techMEDIA TECHNOLOGY & INNOVATION issue 17-i • september 2013 UHDTV Why? When? How?

Plus • QC PROGRESS REPORT • IN-SOURCE, OPEN SOURCE • SEMANTIC WEB: GETTING STARTED • REGULATING MEDIA CONVERGENCE and more...

tech.ebu.ch viewpoint news

A future based on running code tech-i Lieven Vermaele, EBU Director of Technology & Innovation contents way that may lead to better and cheaper Issue 17 • September 2013 software. This is the open source software world. Here there is no permanent infrastructure for defining standards in the 3 News & Events traditional sense; no standards committees; no physical meetings. Instead, 4 News & Events progress is based on shared best practices, 5 News & Events on available code, definitions and tools. And, based on their success in the 6 Software community, these best practices become Development de facto standards – standards by practice. 7 member Profile: TDA t the helm of the EBU’s With this in mind, our job must be to 8 sp Update: Quality technical activities I’ve foster a platform where the code that is Control witnessed much change in most relevant for our industry is Athe industry. For the majority maintained and developed. As in our 9 the UHDTV Equation of our Members, to a greater or lesser physical groups, we should facilitate extent, we’re now firmly in a post- discussion about requirements and code, 10 ebu/DVB UHD analogue era of file-based production and but now such discussion should take place Workshop digital delivery, and in some cases, HDTV. almost entirely online. We have taken 12 EYD Test Shoot Progress with digital radio broadcasting already some steps towards instigating an has been slower, and I could not claim to online community of software 13 in My Opinion: have an easy answer. But, as I hand over development and sharing during 2012 and Frame Rates the reins to a new Director of Technology 2013, and we have exciting new & Innovation, I will be following developments in the pipeline (see page 6). 14 Access Services carefully how a recent phenomenon plays This aligns well with the priorities of 16 media Convergence out: the growth of the software-driven the EBU, where Members act at different broadcaster. speeds and under varying circumstances. Green Paper At the EBU we see media production In our community we should learn from 17 binaural Audio starting to become more software and the leaders and help those that are further application-oriented. Media client services behind. A platform where we can share 18 semantic Web are also moving in this direction, with features, apps and code can create the plenty of evidence available from our opportunity for Members to stay ahead of Cover Story: This issue of tech-i takes a closer EUROVISION colleagues. One future the game. Members’ in-house developers look at some of the issues surrounding the scenario at the centre of our long term will have access to the code; but the wider development of UHDTV technology. Among strategy for Technology & Innovation is community of ‘geeks’ will also contribute the articles is a report on the recent shooting “media production as simple as a and bring their fresh and innovative ideas. of the Eurovision Young Dancers contest. Our smartphone”. For the Members this will Such a platform can shorten the cover photograph was taken during that shoot. demand new competencies and a different learning curve for Members, giving them See page 12. way of managing their architecture. At the access to better solutions that can also © European Broadcasting Union 2013 EBU, we too have to adapt our services to prove to be cheaper. Though broadcast cope with this evolution, and in the last equipment vendors will need to change All rights reserved. The reproduction of eighteen months we’ve been taking the their role in this new world, it also opens articles in tech-i is authorized only with first steps into this new era. up new possibilities for them. They can the written permission of the publishers. In the traditional world of SDI cables build products and service offerings based The responsibility for views expressed in and islands of dedicated specialized on the open source approach. tech-i rests solely with the authors. hardware – the historically familiar In the past, the “paper” produced by Published by the EBU architecture of most broadcasting the EBU has been the basis of a justifiable Technology & Innovation Department organizations – our project groups and worldwide reputation for expertise and 17a, L’Ancienne-Route, standardization activities have served the leadership in media technology CH-1218 Le Grand-Saconnex Members well. The recommendations, innovation. Our recommendations, Switzerland. interoperability guidelines and common reports and guidelines will continue to standards defined and approved via these play a key role. But we shall add to that a Editor-in-Chief: Lieven Vermaele Managing Editor: Eoghan O'Sullivan groups have reduced the costs of new dimension, where the EBU acts as a Email: [email protected] connecting, interchanging and integrating. custodian of open source code, equipping Tel: +41 22 717 2745 But how can we help in a more its Members to gain maximum benefit in software-oriented world? the world of software and apps. I wish Design: Louise Tait Companies make and sell their own Simon Fell and his team success in this Printed on FSC Certified paper proprietary software, but there is another brave new adventure. by New Goff n.v.

2 tech-i | tech.ebu.ch | september 2013 news diary

WEBINAR: WRC-15 27 September @ 14:00 CET

A number of agenda items at the World Radiocommunication Conference 2015 (WRC-15) will impact on broadcasters. This free online webinar provides an insight into the key issues. http://tech.ebu.ch/webinar-wrc15 WEBINAR: MEDIA DISTRIBUTION VALUE CHAIN 25 October @ 14:00 CET As EBU Members increasingly reach beyond traditional linear television and beyond the living room, this free online webinar will explore similarities and differences between the traditional broadcast distribution model and the internet distribution model. http://tech.ebu.ch/webinar-mdvc NETWORK TECHNOLOGY SEMINAR 2013 FORECAST’13 ROUND-UP OF THE MEDIA & IT 6-7 November, Geneva RENDEZVOUS The move towards increased use of IP networking and cloud The EBU's annual seminar dealing with broadcasting computing by broadcasters brings a need for greater awareness of technologies, spectrum management and related topics, security issues. In his keynote at this year’s Network Technology bringing together broadcasters, network operators, Seminar, BBC’s Andy Leigh outlined where the new opportunities can regulators, policymakers, industry stakeholders and also mean new risks. It was a hugely useful overview of what’s certain analysts. This year’s theme: Mission Critical for Public to be an area of growing concern. Service Media. Security concerns aside, NTS 2013 brought plenty of examples of http://tech.ebu.ch/forecast13 how the media industry can benefit from the use of innovative network technologies – but also where tried and trusted methods are still the best. For example, the use of IP for audio and video EBU DEVCON contribution is on the rise, with a better understanding of Quality of 18-19 November, Geneva Service requirements and well-adapted Service Level Agreements. However it seems that, for now, some “conventional” methods like DVB-S, SDH or DTM remain the best for low latency, high quality and Learn about best practices in software engineering for high reliability applications. media and get hands-on experience with some of the It’s not only in contribution that IT-based technologies are making tools and topics that broadcasters will be tackling in inroads. The next media frontier they are set to cross is the live future. production environment. NTS delegates heard about the various http://tech.ebu.ch/devcon13 initiatives under way to identify the technologies and standards required to make fully networked production environments a viable proposition. UHDTV: VOICES & CHOICES 25-26 November, Geneva Storage is another big topic covered by the NTS radar. The storage requirements of broadcasters are continuously growing with modern production methods generating huge amounts of data, including very large files. A session dedicated to the topic explored some of the Building on the success of the joint EBU/DVB fact-finding technologies that might address these needs, including cloud and workshop held in London last May, this workshop aims object storage and Erasure Coding techniques. to find agreement on the detailed technical parameters All EBU Technology & Innovation seminars are expected to look into required for UHDTV services. the crystal ball to identify possible future trends. Among the http://tech.ebu.ch/uhdtv13 technologies put forward as possible solutions for media network needs in future was optical switching, particularly for cost-efficient Looking further ahead... high-bandwidth applications. More generally, delegates heard about PRODUCTION TECHNICAL ASSEMBLY the potential for open source solutions that provide customization TECHNOLOGY SEMINAR 2014 while avoiding vendor lock-in. 2014 12-13 June Finally, and more important than IP networks, there was plenty of 28-30 January NETWORK TECHNOLOGY human networking! Around 110 people attended our Media & IT DIGITAL RADIO SUMMIT SEMINAR 2014 Rendezvous this year, sharing the ideas and experiences that make the 2014 24-25 June EBU Network Technology Seminar such a valuable event. 12 February The presentations are available to EBU Members from http://tech. BROADTHINKING 2014 ebu.ch/nts2013. Next year’s event will take place on 24-25 June. 26-27 March

tech-i | tech.ebu.ch | september 2013 3 news

MDN WORKSHOP 2013 IBC 2013 MEANINGFUL EXCHANGES ON METADATA SEE YOU IN AMSTERDAM The EBU’s Metadata Developer Network held otherwise find cooperation difficult. its third annual workshop in Geneva at the Rights metadata has been a huge The EBU stand at IBC is always a hive of start of June, writes NRK’s Tormod Værvågen challenge for broadcasters. Contracts activity throughout the event, being an (MDN chair), focusing on metadata in media developed by legal departments don’t essential stop-off for anyone interested in production, distribution and archiving, and translate easily to machine-readable XML media technology developments. Along with related software developments. There were covering the legal meaning of the contract. regular presentations in our on-stand theatre more than 25 participants, including experts However at this year’s workshop, two covering a range of different topics (see full on various aspects of metadata. different projects targeting this challenge schedule at http://tech.ebu.ch/ibc13), we A programme with 11 contributions and demonstrated possible solutions. will once again have a set of demonstrations demonstrations formed the basis for two Description of audiovisual material is based on the activities of our working days of discussions. Discussion is central to always a question of “How much?” and groups. They include: this event where, unlike a typical conference “How often?” The description of a particular • High Frame Rates – judge for yourself the setting where panellists take a few questions programme’s topic can be one data element impact that higher frame rates have on from the floor, the whole group is engaged. applying to the whole programme, but other the viewing experience The presentations are prepared in a way that aspects change more often, in many cases • HEVC for UHDTV – see how HEVC video accommodates a meaningful exchange of even frame by frame. One of the compression has progressed, making it knowledge – even the presenters themselves contributions to the workshop showed how possible to deliver UHD-1 content at bit are given food for thought. this vast amount of data can be stored, rates comparable to today's HDTV As EBUCore becomes a mature standard, analyzed and queried. • Binaural audio – hear the highly immersive several contributions covered the projects The presentations from this workshop are audio experiences broadcasters can deliver and tools that support it. These included available from http://tech.ebu.ch/mdn2013, to a pair of headphones mapping tools and the ongoing day-to-day and many other resources can be • Quality Control – play our QC Checks use of the standard, but also how its downloaded from the workspace of the game and learn about our work to extension mechanism and ability to link to Metadata Developer Network. See http:// support robust automated QC in file- third party dictionaries help to bridge cultural tech.ebu.ch/mdn. based production, including interfaces to differences among broadcasters that might the FIMS environment • Fully Networked Studio – a demonstration WORKSHOP PARTICIPANTS from BBC R&D showing how high bit rate TAKING A SHORT BREAK IN THE signals can be exchanged in real time, GENEVA SUNSHINE without the need for HD-SDI interfaces • Broadcasting from the Cloud – a prototype scalable cloud infrastructure from the EBU, based on open protocols, to enable virtualised services like encoding and distribution • Digital & Hybrid Radio – the latest developments in radio technology, including progress towards radio becoming an integrated hybrid app in mobile devices Visit us at IBC. Stand 10.F20.

technical assembly 2013 BACK FROM BAVARIA The 19th EBU Technical Assembly brought around 110 participants to Munich on 13-14 June. The comfortable surroundings of Bayerischer Rundfunk’s Großen Sitzungssaal provided an ideal location for two days of presentations and discussion around technology-related topics of strategic importance for public service media today. From Andreas Gall’s somewhat provocative keynote about Red Bull Media House’s approach to production and distribution, through two well-received strategic focus sessions, and on to a highly appreciated set of presentations on coping with change, high levels of attention and engagement were in evidence throughout.. As usual there were plenty of opportunities for those responsible for technology decisions at EBU Members to network and exchange, both in the formal setting of the Assembly itself and in the more relaxed environment of the various social events. BR’S PRODUCTION AND TECHNOLOGY DIRECTOR Delegates were also provided with memorable Bavarian experiences, both at Friday PROF. DR DR BIRGIT SPANNER-ULMER, WITH (RIGHT) night’s Sony-sponsored gala dinner in the Augustiner-Keller and Saturday’s excursion to HER PREDECESSOR IN THE ROLE HERBERT TILLMANN AND (LEFT) CHAIRMAN OF THE EBU TECHNICAL the Wendelstein Mountain, courtesy of Rohde & Schwarz. COMMITTEE ARILD HELLGREN (NRK). Next year’s Technical Assembly will be hosted by Czech Television, taking place in © BAYERISCHER RUNDFUNK / ULRIKE KREUTZER Prague on 12-13 June.

4 tech-i | tech.ebu.ch | september 2013 DIGITAG NEW DIRECTOR WELCOME SIMON!

During August 2013 Simon Fell took up the post of Director of Technology & Innovation, replacing Lieven Vermaele who leaves after six years at the EBU. Simon brings with him a wealth of experience in broadcast technology, most notably at EBU Member ITV. During his time with the UK-based broadcaster, he was Director of Future Technologies (2008- 2009) and Controller of Emerging Technologies (2004-2006). Prior to that he worked for Carlton Television, the ITV franchise holder for the London region, where he held several executive roles linked to operations and emerging technologies. SPECTRUM MESSAGES DELIVERED AT Simon is the current chairman of the Technical Council at the Digital Television Group, the industry association for digital LUNCHTIME TALK television in the UK. His career has already brought him into DigiTAG brought the issue of spectrum and its use to the forefront in Brussels at contact with the EBU, where he sat on the Technical an EBU Lunchtime Talk on 6 June 2013. It was part of DigiTAG’s Broadcasting Committee on behalf of UK broadcasters between 2006 and reaches... campaign. Lieven Vermaele, who is the president of DigiTAG, 2009. presented alongside Anthony Whelan, the new Head of Spectrum Unit of the On his appointment he said: “Public service media European Commission. Each speaker delivered his view of the future of companies throughout Europe face a changing technological spectrum use and the role broadcasting has to play. landscape now more than ever. I am looking forward to The debate raised some interesting issues. Mr Whelan set out clearly the time leading the EBU's great technology team as we navigate the frame for the European Commission’s work on spectrum until the end of 2013. future and guide the membership towards the right He stated that coming to the end of the year there will be further discussion on technology choices for digital media production and delivery.” telecoms regulation and that a new study on broadcast and broadband EBU Director General Ingrid Deltenre said: “We are convergence has been launched. The Commission is also convening a high level confident that in Simon we have found a proven leader who group of representatives from the broadcast and telecommunications industries can guide EBU Technology & Innovation through the to discuss issues now arising with possible convergence in the spectrum bands. challenges that lie ahead. He brings a broad portfolio of highly Lieven Vermaele’s presentation focused on the future, where there is “an relevant experience, and the EBU executive team looks forward imminent media-delivery traffic jam if the synergies between broadcast and to working with him.” broadband media delivery cannot be duly appropriated”. He called for broadcasting to remain part of the EU Digital Agenda. His views were echoed by members of the audience who wanted the Commission to bring clarity to the debate and set a clear roadmap for the future. The event was well attended and a follow-up is planned later this year. Details will be available from the DigiTAG website by the end of September (www. digitag.org). DigiTAG will also be taking the Broadcasting reaches… message to IBC this year, encouraging the broadcasting industry to work together to protect the DTT platform and to emphasise the important social and economic role it plays in many markets. Visit DigiTAG at IBC on the DVB stand (1D.81). Broadcasting reaches… one message, one industry, one voice For a full report on the EBU Lunchtime Talk visit: http://tinyurl.com/digitagjune technical assembly 2013

CTO OF RED BULL MEDIA HOUSE ANDREAS GALL (ABOVE LEFT) SHARED HIS IDEAS ON HOW A MODERN MEDIA COMPANY SHOULD OPERATE, IN A KEYNOTE PRESENTATION THAT WAS BOTH INSPIRING AND PROVOCATIVE. THE PROUD TO PRESENT SESSION SHOWCASED PROJECTS FROM MANY DIFFERENT MEMBERS, LIKE SVT’S OPEN ARCHIVE, WHICH WAS INTRODUCED BY GÖRAN LINDGREN.

tech-i | tech.ebu.ch | september 2013 5 in focus

Broadcasters know nothing about Software Engineering ;-) BROADCAST ENGINEERING IS NOT BROADBAND ENGINEERING. BUT WE CAN LEARN A LOT FROM THE METHODS USED BY SOFTWARE DEVELOPERS, AND PARTICULARLY THE OPEN SOURCE COMMUNITY, SAYS THE EBU’S MICHAEL BARROCO.

roadcasters are accustomed to THE PROFESSIONAL FACE OF THE OPEN SOURCE strict deadlines, big releases, ECOSYSTEM CAN BE SEEN AT THE ANNUAL long-term investments and the OSCON EVENT. Bhighest expectations in terms of service quality. On the other hand, the broadband world tends towards small iterations, flexible schedules and the use of cheap commodity hardware rather than high-end custom-built systems. Looking at the approach of big players in the internet world, we can see that they scale their systems horizontally rather than vertically, as in broadcasting. Instead of buying the best machine, they will build a distributed system and run it on several standard servers knowing that some of them will eventually fail. That’s not a problem since the system is developed in order to handle such failures without impacting the service. Netflix pushes things even further with their development of a When successful, this kind of project project called Chaos Monkey to stress-test EBU DevCon 2013 generates a wide business ecosystem that their infrastructure. The test consists of Software Engineering for Media provides support and guarantees, such randomly shutting down some servers in 18-19 November, Geneva as Service Level Agreements. Companies order to simulate unexpected failures – and tech.ebu.ch/devcon13 are then able to either hire contractors create the fix – rather than waiting for the or build a team to integrate and adapt real failures to happen. with success dependent on driving the the product for internal needs, while a development roadmap according to community of experts maintains the core IN-SOURCE, OPEN SOURCE user behaviour, drawing on business features. It is easy to find skilled people At this year’s OSCON, an annual intelligence techniques. And last, but not since the technologies are open. Moreover, convention on open source technology, least, open sourcing internal projects can evolution and customization are almost we heard about a major car manufacturer improve the code quality since external unlimited. who lost all its code and its engineering people will review it. In order to be Imagine having a team that could tune knowledge during the economic crisis sharable, the project will be forced to and fix your system without waiting five since they outsourced their development comply with commonly used practices. months for the promised release. Even to external contractors. After this episode, better, this fix can then be shared with they hired a chief information officer who PEOPLE, NOT CODE other broadcasters and solve the same had an excellent track record in the retail At the EBU, we are investigating a new problem for other EBU Members. At the and IT industries. He started to in-source model for development, inspired by open Technical Assembly, we heard some small the development and IT operations and source organizations like the Apache members saying that commercial solutions created a centre of innovation in order to Software Foundation. Apache hosts a lot are very expensive and that developers are rebuild and safeguard their engineering of the most famous and widely used open cheap. (For others the situation is exactly knowledge. source projects like web servers (httpd and the inverse.) In-sourcing is a matter of culture too. tomcat), Hadoop and many others. At the EBU, we are starting to connect Being able to manage internally a team The model consists of building a these people. The initial point is to using Scrum and Agile methods enables community around a common problem identify which kinds of project could iterative development and short-term and outputting a piece of software or a gather the support and interest to kick roadmaps. It improves the efficiency runnable project. Every step of the project off a pilot. We will use crowd sourcing of the team as well as the flexibility from selection to its publication as a top methods among our network to curate es of the projects. Moreover, test-driven level project is handled by a community. the interesting projects and organize a c en development ensures that the team The development is based on a kernel of workshop to put interested people around r

nfe working on your project can easily scale. developers who organize and drive the the same table. A dedicated platform will o Another trend is to prioritize the project. The community can contribute by host all software-based information in one features according to user behaviour. submitting improvements, bug reports and place. For more information see: http://

O'Reilly C O'Reilly It is called data-driven development, fixes. tech.ebu.ch/io

6 tech-i | tech.ebu.ch | september 2013 member profile

TDA – Télédiffusion d’Algérie DR. CHAWKI SAHNINE, DEVELOPMENT AND STUDIES DIRECTOR OF ALGERIAN BROADCASTING PROVIDES THIS OVERVIEW OF THE ORGANIZATION’S PAST, PRESENT AND FUTURE FROM A TECHNOLOGY PERSPECTIVE.

élédiffusion d’Algérie (TDA) is TDA HEADQUARTERS AND NODAL NETWORK the result of the restructuring CONTROL CENTRE IN ALGIERS. THIS SITE IS of Radiotélévision Algérienne USED FOR FM RADIO, ANALOGUE AND DIGITAL Tin 1987. TDA operates and TV, AND MICROWAVE RADIO. transmits, nationally and abroad, public TV and radio services. It will also be responsible for transmitting private TV and radio channels to be licensed in future. In addition, TDA represents the Algerian state in the international radio communication regulation bodies and is responsible for bilateral coordination of TV and radio spectrum. After Algerian independence in 1962, a small TV service, inherited from the colonial period and based on the French standard of 819 lines, was operated across the north of the country, with limited coverage, from three stations at Algiers (centre), Oran (west) and Constantine (east). Interestingly, the 20h00 news was transported by train or plane to Oran and Constantine for delayed broadcast (the next the coverage areas and to increase the • Deployment of a multiservice day) because of the absence of a national number of transmitters to six per broadcast (audiovisual, data and value added transmission network. site. services) hybrid/packet-based microwave Radio coverage, consisting of three radio By 1975, distribution of the national radio network; services, was limited to certain regions in TV service to the transmitters located in • Realization of two high power shortwave the north via three medium wave (MW) the south was provided by satellite. Today, DRM stations; transmitters in Algiers and two MW TDA operates two satellite earth stations, • Realization of six high and medium transmitters in Oran and Constantine. for content contribution, distribution and power MW DRM stations in short for DTH broadcasting of five TV services term and ten new DRM stations in the 50 YEARS LATER and 55 radio services, as well as service to medium term; An analogue microwave radio network the Algerian Press Agency. • Renewal of existing LW and MW was deployed in 1970, allowing for the first stations to DRM; time to create a unified national television CHALLENGES AHEAD • Enhancement of DTH satellite capacities broadcasting network. The microwave The Information Organic Law of 2012 for SD and HD TV channels as well for network was digitized in the late 90s. established the opening up of the media radio channels; Concerning terrestrial TV broadcasting, landscape. This regulatory change gives • Enhancement of satellite contribution about 95% of the population, more than rise to a new market and a new audiovisual capacities and deployment of a MENOS 37 million inhabitants, is covered by industry, and for TDA, new customers and (Multimedia Exchange Network Over analogue TV and more than 50% of the new challenges to meet. Satellite) network ; population is currently covered by DTT In addition, technological developments • Implementation of large-scale mobile (digital terrestrial television). The goal is and global changes impose strong capabilities for measuring and controlling to extend this to more than 90% of the constraints on the development plans of the spectrum and mobile satellite population by the end of 2014. The first our company and therefore dictate the contribution capabilities ; multiplex is based on a DVB-T/MPEG-2 strategy. To this is added, as a public • Setting up an internet streaming MFN (multi-frequency network) allowing broadcaster, the obligation to cover the platform. the broadcast of six TV services in SD. entire population spread over an area of The trend for technological convergence, Turning to radio broadcasting, 20 high more than 2.3 million km², with a heavily the importance of internet media, new and medium power MW transmitters, mountainous area in the north and desert platforms (mobile, tablet...) impose three long-wave (LW) high-power area in the south of the country. therefore an evolution of our company transmitters and a national FM network To achieve these objectives, TDA has a towards new markets and developing new (started in 2002) allow TDA to broadcast significant workload in the upcoming years: non-linear and multiplatform services. This three national radio services, 48 regional • Deployment of a second DVB-T2/ fact is taken into consideration in the new radio services and four thematic services. MPEG-4 AVC SFN DTT multiplex for business strategy. It’s worth noting that Two 600 KW MW transmitters, SD and HD channels; TDA has for ten years also been an internet renewed in 2009, are DRM (Digital Radio • Analogue TV switch-off and deployment service provider for corporate customers Mondiale) ready. In addition, the national of digital terrestrial radio based on and owns therefore all the assets to address FM network is being upgraded to enhance T-DAB+ in the VHF-III band; this technological convergence.

tech-i | tech.ebu.ch | september 2013 7 strategic programme update

Quality Control: more than keeping up appearances!

IN AN IDEAL WORLD THERE WOULD BE NO NEED FOR QUALITY CONTROL – THE AUDIO AND VIDEO WOULD APPEAR JUST AS THE PROGRAMME’S PRODUCERS INTENDED. BUT IN A FILE-BASED ENVIRONMENT IT’S NOT AS SIMPLE AS THAT. FORTUNATELY THE EBU’S STRATEGIC PROGRAMME ON QC IS HERE TO HELP, EXPLAINS ITS COORDINATOR FRANS DE JONG.

elivery of programmes by tape (INTER)NATIONAL APPEAL gave us certain assurances. The The SP’s deliverables have become a broadcaster could specify the valuable reference for other groups, Dformat and the QC process both at national and international level. was simple: if the tape failed to play or In the UK, for example, the Digital was the wrong format, it simply got sent Production Partnership (DPP) is aligning back. With modern file-based production, its work with the EBU’s QC Checks content is subjected to a wide variety of list; the German broadcasters’ Quality post production and format conversion Management group is doing something steps, often passing through external similar. Internationally the QC Checks are companies. The path from the camera being transformed into ‘services’ by the and microphone to the home is all but FIMS project under its Quality Assurance transparent. work item. So we are actually seeing the Files certainly offer flexibility, and can birth of a hierarchical approach to Quality be endlessly updated, copied, versioned, Control, where national or even company- etc., with multiple audio and language specific QC checks can be related to their tracks. As one producer proudly said: base definition in the EBU’s QC Checks “Files can be edited and changed even list. This helps improve not only clarity while they’re being transmitted. This is of ‘what is being checked’, but also brilliant; I can use Twitter to change the interoperability, as products can be built end of my programme!” with the same target values and tolerances But this virtually endless flexibility is in mind. also a problem. It translates into a much higher chance of things going radically REPORTING REQUIREMENTS wrong. One erroneous bit is enough Next on the roadmap for SP-QC is to make play-out servers fail during a recommendation on the reporting tonight’s beautiful documentary; a recent structure used for QC. The aim here is update to a video encoder could well be to allow easy integration of QC tools the reason why the high-value drama in complex production facilities by series suddenly looks awful on the catch- specifying a baseline common format, up platform, etc. Many vendors will demonstrate without constraining the creation of more Aside from their different flavours, the integration of the EBU QC ‘filtered’ versions for specific purposes. it is the sheer number of files used in Checks in their products at IBC A play-out operator may for example current operations that makes manual 2013. Visit the EBU stand (10.F20) want to see only very specific failure verification impractical. The result is a to find out more. information, while a centralized logging growing desire for powerful QC products tool may benefit from being passed that can complement our human eyes, from his work as video editor (for the most detailed report available. The which are still unsurpassed for subjective ‘Quality Comedy’, such as “Keeping up reporting approach is being defined in QC operations such as spotting wrongly Appearances”!) to head of technology tight cooperation with the FIMS QA focused shots, but which have a hard for the BBC’s HD services. Together with experts. time looking at the more abstract parts many experts from broadcasters and the A key outcome of this work will be an of files. leading QC tool manufacturers, SP-QC exchangeable trusted QC report, where has defined a set of over 100 checks someone receiving a programme from a QUALITY SHOPPING LIST that help achieve consistency in the production company or a distributor or Two years ago the EBU set up the implementation of QC. It basically is a even just another programme area, will Strategic Programme (SP) on QC to shopping list for users who can ‘tick off’ be able to trust the supplied QC report allow Members to share their experiences the checks they’d like to see applied. To as if they carried out the QC themselves. of QC tools and how they integrate assist vendors and broadcasters alike, the Broadcasters in several European these devices into their own production EBU also hosts a library of QC test files countries are already experimenting with processes. The work is chaired by named “Bronze Files” by the group, as this concept. The availability of the EBU industry veteran Andy Quested (BBC), they demonstrate many of the issues and QC Checks and related test material will who has seen the need for and the problems the QC tools are designed to help them to improve the efficiency of use of QC from all angles, ranging identify. their QC processes.

8 tech-i | tech.ebu.ch | september 2013 in my opinion The Ultra HD equation

n recent history we can see how rate to cope with camera movement, e.g. fast MPEG-2 compression combined with pans. Therefore a new video format should DVB-S/C/T transmission made it extend the set of available frame rates to 100, Ipossible to introduce digital TV. The 120 and maybe even 150 fps to provide better CONSTANTLY EVOLVING next phase brought H.264/MPEG-4 AVC motion portrayal. TECHNOLOGY MAKES with DVB-S2/T2, a combination that was/ is used to introduce HDTV. And now the High Dynamic Range IT POSSIBLE TO DELIVER next compression standard, High Efficiency Historically the TV industry has worked with HIGHER AND BETTER Video Coding (HEVC) or H.265, has been a target of full white being emitted with an QUALITY SOUND AND standardized. But if this new compression intensity of 80 cd/m2 (candela per square PICTURES. BUT THE system is to be the core of future TV metre, also known as nits) from the display. INTRODUCTION OF A distribution, it will need to be launched But today’s modern LCD displays have the NEW DISTRIBUTION along with a new service that would motivate possibility of much higher intensity for small viewers to upgrade their receiver and display parts of the screen. A new video format could TECHNOLOGY NEEDS TO BE equipment and provide demonstrable added use this to increase the dynamic range and use BUNDLED WITH A NEW OR value. at least 10 or 12 bits for colour depth. IMPROVED SERVICE, SAYS Clearly, 3DTV won’t be that service. Instead This equation might be extended by the SWEDISH TELEVISION’S many now believe that the next step forward capabilities of displays to present more HEAD OF DISTRIBUTION in the production and distribution of TV is colours than currently covered in HDTV. spelled “UHDTV”. Ultra HD, or UHD-1 and PER BJÖRKMAN. UHD-2, is the television version of the digital BRIDGE TO THE FUTURE cinema systems “4k” and “8k”, referring to But the most important aspect of a new Ultra a horizontal resolution of about 4,000 and HD format is that, among all of the different 8,000 pixels. flavours that will be standardized, there must But only extending the resolution to 4k be versions that will fit in the 3 Gbit/s HD- or 8k won’t be enough. The fact is that the SDI production infrastructures (“3G”). Most improvement for the average viewer would TV stations and production facilities that have not be enough to motivate investing in a new been converted to HDTV in recent years have display and receiver. The difference in picture made their cabling and core infrastructure in quality compared with normal HDTV is just 3G – with a view to carrying the 1080p50/60 not significant enough. If all we do is increase format. These investments won’t be replaced the number of pixels in the picture, Ultra HD for many years ahead. will be a failure. Although it’s possible to use dual or quad 3G links for UHDTV signals, in practise A NEW EQUATION it’s too tedious in a large volume operation. Instead the next level of TV experience Instead, I believe we should use 1080p would be a combination of several pieces of in 50 or 60 Hz with 10-bit resolution, to improved technology. A successful launch of be an intermediate bridge to a fantastic Ultra HD could look like this: new TV standard which then, when new HR+HFR+HDR=UHDTV infrastructures have been developed, can “Today’s Here HR stands for High Resolution, HFR provide a stunning picture based on higher for High Frame Rate, and HDR for High resolution, frame rate and higher dynamic modern LCD Dynamic Range. range. But before consumer products are launched displays have High Resolution we need to set the complete UHDTV eco- This is basically anything with higher chain and standards and make sure we agree the possibility resolution than we use today for HDTV on a single common version to be known distribution, i.e. 720p or 1080i. It includes as Ultra HD. We cannot afford to have the of much higher the new UHD-1 and UHD-2 formats, but also complicated legacy situation that would come 1080p, which cannot today be delivered with with the implementation of many different intensity for a frame rate higher than 25 fps. Ultra HD standards in consumer electronics products. And finally, we must not forget that small parts of High Frame Rate this new format will almost certainly also be It we increase the image resolution, the theory distributed through new software-based IP the screen” tells us that we also need to increase the frame platforms, i.e. the internet.

tech-i | tech.ebu.ch | september 2013 9 event report

UHDTV: finding the facts

A JOINT EBU/DVB WORKSHOP HELD LAST MAY AT THE DOLBY THEATRE IN CENTRAL LONDON HAD ONE CLEAR OBJECTIVE: TO IDENTIFY A SET OF UHDTV PARAMETERS IN THE PRODUCTION, DISTRIBUTION AND CONSUMER DOMAINS. THE EBU’S HANS HOFFMANN PROVIDES THIS REPORT.

his fact-finding workshop was truly a milestone on the road to “UHDTV must provide clear added a UHDTV future – the lengthy Twaiting list wishing to attend value for consumers over HDTV” the overbooked event was a testament to this. To meet its objective it was clear that an analysis of the complete end-to- compression, etc.) The consensus was market acceptance for what would be a end chain would be essential to provide that a bit-depth of 10-bit is the minimum next generation immersive audio system direction for technology and standards- for UHD-1 and UHD-2, and that to accompany UHDTV. setting. production must be done even in 12- or Studio and transmission infrastructures From the outset there was a shared 16-bit. were also on the agenda, with discussion understanding among participants that Turning to frame rates, the debate of variants of real-time-capable SDI or UHDTV must provide clear added led to an understanding that while network-based systems. It was reported value for consumers over HDTV. This higher frame rates are needed, further that extensions to the current 3G SDI requirement in particular led to debate, research is required into the benefits will appear soon, with SMPTE leading however, since early adopters that aim to of using multiples of 50 Hz and into the standards work. In addition there deliver services in the next few years may what the correct upper limit should was consensus that network-based and be confronted with limited capabilities be (120, 150, 240, 300, ... Hz). In SDI-based technologies will coexist, each in chip sets (e.g. to support higher frame the domain of colour, the support of being used in their respective application rates). Later adopters – broadcasters still extended colour range defined in ITU-R spaces. in transition to HD, with a timescale BT.2020 would require the availability of beyond five years for UHD services – will colourist metadata. And finally, for video DISTRIBUTION benefit from advanced technologies, but parameters, it was agreed that increased Many questions related to next may be confronted with legacy problems. Dynamic Range will play an important generation distribution technologies The workshop kicked off with a role in providing perceptibly better were discussed, encompassing DVB-T2 session on the end-to-end chain. It dealt images to the viewer. and S2 and their possible successors, with the question of content availability, Overall it was agreed that the signalling plus IP-based delivery services to home, infrastructure and bit-rate issues for of the video parameters and metadata both real-time and non-real-time. Early real-time events, and the open question throughout the chain, and the correct UHD content might become available of HEVC licensing models. There were interpretation at the presentation device, via internet download, but the lack of views on the use of high end UHD will be crucial. solutions for real-time HEVC decoding cameras for top quality HD production, at the receiver side will ensure that this which would serve to start filling archives COMPRESSION remains a niche application. with UHD content for future use. This A session focusing on compression Experts were then broken into three opening session also looked at the impact centred around HEVC, with particular groups, on production, distribution and of UHDTV on file-based production, attention to the need to use the Main presentation devices, each discussing with discussions around the need for 10 profile with 10 instead of 8 bits per possible barriers and ways forward. extensions to studio compression and colour. The savings over MPEG-4 AVC The overarching idea that emerged is MXF/IMF. will depend on the criticality of the that UHDTV may come to the market content, but participants felt confident via profiles, with each building on the VIDEO PARAMETERS that up to 40% might be achieved. capabilities of another. Zooming in on specific details, video HEVC and higher frame rate support parameters were the topic of the next (and the residual bit-rate) is the topic of POSSIBLE PROFILES session. In principal a good UHD ongoing further work and will be a topic There has been, and will be, much service should consist of an optimum for November’s follow-up workshop. discussion around such profiles, but it mix of increased resolution, frame The message coming through loud seems clear that a first UHD-1 phase rate, colorimetry and dynamic range. and clear from the audio session was could be 2160p50/60, but including the Participants agreed that focusing only that “audio makes a difference”. The possibility of 1080p100/120. This profile on a resolution increase to ‘4k’ will different approaches of channel-based would be limited to the Rec.709 colour not provide a sufficient improvement systems (e.g. 22.2) versus the increasing space, but would have 10-bit bit-depth over HDTV. (This point was underlined interest in object-based audio systems (with 12-bit optional) and some Higher by various demonstrations related to was under debate. Again, more work Dynamic Range (HDR) capabilities. frame rates, dynamic range, HEVC is required in this area to ensure mass A more advanced UHD-1 profile

10 tech-i | tech.ebu.ch | september 2013 would support 100 and 120 fps for the 2160p resolution as well as the ITU-R BT.2020 colour space, HDR and so forth. The most advanced profile, with a more distant time horizon, would be the 4320p100/120 system, to include all parameters defined in ITU-R BT.2020. Audio in the profiles would expand from 5.1 support up to fully immersive and object-based methods as they become available over time.

FIRM FOUNDATIONS It should be stressed that these were initial ideas from the workshop, but the participants felt that they would provide a good foundation for future work. In the consumer electronics domain, developments around HDMI (the widely used display interface) provided lots of scope for brainstorming. The current version of HDMI only supports UHD- 1 up to 30 frames per second, which would exclude sport or any fast action content. It’s no surprise then that the group expressed great concern about whether the next version of HDMI will appear soon enough and would support the parameters required for a really immersive UHDTV system. All in all it was a really valuable event and an excellent basis on which to continue our joint journey towards this exciting new format. On behalf of all of the participants I wish to acknowledge Yvonne Thomas – from the EBU Technology & Innovation team – and David Wood, representing the DVB Project, who together coordinated the event. To obtain the full report from the event contact [email protected].

MAKE YOUR VOICE HEARD All of the bodies represented at the event – EBU, DVB, SMPTE and others – will continue to work together on the issues identified in this article. There will be close collaboration to address the interdependencies between production, distribution and presentation. A follow-up workshop, titled UHDTV: Voices & Choices (EBU, 25-26 November), will provide an opportunity to take stock of the progress made. Visit: http://tech.ebu.ch/uhdtv13

tech-i | tech.ebu.ch | september 2013 11 case study

camera setup. This gave less flexibility compared to normal documentary Dancing with definition equipment.

THE TECHNOLOGY and dimensions The STAN (Stereo Analyzer) from Fraunhofer HHI was used to adjust and THE PATH TO A NEW TV FORMAT IS MARKED WITH MANY calibrate the stereo rig and to control the MILESTONES. THE 2013 EUROVISION YOUNG DANCERS CONTEST depth budget during the shoot. COULD PROVE TO BE ONE OF THE KEY MOMENTS IN THE JOURNEY A 2D HD signal from the camera was BEYOND HDTV. THE EBU’S YVONNE THOMAS TELLS THE STORY. streamed on an iPad via WiFi with a six to seven frame delay. This allowed the director to monitor the recording and better communicate to the cameraman his requirements. As it was produced in 3D, with the RAW files each at the full 4kp50 format, the data was doubled, resulting in about 10 TB per view at the end of the production. Compared to an ordinary 1080p50 image the data volume is eight times higher. In post-production the images were cropped to UHD-1 resolution (3840x2160 pixels). They were processed, edited and colour corrected with DaVinci, Final Cut, Piranha and After Effects systems. Although the disparity had been calculated for a target screen size of about 65”, the HIT (horizontal image translation) had to THE COMPETING DANCERS be slightly corrected to have smooth WERE HAPPY TO HAVE THEIR REHEARSALS SHOT IN THIS transitions between scenes. REVOLUTIONARY NEW FORMAT. There is currently no single play-out system or display/projector that can n estimated one million viewers The dancers began to glide over the stage handle the content in its native format. watched the Eurovision Young while a crew filmed them with the two Thus the 2D UHD-1 version of the EYD Dancers (EYD) contest live Sony F65 cameras installed on a mirror trailer (about 4.5 minutes) will be shown Afrom Gdansk’s Baltic Opera rig. The dancers were rehearsing their on the EBU booth – 10.F20 – at IBC in June, showcasing the creativity and performances for the contest, getting final 2013 in Amsterdam. And a week before innovation of performers from around tips from well-known experts the Ballet that, Fraunhofer HHI will show the Europe. But the choreography wasn’t Boyz. The production team from KUK content in 3D on an autostereoscopic 4k the only innovative aspect of this year’s Filmproduction had set up a dolly with panel at IFA 2013 in Berlin. event: it was also an occasion for an the mirror rig and cameras in front of innovative ‘first’ at the crossroads of the stage. Backstage, in the warm-up and media technology and content. training rooms, the rig was mounted on a THANKS TO... In co-operation with Fraunhofer HHI, mobile tripod. This fantastic production was only the EBU initiated a project to shoot To prepare for the shoot KUK tested possible with the collaboration and the event in 3D 4kp50 – two cameras, combinations of camera parameters, support of many partners. EBU side-by-side, each shooting the full 4k rebuilding the mirror rig specifically for Member TVP (Telewizja Polska) and resolution of 4096x2160 pixels and a the EYD production. Being the first such the Baltic Opera Gdansk facilitated the frame rate of progressive 50 frames per production in this format, it was also a production, integrating it into what second per camera. This represented valuable learning process. Their CEO was already a very tight schedule. a true first: this format had not been Josef Kluger remarked on the futuristic The EBU and KUK were careful not produced anywhere before. nature of the project. For them it was to impact on TVP’s live production. The EYD contest was chosen for the about gaining experience with the new We appreciated the engagement of production due to the colourful stage and format and becoming familiar with the Ballet Boyz and the competing the smooth but dynamic movements of the entire workflow. It was very much dancers. They felt suitably honoured to the dancers. The idea was to prove what a project about future TV and cinema be the subjects for this first production is technically possible today in terms of production and the whole team looked in the new format and were happy to potential future formats and to contribute forward to seeing the 3D/4K image on adjust their own schedules to facilitate to ongoing research and testing. large TV displays and in the final UHD-1 the test shoots. We also appreciated format. the cooperation with Band Pro GmbH SETTING THE SCENE For KUK, one of the challenging and MXR. Baltic Opera, Gdansk, June 2013. aspects of the production was the See: www.youngdancers.tv “Camera ready. Playback. And action!” considerable weight and size of the

12 tech-i | tech.ebu.ch | september 2013 in my opinion The TV Frame Rate enigma

DIFFERENT TYPES OF hen we find a movie enjoyable, Journey was made at 48 frames per second PROGRAMME CONTENT, it’s because we subconsciously (called HFR – high frame rate) rather put ourselves in the position than the usual 24. But guess what? Public AND DIFFERENT INTENTIONS of the characters: what would reactions to the HFR version of The Hobbit BY CONTENT MAKERS, W I do if it were me there? When we find were mixed. Some said it looked ‘too real’ CAN LEAD TO DIFFERENT watching sports or other televised events – like the movie had been made on a set CONCLUSIONS ABOUT THE enjoyable we add another reason: we’d (which of course it had). The more real the BEST IMAGE PARAMETER love to be there in the stadium while it’s technical parameters make it look, the more VALUES FOR TELEVISION happening, to be part of the event. When it warts you will see. By making the image comes to news, we watch because we have ‘better’, the higher frame rate had reduced AND MOVIES. HOW, DAVID the feeling that knowing what is happening the viewers’ suspension of disbelief for the WOOD ASKS, ARE WE TO in the world gives us a degree of control fantasy drama. KNOW WHICH ARE THE over it. Different types of media content ‘RIGHT’ ONES? have different psychological purposes. TV AND HFR In recent times, we have been considering THE ROLE OF FRAME RATE higher frame rates for broadcasting, going Image quality affects our sense of beyond 50 and 60 for new TV systems, ‘involvement’ in the programme content. up to 100, 120, or 150 images per second. The elements influencing it are many, but There should be a dramatic improvement in one of them is the frame rate – the number the sense of realness of the TV experience. In of pictures per second. particular, when objects move in a scene – at Take a careful look at a studio-shot TV a speed slow enough for our eyes to follow soap opera and compare it with a movie – they will be sharper and closer to the way – notice there is a different ‘feel’ to them. things are in nature. This is surely going to Somehow you can tell that the soap opera be eye-popping for sports coverage as you’ll was shot in a TV studio (if it was). Somehow have the best seats in the house. There are the movie does not have this feeling, and more advantages: images with higher frame gives you more of a sense of ‘observing from rates do not call for the mental gymnastics safety’ what is happening. It’s often a nice needed when watching 3DTV (known as the feeling. You still believe it is happening – accommodation/convergence conflict), yet you have suspended disbelief – but you have bring more reality to the images. the comfortable position of observer. Movies have been shot at 24 frames WHICH TO CHOOSE? per second for many years, and interlaced So, should we go for higher TV frame “...the more television at a ‘twilight zone’ rate, which rates which will be marvellous for sports is 50 or 60 half frames (called fields) per coverage, but may weaken our suspension images per second – effectively higher than the movie of disbelief, at least with certain kinds of rate. The 720p/50 or 60 progressive HDTV movie and TV drama on TV? Who knows second a format has 50 or 60 full frames per second. what other kinds of content such as news In real life, light reaches our eyes in a or documentaries would benefit most from? video system continuous stream. In effect, it’s an infinitely What is more, TV and movie technology high number of images per second, so the continue to converge, and will surely soon provides, the more images a video system provides, the be one and the same. closer the experience of viewing will be to What to do? You may say it is avoiding closer the reality. the problem, but how about a system that allows both higher and lower (in fact experience of HOLLYWOOD AND HFR variable) frame rates, which the producer For some years, the movie industry has been of the programme chooses, and which are viewing will be dipping its toes into increasing the image signalled to the TV set or movie theatre? rate, to give movies more impact. Last year, This would give us maximum flexibility. to reality.” the movie The Hobbit: An Unexpected What do you think?

tech-i | tech.ebu.ch | september 2013 13 in focus

A cCESS ALL AREAS FILE-BASED FACILITIES, LEGISLATION AND INNOVATIONS IN STREAMING TECHNOLOGIES, SUCH AS MPEG-DASH, ARE DRIVING A RENEWED INTEREST IN SUBTITLING TECHNOLOGY AND OTHER ACCESS SERVICES. THE EBU AND ITS MEMBERS ARE ACTIVE ON VARIOUS DIFFERENT LEVELS WITH INNOVATIVE PROJECTS AND INITIATIVES.

although more led by broadcaster initiatives such as HbbTV. The most important question currently being addressed is how to provide subtitling capabilities in MPEG-DASH and other online transport mechanisms. For this, key questions around timing, segmentation and content complexity need to be resolved. The EBU is providing an open discussion forum and intends to publish a practical solution, called “EBU- TT-D” (D for Distribution). The aim of all the EBU’s work in this domain is harmonization, by minimizing FIGURE 1 divergence between specifications and adopting existing solutions as much as his summer, the EBU published a distribution. possible. A first study into the overlap of new subtitling specification (EBU By bridging the binary format STL and the various available specifications (most Tech 3360), which explains how the text-based format EBU-TT, the EBU of them shown in Figure 1), shows there is Tto map subtitles from EBU STL provides a convenient transition path for a good chance to define a common subset, to EBU-TT, the new XML-based subtitling STL users. And this is without any loss of helping interoperability and reducing costs. format introduced last year. The EBU-TT data, because the original STL file can be A third aspect on which the EBU is specification was not created due to STL ‘tunnelled’ in the new EBU-TT files. actively working is live subtitling, especially being unpopular; on the contrary, many The EBU-TT work fits into a larger as far as the production side is concerned. 100,000s of STL files exist in broadcasters’ picture of subtitling format innovations, Current implementations do not provide archives worldwide. And the format is most of which are based on the W3C standardized, future-proof solutions. In still used today to provide programmes Timed Text Markup Language (TTML). In particular service handover, capture of data with their much for future re-alignment, desired lines of and segmentation text. However, it is Transition to timed text for various transport widely recognized mechanisms require that the future belongs to more text-based, the USA this work is driven mainly by FCC attention here. The EBU’s work in this less binary formats that remove certain regulations that demand online streamed domain is expected to result in EBU-TT constraints like the limitations on character programmes to be captioned; in Europe the part 3 – “Live Subtitling” next year. Frans sets. This counts especially for online biggest driver also is online deployment, de Jong (EBU)

he German ARD broadcasters – BR, relevance were three main requirements they HR, MDR, NDR, RB, RBB, SR, had in mind. By using a basic subset of EBU- SWR, WDR and Deutsche Welle – TT, the German broadcasters provide for an Tall share a common online archive, easy export from products implementing a called ARD Mediathek. The XML format wider EBU-TT profile like the upcoming EBU- EBU-TT-D-Basic-DE will be used for this TT-D, while guaranteeing minimal complexity catch-up service. It is a profile based on EBU- for current product implementations. TT part 1 (Tech 3350) and closely aligned Examples of where the complexity of the with the upcoming EBU-TT-D specification. profile is minimized are the choice of text The ARD profile was created by the IRT colours (only the eight “teletext colours” are allowed) and the restriction to two Ard Mediathek uses ebu-tt regions (with only the “top” and “bottom” together with the ARD broadcasters. It had a positions specified). The German EBU- review audience of around 70 representatives TT profile is now being implemented by from broadcast operations, the subtitling broadcasters and manufacturers of subtitling editorial departments and the online divisions. editing software and the feedback on it has Simplicity, speed of availability and practical been positive. Andreas Tai (Irt)

14 tech-i | tech.ebu.ch | september 2013 Some examples of the difficulties faced by OCR software in trying accurately capture subtitles.

ince March 2012, Dutch – so-called burned-in subtitles. With no EBU Technical Review article, but the short broadcasting organisation NPO off-the-shelf system available, NPO decided message is that the project has been a great has been using optical character to create its own. Tough requirements for success. In fact, NPO has concluded that Srecognition (OCR) technology on its the project were set: a simple and efficient the data generated by the system is of such three main TV services to convert in-vision architecture should convert 99% of words excellent quality that it is now the only translation subtitles to spoken subtitling correctly, ignoring foreign languages but source for spoken subtitles. Equipment audio. With spoken subtitling, a synthesizer capturing punctuation marks, and with previously used to derive the data from reads the words of the titles aloud, making the output available a maximum of 300ms subtitle files has been dismantled, bringing foreign-language programmes more after the first frame in which the subtitle the added benefit of increased reliability in accessible for people with serious sight appears. the playout chain and decreased costs. problems. In the Netherlands the potential The system was developed in conjunction Perhaps the best measure of success audience for this service, which has been with Dutch research organization TNO comes from the people that actually use the running since 2001, is 430,000 people. and Prime Vision, a company that service: the target audience is reported to Dutch public broadcasters provide originally provided character recognition be very satisfied with the improved services translation subtitling for virtually all of technology for postal markets. NPO’s and complaints have fallen to a minimum. their foreign-language programming*. The playout provider Ericsson Broadcast Marco Slik (NPO) need for the OCR system arose due to the Services integrated the system in NPO’s * Only broadcasts aimed at young children fact that separate Dutch are dubbed. Additionally subtitle files were available OCR for spoken subs hard-of-hearing subtitles for only 70% of the are provided for 95% of programmes. And the percentage is actually broadcast chain. all programming, making the Dutch one decreasing, with a growing tendency for A detailed overview of technical aspects of Europe’s leaders in terms of broadcast imprinting subtitles in the video signal of the system is presented in a forthcoming accessibility.

t this year’s EUROVISION Media Summit description and signing. According to a survey carried in May, Gion Linder (SWISS TXT – out just prior to the Summit in Brussels, EBU Members pictured) was elected as the new chairman value highly the definition of standards (72.7%) Aof EUROVISION’s Access Services Experts and the sharing of knowledge (88.6%). The EBU Group. The group has the objective, amongst others, Technology & Innovation team keeps close contact to stimulate and support the exchange of technologies, with the EUROVISION group to align on relevant products and services in the domain of accessibility. issues, including the use of EBU-TT and operational This means it also includes, for example, audio practices regarding live subtitling.

tech-i | tech.ebu.ch | september 2013 15 in focus

Changes ahead in European media regulation? THE BUZZ AROUND CONNECTED TVS, SECOND SCREEN VIEWING, SOCIAL TV APPLICATIONS – GENERALLY SPEAKING, MEDIA CONVERGENCE – HAS CAUGHT THE ATTENTION OF THE EUROPEAN COMMISSION OVER THE COURSE OF 2012 AND 2013. WOUTER GEKIERE AND JACQUES LOVELL, EUROPEAN AFFAIRS ADVISERS FOR THE EBU, OUTLINE THE MAIN DEVELOPMENTS.

nticipating possible changes to paper looks into the future audiovisual EU media regulation brought industry market structure and financing, about by media convergence, the interoperability of connected devices, Athe European Commission infrastructure and spectrum allocation, issued a 16 page “Green Paper” on and the impacts on media freedom and 24 April 2013, asking audiovisual pluralism, as well as advertising, the stakeholders: “What’s in it for you?” protection of minors, and accessibility for Alongside the EBU, electronics the disabled. manufacturers, audiovisual producers, When it comes to technical issues, the commercial broadcasters, online film paper asks in particular whether it is services and other interested parties were necessary to develop interoperable market asked to submit their views by 31 August standards, and whether radiofrequency 2013. spectrum allocation and sharing models can facilitate development opportunities WHAT’S IN A GREEN PAPER? for broadcasting, mobile broadband and So-called Green Papers are in most other applications carried in the same cases a crucial first step in the EU law- frequency bands. making process and provide a basis for the European Commission to hear KEY EBU TALKING POINTS different views. As the institution in Involvement from an early stage in this charge of proposing draft legislation to process, which might lead to significant the European Parliament and EU Member changes in how the audiovisual sector States, the European Commission usually is regulated in Europe, is naturally an tests the climate by putting down some important issue for the EBU. In fact, the basic views on a given subject, and EBU’s response to the paper, which is under tables a number of questions to which all preparation as we draft this article,, will be relevant players – “stakeholders” in EU- the result of an impressive concerted effort speak – are invited to respond. by the EBU, involving legal, regulatory, When issuing a Green Paper, the technical and political experts from across European Commission gives a clear sign the EBU and its broad membership. that it has identified a potential need to The EBU will seek to highlight draft new laws. Though the paper in itself Audiovisual World: Growth, Creation and the opportunities offered by media has no direct regulatory impact, the basic Values” Green Paper, one might be struck convergence but also indicate where risks views put forward by the Commission and by the number of issues covered in a mere may lie, drawing in particular on the the responses gathered from stakeholders 16 pages. fact that the strongly regulated world of shape future policy discussions and Anticipating that media convergence European broadcasting meets the “Wild indicate whether there is a genuine need – “the progressive merger of traditional West” internet environment. The EBU to review existing laws or create new ones broadcast services and the internet” will specifically stress the importance from scratch. – may erode the “familiar twentieth- of meeting audience expectations and In this specific case, the fact that the century consumption patterns of linear ensuring that high quality content with Green Paper has been published one broadcasting” and provoke a “shift social, cultural and democratic value can year ahead of the EU elections and the from ‘lean-back’ consumption to active still be easily accessed, warning that more renewal of the European Commission participation”, the European Commission content does not necessarily add up to in 2014 means that the results of the is fundamentally inquiring whether better content. consultation will be passed on to the next media convergence requires an overhaul The EBU will also underline the key role administration as a basis to continue of existing European rules for the played by public service media in driving work. In parallel, in July 2013 the audiovisual sector – or whether things hybrid systems and digital technologies, European Parliament finalized its own could still work with some fine-tuning standards and innovation, while n, 2013 n, o views in a report on Connected TV. emphasising the efficacy and relevance of ni or the development of self-regulatory U approaches from the industry. the digital terrestrial platform as a means

pean MULTIPLE DIMENSIONS Though the Audiovisual Media of reaching mass audiences on a free-to- ro

u When reading the European Commission’s Services Directive is clearly earmarked air basis and completing offers delivered E

© “Preparing for a Fully Converged as a potential target for revision, the through the open internet.

16 tech-i | tech.ebu.ch | september 2013 event report

Broadcasting's next big thing? BINAURAL SOUND HAS BEEN IN AND OUT OF FASHION OVER THE YEARS; WHILE INTEREST SEEMS CURRENTLY TO BE ON THE RISE, IT REMAINS A FRINGE TECHNOLOGY FOR BROADCASTERS. THE EBU’S MATTHEW TRUSTRAM FINDS EVIDENCE THAT THIS MAY BE CHANGING.

erhaps it's because we live in This KEMAR dummy head, an age where headphones have engineered for accurate become fashion accessories, or binaural recording, was Pbecause the idea of 'immersive one of the workshop's media' has grown popular in recent years; more unusual panellists. one way or the other binaural sound seems to be everywhere at the moment (if you'll pardon the pun). For all the talk though, the technique, which replicates location cues used by the human auditory system to deliver a full 360-degree immersive audio environment over headphones, remains on the fringes of broadcasting. The EBU's workshop on Immersive Audio over Headphones in May offered some interesting clues as to binaural sound's prospects as a mainstream platform for broadcasters.

PRODUCING BINAURAL On the face of it, it is perhaps surprising that binaural sound in not already in common use, for its simplicity if nothing is produced from anything other than 7.1, or, theoretically any multichannel else. At the consumer end, delivery a straightforward recording of a real- array. requires nothing more specialized than world, linear audio environment. While a pair of ordinary headphones, and it is possible to synthesize binaural audio LEAN-FORWARD LISTENING producing it from a live audio source is from multichannel sources such as 5.1, A third, and perhaps more profound barely more complex, involving simply the problem of 'personalization' (since our challenge for binaural sound was recording through a pair of finely auditory systems are as different from one identified by the BBC's Chris Pike (chair balanced microphone capsules placed another as our fingerprints) means that of the EBU 3D Audio group). Subjective either in a real person's ears, or those any one excerpt will have varying levels of user testing in the UK evaluated the of something manufactured to do the perceived fidelity across the population. performance of different systems same job (such as the KEMAR dummy The workshop did, however, point to for producing binaural sound from head). Despite this technical simplicity, interesting research (e.g. the BiLi project, multichannel sources, and, perhaps binaural sound offers great improvements www.bili-project.org) that could yield surprisingly, failed to identify a strong over '2D' stereo, allowing listeners solutions in the near future. preference for binaural sound over stereo to determine the height of sounds on Next are the problems thrown up down-mixes for many audio content the vertical plane, as well as to clearly for producers by the addition of an types. Extrapolating from this, one could position sounds originating behind them. auditory 'viewpoint', which, as well as reasonably draw the conclusion that The effect, particularly on first time requiring a consistent use of the binaural listeners simply do not always want to listeners hearing a low-level airplane technique (switching between binaural hear binaural, and, by extension, do not flyover or footsteps approaching from and non-immersive stereo is destabilising always want to be 'immersed' in content, behind, is quite striking. for the listener), gives producers added whether it be audio or visual. Interestingly, the advantages of binaural responsibilities to ensure the listener's To understand this result, it is perhaps recording don’t end with spatialization: position is clearly and consistently helpful to distinguish between 'active' and the BBC's Paul Newis described its use established. Furthermore, traditional 'passive' listening (or, indeed, viewing). in a documentary, where it was used to editing operations such as cross-fading Listening to binaural sound – like viewing provide the background sound layer of and layering tend to be to the detriment 3D TV or interacting with programming a Chinook helicopter so accurately that of the binaural effect, and can therefore via second screens – requires an active, service personnel could later name the not be relied upon. Here the solution may or 'lean-forward' mode of consumption. call sign of the actual vehicle used. It's lie in the codification of an 'object-based' With a technical solution to the also reported that binaural recordings production methodology that would personalization of binaural sound, and a help listeners to distinguish multiple give producers control over each audio robust production methodology, all that voices speaking simultaneously, as in, for object's position. This would carry the will remain will be for broadcasters to example, round table panel show formats. additional advantage of being platform identify the best opportunities to wow Production-side complexities do, agnostic; an object-based audio file could their (active) listeners with the remarkable however, creep in when binaural sound be reproduced optimally for binaural, 5.1, effect of binaural sound.

tech-i | tech.ebu.ch | september 2013 17 in focus

Don’t fear the data!

A GROWING NUMBER OF BROADCASTERS ARE WAKING UP TO THE POSSIBILITIES OF USING SEMANTIC TECHNOLOGIES TO GET MORE FROM THEIR MEDIA ASSETS. A DATA MODEL THAT WORKS IS THE KEY TO SUCCESS. NRK’S GUNNAR DAHL AND THE EBU’S JEAN-PIERRE EVAIN EXPLAIN WHAT’S INVOLVED. n the world of technology, we often Like URLs pointing to a human readable see a time lag before the potential website, also called a "landing page", of a particular system can be URIs – uniform resource identifiers – link Ifully exploited. Most of the W3C to related processable data, which in turn specifications covering the Semantic Web can also link to more data. This linking were written around 2004, with the work process offers wide possibilities for data having started back in 1999. It’s only enrichment. For example, an archivist now that one can reasonably envisage processing information mentioning the exploiting the concept in more depth and name of a person will find a biography apply it to broadcasting, from production of that person on the internet, either and archiving to distribution. This will be as a simple webpage and/or containing a major paradigm shift for information hidden machine-processable information. management but, paradoxically, going The proposal is very attractive but deeper into the semantic web should make implementation must take account of the things simpler and easier. following considerations: • Linked data doesn't have to be open SEMANTIC WEB PROMISES and can be managed in a controlled It has been a long journey to migrate from environment paper annotation to information stored in • Persistence of references to linked open databases or represented using structured data must be considered seriously languages such as XML. Why would one • The editorial quality of linked data must so be foolish as to make the trip longer be verified (for disambiguation, quality using semantic information? and correctness of the data) Firstly, you need to accept the fact that If you are able to expose your model the terms "ontology" and "linked data" simply and logically, you are good to will soon, if not already, be as common as go and take all benefits that come from "metadata". There is no escape. semantic technologies. In the framework of this article, ontology has nothing to do with EXAMPLE: THE BOOK ANALOGY metaphysics. It is a very practical semantic If someone were to describe what a book representation of a class conceptual data is, he may say (among other options): model, i.e. a logical description of assets - A book has a title. (programmes, clips, editorial objects, and - A book is organized in chapters. components of your model (Book, other information stored in databases, like - A chapter has a number. Chapter, Paragraph) person or organization names and details), - A chapter contains paragraphs. • objectProperties are used to link classes and relations between assets. - Etc. • dataProperties are used to characterize The peculiarity and strength of an The corresponding semantic classes (e.g. a title or a number) ontology are that any complex model can representation of a book description would Now your mission, if you accept it, will be represented using simple statements, be: be to make your own data model look called "triples", taking the form of basic - Book (class) hasTitle (dataProperty) equally straightforward. It is NOT mission sentences made of a "subject", a "verb" value (datatype string) impossible. and an "object". All information from - Book (class) organisedIn (objectProperty) different metadata silos (databases, XML Chapter (class) GETTING STARTED or otherwise) can ultimately be expressed, - Chapter (class) hasNumber Most developers would actually dive into linked, combined or mapped in the (dataProperty) value (datatype integer) code. Semantic models can be represented form of triples. This provides seamless - Chapter (class) contains (objectProperty) in different ways including but not interoperability. Such semantic models can Paragraph (class) restricted to RDF / XML, N3 or Turtle. be easily extended or customized. Once - Etc. RDF / XML can be seen as the most this is done, querying and retrieving assets The above example exposes all the basic canonical form and can be edited using across a single organization becomes easier, principles around semantic web: XML editors, but it is quite verbose and reducing costs and maximizing revenue • A model can be expressed using simple based on heavy syntax. N3 and Turtle through cross-media exploitation. statements or triples (subject/verb/ more clearly show the structure of triples Linked data is about connecting complement) but editors are harder to find. Converters resources in a machine-friendly way. • Subject are classes, i.e. key structural are available on the web to go one format

18 tech-i | tech.ebu.ch | september 2013 LINKING OPEN DATA CLOUD DIAGRAM, SHOWING SOME OF THE MANY DATASETS AVAILABLE ON THE SEMANTIC WEB (RICHARD CYGANIAK AND ANJA JENTZSCH http://lod-cloud.net)

to another. In all cases, validation will be Many resources can be found on the TO THE FUTURE required using one of the validators also web in different formats. As one example, The market is sending early signals that available on the web, like from W3C. the EBUCore ontology is available in semantic information will become an You may also prefer tools proposing a RDF/XML for everyone to download and essential enabler for finding services and more intuitive user interface for defining analyse or further implement from http:// searching / retrieving content. Broadcast classes and properties (Protégé from www.ebu.ch/metadata/ontologies/ebucore/ production solution providers have already Stanford University, TopBraid, Neon ebucore.rdf proposed semantic based tools for asset Toolkit, etc.) without directly writing code. The corresponding html documentation management and archives. Of course, These tools will eventually generate code, is accessible from http://www.ebu.ch/ distribution is already in motion with which you may use to learn and as the metadata/ontologies/ebucore schema.org (initiated by Google, Yahoo!, basis for more advanced developments, More resources are available from http:// Microsoft, Yandex) for which BBC and the if desired. They also often integrate www.ebu.ch/metadata/ontologies/skos with EBU have proposed extensions for radio reasoners, validating/analyzing your all EBU Classification Schemes (such as and television programme description and ontology and inferring more relations the genre and role lists) expressed in RDF/ publication event data to be inserted in between classes (making your model richer XML using the SKOS (Simple Knowledge HTML pages. and ready for advanced queries). Organization System) ontology. Be part of it! These tools will help familiarizing yourself with basic ontological concepts. They will also help you optimizing your The EBU’s Metadata Models Project Group brings together those interested in models, the ultimate goal of which should making the semantic web work for broadcasting. You can follow or contribute to be to enrich your queries and let you or the group’s work. Visit http://tech.ebu.ch/pmag or contact Gunnar Dahl (gunnar. your users obtain what is relevant. [email protected]) or Jean-Pierre Evain ([email protected]).

tech-i | tech.ebu.ch | september 2013 19 FORECAST’13 MISSION CRITICAL FOR PUBLIC SERVICE MEDIA

Photo of Tallinn TV Tower by Marko Leppik via tourism.tallinn.ee on Flickr. (CC:BY-NC-SA)

6-7 November 2013 EBU, Geneva FORECAST is the EBU's annual seminar dealing with broadcast technologies, spectrum management and related topics. Join more than 100 delegates, from broadcasters, network operators, manufacturers, regulators and policymakers for two days of presentations, discussion, debate and demonstrations.

Information & Registration: tech.ebu.ch/forecast13 Early Bird Discount until 4 October