Preparing the BBC for Creative Futures and Digital Britain.

Ensuring it has the technology to remain relevant to licence fee payers and their evolving needs.

BBC RESEARCH & INNOVATION ANNUAL REVIEW 1 Contents

Foreword 4

NEW SERVICES CORE TECHNOLOGIES

High Definition Television 6 Networks for Programme Production 30

Interactive Television for the On-demand World 8 Radio Systems 32

Online, On-demand, and On The Move 10 Video Compression – Dirac and Dirac Pro 34

Freeview Playback 13 Audio Compression 36 CONTENTS Serving our Audiences – User-centred Research 14 Digital Rights Management 37

PRODUCTION WORKING WITH US

Production Magic 16 Collaborative Projects 38

D-3 Videotape Preservation System 19 Standards 40

Programme Production 20 BBC Information & Archives 43

Radio Spectrum for Production 23 The Innovation Forum 44

Future Media Innovation 45

DELIVERY

Digital TV – Switchover 24 More Information 46

Digital TV – Architectures 26 Index 47

Audience Research 27 Credits and address 48

DAB and Digital Radio Mondiale 28

Kamaelia 29

2 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 3 Foreword by Huw Williams, Head of Research & Innovation FOREWORD

A new name Our achievements We continue to support our colleagues in production, with are about to be shown at the prestigious NAB broadcasters’ This review reflects a year of important I would like to pick out some of our significant achievements innovative solutions to make routine tasks easier and to encourage exhibition and conference in Las Vegas. We are also very close during the past year. creative programming.The Piero sports graphics system won the to trialling the delivery of digital TV and radio channels to 3G changes, with the renaming of our parent award for Innovation in Content Creation at IBC 2006. mobiles, bringing the BBC’s programmes to our audience division to Future Media & Technology (FM&T), Encouraged by the increasing sales of HD-ready televisions, on the move. we helped the BBC prepare for the BBC’s HD test trans- It is worth remembering that none of this technology will work reflecting its role in transforming how the missions, which began in summer 2006 on the three main reliably for consumers, or for the electronic media industry In the coming year BBC R&I will be key to a number of major BBC uses technology. The focus of our work digital platforms, terrestrial, satellite, and cable.While we await as a whole, unless the right technical standards are in place. BBC projects and initiatives most notably Freesat, iPlayer, a decision on the BBC’s launch of a service, we continue to We put significant effort into proposing, arguing and supporting further enhancements to Freeview, HD, and helping to define is moving beyond digital broadcasting to help fine-tune the system, to ensure that the public sees the standards, both within the UK and internationally, and value Web 2.0 services. incorporate the changing world created by best possible results from this improved technology. the contacts we make through our collaborative work. the convergence of broadcasting and the new It is now nearly nine years since we helped to put public digital Governance media technologies. TV broadcasts on air in the UK (not forgetting DAB three years A new governance structure has been introduced to link earlier), and later this year the Digital Switchover will begin in the work of BBC R&I closely to the business, formalising an earnest. Although the BBC’s spectrum planners themselves are innovation ‘funnel’ to nurture new ideas and research areas and We have been joined during the year by the no longer part of the department, we continue to advise on their development into products. The link to the business is methods of technical assistance for our viewers, in particular provided through regular Technology Executive Conferences, BBC’s Future Media Innovation and Information the more vulnerable groups.We also work to ensure the BBC which set strategic technical priorities across the BBC and find & Archive research teams, whose work is continues to make efficient use of its radio spectrum allocations, sponsors for our projects. A newly created Research Board both for its broadcasts and its internal communications. approves and oversees our workplan, deciding which research introduced in this Review. should be continued, and when and where it is appropriate One of the themes that run through our work is that our to transfer it to open source or commercial developments. audiences no longer simply restrict themselves to our linear This translates into 14 separate portfolios of research, each with So we are now BBC Research & Innovation television and radio broadcasts. In fact some rarely now watch The year ahead its own portfolio manager: (BBC R&I). or listen in this way. We have contributed to new developments Our work continues, concentrating on eight main research such as iPlayer, new forms of interactive content on our digital themes, with four long term projects that work across them Production Magic,Wireless Connectivity, Future Broadcast broadcasts, Freeview Playback and other ways for our audiences – Digital Switchover, the challenges of the 2012 Olympics, Technologies, Blue Sky/Future Technologies, External Projects, Huw Williams to control their own viewing. While the PC and 3G phone and our academic and industrial collaborations. Programme Production Technology, Interactive TV, Internet Head of Research & Innovation might be obvious alternatives to the TV, another exciting Distribution, Digital TV, Metadata Systems, Search & Navigation, prospect is using games consoles to create new forms of I note as we finish writing this Review that the first products Networking & Grid Technologies, Metadata Delivery & interactive story telling. using our Dirac Pro open-source video compression codec Standards, and RF Transmission & Reception.

4 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 5 High Definition Television

Many BBC programmes are already made in HD, and the amount will increase over the next few years as studios and other equipment are upgraded as part of the normal replacement cycle. The cost of HD production is becoming closer to SD, and it may soon be difficult to obtain SD production equipment.The BBC also has to protect its sales to other broadcasters.This is a valuable source of income, particularly from North America, where HD content is now insisted upon. HD production also ensures the BBC has a reasonable stock of programmes to show on a service, although a decision on a launch has yet to be taken. NEW SERVICES NEW NEW SERVICES NEW

In summer 2006 the BBC began broad- multi-channel audio, and subtitles. top boxes that were to be provided lack of lip synchronisation, and some casting high definition television as a We have led the work to edit the to the trialists, assessing a large number ‘Generally, the responses pops and clicks on the sound, these What will replace HD? technical trial on digital satellite, on relevant DVB standard to enable of submissions from manufacturers in being due to teething troubles with It is not too early to ask this question. Telewest digital cable, and to a closed subtitles at HD resolutions. response to a tender. The short time- were positive, particularly the technical systems. Even though HD broadcasting has user group on digital terrestrial television scale, five months, and cost constraints concerning picture quaility’ barely begun, the basic research was in the London area.The trial began with On satellite, the transponder with the meant that only a limited set of features Over a few days in October 2006 we started more than 20 years ago. Will coverage of the World Cup from most appropriate coverage for the trial could be built into the boxes. We deliberately varied two technical para- the future be ultra-HD, 3D-TV, or Germany. This was rapidly followed by was already full with standard definition therefore issued a list of essential to recommend a safe visible area for meters; bit rate, between three different something else? While it is clear that other outside broadcast events including services. A method had to be devised to requirements, in particular being able captions and other graphics. values, and the broadcast standard, there is a continuing quest for ever Wimbledon and some of the Proms, move these into newly acquired satellite to receive Dolby Digital surround sound, between 1080i and 720p. From comments higher quality pictures and sound, as together with a range of recorded HD capacity (the BBC’s seventh transponder) and a longer list of desirable features, Objectionable changes in loudness were solicited on the web forum we found can be seen from 4k digital cinema, programmes shown at peak times. without disturbing the service to the for example, reception of standard found when switching between programmes that some trialists were aware of equivalent to 2048 vertical lines, and viewers. As on previous occasions, this definition Freeview broadcasts. using Dolby Digital and MPEG Layer II reductions in bit rate in both the 1080i NHK’s 4096-line Super HiVision The trial has posed many challenges, and was a collaborative effort between us, audio coding. We found this effect was and 720p modes. A second longer series system, there are serious difficulties we are taking a leading role by providing Siemens and BBC Distribution. At the Boxes from two manufacturers were being introduced by the mechanisms for of tests has just been completed. in delivering this to the home. advice and assistance to BBC Sport, BBC same time, the BBC took the opportunity shortlisted, on a combination of signalling and modifying audio levels in Resources, Red Bee Media and Siemens, to expand its provision of interactive technical capability and price.We helped Dolby Digital, and we are now working The latest upgrade to the video data- Or will ultra-HD become a means to and collaborating with equipment manu- streams for a temporary period, allowing these manufacturers finalise the design with manufacturers to reduce it. compression coder is being tested to assess an end? There are benefits for pro- facturers. HD technology is still relatively full interactive coverage in standard of their boxes in time for the trials. the improvement in coding efficiency. immature, and the entire signal chain definition of Wimbledon and the World Appreciation of HDTV has two main gramme production in starting with from contribution, through production Cup, in addition to the simultaneous HD Trialists were required to possess aspects, programme content and The BBC now needs to ensure that the such high-quality material. If it is used and post-production to play-out and coverage of these events. displays that conformed to the EICTA technical quality. Clearly, our professional technical requirements of an HD service correctly, it can help maintain HD distribution, has to work at much higher ‘HD Ready’ standard. Such displays interest is in the latter! Comprehensive can be met. The trial highlighted a quality at the end of the production bandwidths and bit rates. The reference For the cable trial, we provided technical are fitted with either an HDMI or a questionnaires were put out by BBC number of areas where the specification chain, and this encourages more test system that we maintain at support to BBC Distribution in DVI connector for the HD signal. Marketing, Communications and needs more work to ensure that elaborate processes, such as the Kingswood Warren for digital television discussions with Telewest and helped on Because these are relatively new Audiences, and trialists were also able manufacturers can produce compatible ‘Production Magic’ described later. development is crucial. It enables us a number of technical matters such as interfaces, we carried out compatibility to post comments on a private web receivers. The DTG has started to to give advice based on practical specifying interfaces and trouble-shooting tests between a selection of typical forum. Generally, the responses were address this, and we are actively Currently we are exploring the state experimentation in a controlled and at the start of the trial. HD Ready displays and the trial boxes, positive, particularly concerning picture contributing on aspects such as the of research worldwide and investi- repeatable environment on matters finding almost all pairings to be quality, and there was also a call for detailed syntax for the video encoding, gating opportunities for collaboration such as picture quality, bit rates, coding For the terrestrial trial, we defined the compatible. We also took the oppor- more programmes with surround sound. system signalling, and requirements for with other organisations. parameters, picture/sound timing, technical requirements for the HD set tunity to measure picture overscan, Critical comments included an occasional receiver video and graphics processing.

6 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 7 Interactive Television for the On-demand World

The majority of the interactive services that the BBC has delivered to date have been based on content delivered over a unidirectional broadcast path. This path is shared with the main television pictures and sound, access services, schedule information and other data, and this generally limits the interactive content to relatively modest text and image files. However, two receiver technologies, mass local storage and broadband connectivity, can not only radically improve the nature of interactive content but also the way viewers can access it. NEW SERVICES NEW

With mass storage available in the The portable content format do interactive services play alongside HD receiver, large amounts of data can ‘The extensions developed to support The BBC provides interactive television programmes? The BBC is researching ‘BBCR&I aims to make the be downloaded, perhaps at low speed on a number of different digital TV ways to broadcast and present overnight or at any other time when the trial open up exciting possibilities platforms. This is a challenge because interactivity efficiently on HD, as far as viewer’s experience more broadcast capacity is available.The inter- each platform follows a different set possible with an awareness of the active services can then include richer for enhanced television services, such of technical standards for interactivity, technology within HD receivers, but reliable and consistent’ graphics and even audio-visual clips. and the BBC therefore has to produce perhaps needing to influence it too. as DVD-style extras providing “the several versions of every piece of and on the receivers, in terms of To explore the possibilities, the BBC has interactive content. Initially, HD programmes could make use memory and processing demands. been working in partnership with Cabot making of...” or “an interview with...”.’ of the interactive services transmitted for Communications, a supplier of digital This problem is not new, and the BBC SD, such as BBCi and the popular Interoperability on DTT TV software technologies, to extend the The extensions developed to support ideas developed by the BBC were shown has been exploring ‘author once, publish television multiscreen services such as Freeview transmissions conform to a set capabilities of a standard consumer digital the trial open up exciting possibilities for at IBC 2006. The demonstration showed to many’ approaches for over five years. Wimbledon tennis. But how best should of published technical standards that the TV recorder. The extensions allow the enhanced television services, such as text, graphics and video delivered over The result, in collaboration with other an HD receiver reproduce this content? BBC helps to write. This allows any recorder to download and store MHEG-5 DVD-style extras providing ‘the making a broadband connection, using unicast organisations, is a new DVB standard, Is it acceptable simply to render it at SD manufacturer to produce digital terrestrial applications for on-demand access and of...’ or ‘an interview with...’. We have and multicast, viewed alongside conven- the Portable Content Format (PCF). and then re-scale, or would it be better television receivers for the UK. However, to allow these applications to schedule successfully tested some examples of tional broadcast-delivered content. to have intelligent software rendering it the lack of a single platform operator conventional recordings. this in the laboratory, and are starting The PCF, published by ETSI in January directly at HD? and the open market in receivers to include them in the technical trial. However, adding broadband access 2006, is being embraced by the BBC continue to present a conformance This has allowed the BBC to undertake to set-top boxes and TVs in an open as both an authoring format and as Beyond this some interactive services and interoperability challenge, particularly a three-month technical trial, with The BBC is gaining valuable experience market such as Freeview presents a an input format for platform-specific could benefit from being authored in the context of interactivity. This can 300 of the modified recorders issued through the trial on the practicalities of number of challenges. Home ADSL publication processes (often called specifically for HD. This could be as lead to receivers failing to display some to members of the public.The con- running this type of service and work is installations vary from a modem more simply,‘transcoders’). It is also straightforward as providing images at interactive content correctly. sumer proposition for this was underway to explore how to standardise connected directly to a single PC, hoped that PCF can make it easier HD resolution, so that no up-conversion a ‘catch-up TV’ service, where the the extensions that enable them. to complex networks with firewalls. to take in interactive content from is required, or redesigning to make use BBC R&I plays a major role in the way recorder automatically records a Connections come with a range of third parties, reducing both the ‘time of the extra resolution and the that the BBC resolves this, by working selection of BBC programmes from The number of homes with broadband connection speeds, often with usage to air’ and the management costs. larger screen. closely with individual manufacturers the broadcast schedule.These are then Internet connections is growing rapidly, restrictions and no guarantee of the and across the industry, through bodies made available for on-demand access and BBC R&I has been looking at how quality of service. BBC R&I is working Interactivity at HD We continue to work with other such as the DTG MHEG Interoperability via a rich graphical user interface a receiver with both an aerial input and a with the industry on how to deal with Larger displays and greater screen interested parties, to consider the impact Group.Through this it aims to make written in MHEG-5 and enhanced with broadband connection might combine these issues, through the DTG resolution gives HD television a ‘wow’ of such ideas on the broadcast stream, the viewers’ experience more reliable downloaded video clips. content from both sources. Some initial Interaction Channel Working Group. factor that is hard to resist. But what part in terms of need for additional capacity, and consistent.

8 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 9 Online, On-demand, and On the Move

The end of television delivered as a scheduled broadcast service has been widely predicted for some years now, with little evidence to back up the claim. The VCR allows viewers some freedom from the broadcasters’ programme schedules, but most models are notoriously difficult to program, generate a stack of tapes, and will only record one channel at a time.A new breed of on-demand technologies is finally emerging that we believe will disrupt the status quo in a more profound way. NEW SERVICES NEW NEW SERVICES NEW

Some broadcasters may view the new television. Colleagues in BBC FM&T Syndicating technology partner Siemens, from where technologies as a threat to existing ‘ We can serve our licence fee payers better developed a peer-to-peer Internet on-demand content the operators will retrieve them. business models.The concept of download service for distributing large The BBC intends to syndicate on- advertising ‘spots’ is particularly at risk by allowing them to watch our programmes media assets to personal computers for demand content to cable operators, Metadata is sent direct to the platforms. when the viewer can order individual the ‘iMP’ trial of 2005/2006. IPTV service providers, and 3G mobile This metadata will populate the content programmes or simply skip through when they want to...’ phone networks, rather than delivering guides, and will include extras such as unwanted content.The BBC, on the In 2004 we set up a public trial of live direct to these operators’ customers. artwork relating to the programmes and other hand, is embracing this new non- multicast streaming. Multicast uses the promotional trailers; most on-demand linear landscape as an opportunity to True video-on-demand services the broadcast, the machine can be set routers inside the network to duplicate Each of these platforms uses a different platforms allow a sequence of promotional exploit its content to the full.We can stream programme content in real time to record entire series just as easily as the streams of data packets rather than combination of technologies, some of items to be played automatically before serve our licence fee payers better by to a set-top box or personal computer single programmes.The recording time sending separate streams all the way them proprietary. BBC R&I has helped and after the programme that the viewer allowing them to watch our programmes via a broadband connection.The viewer can even adjust itself automatically if the from the head end to each recipient. BBC Distribution to design the technical has selected.We hope to establish a when they want to, not just at the times selects programmes from an electronic schedule changes. On the latest models Such trials promote the roll-out of facilities for preparing the content for profile of TV-Anytime for the metadata we choose to schedule them. catalogue and can start watching part of the capacity can be reserved for multicast, by encouraging users to set the various platforms. that is acceptable to all parties. immediately; unlike near-video-on- recordings selected by the service up their home equipment to receive The BBC has been streaming audio-visual demand there is no need to wait until provider (‘push-video-on-demand’). it, and Internet service providers to The distribution system will be operated Convergence of walled media on the Internet for some years. the next showing starts.The on-demand set up their networks to carry it. by the BBC’s playout contractor Red Bee gardens and the Internet Indeed, the BBC was pivotal in the devel- receiver can even be combined with a Download services offer programme Media. It is envisaged that a common Video-on-demand is an emerging opment of these types of services.The digital TV recorder to provide the best content over a broadband connection This trial ran successfully until August content ingest and media management battleground for established Radio Player service, based on technology of both worlds. to be stored for later viewing. Although 2006, at which time the rights we had system called the On-Demand Production organisations to test their resolve in originally developed by BBC R&I, has usually associated with personal negotiated for distribution of the content System (ODPS) will be shared with the maintaining old business models when proved popular and demonstrated a clear The digital TV recorder is a digital computers, these services have also expired. It is now to be developed into broadband iPlayer to avoid needless Internet start-up companies start to consumer demand for ‘listen again’ services. TV receiver that records onto a high been demonstrated with broadband- a full broadband ‘iPlayer’ service, following duplication of effort. The infrastructure offer similar services; cable companies The challenge in the present Royal Charter capacity hard disc drive instead of tape. connected set-top boxes.The content the approval of the BBC Trust. can acquire live programmes in real time and telcos are building ‘walled garden’ period is to provide an equivalent ‘watch In addition to the usual VCR functions, is encrypted and the viewing permission as well as the more conventional method video-on-demand systems to combat again’ service for television. programmes can be paused and resumed can be set to expire after a fixed period. Research continues on other delivery of ingesting tapes or files ahead of linear the pressure from Internet delivery of when watching ‘live’, and recordings can methods for on-demand video content, transmission. A suite of encoders will then a broader, potentially more attractive Television is a greater technical challenge be viewed before they are complete. The BBC iPlayer is a unified online beyond the iPlayer environment and convert the content into the appropriate set of content.The BBC’s public service than radio.The unicast streaming The digital electronic programme guides player, to find and play on-demand and looking at future home networks format for each platform.The resulting remit means it is providing content to technology used to deliver the Radio make recordings easy to set up, and if live-streamed audio and video. delivering the same content transparently media files will be staged to a ‘neutral carriers in both camps, as well as direct Player service does not scale to the high suitable extra signalling is included in to the TV, PC, or mobile devices. drop-off zone’ operated by our delivery though projects like iPlayer. bit rates and file sizes demanded by

10 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 11 Online, On-demand, and On the Move continued Freeview Playback

TV and Radio already widely used on mobile phones. Freeview Playback brings a set of new features and the mark of on 3G mobiles AMR is however optimised specifically quality assurance to the free-to-air Digital TV Recorder market. Early in 2007 the BBC was given approval for speech, and we hope later to move to launch trials to deliver BBC TV and to AAC coding to improve the overall It is the first major change to the Freeview platform since the Radio channels to a number of 3G sound quality and make a further saving introduction of seven-day programme guides. Getting the service mobile operators. The trial will be in bit rate. • Accurate Recording – a Freeview launched in April 2007 on Orange, on air at the end of 2006 was the culmination of work that started Playback recorder continually Vodafone and 3, and to meet this tight Transmission is by the conventional for BBC R&I more than two years ago. monitors broadcaster information timescale it has been necessary to reuse mechanism used for IP streaming to to control the start and end of a the technical infrastructure already mobile devices. At present a separate recording and does not just rely deployed for the multicast trial. This will stream is set up for each viewer. The on a pre-published time. be replaced in due course, to allow for mobile phone operators may decide Freeview Playback is much more than a marketing exercise. It is underpinned by expansion of the trial to more operators to change this in future, although the significant enhancements to the signalling that accompanies DTT programmes. • Series linking – a Freeview Playback and to include a wider range of BBC number of simultaneous calls to the same These enhancements were developed by BBC R&I in consultation with other recorder can automatically identify digital TV services and content, TV or radio channel within a single broadcasters, industry, metadata aggregators, and colleagues in BBC Marketing, and record programmes from the mobile phone cell may not always justify Communications & Audiences.This wide collaboration was essential because the same series.There is no longer At first, the trial will be carrying three a different arrangement. data to support Freeview Playback runs through the whole broadcast chain. the need to rely on recording the BBC TV channels – BBC One, BBC same time and channel each week NEW SERVICES NEW Three, and BBC News 24 – and about An initial phase of the work was to agree an amendment to the UK guidelines for or to try to match programme titles. eight Radio channels, all streamed live. ‘Early in 2007 the BBC was given broadcaster and receiver equipment interoperability, to describe how Freeview It will be receivable on most modern Playback would work ‘under the hood’.This was coordinated and edited under the • Repeat identification – when the 3G phone models, although usage may approval to launch trials to devliver auspices of the DTG by BBC R&I, and relied on our long term involvement with other viewer wants to record programmes incur a charge from the user’s mobile standards bodies such as DVB. that overlap, the recorder can check phone operator. BBC TV and Radio channels to a if the clash can be avoided by To bring Freeview Playback to the viewer substantial changes were needed to the recording a repeat. Users will receive the appropriate number of 3G mobile operators.’ DTT technical systems. All electronic programme information for the UK DTT regional variant of BBC One, depending platform is generated by a system called the central collator, now owned and • Split programmes – this feature on their location when calling in. Because any 3G phone that can receive operated by our technology partner Siemens.When this came due for replacement addresses a long term issue of (The BBC Three and BBC News 24 the service will also have Internet access, BBC R&I made sure that the new system would be capable of supporting Freeview programmes transmitted in multiple channels have no regional variations.) it is not essential to embed the inter- Playback; our involvement in the replacement continued right through to the final parts, for example a film split by the Some schedule data is carried, to display active content that accompanies the stages of systems integration and testing.The central collator dated from the start of news.Viewers often fail to record programmes titles and synopses. digital broadcasts.The same information, digital broadcasting, and it was a major achievement when this broadcast critical system the second part of the programme. and more, can be obtained from the BBC was successfully changed over while services remained on-air. Freeview Playback ensures nothing Each video signal is encoded at 100 kbit/s, website. Having a mix of content may be is missed. using H.264 coding.The image is clipped a catalyst for the way data services to Once the new system was in place the necessary extra metadata had to be generated slightly to suit the narrower usable aspect mobile phones are charged. and new feeds arranged to supply it. As the acknowledged experts in this area, BBC • Recommended viewing – the ratio of the typical mobile phone screen. R&I advised the BBC’s metadata supplier on suitable solutions.The Freeview Playback recorder can offer the viewer other The audio is encoded using AMR metadata is compliant with the TV-Anytime standard. programmes to record, related to (adaptive multi-rate coding), which is other recordings that have The BBC was the first broadcaster to transmit Freeview Playback information. been made. A commitment has been made by the other UK DTT broadcasters to follow suit. This co-operation is encouraging manufacturers to produce the receivers, a market • Compliance – before carrying the we expect to expand during Digital Switchover.The first two models have been Freeview Playback logo, a recorder available since December 2006.The features provided by Freeview Playback have also must pass a rigorous set of tests to been recognised in Scandinavia, where the 'NorDig' broadcasters plan to implement demonstrate it complies with the the same underlying signalling. technical standards and features.

The business relationships established through Freeview Playback continue, and are expected to lead to further developments. Currently, we are working on a new feature called ‘trailer booking’, which allows a Freeview Playback viewer to book a recording while watching a trailer for the programme.

12 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 13 Serving Our Audiences – User-centred Research

How do we stay in touch with our audiences? How do we ensure that what we produce is relevant to them? How do we help them navigate the current maze of media offerings?

This set of projects is pursuing a number of ideas, under the general heading of user-centred research. It also includes our behavioural science work, where we try to understand the basic human needs that drive media behaviour, and to assess their impact on our audience. NEW SERVICES NEW NEW SERVICES NEW

Discovering content We have been experimenting with how Games consoles bring the BBC tradition of rich narrative We are involved in a three year interaction design are now common and Content is becoming easier to access, we can combine the data and stored One of the BBC’s primary goals is into this domain, looking at how DTI-funded collaborative project critical features of the mainstream BBC but harder to find. There are more content to provide interesting means of to reach and serve the entire British to author and deliver truly interactive, called, very appropriately,‘Participate’. business. We are continuing to support a devices supporting even more types finding content, creating a simple ‘player’ audience. A growing group that are open-ended stories.We are taking part This project is exploring the convergence number of projects across the BBC, including of media, and there are more ways that combines live video/audio streams seen by many to be under-served by in an EU-funded project, CALLAS, which of online and broadcast media to create switchover and new interactive platforms. to deliver it to the viewer. In addition, with programme information in a webpage. the BBC are computer games enthusiasts. is exploring combining emotion-sensing new kinds of mass participatory events viewers are expecting more from media This group tend to feel that their game interfaces with interactive narrative where a broad cross-section of the Image classification – they want links between related items, Content packaging platform is the primary platform for techniques to produce a ‘bardic public contributes and shares content. Opening up the BBC to user-generated and they want to navigate instantly to The success of Podcasting – downloadable relaxation and entertainment, rather than interactive storytelling engine’. This might be centred on one of the content creates a practical problem in the parts that most interest them. audio programmes – suggests that the TV; the BBC is felt to be insignificant, large outdoor displays the BBC operates sorting the large volumes that can be people like to acquire content for later if not irrelevant. One way to reach this This work is highly experimental and from time to time, for example. submitted in a short space of time. This is changing how we describe and consumption. However, the playback is audience is to provide content for their in its early stages, and it is difficult to The material is often topical and must provide our content. And of course very basic, with limited opportunities for platforms of choice, using the content predict what might emerge. Early ideas We are working with BBC Future Media be dealt with quickly. it’s not just about BBC content – our enhancements or to promote other grammars that are familiar to them. centre on having a narrator with whom Innovation and BBC Production to define audience are contributing more, not just services and content. the viewer or viewers interact by some of the narrative aspects of the We have been working on a project to in terms of images, audio and video As a first step we are assessing our speaking.The story is driven by the initial trials.We are trying out potential classify user-generated content to allow but also opinions, facts and data. The idea behind content packaging is to existing content, to find what is most outcome of these interactions, with technologies to allow large numbers of rapid selections to be made.This work replace the download of individual items appropriate editorially and technically for the system working from not only people to access the system simultane- is a collaboration between ourselves and In order to encourage innovation in with a personalised content package, games consoles. We have successfully what is said but also how it is said. ously, even when on the move without the University of Surrey. the methods of discovering our content based on the profile of the user. The demonstrated play-out of live streamed Virtual actors could be used for the compromising technical quality. we are continuing to supply feeds of presentation of the content is created by BBC video on Playstation2TM and narrator and the cast, so that action We hope that ranking submitted images electronic programme data based on the the content provider, in the appropriate Playstation3TM consoles, using an open need not be pre-recorded. Each viewer Behavioural science by their similarity to wanted images, TV-Anytime standard to the developer format for the playback device, using source player, and we are now looking or group of viewers will therefore see Participate is a good example of the clustering related images together, might community on BBC Backstage. We have a player or browser application. to cover a broader range of consoles. a different story unfold. need to understand human behaviour – achieve quite good results while being created a simple means for developers We are also considering how the BBC’s how do people engage with a public relatively simple to achieve. A more to query this data via a publicly available We have developed two demonstrators portfolio of web-based games can be Mass participation event such as the one just described? elaborate technique, which might experimental Web Application for content packaging, the first designed adapted for console play. Our audience’s ability to send content Our immediate challenge in Participate ultimately achieve better results, is to Programming Interface (API). for mobile phones, the second for to us, as demonstrated by the waves of is to decide how to measure this, and generate metadata by object recognition. high-end platforms such as laptops. Interactive story-telling mobile phone images we receive when what metrics one might use. Although we started here with mathe- The Web API allows developers to create We are using these demonstrators With the benefit of this experience with major news stories break, shows the matical methods, we are now exploring third party tools and ‘widgets’ to display to develop further ideas and test games consoles we can start to try new willingness of our audience to participate. Behavioural science factors, such as techniques that try to emulate the schedule information for all our channels. their usability. concepts.We are researching how to usability, accessibility, user experience and recognition processes in the human brain.

14 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 15 Production Magic

We are developing a range of production tools that harness the power of computer image processing to analyse a scene in 3D. With these tools, we can insert virtual objects into a live scene, generate a new view of a real scene from a virtual viewpoint, or automatically steer a camera or spotlight to follow a person around the set.

This work ranges from relatively short-term projects for immediate production needs, through to longer-term fundamental research that could lead to radical changes in the way programmes are made. It may also lead to new forms of 3D or immersive content that go well beyond what is possible today. PRODUCTION

Inserting graphics of an auxiliary camera fitted with a part of the Piero sports graphics system, of installing a dedicated tracking system, In its first year, iview applied techniques programme genres including studio- into live images fish-eye lens. Both of these techniques and is now in regular use by the BBC and and can be used in almost any formerly developed for use in a chroma- based programmes. Whenever a production team plans can improve the accuracy and stability a number of other broadcasters around location. Another approach being key equipped studio for use outdoors. to insert a virtual object into an image, of the tracking. We coordinated the the world. In June 2006 the system was investigated is to display the marker New and robust techniques were Tracking people the graphics system needs to know project demonstration at IBC 2006, used in High Definition for the Football arrays on an existing rear-projection required for calibration of the cameras, and objects in 3D precisely how the camera is moving, so which attracted the interest of several World Cup, and for the first time it used system, so they can easily be switched keying and generation of the 3D models By tracking people in a scene, it is that the virtual object can be rendered potential licensees. a method to automatically lock onto the off when virtual graphics are not of the action. First tests in collaboration possible to automate some production in the correct place in every frame. pitch lines when starting to track. required. The system could also with BBC Sport and BBC Outside processes. We have been investigating Although there are several tools be used in conjunction with hand-held Broadcasts were carried out for football applications involving the automatic available commercially for doing this ‘In September In some applications, it is useful for a markers to allow both fixed and using either a set of specially mounted control of lights, by tracking the positions in post-production, live (or as-live) presenter to be able to pick up a virtual moveable virtual graphics to be shown. fixed cameras or just the cameras of the camera and presenter. The ability operation is more difficult. For studio- 2006, the Piero object, rather than it being fixed in the normally present. From the fixed camera to automatically keep a presenter lit as based productions, it is usually necessary studio or on the ground.We previously iview – capture of 3D set, virtual camera positions (such as the he or she moves around a studio offers to shoot in a studio equipped with system won an IBC developed and licensed a system known scenes and generation goal keeper’s view) can be generated to the prospect of reducing the overall a camera tracking system, such as the as MixTV, which tracks a specially- of virtual views provide new insights into the game that level of lighting needed, whilst ensuring free-d system we developed some years Innovation Award, patterned card which a presenter can We are leading a DTI-funded collaborative are not possible to achieve otherwise. that a sufficient level of light is used. ago, which uses markers mounted on move, so that a virtual object can be project called iview, to develop methods Current work is focussing on tests with This is especially useful to satisfy the the ceiling. For other kinds of production, in recognition of its rendered on top of it. In April 2006, to capture action from events such as HD cameras. requirements of HD production where such as outside broadcasts or shoots on a version of the system was used in a a football match in 3D and to provide a maintaining a good depth-of-field location, new solutions are needed. range of novel three-month trial by BBC Jam, the BBC’s 360 degree free-viewpoint video replay The processing and generation of the becomes particularly important.Working broadband learning service for five to 16 of the action. During the replay the 3D model of the action is currently to requirements from BBC News, we We have been working with several features that came year olds. This allowed users to interact position of the virtual camera can be carried out off-line, but options for real- have demonstrated a prototype system European companies and universities with virtual 3D objects in real time, using moved freely and crucial moments of time processing are being investigated. that can do this using information from in the MATRIS project to develop out of BBC R&I their own hands rather than a mouse a game can be seen from viewpoints The replay uses image-based rendering the cameras.The system then adjusts the markerless camera tracking using or a keyboard. which are not normally open to a real methods that can be implemented at lighting by controlling the direction, beam naturally-occurring features in the scene. work.’ camera. BBC Sport has an obvious interactive rates on standard PCs. One width and brightness of a number of This three-year project was funded by We have been working with BBC News application for such a system, as it would goal of iview is to stream the replay data motorised spotlights. the EU’s 6th Framework Programme, As a part of our work in the MATRIS to develop a system that tracks the allow them to fly a virtual camera around to an interactive platform such as a and finished in January 2007. In addition project, we developed a method that cameras using an array of marker the pitch, giving a new way of presenting games console so that the user can We have also been investigating the use to tracking directly from the camera measures camera movement by tracking patterns placed on the walls of the key moments. It could also generate top- determine his or her preferred viewpoint. of audio location techniques to track the images, the project also developed an the lines on a football or rugby pitch.This studio or on other parts of the set. down views for tactical analysis, or views We are also looking at applications in position of people. We have built a inertial sensor, and looked at the use has been licensed to Red Bee Media as a This avoids the expense and complication as seen by a linesman, player or referee. sports other than football, and in other real-time demonstrator that uses two

16 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 17 Production Magic continued D-3 Videotape Preservation System

pairs of microphones to estimate the Surround video shown on a flat-panel display, whilst the The BBC Television and Radio The archives hold content on a variety The system is based around a high-end location of a speaking person, using time We have been looking at ways to use image from the second was projected of recording formats, which reflect PC with an SDI capture card and archives are among the largest delay analysis. This could be used to imaging technologies to present new onto the walls and ceiling, using a technological advances made over the specially developed software. D-3 is locate and track a TV presenter, or forms of content to our audiences. projector and a spherical mirror. Real- collections of broadcast years. Great importance is placed on a digital composite PAL format, and members of a studio audience when they Most people are already familiar with time image processing was used to being able to retrieve content of any BBC-designed Transform PAL decoders content in the world. They speak, or in outdoor sporting events to the concept of surround sound, where compensate for the distortion introduced age, and it is often necessary to maintain are used to give the best possible video help automate camera framing and additional speakers are deployed around by the fish-eye lens and projection contain more than 300,000 access by transfer of content held on quality. The captured signal is written into shot selection. the room, fed by additional sound system, ensuring that it aligned in position old formats to newer ones, because of an MXF (material exchange format) file, hours of radio and 600,000 channels. We have been investigating and scale with the image on the flat panel physical media decay or obsolescence together with descriptive and technical Although these developments are part whether a similar approach could be display. We also investigated several hours of television, and these of replay equipment.Transfers must metadata that the system collects of our long-term work to create new applied to video. methods of synthesising a surround image be done in real time with human automatically from the BBC’s ‘INFAX’ figures grow daily. ways of making programmes, the from existing content, shot without a supervision, because a sub-optimum records – for example, programme and technology we develop along the way Rather than simply looking at the use secondary camera. replay or poor conversion will irreparably series names, transmission date and can also be rapidly deployed to address of a very large screen display, we have damage the content. With such a duration. The system also adds the error short-term problems. One example of investigated the concept of augmenting Initial tests have been very promising, sizeable archive, this can be costly. log from the tape replay, and analyses the this was a requirement for a simple way an existing conventional display with an with audiences reporting a much greater video signal for picture flashes and certain of gathering votes from an audience. image projected onto the walls and sense of immersion. In an attempt to improve matters, the spatial patterns, to note the level of We developed a system to identify ceiling of the room. The projected image advantages of migrating to file-based compliance against OFCOM recommen- PRODUCTION a hand-held baton and determine its is generated in such a way as to extend 3D production formats have been explored. When dations for photosensitive epilepsy. It also orientation, so audience members could the field-of-view of the existing display, planning software content is held as a data file the content produces a low bit rate ‘browse quality’ vote by holding their baton either helping to provide a ‘context’ for the The quality and ease of use of 3D format is no longer dictated by the copy of the content, and includes soft- vertically or horizontally. The batons main image, such as additional motion computer modelling has now reached storage medium, and in future it should ware for performing quality checking were covered in a highly retro-reflective cues. We recorded a range of sequences the point where we can use it for pre- be easier and faster to move to a new of the MXF file. material, illuminated by a ring of LEDs with two rigidly-coupled cameras, one production planning. We are working storage medium, perhaps at the touch around the camera lens, allowing the fitted with a conventional lens and the with some of the developers of this of a button. Content on file servers is The system uses open standards wherever system to operate independently of other with a wide-angle fish-eye lens. software to see how it can best be more accessible than that held on possible, to avoid technology ‘lock-in’ and the ambient light level. The image from the first camera was applied to making production more videotapes stored on shelves. Quality to ensure that the files can continue to creative and to reduce costs. We have degradation ought no longer to be an be accessed and understood. All the started with studio layout and set design, issue because true digital clones can software written by the BBC in this work although there are also other potential be produced from data files. has been released as open source.This applications such as training. is to promote interoperability and to encourage further development by other Producers can test different options in ‘ The system uses open standards parties, in particular to exploit the features a virtual space, helping them to make of MXF for searching the content. effective choices earlier in the production wherever possible, to avoid technology process. Our relationships with the Initially the files are to be stored on LTO-3 software developers have allowed us ‘lock-in’ and to ensure that the files can data tape.When costs permit, they may to model real studio facilities such as be moved to file-servers. Up to ten cameras and cranes. This enables continue to be accessed and understood.’ programmes can be stored on each tape, producers to see the exact shots they a forty-fold saving on physical space over will get using particular equipment, so Content held on D-3 videotape is next D-3, even though the video data is held they can hire in without over-specifying. in line for preservation. The D-3 format uncompressed. LTO-3 is by far the most is only 16 years old but is no longer popular data tape format on the market, Some programme makers have tried out supported by its manufacturer. The BBC and is supported by a number of manu- the set design process. They found it not holds about 380,000 D-3 tapes (some facturers. It has an open architecture, and only useful in visualising the design, but copied from the earlier analogue two- Ultrium, the consortium responsible for also in communicating their ideas to others inch quadruplex format) and 100,000 the LTO-3 standard, has decreed that in the team. Decisions can be converted have been selected for content retention. new generations of the data tape drives to floor plans for creating and building must be able to read tapes from at least the real set. The virtual model is also We have devised a system to capture the the previous two generations. easier to store than the traditional card- content from the D-3 tapes, and to board models, and can be retrieved, for augment it automatically with metadata. re-use or as a reference for the next series.

18 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 19 Programme Production

Our emphasis has continued to be on exploiting commodity IT hardware so that the cost of equipment used for production can be brought down.

Where, in the past, four videotape recorders might have been used in a studio, the trend of increasing computing power means that a single mid-range PC can now perform this entire task.

This capability will bring about a dramatic change to the way pro- grammes are recorded and pass through the production chain. Hence, we are continuing to work closely with colleagues in programme production, so that we can understand their requirements and see

PRODUCTION how the potential of the new technology can best be exploited.

Planning for music shows shows that have a large number of four SDI capture cards. By equipping the implemented on-the-fly unwrapping of grouping and synchronising the parallel with their normal tape-based Our work in previous years has musical items, where full planning of each recorder with 2 Tbytes of hard disc, it the MXF files within the SAMBA server. recordings within the editing system itself. process. It is too early to have clear produced a production planning system would be too time-consuming. As well can record for up to two or three days This again exploits the virtual file system results but the advantages of easy access aimed at making the preparation of the as beat and bar indications, our simpler in a studio. extensions of SAMBA, but in this case, A typical multi-camera production to the recordings are obvious, with camera script for a music show more system allows markers with comments when the original MXF files are accessed method is to produce a ‘Main’ recording, immediate replay into the control room efficient. It uses beat tracking to link the to be added anywhere in the music Low cost server by the editing system, the server which includes cuts between the cameras and studio being a notable benefit. In the music breakdown to the lyrics and then breakdown, and the standard production A further development of this work has removes the outer ‘MXF’ layers and performed by the vision mixer, and edit suites, rapid access to the recordings to a standard video editing package, to script is later generated from this. been a video server based on the widely- provides only the encoded content, separate, isolated recordings of some also saves significant time. In this case, allow camera shots to be planned against used SAMBA file system.This offers a way e.g. DVCPro50, from within. In this way, cameras (‘Isos’).These latter recordings the use of the MXF standard for the music. Once the planning is complete We now have music production teams in which a low-cost server can be used the MXF files held on the server appear may be used in the editing of the recordings is a particular advantage as a camera script is produced automatically. testing this simpler system, and we hope to share content across a cluster of edit to the editing system as DV encoded programme to give different views, the files can be used directly within the to be able to work with them on some suites that are using either Avid or Apple files, which it can then use directly. e.g. an audience reaction shot, when editing system, eliminating the need for We have now refined the software and major music productions over the editing software. appropriate. However, a drawback of this a file import stage. Although not as time developed quicker ways of working with forthcoming year. The next stage in the production flow is method is that the timing of the cuts consuming as ingesting from tape, file it.We have encouraged more widespread There are two difficulties in sharing to make the recorded content available done as the recording is underway may import would still slow down the process testing of this improved version by Tapeless recorder content in this way, which we have been in a convenient way within the editing not be ideal and slight trimming in post- and reduce efficiency. production assistants and directors to We have made several enhancements to able to overcome by exploiting the system.To achieve this, we are making production may be desirable.We can see if the benefits can be achieved in the tapeless recording system that we virtual file system extension capabilities use of the AAF (‘Advanced Authoring offer this capability by recording the Editing from P2 practice.This has brought some mixed trialled last year with the BBC Children’s within SAMBA. Firstly, each Avid editing Format’) standard.When required, an timings of the cuts applied by the vision memory cards responses. However, interest is growing programme BAMZOOKi. client expects exclusive use of the AAF file is produced which contains the mixer, and from these, creating Another development was at the and after a little guidance and ‘hands-on’ external storage. Shared access by details of all the MXF files recorded in corresponding edit entries in the AAF request of BBC Sport. For the coverage experience, some directors are now We have now produced a tapeless multiple Avid clients leads to conflict, the studio over the interval of interest. file.When this AAF file is opened, the of World Cup 2006 they needed to be trying the system with a view to using recorder capable of recording four video as each one attempts to create its own Opening the AAF file in the editing editing timeline will show the original able to edit content from Panasonic P2 it for their productions. and 16 audio channels simultaneously, database files to index the video content system then populates the editing ‘bin’ camera recordings with the edits camera memory cards in an Avid editor, compressing them in real-time to the that it finds. Our configuration of the with this content, making it immediately between them, which can then be and transfer the edited version back to In working more closely with production required production format (typically server’s virtual file system keeps these available for editing. trimmed where necessary. a P2 card for playout on location.This teams, we have also come to understand DVCPro50 or Avid ‘2 to 1’), and storing files separate, so no conflicts arise. last step was proving impossible because better what they require for different them as MXF files. Although a PC Additionally, for multi-camera productions To understand better how these of the way MXF is used on P2 cards. types of music show.This has led us to equipped with dual-processors, and each The second obstacle is that not all (where each camera view is recorded developments perform in practice, After studying the problem, we were develop a more straightforward system with dual-cores, is required to achieve editing systems can work directly with simultaneously), the resulting recordings we are working alongside the production able to produce an application to where only a relatively simple annotation this, the overall cost is on a par with a MXF files – for example, Apple’s Final are automatically grouped together, which team for the BBC programme Eastenders, perform the necessary conversion and needs to be added.This is typical of mid-range server and is dominated by Cut Pro.Toovercome this, we have saves time by avoiding the manual step of recording with our tapeless system in copy back to the card.The application

20 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 21 Programme Production continued Radio Spectrum for Production

was used with great success, and means Floorman Timed text and We are looking at ways for The past year has seen great changes allowing broadcasters to make better our production colleagues can now work Floorman is a wireless picture monitor subtitle multicasting and challenges for wireless production, use of the limited PMSE spectrum that the BBC to continue to more flexibly with P2 cameras. developed by BBC R&I which may be This covers our work in handling subtitles with the closure of our favoured band remains available. used in one of two ways, with different and similar text information where timing improve and expand its use for PMSE (Programme Making and We have made our software available as technology for the two applications. details are also included.The work is in Special Events), 2500 to 2690 MHz. Growth in broadcast applications, and of digital radio cameras despite open source so that others can benefit We are now seeking to license the two main areas. This loss of spectrum together with the the competing demands for 2 GHz and share in its development.These two versions. changes in the spectrum we increased popularity of radio cameras, spectrum from mobile and WiMax packages, along with related software, Firstly, we have been providing the the risk of yet more losses, increasing applications, is prompting us to consider license from OFCOM. can be found at the ‘Ingex’ project page • On the studio floor or on location, software tools to convert broadcast spectrum costs and the desire to make a move to higher microwave bands. http://ingex.sourceforge.net/ by a producer/director, usually in subtitle files to the formats required for programmes in HD are presenting real Initial work at 10 GHz has identified preparing and rehearsing multiple use by the iPlayer, and for programmes challenges to the industry. Alternative implementation, link budget and Doppler This work is described further in a paper camera shots. It is planned to provided online via bbc.co.uk. Subtitles spectrum between 2 GHz and 3.5 GHz issues.We are now focussing on the that was presented at IBC 2006, where commission a manufacturer used in each of the trials of iPlayer have is now being used instead, but this 7 GHz band, working in collaboration we also demonstrated the complete to produce and install a licensed been originated in this way and we spectrum is fragmented and congested. with UK manufacturers on a solution for system in the New Technology Campus. system in a BBC studio.This will have continued to refine the conversion Interference from high power CDMA next generation HD Wireless Production. be available for use by production process as the user requirements services is causing concern at many sites. It is planned to exploit MIMO research As our work in this area progresses, teams, to allow further assessment have evolved. work, described later, to provide new we are continuing to explore with other of its market potential. An additional worry is the spectral purity technology for PMSE use in these PRODUCTION programme production teams how we • By a presenter at a live outside Secondly, we have continued to of higher power COFDM systems that new microwave bands. can work with them to improve our broadcast, for reviewing the action participate in the ‘Timed-Text’ working use these microwave bands. Commercially mutual understanding of the on which they will be commenting. group of the World Wide Web available systems have been measured, requirements and benefits of tapeless Our prototype has been used Consortium (‘W3C’), which is in the and some found to radiate excessive out- production techniques. regularly by horse racing presenter late stages of developing a standard for of-band energy in the adjacent channels. Clare Balding, and BBC Outside carrying timing details with text.This is This limits adjacent channel operation, Broadcasts are currently using it for applicable not only to subtitle exchange effectively halving the number of full a market trial. If the trial is successful but also production processes, performance channels that can be used we will enter into technical e.g. associating scripted text or indexing at any one time. discussions with a manufacturer to details with the recording of the content. hand over licensed designs. Building on this latter work, we are ‘ We are now focussing on the 7 GHz band, working in working within an AAF Association and EBU subtitling adhoc group which collaboration with UK manufacturers on a solution for next is producing a standard means for conveying subtitles in AAF and MXF files. generation HD Wireless Production.’ This is based on the forthcoming W3C timed-text Recommendation but further BBC R&I has been working closely with work to specify details within the AAF JFMG Ltd (the company that manages and MXF standards has also been the spectrum on OFCOM’s behalf for required to complete this functionality. programme making and entertainment uses) to identify these problems and alert the relevant manufacturers.

A measurement programme also looked at protection ratio issues and the effects of 3G CDMA cellular services on current receivers. By working with industry in this way, we hope to improve the performance of commercial equipment

22 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 23 Digital TV – Switchover

From autumn 2007, UK broadcasters including the BBC will start to switch off their analogue terrestrial television signals.This process, known as ‘Digital Switchover’, will take place progressively across the UK, and is expected to be complete by 2012.

During this process the two digital terrestrial television (DTT) multiplexes the BBC operates are expected to migrate from 16-QAM to 64-QAM modulation, with a consequent increase in deliverable bit rate, and our services will inevitably continue to develop and evolve.We have also been asked to accommodate services from several other public service broadcasters in our multiplexes. DELIVERY DELIVERY

To these ends a significant re-engineering transmissions. It is therefore important Tests have been successsful, with errors particularly for these vulnerable viewers, Core Requirements are under discussion concerning transmission modes. There of our digital television delivery system to give the best possible guidance to starting to show just at the point where to promote accessibility to digital in various industry fora. is a significant benefit in terms of has been started which will result in viewers to help them decide if their an aerial installation ought to be checked. services for everyone. resistance to impulsive interference by greater multiplex efficiency and network aerial needs to be checked. The test signal is about to be transmitted Impulsive interference switching from the 2000 carrier mode resilience. It will also greatly simplify both nationwide on the four original analogue Building on specific needs identified Experience has shown us that the effects (‘2K’) to the 8000 carrier mode (‘8K’), the procedures involved in Switchover The reception of existing analogue services. (It would not be appropriate to by the Consumer Experts Group of impulsive interference need to be which we hope will be one of the and the BBC’s general ability to make broadcasts can be a very useful guide transmit it on the analogue ‘five’ service, (representing the elderly and those allowed for when specifying or designing changes implemented during switchover. technical changes to its digital services. to the condition and effectiveness of a as the transmitter powers are at lower with disabilities) and in consultation with systems for digital terrestrial television. We have contributed to the technical domestic aerial installation, and we have levels than for the other services, and the DCMS, DTI, Digital UK and receiver Impulsive interference can come from Mobile and handheld design of the new system, working with been researching several techniques the results would be misleading). equipment manufacturers, we have a wide variety of sources, for example television broadcasting our technology partner Siemens and based on this.We first tried a test pattern collated and produced a set of core car ignition systems, electric motors, We have maintained a watching brief colleagues in BBC Operations.We are that was designed to become less Our work in this area forms a part requirements.These are intended to light switches or room thermostats. across the various emerging technologies making extensive use of our digital TV apparent as signal quality fell.Whilst this of the overall work being conducted maximise ease-of-use for the great Typically, it breaks the picture up into that could be used for mobile and test system to evaluate suitable technique showed the correct average within the Digital Reception Prediction majority of those eligible for help, a mosaic of blocks, or causes a handheld television broadcasting, and techniques and technologies, modelling trend – those with good aerials tended Group run by DigitalUK, the non-profit without unduly prescribing any particular momentary loss of sound. provided advice and guidance where various multiplex occupancies to assess to correctly identify the pattern – there organisation leading the process of implementation that might be offered in appropriate. If mobile transmissions are picture quality and strategic flexibility was too much spread on individual digital TV switchover in the UK. a process of open tendering, and without We have developed a receiver that implemented using a cellular network (the ability to change the composition results to give a reliable indication. stifling ingenuity and innovation. measures the effects of impulsive radiating in the spectrum released by of the multiplex for new services or The digital switchover interference against two key trans- switching off analogue television, there service components, or to enhance We have now created a test pattern assisted help scheme After a period of consultation the DCMS mission parameters, signal level and is the possibility for interference to or transfer existing ones). using teletext. This gives an objective For the elderly and those with has published an invitation to tender for transmission mode.The receiver can existing digital television reception. result, because the pattern is either disabilities, Digital Switchover will present the supply of equipment on the basis of be left logging its results on a laptop We have made measurements to Helping the viewers received correctly or with obvious significant challenges. In September 2006 these requirements. (The 2006 Core PC over many days, to allow us to analyse the conditions under which such As the analogue transmitters are errors. The pattern has been designed the UK Government announced the Receiver documents are available on build up a statistical model. interference will occur. We have kept the switched off, many digital transmitter to be as resistant as possible to delayed Digital Switchover Assisted Help the UK government’s digital switchover relevant standards organisations (mainly powers will be increased and the image interference (otherwise known as Scheme, also known as the Targeted website: www.digitaltelevision.gov.uk). The assembly of a pair of these receivers the DTG and EICTA) informed of our digital coverage is predicted to be ‘multipath’ or ‘ghosting’), which normally Help Scheme.This will offer people over has only recently been completed, and results and this should allow the effects similar to the current analogue affects teletext reception significantly, but 75 and those with significant disabilities Following the Licence Fee settlement, the the next stage will be to deploy them from this type of interference to coverage, approaching 100%. However, which the digital television transmissions help in the form of new receiving BBC and DCMS are currently negotiating in domestic environments to make be minimised. it is estimated that about 10% of are designed to ignore. It also appears to equipment, installation and follow-up the commercial details of administering measurements under a range domestic aerial installations will need be reasonably tolerant of co-channel support. Central to the scheme will be the Assisted Help Scheme, whilst some of conditions.Tests in the laboratory attention to receive the digital analogue signals. the procurement of equipment designed of the technical details of satisfying the have already confirmed one expectation

24 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 25 Digital TV – Architectures Audience Research

Freesat Centralisation of coding DTT Multiplex B How do you measure audience The ARENA project digital set-top box or digital TV using The BBC has been investigating the and multiplexing re-engineering The BBC has joined with nine other instructions conveyed as part of the viewing figures when your potential for a free satellite service, The BBC is planning to centralise the In summer 2006 the BBC decided that media organisations in Europe in a interactive page description sent to to complement Freeview in areas where equipment that codes and multiplexes BBC Parliament should be played out audience has many ways of European Union collaborative project, the receiver. Last year, we produced a DTT is currently unavailable. From our its digital TV services. In advance of on DTT in full screen, instead of the ARENA, to try to devise a system that specification for the index mark on the watching your programmes? experience of launching Freeview we this, we have taken a significant role quarter-screen ‘red button’ service that produces audience figures consistently basis of laboratory tests, and the know that most of the technical building in the testing, configuration and had been operating since the launch of This is the challenge facing across all these services and platforms. Broadcasters Audience Research Board blocks for a free satellite service already technical sign-off for coding and Freeview. The only way to do this [Note that viewing data is collected only (BARB) commissioned a prototype BBC Marketing Communications exist. However there are significant multiplex equipment in BBC Scotland’s without sacrificing the picture quality from household members and individuals detector from their technical contractor differences between DTT and DSAT new headquarters in Pacific Quay. of all the services in our Multiplex B was & Audiences, with broadband who have their given informed consent AGB-Nielsen. About 200 of these that we are having to take into account. This experience is proving valuable to change the coding and multiplexing to allow this.] detectors have now been installed in and mobile phone access Another important part of our work has even though we know the technology system for newer and more efficient the homes of existing BARB panel been to define appropriate behaviour for will advance in the meantime. During equipment. This meant going to another becoming increasingly popular ARENA is planning four field trials on members (these are households that different classes of receiver (for example, the coming year, working with our supplier for all the major technical different platforms, linked through a have agreed to have their viewing and time-shifted viewing some receivers may have storage or be technology partners Siemens, we functions, including the primary encoding common audience data collection patterns monitored by BARB), for a capable of decoding HD transmissions) will be setting up a new test-bed at of the video and audio components, the getting easier. Programmes system. The BBC has a particular interest limited trial. With the co-operation of and to consider the test requirements Kingswood Warren to explore the multiplexing, and the capacity switching. in one of these field trials, on the new other UK broadcasters, the index marks are augmented with subtitles, for each of these. Currently the decision options for the architecture and Capacity switching was being used to BT-Vision platform where we supply were added to some interactive content DELIVERY on the future of Freesat is under review equipment for the centralised system. carry CBeebies during the day and interactive content, and elec- some of the on-demand content, as on terrestrial and satellite broadcasts, by the BBC Trust. BBC Four at night, using the same well as operating two of the DTT and also on to a digital cable system. tronic programme guides, and capacity. With the new equipment it multiplexes also receivable through Tests in collaboration with AGB-Nielsen proved possible to extend these time- we need to track usage of the BT-Vision ‘V-box’. were successful, after some minor sharing arrangements to other services, adjustments to accommodate variations these too, if we are to under- in particular to make some capacity This is an ambitious project, and the in the different signal chains. Designing for change available for the trial of BBCi catch-up. stand our audiences properly. processes will be simulated before When Nicam stereo sound and teletext digital TV receivers automatically, or The improved efficiency of the new the system itself is built. Our work so The index mark is designed to be just were added to analogue television by ‘rescanning’ or downloading new equipment has also allowed the far has been to establish the business off-screen on the majority of television broadcasts, this could not be done internal software. BBC to increase the number of News and functional requirements for cross- sets, and indeed, no complaints about within the existing signal standards. Loops from two to four. We modelled platform audience research, talking to visibility were received, although Although the changes were made The BBC continually exploits this a number of different options to help other organisations too to try to predict potentially all digital receivers will successfully, considerable engineering flexibility to develop its digital services. our colleagues in BBC Distribution decide how services will develop. The project reproduce it, not just those in the BARB ingenuity was needed and there were Since the original launch, BBC R&I have on the final capacity allocations, before has used this information to create a trial. BARB is currently re-tendering its constraints on what could be achieved. helped to develop a number of new helping to plan the changeover and put formal data model. Our work is now technical contracts and a decision on Viewers had to buy new TVs if they features, including interactive services, it into effect. to ensure that the model is a good the use of this technique will depend wanted the new features, and the extra enhanced electronic programme guides, representation of the real-world on the outcome of this process. signals had to be added in a way that did new regional broadcasts, and audio situations and that it is tested correctly – not affect reception on existing sets. descriptions of programmes for visually- the eventual outcome from the other Audio watermarking impaired viewers. partners will be software that can be Audio watermarking, i.e. hiding infor- When the DVB standard (the inter- ported into set-top boxes or the mation in the programme sound, national standard for digital television However, a great deal of planning is platform operators’ distribution systems. has been tried unsuccessfully for radio broadcasting) was drawn up, the needed even for a small change, audience measurement in previous engineers responsible made sure it especially as we always try to avoid any Audiences for years. The systems offered have been could be extended in a systematic way loss of service. BBC R&I continues to interactive services found to produce unacceptable to incorporate new features.The carry out some of the development At the request of BBC MC&A, and in impairments to the sound quality. Finally, standard also defined a ‘multiplex’ work, and to give advice and practical parallel with the formation of ARENA, this year, a system that had been tested structure that makes it possible to add, assistance. Using our experience and our we have been developing an idea to several times before was found to have modify and rearrange TV channels and specialised test facilities, we make sure measure ‘red button’ interactive TV been improved sufficiently to be inaudible other broadcast components.This means new features work as intended, any new usage on our digital television services. in our laboratory assessments. On-air that for many of the changes viewers do equipment is suitably chosen, and the This uses a small ‘index mark’ added to trials were able to start with much less not have to replace their receiving best use continues to be made of the each page of interactive content, created worry about the possible negative impact equipment. Changes are picked up by digital multiplex capacity. by the video rendering engine in the than has been the case previously.

26 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 27 DAB and Digital Radio Mondiale Kamaelia

AAC coding and DAB+ Digital Radio Mondiale Kamaelia is the software We started to develop Kamaelia about and we ran a workshop in Brussels for BBC R&I submitted one of several Digital Radio Mondiale (DRM) offers clear, high-quality audio and data services on two years ago, and at the end of 2005 interested collaborators.We mentored toolkit we created for proposals in response to the WorldDMB* the long, medium and short wave bands. DRM is now a fairly mature standard and BBC Radio & Music Interactive had used a number of students during Google’s call for contributions for adding a more there are many hundreds of hours of transmissions on-air. exploring on-line delivery it to produce a prototype system for Summer of Code 2006, resulting in tools efficient audio coding system to DAB. transcoding all BBC radio output. for peer-to-peer online distribution, 3D methods for the BBC’s The work was co-ordinated by the Consumer receivers are crucial to the large-scale uptake of DRM, and are beginning user interfaces, and proofs of concept WorldDMB Technical Committee in a to become available.We have driven this development in two key ways. archives. How do you make Over the past year, we have created a for trusted communications.This also collaboration across Europe, Asia, North television equivalent for BBC New Media. proved that Kamaelia can be learnt and the BBC's considerable America and Australasia. Firstly, all the current receivers are based on code which we originally developed This was a significant piece of work used effectively in a very short period and licensed to manufacturers, and we continue to support our licensees with archives available on-line to, needing a large number of optimisations of time by the average developer. Our proposal was adopted by their implementations. to produce a scalable system. Since then say, 20 million households at WorldDMB after a careful analysis of all Kamaelia has been used in a number of Our next steps are to consolidate the competing solutions and after field Secondly, we have built up an extensive receiver testing facility at Kingswood Warren, once, especially if they all want other projects.Tools for re-framing video Kamaelia’s core and to increase tests carried out in the UK and Australia. allowing us to perform tests including sensitivity, selectivity and linearity. In particular for mobile devices were created for testability, looking for a similar level to watch something different? we have been able to expose receivers to known field strengths in order to researchers looking into mobile delivery. of verifiability to hardware.We are also The result is DAB+, announced in March determine if they will work in the field with the signals that broadcasters plan to The solution needs to be A system was created for capturing BBC aiming to make some aspects of 2007.We have taken responsibility for deliver. This has revealed a number of shortcomings in the early prototypes, and broadcast content, storing it, transcoding Kamaelia to the non-programmer – scalable, acceptable to standardising DAB+ through ETSI. we have worked closely with manufacturers to improve their performance. for different bit rates, and preparing it for we want to take the graphical DELIVERY organisations that have rights peer-to-peer transfers. A rather different construction tools that are used in The main part of the proposal is an We have also continued our development of receiver algorithms, looking particularly application, cross-site white-boarding to Kamaelia to sketch new systems, and over content the BBC holds, option to use high-efficiency AAC coding into the possibility of seamless AFS (alternative frequency switching).This could allow people in different locations to extend them to create the code directly. for radio broadcasts, creating capacity enable a low-cost receiver with only one front-end to take advantage of the benefits and flexible enough to exploit collaborate more easily, was quickly that could be used for more stations, of multiple-frequency transmissions, which we have previously demonstrated with created, then expanded to include audio Because Kamaelia is open source, this changes in technology. interactive services or surround-sound our dual-front-end diversity receiver. and made peer-to-peer aware with local enables everyone from schools and broadcasting. Audio quality is improved remixing for scalability. colleges through to enterprising members at lower bit rates, and an improved error Whilst the BBC World Service is our main customer for DRM, we have recently of the public, to use it to create correction scheme gives slightly greater helped BBC Distribution to prepare for a consumer trial of DRM on medium-wave, We continue to move Kamaelia out of applications including ones to repurpose coverage, quicker tuning and no relative being carried out in partnership with BBC Radio Devon and National Grid Wireless. the laboratory and into the wider BBC, our content to serve their needs. timing delays between stations. We have given advice based on our long experience of DRM as well as providing academia and industry.We have given monitoring stations for the trial. As part of this we have developed a monitoring talks at a number of high profile To collaborate with us, visit For the BBC this work is decidedly long receiver network to allow reception conditions in various locations to be observed conferences for software development, http://kamaelia.sourceforge.net/Home term, to ensure that technical standards in real time. that may one day allow us to introduce new services are carefully considered Kamaelia, parallelism and concurrency before being agreed.While countries Distributing the BBC Archive content online is an inherently parallel process. Large that have yet to launch DAB could opt numbers of people are simultaneously searching and downloading material, and this is immediately for DAB+, the BBC remains a huge test of a distribution system, both its hardware and software. committed to its MPEG Audio Layer II broadcasts. It is well aware of its Software engineers define concurrency as the real or apparent running of multiple responsibility to its listeners, many of processes at the same time. Modern computers, particularly professional machines whom will only recently have bought and games consoles, have multiple processor cores, whereas computer software has new DAB radios. its roots in single processors and sequential processes.The reason that concurrency has been made to work is down to putting fundamental rules in place.

Kamaelia was developed by BBC R&I to make an online distribution system straightforward to create and easy to maintain.A happy side effect is that it can be used to develop other applications for communication where the biggest problems arise from parallel processes. It is this aspect that we are now exploiting, and encouraging others to exploit by making Kamaelia open source. * Formerly the WorldDAB Forum.

28 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 29 Networks for Programme Production

Modern programme production tools no longer consist of specialised broadcast hardware interconnected by coaxial cables. They are now almost invariably computer applications running on PCs, and they use file-based media storage rather than tape. As a result, IT network connections are now an essential part of any production system.

Media files can be extremely large, putting patterns of demand on an IT network quite unlike conventional IT traffic. BBC R&I has for a number of years investigated the problems this brings, and worked with suppliers, manufacturers, and standards bodies to establish solutions. CORE TECHNOLOGIES NEW SERVICES NEW

IT networks are usually packet switched, strong influence that standards have on system could delegate the tasks of WiFi for TV some achieved 20 Mbit/s.These bit rates exceeded our expectations even when and their properties are significantly the design of IT equipment. comparing formats and making the programme production are all adequate for high-quality reduced to 64 kbit/s. different from the circuit switched conversions, especially if the content was WiFi is rapidly becoming a de facto contribution and distribution circuits. networks we have traditionally used to We also run a number of research and being retrieved from remote locations. standard for connecting Media Centre Audio over IP carry our signals. Being primarily designed innovation projects: computers to TVs and audio systems.This We then moved to the Westminster In 2004 some of the BBC’s local radio for regular IT traffic, they do not always A more challenging example is adding a is not an application WiFi was originally area, where BBC News are trying to stations started to exchange audio content perform as well when faced with large PRISM formal description of media content as designed for, but some additions to the find a quick and economical way of over standard IP networks, using broad- media-content files. Over recent years we We lead the DTI collaborative project it goes into repositories. Descriptive standard have made it just about suitable setting up links back to their local studio. band ADSL connections.We were asked have bought or developed a number of PRISM, which is applying distributed- metadata is important for searching and for domestic use.We have been looking UrbanWiMax, a company that provides to help when it was found that some highly specialised test tools, and we are computing ‘GRID’ techniques to media retrieval. It is however extremely labour- with a number of companies at other Internet services for business users, codecs were more affected by network continually studying the latest offerings to production. Although the project itself intensive to create, and this is a definite ways of extending the standard, to allow provided us with a temporary conditions than others, and that codecs judge if the claims made are justified as will finish at the end of 2008, it is part disincentive. One of the partners in us to use WiFi in TV production. bidirectional link.Their WiMax network from different manufacturers did not far as media production is concerned. of our longer term work to try to PRISM has considerable expertise on has a nominal maximum capacity of always work together. This was worrying One of our developments is a software streamline and enhance the technical machine-interpretation of images, and WiMax 4 Mbit/s (limited by the backbone rather – we were hoping that IP technology application that can be ported out to processes in programme production. we are very interested to find out if WiMax is similar to WiFi, but works at than the WiMax itself), and is intended would be an easy replacement for ISDN multiple PCs to simulate a busy The other aspect of the work is to their techniques can be applied here. higher powers and has greater range and to provide spot capacity and diversity lines when these start to disappear. production office or even an entire site. encourage standardised interfaces, so that The interpretation is not entirely auto- capacity. Its transmission in the 5.8 GHz from cable connections. It covers most We are now investigating next-generation production tools will work together even matic, but needs only a small amount band is licence-exempt, and we have of the locations in Westminster that We have therefore carried out a series multicast streaming protocols, and, with if chosen from different suppliers. PRISM of prompting on context from a human carried out a series of tests to see if it BBC News regularly use. of investigations, running tests on a HD production in mind, the performance will publish the interfaces it develops as operator. It is nevertheless computationally could be used for ad-hoc contribution range of commercial codecs.We are now of 10 Gbit/s IP routers. a set of open specifications. intense, and can benefit from GRID and distribution links.Transmissions at this This is a much more built-up area, working to establish an interoperability techniques. PRISM aims to demonstrate frequency can be affected by buildings, and tests with the radio van showed standard and a recommendation of good Through this work, we ensure the BBC As a simple example of what PRISM is a scalable high performance system built so WiMax uses COFDM to benefit from some locations where no signal was operational practices.This work is being understands the issues surrounding net- seeking to achieve, imagine creating a on a standard IT core. reflected signals. received. However, where a signal was done through the EBU, under whose work provision, and specifies appropriately documentary programme from content obtained, in most instances it would authority the standard and recom- from our technology supply partners.We which has been shot over a period of PRISM is working closely with BBC We arranged for a transmitter aerial to support up to 2.7 Mbit/s video and mendations will be published, with help regularly feed back the results of our years on different systems. It would help Northern Ireland, and will be tested be installed on a mast on high ground in 192 kbit/s audio streamed simultaneously, from IRT in Germany and Sveriges Radio. tests to manufacturers, or do tests with if the editing system applied any in conjunction with a number of North London, and mounted a receiver definitely acceptable for news reports (Sweden is already faced with losing all them, to help tune products for media necessary format conversion programmes that they produce. aerial on a 10 m mast on a radio van. where a lower picture quality is ISDN services in the next two years). use.We have also found it important to automatically, without the operator Tests at points chosen at random within acceptable and a video bit rate of about It is intended to produce a reference take part in the work of the relevant needing to intervene to take decisions or 5 km of the transmitter all gave a 1 Mbit/s is usually considered adequate. codec with which to test commercial Standardisation bodies, because of the start the process.With GRID, the editing throughput of at least 10 Mbit/s, and We also noted that the audio quality products for compliance.

30 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 31 Radio Systems

The BBC is a major user of radio frequency spectrum, not just for its public broadcasts but also for many internal purposes such as wireless cameras, wireless microphones, and passing signals back from outside broadcasts. Spectrum is a scarce resource, and we are constantly looking for techniques to make more efficient use of it, as these three pieces of work demonstrate. CORE TECHNOLOGIES

MIMO the results of this investigation are being for filling ‘holes’ in the service area of the system in complex single-frequency technical analysis, in parallel with another MIMO MIMO is a method for increasing the made available to the DVB-T2 technical a transmitter, or extending the range. networks (SFNs) has allowed refinements group preparing the commercial require- MIMO stands for Multiple-Input- capacity of a radio link by running multiple working group (described opposite). to be made to the algorithms. ments. The work of these groups is still Multiple-Output and refers to a transmissions on the same frequency. We have protected the key technology underway. Currently it appears that a wireless system with more than one To investigate its potential BBC R&I has On-channel repeater with a number of patents, and we have This year has seen the original system modest increase in capacity could be transmitter and receiver, all operating produced a prototype MIMO system BBC R&I has developed an on-channel issued a licence to use the algorithm to enhanced in a number of ways to improve achieved through the use of advanced on the same frequency but with each using two transmitters and two receivers, repeater for the DAB and DVB-T a major transmitter manufacturer. More signal-to-noise ratio and the ability to error correction codes, such as those transmitter carrying a different signal. with the transmissions based on DVB-T. frequency bands.This device, first shown enquiries for licences have been received track rapidly time-varying coupling paths. used for DVB-S2, together with some Each receiver picks up a mix of the An experimental pair of 50 W ERP by the BBC at IBC in 2005, allows a relay both from the UK and overseas and are So much so, in fact, that the system has changes to the underlying transmission transmissions, depending on transmitters has been installed at a site station to re-transmit a signal on the currently being processed. been lab tested at 2.5 GHz in a PMSE system to eliminate other minor propagation conditions and the placing near Guildford. A survey vehicle has been same frequency as it is received.This is (Programme Making & Special Events) inefficiencies. Although a significantly equipped to investigate the coverage for normally difficult because the receiving Trials have been carried out in radio-camera mid-point application. greater increase in capacity (i.e. double and polarisation both of its aerials, and both fixed and mobile reception.The antenna almost inevitably picks up collaboration with network providers The results are very promising and we or more) could probably be achieved those at the transmitters. If the transmitters can be switched remotely some of the signal from the transmitting in the DAB band, with additional DVB-T are close to having a solution to offer for through the use of MIMO this would receivers can determine the mixes in between dual-polarised or co-polarised antenna, causing howl-round. The trials scheduled for the near future. this application.This would minimise the require changes to both the transmitter the form of a mathematical matrix, transmission, to explore different on-channel repeater is particularly useful Information regarding the behaviour of number of PMSE operations needing two aerial and the viewers’ receiver aerials. their outputs can be passed through configurations.We are doing this work in frequencies at a time when this spectrum the inverse of this matrix to recover collaboration with OFCOM, Arqiva and is likely to become increasingly expensive. The commercial attractiveness of these the original transmissions. In the In trying to squeeze more capacity out of the National Grid Wireless within a new group options is still being studied. Existing precious UHF spectrum, the DVB-T2 project experimental system described here, set up for the purpose and chaired by the DVB-T2 digital viewers would need to buy new is bound by theoretical limits to what can be the receivers calculate the matrix by BBC, known as the Advanced Terrestrial In 2006 BBC R&I submitted a paper to set-top boxes or digital TVs, so the achieved.The Shannon capacity limit is well measuring the pilot tones already Transmission Study Group, or ATTSG. DVB, proposing the formation of a Study introduction of a new standard might known; however, it is sometimes forgotten just present in the DVB-T signals. Mission to consider updating the have to be incorporated into the launch how idealised it is. Once certain choices are Initial results using 64QAM rate 2/3 modu- standard for digital terrestrial television of a new service, for example HD made, such as picking a particular combination The increased capacity is obtained at a lation suggest that the coverage of dual- transmissions. The proposal was accepted on DTT. of constellation and bit mapping, more detailed cost. Depending on the amount of polar DVB-T MIMO is very nearly as good and we were asked to lead the study, application of Shannon’s information theory mixing, the received signal-to-noise as that obtained for DVB-T itself, with a which identified several technologies that It is expected that a first draft of a shows that rather less capacity is then achievable, ratios can be worse than for a single data throughput of 48 Mbit/s compared could be used to increase both efficiency specification for fixed and portable even in an ideal case.This graph serves as a transmitter and receiver, and this might to 24 Mbit/s for the standard system. and ruggedness. reception will be completed around the benchmark for studies of error-correcting codes reduce range or require more beginning of 2008, with a further together with the possible addition of higher- transmitter power. Because MIMO is one option that is We were then asked to lead a DVB specification for mobile receivers order constellations like 256-QAM to the system. being considered for updating DVB-T, technical study group to continue the following later.

32 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 33 Video Compression – Dirac and Dirac Pro

Almost everywhere video is handled digitally some form of data compression is applied. Although satisfactory forms of compression exist for most applications, some are subject to restrictive or expensive licensing arrangements. This can increase our costs, and potentially the cost to our audiences in receiving our programmes. The BBC as a publicly funded body is in a unique position to develop open compression technology where it has a specific need, and to make that technology freely available. For example, the BBC’s Open Archive initiatives will be making content available over the Internet, and we would like to be able to supply free software to schools and other educational bodies. CORE TECHNOLOGIES NEW SERVICES NEW

Dirac Dirac is open source, relies on no other During the past year we have continued Dirac Pro production. Dirac Pro was successfully As 3D displays move closer to reality, Over the past few years we have drawn parties’ intellectual property, and can be to improve Dirac.The algorithm has been We have now produced an implementation demonstrated to film makers in January both for the home and mobile devices, on practical experience that dates back used without payment of royalties. Its made more efficient and easier to imple- specifically for higher bit rates, which we 2007 at the Hollywood Post Alliance. we are working with the University of to the 1960’s to develop an advanced potential uses range from low resolution ment. A detailed specification has been have named Dirac Pro. It shares many Surrey to develop methods for video compression system called ‘Dirac’. coders for mobile phones and Internet published and open-source software made features with Dirac and is most suitable Dirac is attracting considerable interest compressing 3D video content.These Although we originally intended Dirac for distribution of video clips through to available to allow anyone to develop above 100 Mbit/s. both from within the BBC and from techniques also help in modelling motion high resolution images and high bit rates, HDTV and beyond with ultra-high implementations. A second implementation, other organisations. It was demonstrated in conventional 2D images, and could its wavelet-based compression technique resolution Digital Cinema. Dirac works called Schrödinger has been optimised for Dirac Pro’s initial application was to trans- publicly at IBC 2006, where content from help in improving compression there. has proved suitable for applications from under Linux and on Apple Mac PCs as speed although because of this it is some- port 50 frames/second (fps) HD signals the BBC’s HDTV trial was compared over 1 Gbit/s down to below 100 kbit/s. well as Microsoft Windows.The ability what harder to use as a basis for further on the same cables and infrastructure favourably with satellite broadcasts Brunel University are adapting Dirac It is comparable with the latest standards to work on different operating systems development. Both implementations can as conventional 25 fps HDTV. Video using H264 at the same bit rate. technology to produce bitstreams that H.264/MPEG-4 AVC and VC-1. is important to the BBC’s plans for decode standard definition TV in real at 50 fps conveys a more ‘fluid’ motion can withstand poor quality transmission ‘On Demand’ TV via the iPlayer and time, with Schrödinger able to do this and the BBC plans to move to this higher We are currently formally standardising systems and the effects of network streaming content over the Internet. even on average specification PCs. quality standard over the next few years. Dirac Pro through the SMPTE. A draft of congestion, avoiding the complete It is particularly suitable for sports the specification, referred to as VC-2, has collapse in quality that bedevils Measuring video quality coverage in HD, and could be used been submitted and we are now waiting conventional compression techniques. The technical quality of television passing video signals through cascaded systems now available there is more than for the 2012 Olympic Games. Dirac Pro for it to be ratified. Establishing the pictures has been a frequent topic compression systems can cause extra ever a need for a reliable and standardised provides the 2:1 compression, sometimes standard will encourage equipment As bit rates are pushed ever harder, it for discussion, even before the launch picture degradation we simulated the method for measuring video quality. known as ‘Mezzanine’ compression, manufacturers to incorporate Dirac Pro becomes increasingly difficult to maintain of the regular service. The debate entire chain. By experimenting with with almost no loss in quality. into their products. An implementation picture quality. Because the relationship continues, now largely over digital TV bit rate settings we were able to Measuring video quality is an area we of Dirac Pro, developed jointly with our between encoder control mechanisms and latterly, HD. measure the video quality that would are continuing to research. In the coming Another application of Dirac Pro is the commercial partner NuMedia Technology, and perceived quality is very poorly be achievable at home and recommend year we plan to establish a test-bed to transmission of HDTV signals between will be launched at NAB 2007. understood, encoder designers rely Amongst the early broadcasts of the a number of improvements. investigate and provide specialist advice studios and production centres, using on ad-hoc, indirect, techniques to avoid current HD trial were live programmes on video quality within the BBC. We are the existing distribution infrastructure. Where next? quality collapsing when encoders are covering the FIFA World Cup from This was perhaps an extreme example, continuing our programme of evaluating This requires more compression but We now regard our original implemen- stressed. Manchester Metropolitan Germany. The broadcast arrangements but any production chain will include a compression codecs and investigating Dirac Pro is sufficiently flexible to achieve tation as a reference and have released University have embarked with us on were going to be complex using a chain number of different compression systems issues of concatenated coding, focusing this with little loss in quality. Many other it to several universities as a develop- a project to incorporate psycho-visual of up to four MPEG-2 contribution links between camera and broadcast, and mainly on acquisition and production. applications of Dirac Pro are also possible, ment platform. We are collaborating with modelling techniques into video encoder followed by transmission to the home there may also be format conversions. We are contributing to collaborative in programme production using them to exploit Dirac further and push designs to manage video quality directly, using H.264 compression. Knowing that Because of the range of compression work on this topic within the EBU. networked infrastructure (‘desktop the boundaries of video compression. using Dirac software as a test-bed. production’) and also in digital cinema

34 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 35 Audio Compression Digital Rights Management

Audio bit rate reduction The Internet revolution encourages media businesses to find new ways to exchange A study has been made of MPEG Audio Layer II coding to find out how good it would content with their customers and between themselves. Digital Rights Management be if an optimal coder could be developed. A ‘genetic’ coder was devised that could (DRM) is important in controlling and protecting these exchanges. However, some explore the myriad permutations of encoding that could be applied to each 24 ms of the systems in use are proprietary, and as the number of connections multiplies, frame of audio.The coder worked more slowly than real time but it was possible to failure to develop interoperable solutions could be a major obstacle to the growth record the results and listen at normal speed. The work was presented in a paper of the industry. to the AES European Convention in 2006. We concluded that the potential for further improvement was marginal, the best coders already being close to the performance The requirements of DRM vary from limiting access, through ‘copy control’, to of the genetic coder. much more flexible permissions. In some cases DRM is used simply to protect the integrity of the content or authenticate authorship rather than limit distribution or There is always pressure to reduce the bit rates of the audio signals on DAB to make collect remuneration. room for new features. MPEG Audio Layer II coding is adjustable only in moderately coarse steps in bit rate, and it is difficult to make reductions without compromising BBC R&I has been working with partners in industry and academia to develop open the audio quality. BBC R&I has continued to be closely involved in the assessment of DRM solutions. We have supported the broadcast technology providers through the proposed changes. DVB organisation as they specify the technologies for protecting content delivered over broadcast networks. Multi-channel audio BBC R&I took part in a major series of subjective tests organised by the European We also participate in the Digital Media Project (DMP) as it develops specifications CORE TECHNOLOGIES Broadcasting Union’s B/MAE (Multi-channel Audio Evaluation) project group. In the first and builds software prototypes from its ‘Primitive DRM Tools’.These smaller DRM set of tests the subjective quality of multi-channel audio bit rate reduction systems related functions can be used to assemble a variety of value chains according to such as Dolby Digital Plus, High Efficiency AAC MPEG Surround, and DTS was carefully individual business needs. The DMP aims to provide the technological means and assessed. These are systems that are, or could soon be, used for broadcast or Internet organisational framework to allow participation in the media industry both by large distribution of high quality surround sound, with or without accompanying video. content distributors and individual media creators wishing to distribute content with varying degrees of security. The DMP specifications bring a more inclusive model for Early results were presented by IRT at the EBU’s Forecast ‘06 conference. A paper all players in the value chain, from authors, performers, adapters and producers has been written by BBC R&I together with colleagues from the EBU and IRT, and is through to content providers and home users. to be presented at the 122nd AES convention. The conclusions reveal interesting performance evolution over the ten years since the previous comparable tests. With non-critical material, modern coders can achieve results as good as their predecessors ‘ The DMP aims to provide the technological means and but at a significantly lower bit rate. However, maintaining consistently high quality still requires the same, relatively high, bit rates. organisational framework to allow participation in the media Independent component analysis industry by both large content distributors and individual Independent component analysis is a technique for splitting a sound signal into its component parts, and dealing with each one separately. As a simple example a duet media creators wishing to distribute content with varying might be split into the sounds of the two instruments, which in this instance would clearly be easiest from a stereo recording. We are fascinated by the applications that degrees of security.’ could be developed from this fundamental technology. A joint project is being set up with the University of Salford to examine how it might be applied in real broadcast audio environments. More recently we have begun working with a large group of academics and industrial partners within a mature and established project, funded partly by the European Union, that has developed a platform for cross media production and distribution; AXMEDIS.

In working with these international groups to develop and consider the issues of deploying DRM solutions we have come to a closer understanding of how our industry is changing and can change further to meet the demands of our modern world. By working with the wider industry we are better placed to control our own future and meet the needs of a new type of audience in the new digital age of broadcasting.

36 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 37 Collaborative Projects

BBC R&I works closely with other broadcasters, industry and universities in order to maximise the effectiveness of our research effort, to share knowledge, gain early insights, and influence emerging ARENA Arena is part funded by the European Union. It is exploring methods of measuring new systems and standards. Collaboration ranges from funding of www.ist-arena.org and aggregating audience figures on mobile phones, broadband connections and video recorders, as well as the conventional digital platforms. Arena runs for three years and students through to participation in major projects, many part- is due to finish in December 2008.We are supported in this project by colleagues funded by government or the European Union. from BBC Marketing Communications and Audiences.

We are pleased to acknowledge the effort and support given by AXMEDIS AXMEDIS is part funded by the European Union. The project provides an open all the collaborators and funding bodies mentioned in this review. www.axmedis.org solution which builds on technologies and tools to reduce costs and increase efficiency for the production, protection, management and distribution of content.

The BBC Universities Our research and innovation builds up Our links with Universities are numerous. a depth of knowledge in a technology, As well as direct links, we also have DTI CALLAS CALLAS is part funded by the European Union.The New Content Paradigms area WORKING WITH WITH WORKING US usually before it starts being rolled out sponsored projects and many informal www.callas-newmedia.eu/ focuses on building upon the BBC tradition of rich narrative. We are researching how as an application. When the BBC needs contacts.The academic knowledge which to bring this BBC quality into the interactive domain, looking at techniques for both to deliver the technology our expertise this brings can underpin any development authoring and play-out of truly interactive (‘open-ended’) stories. CALLAS is is invaluable to a successful deployment. of a new service or system. combining the use of emotion-sensing interfaces with interactive narrative techniques There are numerous examples in this to produce a ‘bardic interactive storytelling engine’. Review where we are providing advice Collaboration in Europe and active assistance, ranging from very We contribute to NEM, the Networked visible projects such as the Digital Electronic Media initiative, with the aims Switchover and the test transmissions of influencing and guiding the research iview We lead this DTI-funded project which is developing methods to capture action from of HD, to more esoteric work on agenda for the European Union’s bbc.co.uk/rd/projects/iview events such as a football match in 3D and to provide a 360 degree free-viewpoint programme production and Framework programme of research. video replay of this action, as if from a virtual camera. transmission technologies. This is an association of experts in the technology of media and their insight Other broadcasters and guidance is an important pre- The European Broadcast Union is a competitive indicator of future directions MATRIS MATRIS was part funded by the European Union, and finished in January 2007. central co-ordinating body that brings that the industry is taking. www.ist-matris.org It developed markerless camera tracking technology that used naturally-occurring like minded organisations together, features in the scene. It also developed an inertial sensor and looked at the use of an and many of our contacts with other A number of our research projects are auxiliary camera to improve the tracking. We coordinated the project demonstration European broadcasters are through its enhanced by joining consortia funded at IBC 2006, which attracted the interest of several potential licensees. technical working groups. Extending our under the European Union’s view outside Europe is also important, Framework 6 research programme. for new systems are often introduced This allows us to contribute and gain first on other continents, HDTV being from projects that are typically budgeted Participate Participate is a three-year DTI-funded collaborative project. It is exploring the the best recent example.We have at many millions of Euros. www.participateonline.co.uk convergence of pervasive, online and broadcast media to create new kinds of mass developed stronger links with, for participatory events where a broad cross-section of the public contributes and example NHK in Japan and CCTV shares content. in China. These different cultures traditionally view technologies differently from Europe and we can learn from this. Also these areas, together with India, PRISM We lead this DTI-funded project which is developing workable production services have a very strong technical capacity and based on GRID distributed computing techniques. are influential in world markets, and the consumer marketplace.

38 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 39 Standards

The BBC has always worked in a so-called horizontal market where many players can share the same DVB-SUB We are a participant in several SMPTE media managers can handle them much technology for different business purposes.The only way we can make this work is by adopting We chair this group on subtitling, for projects: Reg-XML, which is developing an as they do pre-recorded audio files, which we recently rewrote the relevant XML representation of MXF and AAF, automatically tying them to metadata for standards. Standards define almost every part of the broadcast chain, from before the capture of images standard to enable subtitles at SMPTE 410M, which is developing the example.AES 52 also opens the possibility and sound, all the way through to the display and loudspeakers at home.We therefore make a serious HD resolutions. building blocks for incorporating other of automatic routing. data, such as subtitles, in an MXF file and effort to help standards bodies to create proposals which will work well for public service broadcasters DVB-T2 SMPTE 377M which is currently revising AES 47, the audio-over-ATM standard and in a complementary way to the commercial goals of private industry. We lead the technical study group, the core MXF standard.We are also extensively used in the BBC, has recently developing an updated specification for working on the SMPTE metadata elements been re-ratified following a routine five- DVB-T to improve transmission efficiency and groups registers which hold the year review. Some standards endure for many years, ensure we have the right tools for us at Where possible we would like to see and ruggedness. definitions of the metadata carried in MXF otherwise we would find it difficult to the end. standards that are: and AAF.Additionally, we chair the SMPTE WorldDMB Forum and operate. However, the situation is always ID3.org AAF Object Specification group, which is DRM Consortium fluid because of new consumer devices Because of our pro-active approach to Open ID3.org is a group which has been defining taking on the technical responsibility for There are many new platforms to deliver and services, technical developments and standards, engineers from BBC R&I are The standard is fully described in methods of tagging audio files with the AAF specification. radio content that was once the preserve changes in business processes. New frequently invited to join standardisation documents that are obtainable by descriptive information or metadata. of analogue AM and FM technologies. standards and additions to existing ones groups, recognising not just their technical anyone, so that any competent engineer We have developed an addendum to the We are similarly closely involved with the The emerging technologies, such as DRM frequently need to be progressed, and contribution, but the fair and reasonable can read the specification and recreate ID3 specification for the visually impaired, AAF Association, having a member on the and DAB+, are seen as competitive by WORKING WITH WITH WORKING US the pace of change is accelerating. balance we are able to broker when the technology. that allows an audio description of the Board of this trade body, and we lead its some and as complementary by others discussions become fractious and textual information to be hidden inside engineering programme.The AAF to our existing digital platforms. Our In the early days standards were set commercial. In many groups we are also and the main audio file. Association has, to date, been the group international presence in the world can nationally. For the past twenty years or asked to take the chair. developing the AAF standard but with the also create conflicts between the so, we have seen a steady movement Free The Digital Media Project technical responsibility for this being domestic agendas of different countries. towards international and global bodies. There are a number of other Or at least available on reasonable terms. (www.dmpf.org) passed to the SMPTE, its work is now By engaging with a number of international But there is still no dominant body with standardisation bodies and organisations, Even a small charge for each instance of a The Digital Media Project (DMP) is a becoming more user and workflow fora, such as the WorldDMB Forum responsibility for all the standards that are for example MPEG, the TV-Anytime standard being used can add up, given non-profit Association. Its mission is to focussed. Reflecting this change, the AAF (formally WorldDAB), the DRM used in broadcasting, and indeed we now European Users Group, and some the volume of the BBC’s output and size promote the successful development, Association has renamed itself as the Consortium and conferences across find there are standards from the technical groups in the EBU and SMPTE, of our audiences.Worryingly, we are deployment and use of digital media that Advanced Media Workflow Association. Europe,Asia and the Americas, we have telecommunications and IT industries that where we hold membership or starting to see instances of royalties being respects the rights of creators and rights been able to put forward the positive and are equally relevant to our business.This otherwise follow the proceedings, to demanded after a standard has been holders to exploit their works, the wish We have also been highly active in a promote a reasoned co-operation means we often have to follow work make sure the BBC’s interests are not committed to. of end users to fully enjoy the benefits SMPTE working group standardising the between technologies that support our through several standards bodies to being compromised. of digital media and the interests of Media Dispatch Protocol for coordinating core values.This has ensured our value-chain players to provide products file transfer of content between continued success in bringing clarity to and services. production centres over IP networks, the messages delivered to our listeners including the Internet.The group has made from the companies that design and sell International The DMP has wherever possible used good progress, and this work will result in digital radios in all our markets. existing technologies, for example an important standard allowing the BBC MPEG-21, as the basis for a number to share content with its production Institute of Electrical and Digital Video Broadcasting Project DVB MHP IPTV specification DVB-CPT of primitive functions. It is finalising the partners in an open way. Electronics Engineers (IEEE) (DVB) The DVB Multimedia Home Platform The first elements of the DVB Copy third release of its interoperable DRM The IEEE has a wide range of standards The Digital Video Broadcasting Project (DVB) (MHP) is an advanced platform for Protection & Copy Management (DVB- platform specification IDP-3. Our video coding technique Dirac is also under its remit.The main areas of interest is a consortium of over 260 companies interactive TV.This year DVB has CPCM) were released in November 2005 being standardised within the SMPTE. to us are the wired and wireless and other organisations developing global completed an IPTV profile for the MHP. as the DVB ‘Blue Book’.This includes the SMPTE and the AAF Association networking standards, where the IEEE standards for the delivery of digital DVB CPCM Reference Model and Usage The Society of Motion Picture and Audio Engineering Society (AES) has become the body preferred to ETSI. television and data services.Their work We contributed and edited the State Information (USI) – an interoperable Television Engineers is based in the USA Most of the digital interfaces used in the has now extended beyond broadcasting TV-Anytime parts of the specification, description format for the copy control and has produced many relevant audio industry are based on standards We are participating in the IEEE 802.11 to the convergence of Internet and mobile based on our earlier work in the myTV conditions associated with standards.We are active members of the managed by the Audio Engineering Society. standardisation process, with a particular systems in the home. DVB specifications and Share-it collaborative projects. protected content. SMPTE and the AAF Association, as they interest in IEEE 802.11n, whose ratification are offered to ETSI, CENELEC, the EBU, This allows the MHP to provide rich continue their work in refining standards We have contributed to two standards is now not expected until late next year. or the ITU to create the programme guides based on information DVB-GBS relevant to television production. Our that have recently been ratified. AES 51 We hope to influence the work so that standards themselves. delivered via broadband IP. This group defines the carriage and sig- interest for this work lies mainly in the file supports delivery of ATM cells over new standards will enhance the potential nalling of data and SI (including TV-Anytime) formats used for capture and storage of ethernet. AES 52 puts unique identifiers of WiFi for video production. BBC R&I has been instrumental in in the DVB transport stream. content in tapeless production systems. into AES 3 transport streams, so that a number of DVB standards.

40 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 41 Standards continued BBC Information & Archives

W3C International Electrotechnical CENELEC BBC Information and Archives (I&A) became part of FM&T in January 2007. The World Wide Web Consortium Committee CENELEC, the European Committee for (W3C) develops interoperable tech- The IEC prepares standards for electrical, Electrotechnical Standardisation prepares nologies to lead the web to its full electronic and related technologies. In voluntary standards for electrical and The project team working within I&A is responsible for several internal delivery projects, with a forecast potential.We are members of the some respects it overlaps work in ETSI, electronic goods and services.The most capital expenditure for 2007-8 of some £2.4 M.These projects are closely linked to the BBC’s Digital ‘Timed-Text’ working group. IEEE and CENELEC, among others. immediate relevance to our work is Usefully, it seeks to lay down performance their influence on the specifications Media Initiative, the creation of processes and technology that will allow the BBC to produce and deliver bounds, for example, the sensitivity one of receiver performance. content entirely digitally and without the use of tape.There can be no effective use of tapeless content can expect from certain types of radio receiver, to ensure that systems across the BBC without a digital archive at the centre. work effectively.

Europe National A significant part of I&A’s project work is to all audiovisual archives – to make Other I&A projects are: done in collaboration with other organisations: preservation work ‘better, faster European Telecommunications standard, and is also compiling a set of Digital TV Group (DTG) and cheaper’. Computer Assisted Standards Institute (ETSI) recommendations for operational practice. The Digital TV Group is an industry Spoken Word Indexing ETSI is the dominant European body association for digital television in the Spoken Word is a five-year Digital A number of other collaborations have Computer Assisted Indexing is a semi WORKING WITH WITH WORKING US with responsibility for broadcasting and EBU Group N/CNCS UK. This group defined the profile of Libraries Content project that started recently begun, part-funded by either the automated indexing and taxonomy telecommunication standards. Most of This group, which we chair, has been the DVB standards which are now used in August 2003. It is jointly sponsored DTI or the European Commission. management tool for cataloguing and the broadcast standards we use are running for a number of years and is now for all Freeview services, and has a by the UK Joint Information Systems retrieving BBC archive material. standardised in ETSI, including DAB, the contributing to an IEC group developing laboratory which is able to test compliance Committee and the US National Science AVATAR DVB suite of standards, and TV-Anytime. a common control standard for network of consumer equipment with those Foundation.The purpose is to allow BBC AVATAR is part funded by the DTI. Off Air Compliance connected broadcast and media production. standards. BBC R&I engineers have radio archive content (and other audio) It is defining IT storage solutions Recording European Broadcasting Union worked closely with the Digital TV to be accessible online to UK university optimised for audio visual content Off Air Compliance Recording is (EBU) EBU Group N/VCIP Group to set the standards. students. It is the only direct mechanism and data from oil and gas exploration. the replacement of the VHS-based The EBU is no longer the prime body for This is a new group set up at the start of to get archive content into the higher It began in November 2006 and finishes system for legal compliance recording creating broadcast standards as it was in 2007, with similar aims to N/ACIP but for Now the group is concentrating on high educational sector, and has given us in 2009. of BBC TV transmissions with an the days of MAC and NICAM. It has now video contributions over IP. definition television, radio spectrum valuable experience of ‘digital repositories’ automated system that will also capture changed its role to act as a consensus- issues, mobile TV, and domestic systems. and associated access technology, all of ESTASTAR interactive elements (from a concept building body, ensuring that public service EBU Group P/CP which is useful for BBC’s iPlayer and for ECTASTAR is part funded by the DTI. developed by BBC R&I). broadcasters in Europe are able to develop This is an interdisciplinary group, analysing Open Archive initiatives. The other It is devising architectures to access a common viewpoint. Much of the EBU’s common processes in TV production, partners are the Glasgow Caledonian exabytes of storage at terabit/s rates. Radio Digital Archive formal documentation is published and to answer the increasing demand for University, Northwestern University, It began in November 2006 and runs Radio Digital Archive is the capturing of then referenced in other standards. economical systems integration. It is Chicago, and Michigan State University. for two years. selected BBC radio output and related mostly concerned with file-based pro- metadata, with the ability to search and The EBU organises this work into a series duction and its related metadata issues. PrestoSpace SEMEDIA retrieve as digital files. of technical groups, and we contribute to PrestoSpace started in February 2004 SEMEDIA is part funded by the EU. all of these. EBU Group P/Display and has just passed its third review. It is It will develop techniques, environments Online Ordering We chair this group which is addressing a large EU Integrated Project with 38 and tools for media labelling, searching Development of new systems for online EBU Group B/MAE the supply of professional TV monitors, partners, running for four years. It is a and retrieval from very large collections ordering of TV viewing material and We have recently taken part in a series used by all broadcasters to ensure ‘public value’ project; the BBC and its of heterogeneous data. It started in music within the BBC, and for delivering of subjective quality tests organised by this consistent picture quality and colorimetry. technology partners know how to January 2007 and finishes in 2009. commercial music direct to BBC users. group, which evaluates multi-channel audio CRT (cathode ray tube) TVs are now preserve audiovisual content efficiently, coding technologies. almost unobtainable, and the new flat using a factory approach (for example Video active panel technologies work in very different the BBC Archive Radio Digitisation Video Active is part funded by the EBU Group N/ACIP ways, not only from CRTs but also from project at Maida Vale). Our knowledge EU. It is putting historical and heritage Set up early in 2006, this group is one another.There are parameters to and standing in audiovisual preservation television material onto a shared, public developing an interoperability standard specify which simply did not exist with means that the rest of Europe’s website, and providing tools to support for equipment for audio contributions CRTs, or which could be taken for granted audiovisual collections look to us for finding material in different languages. over IP,in cooperation with manufacturers. because the CRT TVs all worked in the guidance. PrestoSpace is the mechanism It started in September 2006 and runs It is building a test engine for verifying same way.This group liaises closely with whereby the knowledge and approach of for three years. commercial equipment against the the SMPTE and the UK DTG. BBC and partners can be made available

42 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 43 The Innovation Forum Future Media Innovation

In January 2007 we held our first FM&T Innovation Forum at the Science Museum’s Dana Centre. The Future Media Innovation team aims information about their local environ- produces, and share them with third The Forum will meet three times per year and is part of the innovation process that FM&T uses to to provide the BBC with product and ment to build a national picture across party, non-commercial developers. service ideas from internal and external the UK. discover, develop and implement its most important innovative ideas. It acts as a focus to trigger and innovation networks. It aims to develop Over the last year we have gone out socialise proposals as well as the start of the peer review process. and support wide ranging and efficient Arts & Humanities Research to developer communities all over the innovation networks, and to drive new Council (AHRC) Partnership country in a series of meet-ups, events products into the business. Our current The aim of this partnership has been to and university tours. We have established work is based on developing tools for discover whether there was scope for a partnerships with O’Reilly,Yahoo!, engaging with innovators outside the long term partnership between our two The Obvious and the Guardian.We’ve organisation, loosely grouped in four communities, if there was a demand for launched our new in-depth podcasts sectors – corporate partners, academia, enabling effective knowledge transfer and and started on a process to allow the independent digital media production delivering mutually beneficial research, BBC much more flexibility in regards to companies, and ‘lead users’. Here are and how that research could turn into development and prototyping into the some details about projects aimed at joint projects with a mutual strategic fit. near future. Our next major project is these sectors. The response after three initial summits the Yahoo!/BBC Backstage ‘Hackday’ – was overwhelmingly positive and showed a huge event involving over 400 Participate that a specialist arts and humanities developers at Alexandra Palace on www.participateonline.co.uk academic community which has a deep 16 and 17 June, 2007 – more details WORKING WITH WITH WORKING US understanding of the drivers and at www.hackday.org Participate explores convergence in inhibitors of change is an untapped pervasive, online and broadcast media resource for insight, expertise, and ideas BBC Innovation Labs to create new kinds of mass-participatory for BBC FM&T. http://open.bbc.co.uk/labs events in which a broad cross-section of the public contributes to, as well as After the successful summits (documented BBC Innovation Labs is a process for accesses, contextual content – on the at http://tell.memore.info) a joint funding working with the independent media move, in public places, at school and call for collaborative projects was production companies on early-stage at home. announced in January 2007. Over 60 prototypes for new products and applications were received and 26 made services.The process has three stages: Participate is a three-year collaborative it to a shortlist. Five of these have now open days where BBC commissioners project supported by the DTI and been chosen to go forward for joint describe their strategic needs and the The day-long event saw many interesting and varied ideas Huw Williams hosted the event and also presented the EPSRC blending expertise in online funding, giving clear indications that there briefs for the Labs; an open submission presented, including proposals to mount a high quality inaugural Innovation Awards: services, ubiquitous computing, broadcast is a strategic fit for both communities. process on the Labs site; and a five-day camera on athletes, use a Nintendo Wii controller to operate media, sensors, pervasive gaming and residential workshop where the production systems, and put wind turbines on BBC premises. Surround video project events, and education. Our partners are Once the projects have begun we will companies work with BBC and external An audience of around eighty technologists attended and used Jigna Chandaria BT, Microsoft Research Cambridge, Blast be monitoring progress, disseminating mentors to develop their ideas. the optical voting system developed by the Production Magic Paul Debenham Theory, ScienceScope, University of outcomes and measuring success and team to give immediate feedback after each presentation. Stephen Jolly Nottingham and the University of Bath. impact on the business within both After successful pilots in 2005/6, we Delegates also completed feedback forms for a more con- Tim Sargeant communities. This type of partnership worked with ten regional partners to sidered view on the proposals. Following each Forum a more Graham Thomas The consortium is working together to is a first for the BBC and the AHRC deliver four Labs in 2006/7, covering structured review process takes place, with volunteers Bruce Weir. develop scalable solutions for managed and, should it prove successful, there Scotland, North England, South England discussing each idea in depth. Ideas that have been presented events and campaigns that engage and will be further funding calls. Meanwhile, and London. This year’s Labs were to the New Ideas Symposia, the forerunner to the Forum, Audio navigation visualisation project motivate participants over sustained we are developing a sophisticated online launched with 13 open days in cities are also considered alongside those from the Forums. Andrew Mason. periods of time.We are developing tools brokerage tool which will track all the across these regions, and we received for the public to author, share and discuss existing relationships as well as helping over 500 proposals.These were filtered April 2007 will see the start of work to build a Rapid Augmented reality content using their own devices, and for to develop new ones. We will be holding down to 40 ideas that were developed Prototyping and Research Centre (R-PARC) at Kingswood Adrian Woolard. professionals and experts to collate and more summits in autumn 2007. over the five-day Labs, with 18 ideas Warren.This will be a wholly configurable space with generic edit contributions for publication over being selected for further development. equipment plus ‘per project’ specialist technologies, as required New Ideas Symposium team broadcast and interactive channels. BBC Backstage by the ideas flowing through the Centre.The aim is to spend Michael Evans Backstage.bbc.co.uk is the developer/ short but intense periods of time researching and developing Matt Hammond The BBC is working with a range of designer network from the BBC. It is an ideas, perhaps creating prototypes or demonstrators or Stephen Jolly partners to develop a series of trials opportunity for the BBC to engage with investigating proofs of concept. Alia Sheikh. and events based on the theme of ‘the the external developer community, offer environment’ capturing and contributing some of the data and services the BBC

44 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 45 More Information Index

3G telephony 4 – 5, 11– 12, 23 F P What to do if you Floorman,22 P2 memory cards, 21– 22 A free-d,16 Participate (DTI Project), 15, 22, 37, 39, want to know more. AAF (Advanced Authoring Format), Freesat,5,26 45 21–22, 41 Freeview, 4– 5, 6, 8– 9, 13, 26, 42 Piero,5,9,16 AES (Audio Engineering Society), 36, 41 PMSE (Programme Making and Special AHRC (Arts & Humanities Research G Events), 23, 33 Council), 45 Games consoles, 4, 14, 29 PrestoSpace (EU Project), 43 ARENA (EU Project), 27, 39 PRISM (DTI Project), 30, 39 Arqiva,32 H Audio over IP,31 HD (High Definition TV), 4– 5, 6– 7, 9, R This Annual Review has deliberately Projects AVATAR (DTI Project), 43 16– 7, 23, 26, 30, 33, 34– 35, 38, 4– 42 Radio Digital Archive,43 been aimed at a broad readership. Many of the projects at BBC R&I AXMEDIS (EU Project), 37, 39 Radio Player,10 As a consequence, the articles are have a special set of pages, either on I Red Bee Media, 6, 11, 16 considerably shorter than they might our website, or hosted by others such B IBC 2006, 5, 8, 16, 22, 32, 35, 39 otherwise have been, and we have as our collaborative partners or BAMZOOKi, 20 IEEE, (Institue of Electrical and Electronics S avoided going into deep technical detail. SourceForge.The aim is to be open BARB (Broadcasters Audience Research Engineers) 41– 42 SAMBA,20–21 about our work whenever possible. Board), 27 iMP,11 Schrödinger,34 MORE INFORMATION MORE For those who wish to learn more INDEX BBC Backstage, 14, 45 iPlayer, 4– 5, 10– 11, 22, 34, 43 SEMEDIA (EU Project), 43 about any of the projects, there are White Papers BBC Innovation Labs,45 iview, (DTI Project), 17, 39 Siemens, 6, 11, 13, 24, 26 several places you can find more. We publish reports and tutorials about BBCi,9,26 SMPTE (Society of Motion Picture and We have moved away from paper our work as a series of White Papers. J Television Engineers), 35, 40, 41– 42 documentation, and now rely on the C JFMG Ltd,23 Spoken Word (DLC Project), 43 Internet to deliver our output.This Our papers are published in places Cabot Communications,8 Subtitles, 6, 22, 27, 41 makes it much easier for everyone such as journals and conferences. CALLAS (EU Project), 15, 39 K Surround video, 18, 44 to gain access to our work.You can We have a policy to retain copyright Kamaelia,29 Switchover (Digital Switchover) 4– 5, 13, find details of our projects wherever possible on these pub- D 15, 24– 25, 38 on our website. lications.This allows us to offer these DAB, 4, 28, 32–33, 36, 42 M works as White Papers too, making all DAB+,28 MATRIS, 16, 39 T Website: bbc.co.uk/rd our output accessible in one place. Digital Switchover, (see Switchover) MHEG,9 TV-Anytime, 11, 13, 14, 40, 42 Dirac, 34–35, 41 MHEG-5,8 Lectures Dirac Pro,34–35 MIMO, 23, 32– 33 U We receive many invitations to lecture. DMP (Digital Media Project), 37, 41 MixTV,16 User generated content,15 Our intention is to try to inform a DRM (Digital Radio Mondiale), 28, 41 MPEG Audio Layer II,36 wide range of interested groups, from DRM (Digital Rights Management), 37, 41 MXF (Material Exchange Format), 19, V the high level professional conferences DTG, 7, 8–9, 13, 25, 42 20– 22, 41 Video Active (EU Project), 43 and seminars, to small local specialist DVB (Digital Video Broadcasting Project), interest groups. 6, 9, 13, 26, 32– 33, 37, 40– 42 N W NAB 2007,5,35 W3C, 22, 42 Whenever the lecture is being given E National Grid Wireless, 28, 32 Web 2.0,5 in a public event, we try to publicise EBU (European Broadcasting Union), 22, WiFi, 31, 41 it in advance through our website. 31, 34, 36, 40, 42 O WiMax, 23, 31 ECTASTAR (DTI Project), 43 OFCOM, 19, 23, 32 WorldDMB, 28, 41 EICTA,6,25 ETSI, (European Telecommunications Standards Institute) 9, 28, 40, 40– 42

46 APRIL 2006 – MARCH 2007 BBC RESEARCH & INNOVATION ANNUAL REVIEW 47 Edited by Richard Marsden and Graham Thomas Designed by Kevin Claydon and Keren Greene

BBC Research & Innovation Kingswood Warren TADWORTH Surrey KT20 6NP

Website: bbc.co.uk/rd

Tel:01737 839500 Fax: 01737 839501

© BBC FM&T 2007

48 APRIL 2006 – MARCH 2007