Webinar: ATSC 3.0 Physical Layer and Data Link Layer Overview

ATSC 3.0 brings IP delivery to over-the-air TV marking a major change in delivery to the home. For the first time video, audio and other data is all delivered as network streams allowing services available to TV viewers at home to modernise and merge with online streaming services better matching the viewing habits of today. ATSC 3.0 deployments are starting in the USA and it has already been rolled out in South Korea for the XXIII Olympic Winter Games in 2018.

Whilst the move to IP is transformational, ATSC 3.0 delivers a whole slew of improvements to the ATSC standard for RF, bandwidth, Codecs and more. In this, the first of three webinars from the IEEE BTS focussing in on ATSC 3.0, we look at the physical layer with Luke Fay, Chair of the ATSC 3.0 group and also a Senior Manager of Technical Standards at Sony.

Click to register: Wednesday, 15th January, 2020. 11am ET / 16:00 GMT

What is the Physical Layer?
The physical layer refers to the method data gets from one place to another. In this case, we’re talking about transmission by air, RF. Whilst this isn’t, in some ways, as physical as a copper cable, we have to remember that, at a basic level, communication is about making a high voltage in place A change the voltage in place B. The message physically moves from A to B and the medium it uses and the way it manipulates that medium are what we refer to as the physical layer.

In this webinar, Luke will talk about System Discovery and Signalling, defined by document A/321 and the Physical Layer Protocol defined by A/322. Both freely available from the ATSC website. The webinar will finish with a Q&A. Let’s take a deeper look at some of the topics which will be covered.

Choice of modulation

ATSC 3.0 has chosen the COFDM modulation scheme over the previous 8VSB, currently used for first-generation ATSC broadcasts, to deliver data over the air from the transmitter. COFDM, stands for Coded Orthogonal Frequency Devision Multiplexing and has become the go-to modulation method for digital transmissions including for DAB, DAB+ and the DVB terrestrial, satellite and cable standards.

One of the reasons for its wide adoption is that COFDM has guard bands; times when the transmitter is guaranteed not to send any data. This allows the receiver some time to receive any data which comes in late due to multi-path reflections or any other reason. This means that for COFDM, you get better performance if you run a network of nearby transmitters on the same frequency – known as a Single Frequency Network (SFN). A transmitters signal from further away will arrive later, and if in the guard interval, will be used to re-inforce the directly received signal. This means that, counter-intuitively from analogue days, running an SFN actually helps improve reception.

Multiple operating points to match the business case
Another important feature of ATSC 3.0 at the physical layer is the ability to be able to choose the robustness of the signal and have multiple transmissions simultaneously using different levels of robustness. These multiple transmissions are called pipes. As many of us will be familiar with, when transmitting a high bandwidth, the signal can be fragile and easily corrupted by interference. Putting resilience into the signal uses up bandwidth either due using some of the capacity to put error checking and error recovery data in or just by slowing down the rate the signal is sent which, of course, means not as many bits can be sent in the same time window.

Because bandwidth and resilience are a balancing act with each one fighting against the other, it’s important for stations to be able to choose what’s right for them and their business case. Having a high robustness signalm for penetration indoors can be very useful for targeting reception on mobile devices and ATSC 3.0 can actually achieve reception when the signal is below the noise, i.e. a negative signal to noise ratio. A higher bandwidth service delivering UHD at around 20Mbps can be achieved, however, by using 64 instead of 16 QAM.

Register now!
Speaker

Luke Fay
Chairman, ATSC Technology Group 3,
Senior Manager Technical Standards, Sony Home Entertainment & Sound Products – America

Video: What is 525-Line Analog Video?

With an enjoyable retro feel, this accessible video on understanding how analogue video works is useful for those who have to work with SDI rasters, interlaced video, black and burst, subtitles and more. It’ll remind those of us who once knew, a few things since forgotten and is an enjoyable primer on the topic for anyone coming in fresh.

Displaced Gamers is a YouTube channel and their focus on video games is an enjoyable addition to this video which starts by explaining why analogue 525-line video is the same as 480i. Using a slow-motion video of a CRT (Cathode Ray Tube) TV, the video explains the interlacing technique and why consoles/computers would often use 240p.

We then move on to timing looking at the time spent drawing a line of video, 52.7 microseconds, and the need for horizontal and vertical blanking. Blanking periods, the video explains are there to cover the time that the CRT TV would spend moving the electron beam from one side of the TV to the other. As this was achieved by electromagnets, while these were changing their magnetic level, and hence the position of the beam, the beam would need to be turned off – blanked.

The importance of these housekeeping manoeuvres for older computers was that this was time they could use to perform calculations, free from the task of writing data in to the video buffer. But this was not just useful for computers, broadcasters could use some of the blanking to insert data – and they still do. We see in this video a VHS video played with the blanking clearly visible and the data lines flashing away.

For those who work with this technology still, for those who like history, for those who are intellectually curious and for those who like reminiscing, this is an enjoyable video and ideal for sharing with colleagues.

Watch now!
Speaker

Chris Kennedy Chris Kennedy
Displaced Gamers,YouTube Channel

Video: The Rise of IP in Remote Production Networks

Like all good ideas, remote production is certainly not new. Known in the US as REMIs (REmote INtegrations) and in Europe as Remote Productions, producing live events without sending people there has long been seen as something to which most broadcasters have aspired. We’re now at a tipping point of available techniques, codecs and bandwidth which is making large-scale remote production practical and, indeed, common.

Carl Petch took to the podium at the IBC 2019 IP Showcase to explain how telco Telstra have been deploying remote production solutions by looking at three case studies including the Pyeongchang 2018 Winter Olympics, and the technology behind them. Highlighting TICO, SMPTE ST 2022-6 uncompressed and VC-2 compression, previously known as the BBC’s DIRAC, we see how codecs are vital in underpinning successful, low latency, remote production.

Encoding and decoding delay aren’t the only delays to consider, simple propagation time for the signal to travel from one place on the earth to another have to be considered – including the lengths of your different paths – so Carl takes us through a table of real-world measurements between a range of places showing up to 280ms one-way delay.

Much of the success Telstra has had in delivering these solutions has been anchored on their dedicated remote production network based on the Open Transport Network principles which allows them to carve up parts of their bandwidth for different protocols which Carl covers in some detail and allows them to scale in 100Gb increments.

Watch now! and download the slides.
Speaker

Carl Petch Carl Petch
Principal Solutions Architect,
Telstra

Video: The End of Broadcast? Broadcast to IP Impacts

It’s very clear that internet streaming is growing, often resulting in a loss of viewership by traditional over-the-air broadcast. This panel explores the progress of IP-delivered TV, the changes in viewing habits this is already prompting and looks at the future impacts on broadcast television as a result.

Speaking at the IABM Theatre at IBC 2019, Ian Nock, chair of IET Media, sets the scene. He highlights stats such as 61% of Dutch viewing being non-linear, DirecTV publicly declaring they ‘have bought their last transponder’ and discusses the full platform OTT services available in the market place now.

To add detail to this, Ian is joined by DVB, the UK’s DTG and Germany’s Television Platform dealing with transformation to IP within Germany. Yvonne Thomas, from the Digital Television Group, takes to the podium first who starts by talking about the youngest part of the population who have a clear tendency to watch streamed services over broadcast compared to other generations. Yvonne talks about research showing UK consumers being willing to have 3 subscriptions to media services which is not in line with the number and fragmented nature of the options. She then finishes with the DTG manifesto for a consolidated and thus simplified way of accessing multiple services.

Peter Siebert from DVB looks at the average viewing time averaged over Europe which shows that the amount of time spent watching linear broadcast is actually staying stable – as is the amount of time spent watching DVDs. He also exposes the fact that the TV itself is still very much the most used device for watching media, even if it’s not RF-delivered. As such, the TV still provides the best quality of video and shared experience. Looking at history to understand the future, Peter shows a graph of cinema popularity before and after the introduction of television. Cinema was, indeed, impacted but importantly it did not die. We are left to conclude that his point is that linear broadcast will similarly not disappear, but simply have a different place in the future.

Finally, head of the panel session, Andre Prahl explains the role of the Deutsche TV-Plattform who are focussing on ‘media over IP’ with respect to delivery of video to end user both in terms of internet bandwidth but also Wi-Fi frequencies within the home.

Watch now!

This panel was produced by IET Media, a technical network within the IET which runs events, talks and webinars for networking and education within the broadcast industry. More information

Speakers

Andre Prahl André Prahl
Deutsche TV-Plattform
Peter Siebert Peter Siebert
Head of Technology,
DVB Project
Yvonne Thomas Yvonne Thomas
Strategic Technologist
Digital TV Group
Ian Nock Moderator: Ian Nock
Chair,
IET Media Technical Network