Media file formats for broadcasters

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    Media file formats for broadcasters - Presentation Transcript

    1. Media File Formats for the Broadcaster Unraveling the mystery Tom Beckers Matthias De Geyter Wim Ermens Luk Overmeire VRT Medialab - 16/10/2008
    2. Agenda Part One - Luk Overmeire & Matthias De Geyter Introduction Image and advanced compression formats for HD File formats for HD production: MXF and AAF --- pause --- Part Two - Tom Beckers & Wim Ermens Visual and technical quality control for HD Demos 2 VRT-medialab: onderzoek en innovatie
    3. VRT Medialab 4 research domains broadcaster customer Information management Information front-end Research Archiving User generated Personalization content Product Development Manufacturing Distribution User interaction Social platforms Engineering Automation information essence Production infrastructure Distribution Editing Mastering Wireless and Internet wired networks Media Ingest Asset Mgnt Playout Mobile Satellite Infrastructure (storage and network) 3 VRT-medialab: onderzoek en innovatie
    4. VRT Medialab 4 research domains Information management Information front-end Research Archiving User generated Personalization content Product Development Manufacturing Distribution User interaction Social platforms Engineering Automation Production infrastructure Distribution Editing Mastering Wireless and Internet wired networks Media Ingest Asset Mgnt Playout Mobile Satellite Infrastructure (storage and network) 4 VRT-medialab: onderzoek en innovatie
    5. Context: tape-based media production 5 VRT-medialab: onderzoek en innovatie
    6. Context: file-based media production with central warehouse information information essence essence 6 VRT-medialab: onderzoek en innovatie
    7. File-based media production Concurrent engineering Browse Clients Processing during ingest/transfer Draft POST Craft editors Processing Production Media Analysis Asset Mgmt Subtitling INGEST IP network PLAY-OUT Central storage Annotation Central Archiving Storage Post- Follow-up sonorisation continuity Editor-in-Chief 7 VRT-medialab: onderzoek en innovatie
    8. Media production formats information essence = image formats ! resolution, frame rate, raster essence compression formats ! high & low resolution + file/wrapper formats information 8 VRT-medialab: onderzoek en innovatie
    9. Typical broadcast chain post P File-based camera I production N L G A Web contribution Y E central O distribution linear S Blu-ray DVD T warehous U Studio acquisition e T production archive 9 VRT-medialab: onderzoek en innovatie
    10. Typical broadcast chain Formats for Standard Definition 576 lines, interlaced 25 frames/sec DV25 MXF MXF/AAF post P I production File-based camera L H.263/VC-1 N IMX-30 G A Web MPEG-2 MPEG-2 contribution Y long GOP E IMX-50 central O distribution long GOP linear S 4:2:0 4:2:2 warehous U DVD T MXF OP1a 8-10 Mbps 10-25 Mpbs Studio acquisition e T MPEG-2 MPEG-1 VC-1 production DV25 archive IMX-30 long GOP IMX-50 10 VRT-medialab: onderzoek en innovatie
    11. Typical broadcast chain Formats for High Definition 720p50, 1080i25, 1080p25, 1080p50 MXF/AAF, Quicktime postXDCAM HD, MXF File-based camera I AVC-Intra, P production H.264/VC-1 N DNxHD, L G ProRes, A H.264 4:2:0 Web MPEG-2 ->H.264 contribution JPEG2000 Y 4:2:0, 4:2:2 E O distribution bit rate ? linear SMXF OP1acentral Blu-ray DVD bit rate ? T warehous U Studio acquisition e T H.264/VC-1 H.264 (1), production (2), H.264 … uncompressed, XDCAM HD, lossless compressed ? AVC-Intra, archive DNxHD, ProRes, long GOP JPEG2000 11 VRT-medialab: onderzoek en innovatie
    12. Proliferation of media formats HD image formats ! 720p50,1080i25, 1080p25 => 1080p50 HD compression formats ! legacy versus new formats ! contribution, camera, production, archive, distribution proxy formats (low resolution) wrapper formats ! MXF flavors, Quicktime 12 VRT-medialab: onderzoek en innovatie
    13. The HDTV format jungle HDTV increases variety of formats Abtastformat Abtastformat Lossy Abtastformat Kompressionsformat HDTV increases conversions Abtastformat Sampling formats Kompressionsformat variety of options (1080i/25, 720p/50, 1920/1440 pixels, Kompressionsformat IT-basiert: File Format 4:2:0, 4:4:4, ... ) Kompressionsformat HDTV increases need Compression formats Format IT-basiert: File for efficient wrapping (MPEG-2,IT-basiert: File Format H.264, JPEG2000, ..) Transport Physikalischer IT-basiert: File Format Physikalischer Transport File Formats Further formats (e.g. consumer) Presentation (Displays) (MXF, QT, ..) Transport Physikalischer Physikalischer Transport Physical Transport Contribution („live“ and/or „File “) Distribution (HD-SDI, IP, Tape, ..) Production (more granular variants for news, features, etc.) „A format“ 13 VRT-medialab: onderzoek en innovatie
    14. Production areas high-end production ! landmarks, drama mainstream production ! soap series, documentaries, shows Mainstream HDTV platform \" single or multiple scanning formats ? News and sports \" single or multiple compression formats ? \" 720p/50 a/o 1080i/25 video journalism \" 4:2:2 a/o further subsampling ! consumer cameras \" 10 Bit a/o 8 Bit \" I-frame only a/o long GOP \" Headroom a/o low data rate \"… a/o … 14 VRT-medialab: onderzoek en innovatie
    15. Image formats for HD (and beyond)
    16. Today’s and future image formats Super Hi-Vision (U-HDTV) resolution 7680 x 4320 24 Gbit/s Far future 60 frames/sec, progressive audio: 22.2 channels ? System 4 – 1080p50 3 Gbit/s Future resolution 1920 x 1080 50 frames/sec progressive Today 1,5 Gbit/s System 1 – 720p50 resolution 1280 x 720 50 frames/sec progressive EBU System 2 – 1080p25 System 3 – 1080i25 resolution 1920 x 1080 Tech 3299 resolution 1920 x 1080 25 frames/sec HDTV System 1-4 50 fields/sec progressive interlaced 16 VRT-medialab: onderzoek en innovatie
    17. EBU – Tech 3299 HDTV Horizontal Active Frame Sub-sampling / Net image Bit Interface Bit Systems samples lines rate Quantisation [Bit] Rate [Gbit/s] Rate [Gbit/s] EBU 3299 System 1 1280 720 50 4:2:2 10 0,9216 1,5 720p/50 System 2 1920 1080 25 4:2:2 10 1,0368 1,5 1080i/25 System 3 1920 1080 25 4:2:2 10 1,0368 1,5 1080p/25 System 4 1920 1080 50 4:2:2 10 2,0736 3,0 1080p/50 SDTV 25 0,27 720 576 4:2:2 10 0,207 576i/25 17 VRT-medialab: onderzoek en innovatie
    18. The resolution revolution now + 5y Maximal viewing distance: SD: d < 5.h HD: d < 3.h U-HDTV: d < 0.75.h d = viewing distance h = display height + 15y? 18 VRT-medialab: onderzoek en innovatie
    19. Good HDTV – More than a numbers game 1080 (i) > 720 (p) => “More is better” ? 19 VRT-medialab: onderzoek en innovatie
    20. How can smaller be better ? (1) interlace factor ! interlaced scanning: 50 fields/sec (1 field = ! frame) ! 540 lines < dynamic vertical resolution < 1080 lines Studies (Bell Laboratories, NHK): interlace factor ! 0.6 => 648 lines < 720 lines 20 VRT-medialab: onderzoek en innovatie
    21. How can smaller be better ? (2) interlace factor interlace artefacts (motion rendition) ! e.g. serrated edges 21 VRT-medialab: onderzoek en innovatie
    22. How can smaller be better ? (3) interlace factor interlace artefacts resolution capacity of human eye (\" 1 arc minute) Required horizontal sampling for different screen sizes, viewed at 2.7m 720x576 22 VRT-medialab: onderzoek en innovatie
    23. How can smaller be better? interlace factor interlace artefacts resolution capacity of human eye compression artefacts ! better compression performance for progressive ! compression of interlaced media generally involves de- interlacing 23 VRT-medialab: onderzoek en innovatie
    24. Progressive versus interlaced far better suited for moving pictures (e.g. Pro legacy format sports) ! as of today, generally better easier to encode supported throughout the workflow plasma, LCD are progressive displays – camera, set-top-box, post => end-to-end progressive workflow is possible production, central MAM, … same resolution visibility from “viewing ! existing program material distance” ! current offering is predominantly rescaling is easier than deinterlacing 1080i25 content the future is progressive => evolution to 1080p50 is more straightforward compatible with 1080p25 through 1080psf Contra full support in end-to-end workflows to be higher complexity carefully tested ! down conversion requires de- and re- ! camera (quality), central MAM, post interlacing production, Dolby E surround sound ! de-interlacing is very hard to do well ! time labeling ! (editing) legacy format - “wet van de remmende voorsprong” ! distribution (Telenet, Belgacom, …) less suited for slow motion and chroma keying ! contribution (productiehuizen) 24 VRT-medialab: onderzoek en innovatie
    25. Different scenarios for image formats Production Distribution Acquisition format format Distribution Full HD Production Display 1080i Scenario 1 1080i 1080i 1080i 1080i to 1080p Best supported 1080p 1080i 720p Scenario 2 720p 1080p 1080i 1080i 1080i to to 720p 1080pWhat is effect of conversion 1080i 720p 720p on quality? 720p 720p 1080p Scenario 3 1080i to to 720p 1080p 720p Scenario 4 720p 720p 720p 720p 1080p to Best quality 1080p Deinterlacing Rescaling converter converter 25 VRT-medialab: onderzoek en innovatie
    26. Broadcast production chain – Points of attention for 720p50 workflows Motion compensation algorithm Today’s content is mostly 1080i EICTA label - HDTV 2 9 1 Set-top-box Cross-convertor Cross-convertor EBU Joint Taskforce on 8 Timing & Synchronisation Real-time infrastructure p50 timing Post production Studio camera Support (legacy systems) Surround sound 5 7 Dolby E compatibility with p50 MXF 6 TC support (legacy formats) 3 4 Full tested support (essence, TC, …) Light sensitivity, S/N ratio File-based production environment Central MAM End-to-end workflow should be carefully designed ! 26 VRT-medialab: onderzoek en innovatie
    27. EBU/SMPTE Joint Taskforce on Time Labelling and Synchronization twofold goal ! new time labelling method allowing higher frame rates (50 fps and higher) ! new synchronization mechanism ! current standards (SMPTE 12M, colour black) are 30 years old => workable but limited status ! Request For Technology (RFT) – February 2008 – responses from Sony, Harris, TGV, … ! draft Request For Standardisation (RFS) – time-related labeling 27 VRT-medialab: onderzoek en innovatie
    28. Scenarios for 1080p25 psf = progressive with segmented frames ! frames are segmented into two interlaced fields with equal time index => compatible with 1080i distribution ! easy deinterlacer (simple “weave”) Acquisition Distribution Full HD Production Display 1080p25 1080psf 1080psf Scenario 1 1080p25 1080p25 1080p25 to 1080p to (1080i) 1080psf 1080p 1080p25 720p Scenario 2 720p 1080p 1080p25 1080p25 1080p25 to to 720p 1080p Rescaling Rescaling Simple converter converter reordening with loss of resolution 28 VRT-medialab: onderzoek en innovatie
    29. What about 1080p50? no one already broadcasts in 1080p50 ! but some have plans … 1080p50 in production ! not around the corner, but plausible within 3-5 years ! very good master for both 720p50 and 1080i25 ! better quality (less artifacts due to smaller block sizes and higher coding efficiency) 1080p50 in distribution ! commercial factors will likely be the driving factor 29 VRT-medialab: onderzoek en innovatie
    30. Compression formats for HD
    31. Basics of video coding What is video compression? ! Video compression is a technique that reduces the bit rate to represent video images by exploiting signal redundancies while preserving the original quality as much as possible basic types of redundancies ! statistical redundancies – spatial and temporal interpixel redundancies – coding redundancy ! psycho-visual redundancies – human visual system is less sensitive to higher frequencies and color 31 VRT-medialab: onderzoek en innovatie
    32. Common techniques for video compression rate control CBR/VBR lossless vs lossy input source re- entropy compressed video encoder quantization encoding video subsampling prediction transform horizontal Intra-frame DCT subsampling color Interframe wavelet subsampling 32 VRT-medialab: onderzoek en innovatie
    33. Color subsampling rate control CBR/VBR lossless vs lossy input source entropy compressed video quantization video encoder encoding subsampling prediction transform horizontal Intra-frame DCT subsampling color Interframe wavelet color subsampling subsampling 33 VRT-medialab: onderzoek en innovatie
    34. Typical compression ratios Reference = HD-SDI 720p50/1080i25 (10 bit) Coding technique Factor Video bit rate HD-SDI (4:2:2 subsampling) 1 1,5 Gbps (net \" 1 Gbps) Lossless encoding 1/2 500 Mbps Intra-frame compression vs 1/5-1/20 50-200 Mbps Interframe compression 1/20-1/30 35-50 Mbps horizontal subsampling 3/4 color subsampling 4:2:0 3/4 Quantization = 8 bits 4/5 34 VRT-medialab: onderzoek en innovatie
    35. Mainstream HD production platform – codec dilemmas horizontal subsampling? color subsampling: 4:2:2 or 4:2:0? 8 or 10 bit quantization? intra-frame or interframe coding? scalable or single-layer compression? single or multiple compression formats? required bit rate? 720p or 1080i? 35 VRT-medialab: onderzoek en innovatie
    36. Legacy HD production formats Compression Bit rate (Mbps) Subsampling Intra/interframe algorithm coding Quantization HDCAM SR 440 4:2:2 or 4:4:4 Intra 10 bit HDCAM 140 (*) 4:2:2; 8 bit Intra Horizontal subsampling DVCProHD 100 4:2:2; 8 bit Intra Horizontal subsampling XDCAM HD 35 35 4:2:0; 8 bit Inter Horizontal subsampling HDV 20/25 4:2:0; 8 bit Inter Horizontal subsampling (*): net video rate = 117Mbps 36 VRT-medialab: onderzoek en innovatie
    37. Advanced HD compression formats for mainstream production Camera formats (optimized for storage and power consumption) MPEG-2 Long-GOP 4:2:2, 8 Bit, data rate 50 Mbps, VBR XDCAM HD AVC Intra 4:2:2/4:2:0, 10/8 Bit, data rate 100 / 50 Mbps, CBR P2 HD DNxHD 4:2:2, 8 Bit, Data rate 120 Mbit/s (185 Mbps), CBR EditcamHD JPEG2000 4:2:2, 10 Bit, Data rate 100 / 75 / 50 Infinity Mbit/s 37 VRT-medialab: onderzoek en innovatie
    38. Advanced HD compression formats for mainstream production post-production formats (optimized for editing) DNxHD \" ProRes Standard SMPTE VC-3 Standard --- Quantisation [Bit] 8 / 10 Bit Quantisation [Bit] 8 / 10 Bit Colour sub-sampling 4:2:2 Colour sub-sampling 4:2:2 Net video data rate 185 / 120 Net video data rate 185 / 120 [Mbit/s] [Mbit/s] “intermediate codecs” 38 VRT-medialab: onderzoek en innovatie
    39. MPEG-2 long GOP aka XDCAM HD422 advantages ! proven and optimized codec ! same bit rate as for Standard Definition (50Mbps) ! in general: good quality for first generation ! early support for end-to-end broadcast chain disadvantages ! interframe is less suited for editing purposes – smart rendering techniques necessary – fade-to-black, dissolve effects – artefacts affect multiple frames ! quality loss in multi-generation scenarios successor = H.264 long GOP? 39 VRT-medialab: onderzoek en innovatie
    40. H.264 - AVC Intra H.264 = MPEG-4 AVC = MPEG-4 Part 10 ! joint project of ITU and MPEG addition of High Profiles for HD resolution ! FRExt (Fidelity Range Extension) – higher bit depths (10), 4:2:2/4:4:4 colour formats ! High 10 Intra (50 Mbps) and High 4:2:2 Intra (100 Mbps) advanced compression tools ! Intra prediction: use of correlation between adjacent pixels ! entropy encoding improvement – CABAC: Context Adaptive Binary Arithmetic Code point of attention ! higher computational complexity 40 VRT-medialab: onderzoek en innovatie
    41. JPEG 2000 available bit rates: 50/75/100 Mbps advantages ! scalable codec: no need for proxy transcoding ! wavelet-based coding: no blocking artefacts ! industry standard for Digital Cinema ! low latency ! license free disadvantages ! not widely supported in end-to-end broadcast chain at this moment 41 VRT-medialab: onderzoek en innovatie
    42. Dirac codec family developed by BBC R&D (2000-now) ! license-free, open source/well documented wavelet-based codec wide range of applications ! Dirac (long GOP): low bit rate distribution (mobile, Web) ! Dirac Pro (intra-frame): low latency, high-quality production (HD, DC, Super Hi-Vision) – SMPTE VC-2 – transport mapping to SDI (720p50/1080i25) and HD-SDI (1080p50) ! high flexibility: lossy/lossless, variable bit depths and colour sample schemes, … not yet supported, less mature than other HD codecs 42 VRT-medialab: onderzoek en innovatie
    43. Scalable video coding (SVC) extension of H.264 ! recently standardized (2007) ! base layer (H.264) + enhancement layers scalability options ! spatial, temporal, SNR/quality, combined possible applications ! alternative for simulcast: SD/HD ! HD TV distribution for 720p@50fps or 1080i@25fps with 1080p@50fps enhancement ! broadcast production for different resolutions targeted profiles for broadcasting 43 VRT-medialab: onderzoek en innovatie
    44. Scalable video coding (SVC) extension of H.264 ! recently standardized (2007) ! base layer (H.264) + enhancement layers scalability options ! spatial, temporal, SNR/quality, combined possible applications ! alternative for simulcast: SD/HD ! HD TV distribution for 720p@50fps or 1080i@25fps with 1080p@50fps enhancement ! broadcast production for different resolutions targeted profiles for broadcasting 44 VRT-medialab: onderzoek en innovatie
    45. Choice of HD compression format key parameters ! quality (desired, floor level) ! storage and bandwidth requirements ! workflow – recording medium – editing requirements: layers, editing easiness, … – support by different systems in HD production architecture – end-to-end performance (transcoding, rendering, …) ! when? 45 VRT-medialab: onderzoek en innovatie
    46. Mainstream HD production platform – codec dilemmas horizontal subsampling? no color subsampling: 4:2:2 or 4:2:0? 4:2:2 8 or 10 bit quantization? 8/10 intra-frame or interframe coding? scalable or single-layer compression? single or multiple compression formats? required bit rate? 50/100 Mbps 720p or 1080i? 46 VRT-medialab: onderzoek en innovatie

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