings 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 Colleagues SMPTE UK & its graduate initiative 27

The evolving role of the broadcast engineer Broadcasting is close to the bleeding edge of Technology so you are always learning But equipment lasts many years and technology can take many years from lab 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 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 28