DOCSLIB.ORG

DPP Technical Delivery Standards

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TECHNICAL STANDARDS FOR DELIVERY OF ..... TELEVISION PROGRAMMES TO This document is a complete guide to the common technical standards agreed by the BBC, BTSport, Channel 4, Channel 5, ITV, Sky, S4C and TG4. The first three pages of this document outline parts of the specification that are unique to Channel 4. The main body of the document outlines the main specification as adopted by all members. The Standards include: Technical Specifications, i.e. the technical production methods which must be used, and the parameters which all material must meet to be acceptable by the broadcasters. Picture and Sound Quality requirements, which also form a binding obligation on producers of material. Assessment of quality is by nature subjective, and is highly dependent on the nature of the programme. Some of the Quality Requirements are expressed in relative terms (“reasonable”, “not excessive” etc), and it will be necessary to make a judgement as to whether the quality expectations of the intended audience will be fulfilled, and whether the broadcaster will feel that value for money has been achieved. Delivery Requirements, which specify the form and layout of the programme material. Every programme submitted for transmission must satisfy a Quality Control process specified by Channel 4. Any programme failing the QC process on tape or file may be rejected and returned to the supplier for repair. Please ensure you are using the current version of this document, available at the Channel 4 Programme Management portal, “Technical Standards for Programme Delivery”: http://www.channel4.com/info/commissioning/production-information/programme-management Technical Responsibility and Contacts: Channel 4 is required to ensure that for all broadcast programmes technical quality is maintained to a satisfactory standard. For any production or technical delivery enquiries please contact Contact Email Telephone Production Technical Standards [email protected] +44 (0)20 7306 8183 The Senior Engineers at Red Bee Media are the out of hours contact for technical enquiries affecting immediate (defined as “on the day”) delivery. For enquiries please contact Contact Email Telephone MultiMedia Duty Ops Manager [email protected] +44 (0)20 8495 4976 TECHNICAL STANDARDS FOR DELIVERY OF TELEVISION PROGRAMMES File Naming Requirements - PROGRAMMES Programme files delivered to Channel 4 must be named thus: Requested Programme File Name Format Example Filename Notes XXXXX_YYY_Vnn.mxf 54321_004_V02.mxf Contract Number (5 to 10 digits)_Episode Number(3 digits)_Version Number (3 digits). For example, a file containing C4 Contract Number 54321, Episode Number 4, Version 2, would be named as shown below. Note that the “V” for Version must be uppercase, and the extension names must be lowercase. File Naming Requirements – QC reports All reporting files will follow the same naming convention as the MXF programme files with the report name as a further identifier after the underscore. The PSE Report = _PSE The AQC Report = _AQC The Eyeball QC Report = _EYE Some AQC devices combine the PSE and AQC reports and others allow manual entry for comments from the Eyeball QC test. Broadcasters can accept all options as long as it is clear from the file name what is included. Quality Control (AQC, Eyeball QC and PSE) reports must be delivered as PDF reports and must have the same Programme ID and Version Number as the programme file; as per below. Requested Report Name Format Example Filename Notes XXXXX_YYY_Vnn_PSE.pdf 54321_004_V02_PSE.pdf A PSE Report for that: Programme (Contract) Number_ Episode Number_ Version Number_ PSE signifies PSE Report And it is in PDF format. XXXXX_YYY_Vnn_AQC.pdf 54321_004_V02_AQC.pdf As above but for AQC XXXXX_YYY_Vnn_EYE.pdf 54321_004_V02_EYE.pdf As above but as an Eyeball test XXXXX_YYY_Vnn_PSE_AQC.pdf 54321_004_V02_PSE_AQC.pdf As above but in the case of combined PSE and AQC reports Channel Four File Delivery Detail The programme MXF and all the QC PDFs are delivered to a single upload area for you to drop your files. Channel Four’s Programme Managers will give you the username and login for this, and guidelines for naming the area for each delivery. If you do not know who your programme manager is, they are all listed here: http://www.channel4.com/info/commissioning/production-information/programme-management Page 2 of 62 UK Version 4.3 – 2014 Channel Four Version 4.3.1 - 2015 TECHNICAL STANDARDS FOR DELIVERY OF TELEVISION PROGRAMMES Live Programme Delivery In the majority of cases, productions will be expected to drop off their live signals at BT Tower as the main Point Of Delivery. Channel 4 has dedicated circuits from there to its playout centre. Channel 4 may also, at its discretion, specify use of its own dish-farm at the Channel 4 Playout facility for collection of live signals. Channel 4 Playout is located at: BCA, RedBee Media, The Broadcast Centre, 201 Wood Lane, White City, London W12 7TP Production Companies should contact the Live Operations Co-Ordinator at a pre-contractual stage to agree an appropriate level of resilience, based on several factors, which will be discussed at that stage. Additionally, well in advance of the event, and preferably as soon as the commission is awarded, the technical contact of the production will establish contact with, and submit a production design outlining how the delivery will be achieved, to: The Live Operations Co-Ordinator, C4 Distribution and Broadcast Technology, who can be contacted via e- mail thus: Contact Email Telephone Live Operations Co-Ordinator [email protected] n/a Any technical enquiries can be discussed with: Contact Email Telephone Production Technical Standards [email protected] +44 (0)20 7306 8183 Closer to the event, the contact for setup and testing at RedBee Playout for Channel 4 is: Contact Email Telephone The Satellite and Lines Co-Ordinator, Not applicable +44 (0)20 8495 5391 C4 / RedBee Media, ECA (Office Hours) Duty Engineering Managers (DEMS) [email protected] +44 (0)20 8495 5400 (24 hours) Schematic Diagram for the Production When requested the Production companies should provide a schematic diagram to the C4 Live Operations Co-ordinator documenting the end to end signal path, including back up circuits, between the remote location and RedBee Media no later than 2 weeks before the transmission date. This should include circuit numbers and contact details for key Technical / Production Staff working on the live programme. Channel 4 should be made aware of all third party suppliers working on a live programme. It will be the responsibility of production companies to ensure third party suppliers are fully conversant with C4’s technical delivery requirements relating to live programmes and that they fully comply with the code. Codec Map The Codec Map documenting all codecs (including bit rates) through which a signal passes before arriving at Red Bee Media, as referred to in section 6.4 of this document. This should be submitted to the C4 Operations Co-Ordinator for assessment at the earliest possible opportunity and certainly no later than 1 week prior to the programme’s scheduled transmission date. Circuit Booking Times The main and back-up circuits must be booked and made available between the OB location, or remote site, and RedBee Media at least 30 minutes before the scheduled start time of the programme to allow sufficient time for technical line-up. Circuits must also be available for a minimum of 15 minutes after the scheduled end time of the programme. This 15-minute window should be observed after the end time of any contingency schedule. Page 3 of 62 UK Version 4.3 – 2014 Channel Four Version 4.3.1 - 2015 TECHNICAL STANDARDS FOR DELIVERY OF TELEVISION PROGRAMMES Resilience Levels Production companies will normally provide a main and backup signal path, and they will ensure OB suppliers, or remote locations, have UPS/Generator provision so the live programme transmission can be maintained in the event of any loss of power at the remote location. Critical systems should always be protected by UPS and if generator power is used it should be a dual system which allows synchronous changeover. This provision should be fully tested prior to transmission to ensure the functionality is fit for purpose. Surround Audio Requirements This is a supplement to Section 3.4 and applies to all Channel 4 programmes that have Surround Sound. In general, commissioned programmes delivered to Channel 4 for SD or HD transmission shall be delivered as Stereo, unless they are specifically commissioned in 5.1 Surround Sound. The stereo mix of a commissioned surround sound programme should be an automated down-mix in Lo/Ro created from the 5.1 mix of the surround audio made using the down-mix metadata. C4 prefers that all commissioned programmes with Surround Sound are provided with all dialogue present in each of the three front channels (Mode 1). Live, As-live, and Sports may be delivered as outlined in Mode 2. Out-of-vision commentary or voice over that is placed in the centre channel only, should be approximately 3LU higher than the in-vision dialogue in the front left and right channels Where the international or co-production deliverables require a centre-only dialogue mix (Mode 3) and it is not feasible to produce a Channel 4 UK transmission mix, then Centre- only dialogue will be accepted. The following table gives the settings required for delivery of C4 commissioned programmes. The settings refer to the “See Broadcaster Recommendation” sections of the Dolby E settings table in Appendix 3 PARAMETER ALL COMMISSIONED SPORT AND LIVE CONTENT PROGRAMMES Dialogue Level* -23dB -23dB Line Mode Compression Film Light Film Light RF Mode Compression Film Light Film Light Centre Down Mix Level Content Dependant* -3dB Surround Down Mix Level Content Dependant* -6dB Surround 3dB Attn.
Recommended publications
  • Ts 103 190-2 V1.2.1 (2018-02)

    Ts 103 190-2 V1.2.1 (2018-02)

    ETSI TS 103 190-2 V1.2.1 (2018-02) TECHNICAL SPECIFICATION Digital Audio Compression (AC-4) Standard; Part 2: Immersive and personalized audio 2 ETSI TS 103 190-2 V1.2.1 (2018-02) Reference RTS/JTC-043-2 Keywords audio, broadcasting, codec, content, digital, distribution, object audio, personalization ETSI 650 Route des Lucioles F-06921 Sophia Antipolis Cedex - FRANCE Tel.: +33 4 92 94 42 00 Fax: +33 4 93 65 47 16 Siret N° 348 623 562 00017 - NAF 742 C Association à but non lucratif enregistrée à la Sous-Préfecture de Grasse (06) N° 7803/88 Important notice The present document can be downloaded from: http://www.etsi.org/standards-search The present document may be made available in electronic versions and/or in print. The content of any electronic and/or print versions of the present document shall not be modified without the prior written authorization of ETSI. In case of any existing or perceived difference in contents between such versions and/or in print, the only prevailing document is the print of the Portable Document Format (PDF) version kept on a specific network drive within ETSI Secretariat. Users of the present document should be aware that the document may be subject to revision or change of status. Information on the current status of this and other ETSI documents is available at https://portal.etsi.org/TB/ETSIDeliverableStatus.aspx If you find errors in the present document, please send your comment to one of the following services: https://portal.etsi.org/People/CommiteeSupportStaff.aspx Copyright Notification No part may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and microfilm except as authorized by written permission of ETSI.
  • Dolby AC-4, Please Visit Dolby.Com/AC-4

    Dolby AC-4, Please Visit Dolby.Com/AC-4

    NEXT-GENERATION AUDIO Dolby ® AC-4 For more information on Dolby AC-4, please visit Dolby.com/AC-4. ® ® NEX T-GENERATION AUDIO ED2 OR Dolby AC-4 PCM & METADATA AC-3 AC-4 PCM Integrating Personalized and Immersive Programming into Broadcast Operations The diagram below outlines a representative end-to-end signal flow for live and post-produced content through the broadcast ecosystem. PRODUCTION OPEN STANDARDS OUTSIDE BROADCAST BROADCASTER PAY TV OPERATOR CONFIDENCE MONITOR OUTPUT LEGACY RENDERER/ OBJECT AUDIO PROCESSOR ENCODER CHANNEL AUDIO OBJECT METADATA AUDIO MONITORING METADATA ANALYSIS GENERATION DISTRIBUTION INTEGRATED ENCODER RECEIVER/ MASTER DECODER CONTROL CHANNEL METADATA & OBJECT CHANNEL / GROUPING EMISSION INTEGRATED EMISSION OBJECT ROUTER AND OBJECT AUDIO ENCODER RECEIVER/ ENCODER DEFINITION DECODER PASSTHROUGH ANALYSIS PCM RENDERING AND PROCESSING INGEST PLAYOUT AUDIO SERVER SERVER MONITORING METADATA PCM MEZZANINE CONTRIBUTION AD STREAMING TRANSPORT FORMAT ENCODER MODULATOR/ SERVER ENCODER ENCODING FIBER MUX MUX/ SPLICER STREAMING ENCODER POSTPRODUCTION CDN ANTENNA CDN CONFIDENCE MONITOR OUTPUT OBJECT AUDIO PROCESSOR IN THE HOME SET-TOP BOX CHANNEL METADATA OBJECT AUDIO METADATA ANALYSIS GENERATION DEMODULATOR CHANNEL METADATA & OBJECT CHANNEL / ® GROUPING OBJECT AC-4 HDMI AND OBJECT AUDIO DECODER FORMATTER DEFINITION ANALYSIS PCM RENDERING AND PROCESSING TABLET/SMARTPHONE TV TO AVR / SOUNDBAR METADATA TO HEADPHONES TO SPEAKERS PCM ITU-R BWAV ADM (MXF, IMF) PACKAGING OBJECT APP AC-4 HEADPHONE RECEIVER / AC-4 HDMI® & CHANNEL DECODER RENDERER PROCESSOR DECODER FORMATTER INTERCHANGE TO AVR / SOUND BAR METADATA ED2 ENCODER PCM AC-4 IMMERSIVENESS Dolby AC-4 natively supports immersive audio to move sound around the audience in three-dimensional space. Both channel-based and object-based immersive audio can be delivered to the home and played back on speakers or headphones.
  • Quick Reference Guide To: How to Deliver Content to ITV Your Programme Has Been Commissioned and You Have Been Asked by ITV to Deliver a Piece of Content

    Quick Reference Guide To: How to Deliver Content to ITV Your Programme Has Been Commissioned and You Have Been Asked by ITV to Deliver a Piece of Content

    July 2020 Quick Reference Guide To: How to Deliver Content to ITV Your programme has been commissioned and you have been asked by ITV to deliver a piece of content. What do you need to do and who are the contacts along the journey?..... Firstly, you will need to know who your Compliance Advisor is. If you’ve not been provided with a contact then email [email protected]. Your Advisor will be able to provide you with legal advice along the journey and will be able to provide you with lots of key information such as your unique Production Number. Another key contact is your Commissioner. They may require some deliverables from you so it’s best to have that discussion directly with them. Within this guide you will find a list of frequently asked questions with links to more detailed documents. 1. My programme will be transmitted live. Does this make a difference? 2. My programme isn’t live; so what exactly am I delivering? 3. Where do I get my Production/Clock Numbers from? 4. Where can I get my tech spec to file deliver? 5. Where do I deliver my DPP AS-11 file to? 6. I need to ensure that my programme has the ITV ‘Look & Feel’. How do I make this happen? 7. Can I make amendments to my programme after I’ve delivered it to Content Delivery? 8. Where do I send my Post Productions Scripts to? 9. What do I do if I have queries around part durations and the total runtime of my programme? 10.
  • Audio Coding for Digital Broadcasting

    Audio Coding for Digital Broadcasting

    Recommendation ITU-R BS.1196-7 (01/2019) Audio coding for digital broadcasting BS Series Broadcasting service (sound) ii Rec. ITU-R BS.1196-7 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio- frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Recommendations (Also available online at http://www.itu.int/publ/R-REC/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management SNG Satellite news gathering TF Time signals and frequency standards emissions V Vocabulary and related subjects Note: This ITU-R Recommendation was approved in English under the procedure detailed in Resolution ITU-R 1.
  • Surround Sound Processed by Opus Codec: a Perceptual Quality Assessment

    Surround Sound Processed by Opus Codec: a Perceptual Quality Assessment

    28. Konferenz Elektronische Sprachsignalverarbeitung 2017, Saarbrücken SURROUND SOUND PROCESSED BY OPUS CODEC: APERCEPTUAL QUALITY ASSESSMENT Franziska Trojahn, Martin Meszaros, Michael Maruschke and Oliver Jokisch Hochschule für Telekommunikation Leipzig, Germany [email protected] Abstract: The article describes the first perceptual quality study of 5.1 surround sound that has been processed by the Opus codec standardised by the Internet Engineering Task Force (IETF). All listening sessions with up to five subjects took place in a slightly sound absorbing laboratory – simulating living room conditions. For the assessment we conducted a Degradation Category Rating (DCR) listening- opinion test according to ITU-T P.800 recommendation with stimuli for six channels at total bitrates between 96 kbit/s and 192 kbit/s as well as hidden references. A group of 27 naive listeners compared a total of 20 sound samples. The differences between uncompressed and degraded sound samples were rated on a five-point degradation category scale resulting in Degradation Mean Opinion Score (DMOS). The overall results show that the average quality correlates with the bitrates. The quality diverges for the individual test stimuli depending on the music characteristics. Under most circumstances, a bitrate of 128 kbit/s is sufficient to achieve acceptable quality. 1 Introduction Nowadays, a high number of different speech and audio codecs are implemented in several kinds of multimedia applications; including audio / video entertainment, broadcasting and gaming. In recent years the demand for low delay and high quality audio applications, such as remote real-time jamming and cloud gaming, has been increasing. Therefore, current research objectives do not only include close to natural speech or audio quality, but also the requirements of low bitrates and a minimum latency.
  • House of Commons Welsh Affairs Committee

    House of Commons Welsh Affairs Committee

    House of Commons Welsh Affairs Committee S4C Written evidence - web List of written evidence 1 URDD 3 2 Hugh Evans 5 3 Ron Jones 6 4 Dr Simon Brooks 14 5 The Writers Guild of Great Britain 18 6 Mabon ap Gwynfor 23 7 Welsh Language Board 28 8 Ofcom 34 9 Professor Thomas P O’Malley, Aberystwth University 60 10 Tinopolis 64 11 Institute of Welsh Affairs 69 12 NUJ Parliamentary Group 76 13 Plaim Cymru 77 14 Welsh Language Society 85 15 NUJ and Bectu 94 16 DCMS 98 17 PACT 103 18 TAC 113 19 BBC 126 20 Mercator Institute for Media, Languages and Culture 132 21 Mr S.G. Jones 138 22 Alun Ffred Jones AM, Welsh Assembly Government 139 23 Celebrating Our Language 144 24 Peter Edwards and Huw Walters 146 2 Written evidence submitted by Urdd Gobaith Cymru In the opinion of Urdd Gobaith Cymru, Wales’ largest children and young people’s organisation with 50,000 members under the age of 25: • The provision of good-quality Welsh language programmes is fundamental to establishing a linguistic context for those who speak Welsh and who wish to learn it. • It is vital that this is funded to the necessary level. • A good partnership already exists between S4C and the Urdd, but the Urdd would be happy to co-operate and work with S4C to identify further opportunities for collaboration to offer opportunities for children and young people, thus developing new audiences. • We believe that decisions about the development of S4C should be made in Wales.
  • Operating Instructions Blu-Ray Disc Home Theater Sound System SC

    Operating Instructions Blu-Ray Disc Home Theater Sound System SC

    BT300.book 1 ページ ２００９年６月１２日 金曜日 午後１２時１３分 Operating Instructions Blu-ray Disc Home Theater Sound System Model No. SC-BT303 SC-BT300 SC-BT203 SC-BT200 The illustration shows the image of the unit SC-BT300 with “P” indicated on the packaging. Dear customer Thank you for purchasing this product. For optimum performance and safety, please read these instructions carefully. Before connecting, operating or adjusting this product, please read the instructions completely. Please keep this manual for future reference. To update the firmware of this unit, refer to page 32. Region management information BD-Video Example: This unit plays BD-Video marked with labels containing the region code A. DVD-Video Example: This unit plays DVD-Video marked with labels containing the region number “1” or “ALL”. 1 2 1 ALL 4 [For[the[U.S.A.[and[Canada[ ® If you have any questions contact As an ENERGY STAR Partner, [U.S.A.]and]Puerto]Rico]:1-800-211-PANA(7262) Panasonic has determined that [Canada]: 1-800-561-5505 this product meets the ENERGY STAR® guidelines for energy efficiency. [Only]for[U.S.A.]and]Puerto]Rico]: The warranty can be found on page 58. For Canada only: The word “Participant” is used in place of the word [Canada]: The warranty can be found on page 59. “Partner”. P PC PX RQT9508-1P 2009/7/08 BT300.book 2 ページ ２００９年６月１２日 金曜日 午後１２時１３分 ≥These operating instructions are applicable System SC-BT300 SC-BT303 SC-BT200 SC-BT203 to models SC-BT300, SC-BT303, SC-BT200 Main unit SA-BT300 SA-BT300 SA-BT200 SA-BT203 Getting started and SC-BT203 for a variety of regions.
  • U.S. Government Printing Office Style Manual, 2008

    U.S. Government Printing Office Style Manual, 2008

    U.S. Government Printing Offi ce Style Manual An official guide to the form and style of Federal Government printing 2008 PPreliminary-CD.inddreliminary-CD.indd i 33/4/09/4/09 110:18:040:18:04 AAMM Production and Distribution Notes Th is publication was typeset electronically using Helvetica and Minion Pro typefaces. It was printed using vegetable oil-based ink on recycled paper containing 30% post consumer waste. Th e GPO Style Manual will be distributed to libraries in the Federal Depository Library Program. To fi nd a depository library near you, please go to the Federal depository library directory at http://catalog.gpo.gov/fdlpdir/public.jsp. Th e electronic text of this publication is available for public use free of charge at http://www.gpoaccess.gov/stylemanual/index.html. Use of ISBN Prefi x Th is is the offi cial U.S. Government edition of this publication and is herein identifi ed to certify its authenticity. ISBN 978–0–16–081813–4 is for U.S. Government Printing Offi ce offi cial editions only. Th e Superintendent of Documents of the U.S. Government Printing Offi ce requests that any re- printed edition be labeled clearly as a copy of the authentic work, and that a new ISBN be assigned. For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512-1800; DC area (202) 512-1800 Fax: (202) 512-2104 Mail: Stop IDCC, Washington, DC 20402-0001 ISBN 978-0-16-081813-4 (CD) II PPreliminary-CD.inddreliminary-CD.indd iiii 33/4/09/4/09 110:18:050:18:05 AAMM THE UNITED STATES GOVERNMENT PRINTING OFFICE STYLE MANUAL IS PUBLISHED UNDER THE DIRECTION AND AUTHORITY OF THE PUBLIC PRINTER OF THE UNITED STATES Robert C.
  • Channel 4 Playout Red Bee Media

    Channel 4 Playout Red Bee Media

    CASE STUDY Channel 4 Playout Red Bee Media Summary Red Bee Broadcast Centre in White City, London is dedicated to providing a centralised playout facility for UK broadcasters. Custom built in 2003, its clients include the BBC and BBCHD, Channel Five, Virgin Media and Channel 4. One of the IDS displays in the new playout facility. The brief In 2009, Red Bee Media won the contract to host the playout services for Channel 4 and its family of channels including Film 4, E4 and More4. To fulfil the operational requirements, a large new central playout area was commissioned, supplemented by two reactive playout suites, each with an associated continuity booth with a third continuity booth situated outside the main area. We were asked to install an IDS system that met two main requirements: 1. Provide a visual link between network directors in the various playout positions and continuity announcers in their isolated booths. 2. Develop an IDS interface for the Snell Morpheus automation system to derive and display relevant next-event count-down information for in excess of 20 simultaneous channels. CASE STUDY What is IDS? The Network Director’s playout screen showing live streams from two continuity booths and a Continuity IDS is an extendable, network-based Announcer’s screen with visual link to Playout. control and display system designed specifically for the broadcast industry. The solution Consisting of dedicated software and Providing the visual link between the network directors in playout and the isolated hardware devices that use a standard TCP/IP backbone, IDS can be scaled continuity announcers was a straightforward exercise using our configuration software, to suit any installation, delivering IDS Core.
  • Configure Surround Sound on an Intel NUC Or Comptue Stick

    Configure Surround Sound on an Intel NUC Or Comptue Stick

    Surround Sound Setup Guide for NUC This guide will show the recommend method to setup surround sound through bitstreaming. Bitstreaming is the process whereby the NUC sends an un-encoded digital signal to an A/V receiver, to which the receiver will decode the signal, not the NUC, and often produces better quality sound, depending on the receiver. What is Needed: AV Receiver with HDMI or TOSLINK (SPDIF), if using optical audio Surround speakers (5.1 or 7.1) 2 HDMI cables or a TOSLINK cable (a mini DisplayPort to HDMI cable can also be used from the NUC to the Receiver) HDMI display, keyboard, mouse NUC running Windows* Media Player Classic* (https://mpc-hc.org/) 1. Download and install the latest Intel® graphics drivers (https://downloadcenter.intel.com/) 2. Connect the HDMI or mini DisplayPort cable from the NUC to an HDMI input of the AV receiver. If using TOSLINK on the NUC, connect the NUC’s TOSLINK output to a TOSLINK input on the receiver. 3. Start Windows* and download and install Media Player Classic* (MPC-HC) (http://mpc-hc.org/downloads/) 4. Open MPC-HC. On the Menu bar, click View, then Options. 5. On the left side menu tree, click on Internal Filters, then click on Video Decoder (on the bottom of the screen). 6. It’s suggested that Hardware Acceleration be used, especially if 4K content is played, choose a Hardware Acceleration option, then click OK. 7. If 4K or HEVC (h.265) content is going to be played, also select, HEVC, and UHD (4K).
  • Technical Specification for the Delivery of Live Television Programmes To

    Technical Specification for the Delivery of Live Television Programmes To

    TECHNICAL SPECIFICATION FOR THE DELIVERY OF LIVE TELEVISION PROGRAMMES TO This document outlines the technical requirements for the delivery of Live programmes, as agreed by the Digital Production Partnership Broadcasters: BBC, BT Sport, Channel 4, Channel 5, ITV, Sky, STV and TG4 The document includes the technical parameters that all Ultra-High Definition (UHD)1, High Definition (HD) and Standard Definition (SD) file delivered programmes must meet to be acceptable by the DPP broadcasters. It is set out as follows: • Part 1 Picture and sound quality and QC requirements; • Part 2 Additional technical requirements for Live programme delivery; • Part 3 Broadcaster specific requirements that are unique to ITV; Please ensure you are using the current version of this document, available here ITV Notes This section is for broadcasters to highlight updates, special requirements or specific issues. 1 Ultra-High Definition programmes can only be delivered as Files or Live. Tape cannot be used. TECHNICAL SPECIFICATION FOR THE DELIVERY OF LIVE TELEVISION PROGRAMMES Contents PART 1 – GENERAL REQUIREMENTS 4 1. Video Technical Requirements ..................................................................................................................... 5 1.1. Video Formats ............................................................................................................................................................. 5 1.1.1. Ultra-High Definition .............................................................................................................................................
  • Can the BBC Survive the Digital Age?

    Can the BBC Survive the Digital Age?

    Can the BBC survive the digital age? Laura Payne Neo: A Journal of Student Research March 2010 Abstract The BBC is a public service broadcaster that is highly regarded by the British television audience. However, it is subject to increasing threats to its continuing viability from digital private sector television providers. A part of the threat to the BBC is the way in which it is funded through the TV licence. This article examines the threats to the survival of the BBC through a review of relevant literature and with reference to a survey conducted by the author. The research confirms the high regard in which the BBC is held by the British public and argues for its continuing existence. 2 The BBC has been an extremely successful broadcasting company. However in the approach to the Digital Switchover it faces increasing uncertainty because of competition with new digital commercial channels which hold niche audiences. The future of broadcast television such as the BBC is uncertain, and there are many reasons why it may not survive; ‘the predictions of the death of broadcast television are every bit as loud now as were those of the end of cinema in the face of competition from television’ (Ellis, 2002, p.175). The BBC sees its purpose to support British interests in the world and has a reputation for its impartiality. The BBC is committed to the concept of public broadcasting, providing a platform for local and national debate. It has three main aims; to inform, educate and entertain. In 2001 and 2002 the BBC started operating four free to air digital television channels: ‘BBC 3, a mixed genre, entertainment-led youth channel; BBC 4, a channel for culture, science, the arts and ideas; and two children’s channels’ (Brown, 2004, p.486).