Video: PTP/ST 2059 Best Practices developed from PTP deployments and experiences

PTP is foundational for SMPTE ST 2110 systems. It provides the accurate timing needed to make the most out of almost zero-latency professional video systems. In the strictest sense, some ST 2110 workflows can work without PTP where they’re not combining signals, but for live production, this is almost never the case. This is why a lot of time and effort goes into getting PTP right from the outset because making it work perfectly from the outset gives you the bedrock on which to build your most valuable infrastructure upon.

In this video, Gerard Phillips from Arista, Leigh Whitcomb from Imagine Communications and Telestream’s Mike Waidson join forces to run down their top 15 best practices of building a PTP infrastructure you can rely on.

Gerard kicks off underlining the importance of PTP but with the reassuring message that if you ‘bake it in’ to your underlying network, with PTP-aware equipment that can support the scale you need, you’ll have the timing system you need. Thinking of scale is important as PTP is a bi-directional protocol. That is, it’s not like the black and burst and TLS that it replaces which are simply waterfall signals. Each endpoint needs to speak to a clock so understanding how many devices you’ll be having and where is important to consider. For a look a look at PTP itself, rather than best practices, have a look at this talk free registration required or this video with Meinberg.

 

 

Gerard’s best practices advice continues as he recommends using a routed network meaning having multiple layer 2 networks with layer 3 routing between This reduces the broadcast domain size which, in turn, increases stability and resilience. JT-NM TR-1001 can help to assist in deployments using this network architecture. Gerard next cautions about layer 2 IGMP snoopers and queriers which should exist on every VLAN. As the multicast traffic is flooded to the snooping querier in layer 2, it’s important to consider traffic flows.

When Gerard says PTP should be ‘baked in’, it’s partly boundary clocks he’s referring to. Use them ‘everywhere you can’ is the advice as they bring simplicity to your design and allow for easier debugging. Part of the simplicity they bring is in helping the scalability as they shed load from your GM, taking the brunt of the bi-directional traffic and can reduce load on the endpoints.

It’s long been known that audio devices, for instance, older versions of Dante before v4.2, use version one of PTP which isn’t compatible with SPMTE ST 2059’s requirement to use PTP v2. Gerard says that, if necessary, you should buy a version 1 to version 2 converter from your audio vendor to join the v1 island to your v2 infrastructure. This is linked to best practice point 6; All GMs must have the same time. Mike makes the point that all GMs should be locked to GPS and that if you have multiple sites, they should all have an active, GPS-locked GM even if they do send PTP to each other over a WAN as that is likely to deliver less accurate timing even if it is useful as a backup.

Even if you are using physically separate networks for your PTP and ST 2110 main and backup networks, it’s important to have a link between the two GMs for ST 2022-7 traffic so a link between the two networks just for PTP traffic should be established.

The next 3 points of advice are about the ongoing stability of the network. Firstly, ST 2059-2 specifies the use of TLV messages as part of a mechanism for media notes to generate drop-frame timecode. Whilst this may not be needed day 1, if you have it running and show your PTP system works well with it on, there shouldn’t be any surprises in a couple of years when you need to introduce an end-point that will use it. Similarly, the advice is to give your PTP domain a number which isn’t a SMPTE or AES default for the sole reason that if you ever have a device join your network which hasn’t been fully configured, if it’s still on defaults it will join your PTP domain and could disrupt it. If, part of the configuration of a new endpoint is changing the domain number, the chances of this are notably reduced. One example of a configuration item which could affect the network is ‘ptp role master’ which will stop a boundary clock from taking part in BCMA and prevents unauthorised end-points taking over.

Gerard lays out the ways in which to do ‘proper commissioning’ which is the way you can verify, at the beginning, that your PTP network is working well-meaning you have designed and built your system correctly. Unfortunately, PTP can appear to be working properly when in reality it is not for reasons of design, the way your devices are acting, configuration or simply due to bugs. To account for this, Gerard advocates separate checklists for GM switches and media nodes with a list of items to check…and this will be a long list. Commissioning should include monitoring the PTP traffic, and taking a packet capture, for a couple of days for analysis with test and measurement gear or simply Wireshark.

Leigh finishes up the video talking about verifying functionality during redundancy switches and on power-up. Commissioning is your chance to characterise the behaviour of the system in these transitory states and to observe how equipment attached is affected. His last point before summarising is to implement a PTP monitoring solution to capture the critical parameters and to detect changes in the system. SMPTE RP 2059-15 will define parameters to monitor, with the aim that monitoring across vendors will provide some sort of consistent metrics. Also, a new version of IEEE-1588, version 2.1, will add monitoring features that should aid in actively monitoring the timing in your ST 2110 system.

This Arista white paper contains further detail on many of these best practices.

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Speakers

Gerard Phillips Gerard Phillips
Solutions Engineer,
Arista
Leigh Whitcomb Leigh Whitcomb
Principal Engineer.
Imagine
Michael Waidson Mike Waidson
Application Engineer,
Telestream

Video: ST 2110 The Future of Live Remote Production

Trying to apply the SMPTE ST 2110 hype to the reality of your equipment? This video is here to help. There are many ‘benefits’ of IP which are banded about yet it’s almost impossible to realise them all in one company. For the early adopters, there’s usually one benefit that has been the deal-breaker with other benefits helping boost confidence. Smaller broadcast companies, however, can struggle to get the scale needed for cost savings, don’t require as much flexibility and can’t justify the scalability. But as switches get cheaper and ST 2110 support continues to mature, it’s clear that we’re beyond the early adopter phase.

This panel gives context to ST 2110 and advises on ways to ‘get started’ and skill up. Moderated by Ken Kerschbaumer from the Sports Video Group, Leader’s Steve Holmes, Prinyar Boon from Phabrix join the panel with Arista colleagues Gerard Phillips and Robert Welch and Bridge Technologies’ Chairman Simen Frostad.

The panel quickly starts giving advice. Under the mantra ‘no packet left behind’, Gerard explains that, to him, COTS (Commercial Off The Shelf) means a move to enterprise-grade switches ‘if you want to sleep at night’. Compared to SDI, the move to IT can bring cost savings but don’t skimp on your switch infrastructure if you want a good quality product. Simen was pleased to welcome 2110 as he appreciated the almost instant transmission that analogue gave. The move to digital added a lot of latency, even in the SDI portions of the chain thanks to frame syncs. ST 2110, he says, allows us to get back, most of the way, to no-latency production. He’s also pleased to bid good-bye to embedded data.

It is possible to start small, is the reassuring message next from the panel. The trick here is to start with an island of 2110 and do your learning there. Prinyar lifts up a tote bag saying he has a 2110 system he can fit in there which takes just 10 minutes to get up and running. With two switches, a couple of PTP grandmasters and some 2110 sources, you have what you need to start a small system. There is free software that can help you learn about it, Easy NMOS is a quick-to-deploy NMOS repository that will give you the basics to get your system up and running. You can test NMOS APIs for free with AMWA’s testing tool. The EBU’s LIST project is a suite of software tools that help to inspect, measure and visualize the state of IP-based networks and the high-bitrate media traffic they carry and there’s is also SDPoker which lets you test ST 2110 SDP files. So whilst there are some upfront costs, to get the learning, experience and understanding you need to make decisions on your ST 2110 trajectory, it’s cost-effective and can form part of your staging/test system should you decide to proceed with a project.

The key here is to find your island project. For larger broadcasters or OB companies, a great island is to build an IP OB truck. IP has some big benefits for OB Trucks as we heard in this webinar, such as weight reduction, integration with remote production workflows and scalability to ‘any size’ of event. Few other ‘islands’ are able to benefit in so many ways, but a new self-op studio or small control room may be just the project for learning how to design, install, troubleshoot and maintain a 2110 system. Prinyar cautions that 2110 shouldn’t be just about moving an SDI workflow into IP. The justification should be about improving workflows.

Remote control is big motivator for the move to ST 2110. Far before the pandemic, Discovery chose 2110 for their Eurosport production infrastructure allowing them to centralise into two European locations all equipment controlled in production centres in countries around Europe. During the pandemic, we’ve seen the ability to create new connections without having to physically install new SDI is incredibly useful. Off the back of remote control of resources, some companies are finding they are able to use operators from locations where the hourly rate is low.

Before a Q&A, the panel addresses training. From one quarter we hear that ensuring your home networking knowledge is sound (DHCP, basic IP address details) is a great start and that you can get across the knowledge needed very little time. Prinyar says that he took advantage of a SMPTE Virtual Classroom course teaching the CCNA, whilst Robert from Arista says that there’s a lot in the CCNA that’s not very relevant. The Q&A covers 2110 over WAN, security, hardware life cycles and the reducing carbon footprint of production.

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Speakers

Steve Holmes Steve Holmes
Applications Engineer,
Leader
Prinyar Boon Prinyar Boon
Product Manager,
PHABRIX
Gerard Phillips Gerard Phillips
Systems Engineer,
Arista
Simen Frostad Simen Frostad
Chairman,
Bridge Technologies
Robert Welch Robert Welch
Technical Solutions Lead,
Arista
Ken Kerschbaumer Moderator: Ken Kerschbaumer
Chair & Editorial Directo,
Sports Video Group

Video: Best Practices for End-to-End Workflow and Server-Side Ad Insertion Monitoring

This video from the Streaming Video Alliance, presented at Mile High Video 2020 looks at the result of recent projects document the best practice for two important activities: server-side ad insertion (SSAI) and end-to-end (E2E) workflow monitoring. First off, is E2E monitoring which defines a multi-faceted approach to making sure you’re delivering good-quality content well.

The this part of the talk is given by Christopher Kulbakas who introduces us to the document published by the Streaming Video Alliance covering monitoring best practices. The advice surrounds three principles: Creating a framework, deciding on metrics, and correlation. Christopher explains the importance of monitoring video quality after a transcode or encode since it’s easy to take a sea of green from your transport layer to indicate that viewers are happy. If your encode looks bad, viewers won’t be happy just because the DASH segments were delivered impeccably.

The guidance helps your monitor your workflow. ‘End to end’ doesn’t imply the whole delivery chain, only how to ensure the part you are responsible for is adequately monitored.

Christopher unveils the principles behind the modular monitoring across the workflow and tech stack:
1) Establish monitoring scope
Clearly delineate your responsibility from that of other parties. Define exactly how and to what standard data will be handled between the parties.

2) Partition workflow with monitoring points
Now your scope is clear, you can select monitoring points before and after key components such as the transcoder.

3) Decompose tech stage
Here, think of each point in the workflow to be monitored as a single point in a stack of technology. There will be content needing a perceptual quality monitor, Quality of Service (QoS) and auxiliary layers such as player events, logs and APIs which can be monitored.

4) Describe Methodology
This stage calls for documenting the what, where, how and why of your choices, for instance explaining that you would like to check the manifest and chunks on the output of the packager. You’d do this with HTTP-GET requests for the manifest and chunks for all rungs of the ladder. After you have finished, you will have a whole set of reasoned monitoring points which you can document and also share with third parties.

5) Correlate results
The last stage is bringing together this data, typically by using an asset identifier. This way, all alarms for an asset can be grouped together and understood as a whole workflow.

End-to-End Server-Side Ad Monitoring

The last part of this talk is from Mourad Kioumgi from Sky who walks us through a common scenario and how to avoid it. An Ad Buyer complains their ad didn’t make it to air. Talking to every point in the chain, everyone checks their own logs and says that their function was working, from the schedulers to the broadcast team inserting the SCTE markers. The reality is that if you can’t get to the bottom of this, you’ll lose money as you lose business and give refunds.

The Streaming Video Alliance considered how to address this through better monitoring and are creating a blueprint and architecture to monitor SSAI systems.

Mourad outlines these possible issues that can be found in SSAI systems:
1) Duration of content is different to the ad duration.
2) Chunks/manifest are not available or poorly hosted
3) The SCTE marker fails to reach downstream systems
4) Ad campaigns are not fulfilled despite being scheduled
5) Ad splicing components fail to create personalised manifests
6) Over-compression of the advert.

Problems 2,3, 5 and 6 are able to be caught by the monitoring proposed which revolves around adding the Creative ID and AdID into the manifest file. This way, problems can be correlated which particularly improves the telemetry back from the player which can deliver a problem report and specify which asset was affected. Other monitoring probes are added to monitor the manifests and automatic audio and video quality metrics. Sky successfully implemented this as a proof of concept with two vendors working together resulting in a much better overview of their system.

Mourad finishes his talk looking at the future creating an ad monitoring framework to distribute an agreed framework document for. best practices.

Watch now!
Speakers

Christopher Kulbakas Christopher Kulbakas
Project Lead, Senior Systems Designer, Media Technology & infrastructure,
CBC/Radio Canada
Mourad Kioumgi Mourad Kioumgi
VOD Solutions Architect.
Sky

Video: Bit-Rate Evaluation of Compressed HDR using SL-HDR1

HDR video can look vastly better than standard dynamic range (SDR), but much of our broadcast infrastructure is made for SDR delivery. SL-HDR1 allows you to deliver HDR over SDR transmission chains by breaking down HDR signals into an SDR video plus enhancement metadata which describes how to reconstruct the original HDR signal. Now part of the ATSC 3.0 suite of standards, people are asking the question whether you get better compression using SL-HDR1 or compressing HDR directly.

HDR works by changing the interpretation of the video samples. As human sight has a non-linear response to luminance, we can take the same 256 or 1024 possible luminance values and map them to brightness so that where the eye isn’t very sensitive, only a few values are used, but there is a lot of detail where we see well. Humans perceive more detail at lower luminosity, so HDR devotes a lot more of the luminance values to describing that area and relatively few at high brightness where specular highlights tend to be. HDR, therefore, has the benefit of not only increasing the dynamic range but actually provides more detail in the lower light areas than SDR.

Ciro Noronha from Cobalt has been examining the question of encoding. Video encoders are agnostic to dynamic range. Since HDR and SDR only define the meaning of the luminance values, the video encoder sees no difference. Yet there have been a number of papers saying that sending SL-HDR1 can result in bitrate savings over HDR. SL-HDR1 is defined in ETSI TS 103 433-1 and included in ATSC A/341. The metadata carriage is done using SMPTE ST 2108-1 or carried within the video stream using SEI. Ciro set out to do some tests to see if this was the case with technology consultant Matt Goldman giving his perspective on HDR and the findings.

Ciro tested with three types of Tested 1080p BT.2020 10-bit content with the AVC and HEVC encoders set to 4:2:0, 10-bit with a 100-frame GOP. Quality was rated using PSNR as well as two special types of PSNR which look at distortion/deviation from the CIE colour space. The findings show that AVC encode chains benefit more from SL-HDR1 than HEVC and it’s clear that the benefit is content-dependent. Work remains to be done now to connect these results with verified subjective tests. With LCEVC and VVC, MPEG has seen that subjective assessments can show up to 10% better results than objective metrics. Additionally, PSNR is not well known for correlating well with visual improvements.

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Speakers

Ciro Noronha Ciro Noronha
Executive Vice President of Engineering, Cobalt Digital
President, Rist Forum
Matthew Goldman Matthew Goldman
Technology Consultant