Timecode: Finding a Way to Better Ancillary Data
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Technical Specifications for Broadcast Program Material August 2018
Technical Specifications for Broadcast Program Material August 2018 Delivery Specifications: Fox Networks broadcast exclusively in 1280 x 720/59.94. All material shall be delivered per SMPTE ST 296:2012 with 5.1 digital sound per ITU--R BS 775--3 (08/2012) Loudness specifications per ATSC RP/A85 (Doc. A/85 12 March 2013) Programming that does not meet this specification is subject to rejection and correction at the supplier’s expense File Delivery: Fox Networks only accepts MXF file delivery standardized in SMPTE ST 377--1:2011 The file name shall match the on air traffic I.D. SD file delivery requires prior authorization Stereo, 2--channel and monophonic deliveries require prior authorization File Format Specifications: Files shall be wrapped in MXF per SMPTE ST 378:2004, OP1a Segments within the file shall be separated by a minimum of 2 seconds black MXF files shall have one MPEG--2 video stream per ISO/IEC 13818--2:2013 MPEG--2 video essence shall be 1280 x 720/59.94, 4:2:2 profile @ high level, and 50Mbps 5.1 digital surround shall be in phase Channel Channel 1: Left 2: Right 3: Center 4: LFE‐‐‐Low Frequency Enhancement 5: Left surround 6: Right surround 7: DVS, SAP or Mono 8: Mono 9‐‐‐12: (n/a or not used) MXF files shall have 8 audio PCM 16 (16 bits @ 48 kHz PCM) or 8 audio PCM 24 (24 bits @ 48 kHz PCM) channels per SMPTE ST 377--4:2012 Dolby E is not accepted Programming shall be created such that any down mix from 5.1 to stereo or mono represents the original mix 1 Technical Specifications For Broadcast Program Material August 2018 The dynamic range of the material shall be suitable for television broadcast The loudness shall be measured across all channels, except LFE (Low--Frequency Enhancement) in units of LKFS per ATSC RP/A85 (Doc. -
MXF Application Specification for Archiving and Preservation
AS-AP MXF Archive and Preservation DRAFT FADGI Application Specification AS-AP MXF Archive and Preservation August 15, 2011 (rev 1h) Document Status This document-in-progress is being drafted by the Audio-Visual Working Group of the Federal Agencies Digitization Guidelines Initiative (FADGI; http://www.digitizationguidelines.gov/audio-visual/). The Working Group will transmit a refined version of this MXF Application Specification for Archive and Preservation (AS-AP) for finalization and publication by the Advanced Media Workflow Association (AMWA). Finalization will also depend upon the resolution of some technical matters that are dependencies for this specification. These dependencies are highlighted in the explanatory notes within this specification and in the accompanying document Preservation Video File Format Issues and Considerations (http://www.digitizationguidelines.gov/audio-visual/documents/FADGI_MXF_ASAP_Issues_20110815.pdf). This document has been drafted in the style of other AMWA application specifications (http://www.amwa.tv/projects/application_specifications.shtml), has borrowed a number of features from AS- 03, and refers to AS-02. Since AS-02 has not been published at this writing, this document (especially Annex B) includes wording copied from draft versions of that specification. Executive Summary This document describes a vendor-neutral subset of the MXF file format to use for long-term archiving and preservation of moving image content and associated materials including audio, captions and metadata. Archive and Preservation and files (AS-AP files) may contain a single item, or an entire series of items. Various configurations of sets of AS-AP files are discussed in the Overview. AS-AP files are intended to be used in combination with external finding aids or catalog records. -
Avid Filmscribe User's Guide
Avid® FilmScribe™ User’s Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 6,061,758; 6,532,043; 6,546,190; 6,636,869; 6,747,705. -
Eidr 2.6 Data Fields Reference
EIDR 2.6 DATA FIELDS REFERENCE Table of Contents 1 INTRODUCTION ............................................................................................................................................... 5 1.1 Introduction to Content ................................................................................................................................ 5 1.2 Composite Details ......................................................................................................................................... 5 1.3 How to read the Tables ................................................................................................................................. 6 1.4 EIDR IDs ........................................................................................................................................................ 7 2 BASE OBJECT TYPE ......................................................................................................................................... 9 2.1 Summary ...................................................................................................................................................... 9 2.2 Referent Type Details ................................................................................................................................. 25 2.3 Title Details ................................................................................................................................................ 26 2.4 Language Code Details ............................................................................................................................... -
Vcube User Manual
Table of Contents Table of Contents Welcome 1 What's New in VCube 2? 2 VCube Overview 5 How to Update 6 VCube User Interface 7 Tool and Transport Bars 11 Tool Bar 12 Transport Bar 16 Quick Settings for SD and HD Video Formats 19 Quick Settings for SD 21 Quick Settings for HD 23 Control Pages 25 Files 26 VCube Compositions 29 OMF Compositions 32 AAF and Apple XML Compositions 34 Media Files 36 Import Composition and Export Changes 38 Import Layer 39 Convert Still Images 40 Locators 42 View 44 Clips Information 45 Shortcuts 49 Workspace 50 ii Table of Contents Edit 52 Main 53 Clips 54 Layers 56 Tracks 58 Settings 59 Presets 60 Formats & Synchro 62 Video I/O 67 Xena LS Plug-in 68 Xena LH Plug-in 70 Xena 2 Plug-in 72 Overlay 74 Preview 76 Composition 78 Disk & Network Cache Buffers 81 User Interface 82 Isis 83 Encryption 84 Media Settings 90 Timeline 91 Video Engine 92 Output View 93 Script View 95 Recording and Editing 96 Recording 97 Editing 103 Timeline 104 Editing Functions 106 Layer Controls 110 iii Table of Contents Motion Rectangles (PiP) 111 Selections and Groups 114 Watermark and Text 115 Watermark 116 Text Clip 117 Utility Clips 119 Countdown Clip 120 Wipe Clip 122 Video Test Patern Clip 123 Audio Tone Clip 124 Conforming and Reconforming 125 Conversions 134 Export 135 Convert Media Files 136 Render 140 Import Images Sequence 144 Media Wrapper 146 Frame Rate Management 147 Using the QuickTime File Format 148 Using the MXF File Format 150 Using the MPEG Codec 151 Basic Settings 153 Video Settings 154 Advanced Video Settings 157 Audio Settings 164 Multiplexer Settings 167 Synchronization 171 Connections for synchronization 174 iv Table of Contents The USB Sync Board Oprtion 175 USB Sync Board Installation 176 Specific Control Panels 177 Virtual Transport 180 Network 183 VCube Chasing Pyramix through Virtual Transport. -
Research & Development White Paper
Research & Development White Paper WHP 297 July 2015 Media Synchronisation in the IP Studio Robert Wadge BRITISH BROADCASTING CORPORATION White Paper WHP 297 Media Synchronisation in the IP Studio Robert Wadge Abstract Television production and broadcast facilities currently use specialised point-to- point unidirectional links to transport real-time video and audio synchronously around the plant. Broadcast industry interest in replacing this specialised infrastructure with an Internet Protocol based solution has been gathering pace in recent times, driven by economic and technical considerations. IP networks offer a bidirectional layered communications model. Data is moved across the network in packets. Moving audio and video over an IP network involves splitting the signals into packets, separating the data from its timing signal. This is a fundamentally different paradigm to the prevailing synchronous technology, which requires a fresh approach to timing and synchronisation in particular. This paper proposes an approach to timing and synchronisation of real-time video and audio by modelling these signals as a series of Events to which timestamps sampled from a high-resolution clock are bound. The clock is distributed to all devices using IEEE 1588 Precision Time Protocol (PTP). Events can be periodic or aperiodic within a series, comprising raw or compressed audio or video, or any other arbitrary time-related data. While certain aspects of this approach are novel, the principles on which it is based draw heavily on recent work in SMPTE and AES concerning timing and synchronisation in networked environments. Additional key words: Genlock, Timecode, SDI, RTP, Media Identity, Media Timing White Papers are distributed freely on request. -
Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev
Avid® Media Composer® and Film Composer® Input and Output Guide a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Avid Media Composer and Film Composer Input and Output Guide • Part 0130-04531-01 Rev. A • August 2000 2 Contents Chapter 1 Planning a Project Working with Multiple Formats . 16 About 24p Media . 17 About 25p Media . 18 Types of Projects. 19 Planning a Video Project. 20 Planning a 24p or 25p Project. 23 NTSC and PAL Image Sizes . 23 24-fps Film Source, SDTV Transfer, Multiformat Output . 24 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 27 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . 30 Alternative Audio Paths . 33 Audio Transfer Options for 24p PAL Projects . 38 Film Project Considerations. 39 Film Shoot Specifications . 39 Viewing Dailies . 40 Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process. 45 Transferring 24-fps Film to NTSC Video. 45 Stage 1: Transferring Film to Video . 46 Frames Versus Fields. 46 3 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . 46 Part 2: Slowing the Film Speed to 23.976 fps . 48 Maintaining Synchronized Sound . 49 Stage 2: Digitizing at 24 fps. 50 Transferring 24-fps Film to PAL Video. 51 PAL Method 1. 52 Stage 1: Transferring Sound and Picture to Videotape. 52 Stage 2: Digitizing at 24 fps . 52 PAL Method 2. 53 Stage 1: Transferring Picture to Videotape . 53 Stage 2: Digitizing at 24 fps . 54 How the Avid System Stores and Displays 24p and 25p Media . -
Smpte/Ebu Time Code Products & Accessories
SMPTE/EBU TIME CODE PRODUCTS & ACCESSORIES READERS INSERTERS CONVERTERS COMPARATORS GENERATORS DISTRIBUTION AMPLIFIERS Since the beginning of the “Video Era”, SMPTE Time Code has been one of the most valuable tools used in video editing. And, since the early 1970’s, ESE has been manufacturing SMPTE Time Code tools. ESE’s diverse line of SMPTE equipment includes Readers, Generators, Inserters, Converters and Comparators. Combination units such as the ES-488U allow the user to read, insert and generate... all with a single unit. Also, ESE can translate between SMPTE and other codes. Some examples are SMPTE to/from ESE or ASCII and IRIG-B to SMPTE. Applications Features • Schools & Distant Learning Centers GPS Traceability • • Government & Military Installations Easily Expanded • • Tele-Conferencing Centers “On-Frame” Precision • • Post Production Houses Bi-Directional / Multi-Speed • • Broadcast Facilities Digital, Analog & Video Displays • • Recording Studios HD & SD SDI Time Code Products • SMPTE/EBU, NTP, IRIG-B, ESE, & ASCII Time Code Outputs • 142 SIERRA ST., EL SEGUNDO, CA 90245 (310)322-2136 FAX (310)322-8127 www.ESE-WEB.com INTRODUCTION BACKGROUND Founded in 1971, ESE’s first products consisted of a line of Digital Clocks and Timers designed specifically to meet the needs of the broadcast and medical industries. In the mid-’70s ESE introduced two Master Clocks, one of which referenced a one second per month crystal time base, and the other WWV (NBS/NIST). These products widened the market of the ESE product lines to include school systems, 9-1-1 dispatch centers and military installations. Later in the ’70s the ES-251 was introduced, our first SMPTE Time Code Product. -
User's Manual, Please Do Not Hesitate to Contact Us
A/V Binloop HD User’s Manual Document Revision 2.0 November 13, 2020 Copyright Ó 2020 Alcorn McBride, Inc. All rights reserved. Every effort has been made to assure the accuracy of the information contained in this manual, and the reliability of the Alcorn McBride A/V Binloop HD hardware and software. Errors can sometimes go undetected, however. If you find one, please bring it to our attention so that we can correct it for others. Alcorn McBride welcomes comments and suggestions on the content and layout of its documentation. Applications described herein are for illustrative purposes only. Alcorn McBride Inc. assumes no responsibility or liability for the use of these products, and makes no representation or warranty that the use of these products for specific applications will be suitable without further testing or modification. Alcorn McBride products are not intended for use in applications where a malfunction can reasonably be expected to result in personal injury. Customers using or selling Alcorn McBride products for use in such applications do so at their own risk, and agree to fully indemnify Alcorn McBride for any damages resulting from such improper use or sale. Alcorn McBride Inc. reserves the right to make changes to these products, without notice, in order to improve their design or performance. A/V Binloop HD™ is a trademark of Alcorn McBride Inc., all rights reserved. Dante is a trademark of Audinate, Inc. Hardware Design: Jim Carstensen, Scott Harkless, Joy Burke, and Dmitri Kisten Firmware Design: Jim Carstensen, Scott Harkless, and Dmitri Kisten Software Design: Adam Rosenberg and Diego Reano Documentation: Jim Carstensen, Scott Harkless, John Conley, Kevin Lang, Adam Rosenberg and Dmitri Kisten Mechanical Design: Martin Chaney and Gerry Calixto, Jr. -
Splicedirector Vincenzo Natali
www.StudentFilmmakers.com Workshops | Forums | Network| Showcase | Tech Focus 2010, Vol. 5, No. 2 The #1 Educational Resource for Film and Video Makers US$5.95 Full HD 3D Camcorder 3D CGI Story Plans HDSLR Filmmaking ßStill and Motion Imaging Collide ßAudio Solutions PLUS 4Close-up Lenses Exclusive Interview 4Oliver Curtis, BSC on Camera Moves 4Vertical Screen Challenge Director Vincenzo Natali 4Short Documentary Editing Splice 4SMPTE Timecode in Sound Recording Directing and Writing for Science Fiction and Fantasy TIFFEN_STEADICAM_STUDENTFILM_OL.ai 1 8/28/09 5:43 PM Please visit us at NAB 2010 Booth Number C8818 Table of Contents 2010, Vol. 5, No. 2 3D Filmmaking 6 23 Things 3D CGI Does Really Well To Plan Your Story Around by Sherri Sheridan 9 New AG-3DA1 Integrated Full HD 3D Camcorder Preview Cinematography 10 Focus on: Close-up Lenses by Ira Tiffen 12 Permanent Exhibit, Large Screens and a Vertical Challenge by Carl Filoreto Close Up 16 Exclusive Interview with Award-Winning “Splice” Director Vincenzo Natali 12 20 A Conversation with Oliver Curtis, BSC DSLR Filmmaking 26 The Two Worlds of Still and Motion Imaging Collide 16 by Jon Firestone 34 HDSLR Audio: Challenges and Solutions by David Kaminski, with Eric Perez C M Formats Y 36 Where Does Film Stand? by William Donaruma CM HD Production MY 40 A Look Back at One of the First Creative Uses of an CY Experimental Version of Hi Def by Myrl A. Schreibman CMY 42 Tell an Authentic Story and Shoot It with Great Heart by Dean Yamada K Directing 46 The New Paradigm by David Worth Editing 48 Short Form Documentary Editing: The Map by Melissa Ulto Music & Sound 50 The Use of SMPTE Timecode in Conjunction with Audio 20 Recorders by Fred Ginsburg, C.A.S., Ph.D., MBKS 54 Micro Foley by Bryant Falk 55 Call for Entries 55 On Campus 56 Featured Products, Services, and Events 60 Global Marketplace 62 Filmmakers Networking On the Cover Tim Hardy (left) and Jason Anderson (right) doing a Canon 7D and RED comparison test at Asgard Entertainment. -
SPG700 Multiformat Reference Sync Generator User Manual
xx SPG700 Multiformat Reference Sync Generator ZZZ User Manual *P077122502* 077-1225-02 xx SPG700 Multiformat Reference Sync Generator ZZZ User Manual Register now! Click the following link to protect your product. ► www.tek.com/register This document supports firmware version 3.0 and above. www.tek.com 077-1225-02 Copyright © Tektronix. All rights reserved. Licensed software products are owned by Tektronix or its subsidiaries or suppliers, and are protected by national copyright laws and international treaty provisions. Tektronix products are covered by U.S. and foreign patents, issued and pending. Information in this publication supersedes that in all previously published material. Specifications and price change privileges reserved. TEKTRONIX and TEK are registered trademarks of Tektronix, Inc. Contacting Tektronix Tektronix, Inc. 14150 SW Karl Braun Drive P.O. Box 500 Beaverton, OR 97077 USA For product information, sales, service, and technical support: In North America, call 1-800-833-9200. Worldwide, visit www.tek.com to find contacts in your area. Table of Contents Important safety information.................................................................................... viii Generalsafetysummary .................................................................................... viii Service safety summary....................................................................................... x Terms in this manual ......................................................................................... xi Symbolsandterms ontheproduct......................................................................... -
Digital Binlooptm 32 Track Digital Audio/Video Reproducer
Digital BinloopTM 32 Track Digital Audio/Video Reproducer Applications The Digital Binloop is the industry standard for theme park audio reproduction. It provides up to 32 tracks of Digital Audio in a compact, economical, and highly • Museums reliable package designed for continuous daily use with no maintenance. • Cruise Ships • Theme Parks It plays 16 and 24-bit WAV or AIFF files at up to 96KHz, or MPEG-2 video at up • Visitor Centers to 15Mbps. Each cage accommodates up to 16 reproducer cards. Audio or • Retail Stores video clips are stored on CompactFlash media, so there are absolutely no • Restaurants moving parts to wear out. Each card can hold hours of audio. Simply copy files • Casinos — thousands of them, if you like — from your PC to the CompactFlash card. Monophonic audio files can be independently assigned to the left and right Features channels of each reproducer, so the 32 tracks really are completely • 16 Video Tracks independent. • 32 Audio Tracks • 16/24 bit 96KHz The primary difference between the Digital Binloop and other reproducers is its • 1000s of Clips awareness of show synchronization and control issues. It locks to NTSC or • Instant Playback PAL video sync, and reads or generates linear timecode at many different • No Moving Parts SMPTE and EBU rates. • Timecode Sync • Video Sync Controlling a Digital Binloop is amazingly simple. It responds to contact • MIDI, RS-232 closures, RS-232, MIDI, and Ethernet (4Q2006) — all simultaneously! • Contact Control Reproducer cards or whole Binloops can be grouped to respond to the same • Ethernet command, allowing a single event to control hundreds of tracks.