In Broadcast - August 2014 - 62


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 34 - AUGUST 2014

N E W S

InFILE

Can One Format, One Codec Rule Them All?
The UK deadline for the tapeless supply of media to many of the main broadcasters is fast approaching,
but what will be acceptable in terms of file formats and compression codecs varies significantly...

By Kieron Seth
Contributing Editor

O

62

ctober 1, 2014 is a big day
for many UK TV producers, it
marks the day that the delivery of
media to broadcasters (including
the BBC, ITV, C4, Sky, Channel Five,
S4C and UKTV), on tape comes
to an end.
A sign of the times - this has
numerous advantages (not least
benefits to the environment) it is
to be hoped that the change to
television delivery is imperceptible
as far as the viewer is concerned.
To ensure that this is the case and
that broadcasters do not have to fill
air time with unexpected repeats,
production units, facilities houses
and television companies have been
striving over the last year to ensure
their readiness for the shift from tape
to file-based delivery.
However, this is not an issue of
interest solely to the UK, as Darren
Gallipeau, Product Manager at Digital
Rapids explained: "The standards
being developed by the DPP (Digital
Production Partnership) are key
steps in enabling broadcasters and
their content partners to maximise
the benefits of file-based delivery.
"Furthermore, while the initiative
originated in the UK, it has worldwide
impact because of the global nature
of these broadcasters' content
partnerships. We're pleased to
support the DPP initiative in
our solutions."
Post-production and delivery
workflows worldwide will take note.
They will have to be ready to supply
media in the right codec and format
or face the consequences...

DPP Future
The DPP's guidelines are a significant
step in the move to totally tapeless
workflows. Currently broadcasters
typically require materials to be
submitted as transmission master
tapes (HDCAM or DigiBeta) together

with a technical QC pass report and
a PSE (Photo Sensitive Epilepsy)
pass certificate.
From the autumn, a DPP-compliant
file with QC and compliance reports
will have to be sent electronically,
eliminating the need for couriers,
media capture, expensive media
stock and a tape archive room.
The DPP standard stipulates AVC
Intra compression at 100 Mb/s
for HD, and IMX at 50 Mb/s for
SD, founded on Advanced Media
Workflow Association's (AMWA)
international standard, AS-11.
AS-11 itself is based on an
MXF format, updated by the DPP
to include EBU R128 loudness
specifications, guidance on 4K
cameras and other specifications.
Interestingly, AS-11 supports playout
even while the file transfer is in
progress. Crucially, it allows files to
be transcoded by the broadcaster to
the required bitrate and format and
to select specific audio and caption
tracks as required.
At launch, the DPP offered a
metadata application allowing
producers to create and deliver
appropriate metadata. Now, a
number of manufacturers (currently
more than 20) have enabled
file preparation according to
DPP standards.
Wohler claims to address the "six
golden requirements" of the new
file compliance system: loudness,
video legalisation, content layout,
metadata, quality control and
encoding. Its WohlerDPP analyses,
processes and corrects the audio
and video components, certifies
correct audio, video and metadata
packaging, and ensures the
suitability of metadata. Beyond
this, the system uses RadiantGrid's
TrueGrid node for faster than realtime transcoding and integrates with
QC solutions from the likes of Interra,

WohlerDPP uses RadiantGrid's TrueGrid node for faster
than real-time transcoding

Vidchecker provides automated
quality control for file-based media

Nexidia, Tektronix and Vidcheck.
As a partner in the DPP initiative,
Vidcheck itself has been closely
involved in the standards process.
Many of its products include the
ability to verify and / or conform files
to the new standards.
Vidchecker provides automated
quality control for file-based
media, checking video and audio
parameters and corrects video luma,
chroma and RGB component, as
well as audio peak and loudness
levels to ATSC/CALM and EBU
requirements. It also applies DPP
metadata tests to ensure compliance
with every element of the standard.
The manufacturer's Vidfixer goes
one stage further by adding autotranscoding and auto-correction of
file format errors to meet DPP criteria.
Integrating directly with Vidchecker
is Root6's ContentAgent product
supports the automated creation
of valid AS11/DPP clips ready for
transmission. It allows users to enter
descriptive metadata, with drop
down menus for common shortcuts,
encode clips as either IMX or AVCIntra op1a MXF files, create a valid
XML metadata file, run automated
file-based QC on clips and deliver
media over FTP to the broadcaster.
For a fast workflow that
simplifies metadata preparation,
C o n t e n t A g e n t 's A d v a n c e d
Metadata Transformation Engine can
automatically parse any metadata
provided into relevant fields, either
provided from an external XML
file, or filled in directly via the
metadata entry form.
Designed, installed and operated
by Timeline Television, Olympic
Park studios is the new production
hub for all of BT's sports content.
The installation included adoption
of AmberFin's iCR, Unified Quality
Control system which is DPP
compliant. Indeed AmberFin's focus
on the standard is evidenced by the
inclusion of specific DPP products
in its line-up: iCR DPP Transcoder,
iCR DPP Workstation and iCP DPP
Ingest Station.
The ingest product is designed
specifically to generate 1080i 50
MXF-wrapped AVC-Intra or D10

assets compliant with the AS-11
specification and DPP standards. It
checks and embeds metadata, and
can be integrated with QC products
for a fully file-based production to
post workflow.
M O G 's i n g e s t s o l u t i o n
mxfSPEEDRAIL captures SDI feeds
and transcodes file-based sources
delivering it to the new UK standard.
In this way, all files handled by the
broadcaster can be homogenised
which has long-term archiving
advantages as well as short-term
workflow benefits.
The Blue Lucy BLAM asset
manager handles ingest, cutting,
splicing and quality control functions,
as well as transcoding, metadata
injection and archiving. AS-11
metadata injection is included in a
BLAM enabled workflow while the
AS-11 Validator interrogates files,
displays metadata and highlights
missing or invalid metadata.

AS-11 metadata injection is included
in Blue Lucy's BLAM workflow

At IBC last year, Digital
Rapids unveiled major feature
enhancements to its Transcode
Manager 2.0 and the Kayak
workflow platform. Amongst the
improvements included AVC-Intra
support, a critical component in the
DPP standard.

Digital Rapids Transcode Manager
2.0 and the Kayak workflows support
AVC-Intra

Other transcoding specialists
have been equally quick to embrace
the format. Its Vantage solution
includes support for copious
European technical standards,
including the ability to capture and
transcode DPP AS-11 MXF files plus
workflow automation and file-based
HardingFPA analysis.
Compatible with Final Cut Pro (6,
7 and X) MXF4mac from Hamburg
CONTINUED ON PAGE 64


http://www.linkedin.com/pub/dir/?first=Phillip&last=Izzard&search=Go https://twitter.com/inbroadcast http://www.youtube.com/watch?v=qpzEatLsHdE&feature=youtube_gdata_player https://www.facebook.com/InBroadcast http://itunes.apple.com/gb/app/inbroadcast/id468652679?mt=8 https://play.google.com/store/apps/details?id=com.branded.inbroadcast&feature=search_result#?t=W251bGwsMSwyLDEsImNvbS5icmFuZGVkLmluYnJvYWRjYXN0Il0 http://WWW.INBROADCAST.COM http://www.vidcheck.com/ http://bluelucy.com/modules/overview/ http://www.digitalrapids.com/en/Products/TranscodeManager.aspx http://www.wohler.com/RgTranscoding.aspx

Table of Contents for the Digital Edition of In Broadcast - August 2014

In Broadcast - August 2014 - Intro
In Broadcast - August 2014 - Cover1
In Broadcast - August 2014 - Cover2
In Broadcast - August 2014 - 3
In Broadcast - August 2014 - 4
In Broadcast - August 2014 - 5
In Broadcast - August 2014 - 6
In Broadcast - August 2014 - 7
In Broadcast - August 2014 - 8
In Broadcast - August 2014 - 9
In Broadcast - August 2014 - 10
In Broadcast - August 2014 - 11
In Broadcast - August 2014 - 12
In Broadcast - August 2014 - 13
In Broadcast - August 2014 - 14
In Broadcast - August 2014 - 15
In Broadcast - August 2014 - 16
In Broadcast - August 2014 - 17
In Broadcast - August 2014 - 18
In Broadcast - August 2014 - 19
In Broadcast - August 2014 - 20
In Broadcast - August 2014 - 21
In Broadcast - August 2014 - 22
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In Broadcast - August 2014 - 24
In Broadcast - August 2014 - 25
In Broadcast - August 2014 - 26
In Broadcast - August 2014 - 27
In Broadcast - August 2014 - 28
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In Broadcast - August 2014 - 31
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In Broadcast - August 2014 - 33
In Broadcast - August 2014 - 34
In Broadcast - August 2014 - 35
In Broadcast - August 2014 - 36
In Broadcast - August 2014 - 37
In Broadcast - August 2014 - 38
In Broadcast - August 2014 - 39
In Broadcast - August 2014 - 40
In Broadcast - August 2014 - 41
In Broadcast - August 2014 - 42
In Broadcast - August 2014 - 43
In Broadcast - August 2014 - 44
In Broadcast - August 2014 - 45
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In Broadcast - August 2014 - 47
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In Broadcast - August 2014 - 55
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In Broadcast - August 2014 - 78
In Broadcast - August 2014 - 79
In Broadcast - August 2014 - 80
In Broadcast - August 2014 - 81
In Broadcast - August 2014 - S1
In Broadcast - August 2014 - S2
In Broadcast - August 2014 - S3
In Broadcast - August 2014 - S4
In Broadcast - August 2014 - S5
In Broadcast - August 2014 - S6
In Broadcast - August 2014 - S7
In Broadcast - August 2014 - S8
In Broadcast - August 2014 - S9
In Broadcast - August 2014 - S10
In Broadcast - August 2014 - S11
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