In Broadcast - April 2012 - 26


WWW.INBROADCAST.COM | ISSUE 7 - APRIL 2012

InFILE
Providing A Whole Different Dimension Cont.
programming is required to have the accessibility. AD implementation may be desirable, but typically only government mandates tend to drive an increase in the service. Broadcasters like C4 and Sky have voluntarily moved to double that to a volume that cover most peak time pre-recorded programming. “The availability and growth of AD services in the UK should be the envy of the world, says Peter Blatchford, Sales and Marketing Director, Starfish Technologies. “The major providers of AD services in the UK have increasingly sophisticated workflows to help with efficiency, and the quality of AD being produced is of an extremely high standard,” says Blatchford. Starfish is arguably among the world leaders in AD technology and the main supplier to Sky, Deluxe (ITFC) and Red Bee which houses over 20 workstations. In the subtitling and captioning market, new products include tools for language comparison and automated QC of subtitle files. “In the early days there would be script written to the video and then a voice artist would be brought in 26 to do the voice recording,” says Blatchford. “That rarely happens now. Instead the voice over artist performs the whole AD process, but it is still quite a manual process where the skill is in the intonation and accenting of the description.”

Speech To Text
In order to extend the reach through both hard of hearing and language translated subtitling, there is increasing appetite for realtime subtitling for TV news and other live events where speech to text technology is a key enabler. Live dialogue tends to be respoken by specialists and translated back to text via speech recognition systems, replacing the work of stenographers. All the main technology providers and accessibility services houses use speech engines from IBM (ViaVoice) or Dragon (Naturally Speaking) which is widely believed to have leapfrogged its competitor. “Dragon’s system works on a phrase based recognition system which translates words it may not know using words either side,

Starfish AD user interface

contextually,” says Byrne. “This creates an inevitable small delay in the process but it tends to be more accurate than ViaVoice which recognises each word individually.” With consumer electronics manufacturers like LG and Samsung building voice control into their TVs and tablets and Apple rumoured to be incorporating its iPhone voice recognition system Siri into a new TV product, speech is fast becoming a more mainstream way of interacting with technology. Google even has a free for auto-description tool for YouTube videos, although by all accounts the technology is far from perfect. Red Bee has built a new live subtitling platform integrating speech recognition which it will debut this summer. Subito also introduces the ability to auto-align pre-prepared text. “In a news scenario quite a high proportion of words are pre-scripted or repeated from previous half hours so it’s possible to use audio and other metadata to automatically transmit text that already exists in the system,” explains Padmore. “This will lead reduce the delay in sound and subtitles on the screen and improve the quality of realtime captioning. “The holy grail is to get to a point where we can generate text automatically direct from a soundtrack,” he says. “The problem is that this works with very clear audio but as soon as there are any acoustic issues, such as people talking over each other, background noise or speaking ungrammatically then the text becomes pretty unintelligible.” There is also an increase in multilanguage broadcasting as pay TV operators look to increase their reach and maximise revenues. Red Bee is part of an EU-funded project EU-BRIDGE looking at

developing functional automatic speech recognition and realtime translation in multiple languages. Project partners include the Karlsruhe Institute of Technology, Hong Kong University of Science and Technology, Alcatel Lucent, The University of Edinburgh and the Polish-Japanese Institute of IT.

Stereo 3D Subtitles
Stereo 3D is still limited but questions are being posed of service providers. Up to this point, closed captioning for 3D presentations are being authored and transmitted using standard 2D workflows, and then automatically converted to a single fixed disparity for 3D viewing. Future standards are likely to open up the possibility for a richer experience with 3D captions. “Authoring tools such as EEG’s CaptionTrack will support manual depth placement for post-produced captioning, while live captioning can be positioned using a combination of operator cues, metadata, and heuristic placement,” says McLaughlin. “The main problem is placement of the text on screen at the appropriate depth on the z-axis,” says Gary Glover, Sales and Marketing Director for Screen which has developed the Poliscript 3DITOR subtitle preparation software. “Another issue is avoidance of occlusion where subtitles can cause depth cues to be obstructed.” It is important that subtitles do not spoil the 3D effect by appearing over or behind 3D objects in the image; on the other hand, notes Chantal Kellaway, Softel’s VP marketing, it is uncomfortable for viewers to experience subtitles which constantly move in and out of 3D space. Automated 3D object
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Table of Contents for the Digital Edition of In Broadcast - April 2012

In Broadcast - April 2012
Contents
Broadcast Networks Delivers for Arqiva
Swedish Hockey Safe in the Bank
Viewcast Launches Niagara 9100 Series
Cavena: Enhancing the Value of Content
Broadcast Pix Announces Video Control Center 3.0
Telecast’s Latest Innovations
Glidecam Introduces XR-Series Stabilisers
Qvest Media Live With Code One Streaming
Volicon Extends Observer Utility
Petrol Bags Add to Audio & DSLR Range
In Broadcast - April 2012 - In Broadcast - April 2012
In Broadcast - April 2012 - Cover2
In Broadcast - April 2012 - Contents
In Broadcast - April 2012 - Broadcast Networks Delivers for Arqiva
In Broadcast - April 2012 - 5
In Broadcast - April 2012 - Swedish Hockey Safe in the Bank
In Broadcast - April 2012 - 7
In Broadcast - April 2012 - 8
In Broadcast - April 2012 - 9
In Broadcast - April 2012 - 10
In Broadcast - April 2012 - 11
In Broadcast - April 2012 - 12
In Broadcast - April 2012 - 13
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In Broadcast - April 2012 - 20
In Broadcast - April 2012 - 21
In Broadcast - April 2012 - Viewcast Launches Niagara 9100 Series
In Broadcast - April 2012 - 23
In Broadcast - April 2012 - 24
In Broadcast - April 2012 - 25
In Broadcast - April 2012 - 26
In Broadcast - April 2012 - Cavena: Enhancing the Value of Content
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In Broadcast - April 2012 - Broadcast Pix Announces Video Control Center 3.0
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In Broadcast - April 2012 - Telecast’s Latest Innovations
In Broadcast - April 2012 - 55
In Broadcast - April 2012 - Glidecam Introduces XR-Series Stabilisers
In Broadcast - April 2012 - 57
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In Broadcast - April 2012 - 59
In Broadcast - April 2012 - 60
In Broadcast - April 2012 - 61
In Broadcast - April 2012 - 62
In Broadcast - April 2012 - Qvest Media Live With Code One Streaming
In Broadcast - April 2012 - 64
In Broadcast - April 2012 - 65
In Broadcast - April 2012 - Volicon Extends Observer Utility
In Broadcast - April 2012 - 67
In Broadcast - April 2012 - 68
In Broadcast - April 2012 - 69
In Broadcast - April 2012 - Petrol Bags Add to Audio & DSLR Range
In Broadcast - April 2012 - Cover3
In Broadcast - April 2012 - Cover4
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