Webinar Date: 18th March 2019
Time: 14:00 GMT / 15:00 CET
Object oriented audio is a relatively new audio technique which doesn’t simply send audio as one track or two, but it sends individual audio objects – simplistically we can think of these as audio samples – which also come with some position information.
With non-object-orientated audio, there is very little a speaker system can do to adjust the audio to match. It was either created for 8 speakers, 6, or 2 etc. So if you have a system that only has 4 speakers or they are in unusual places, it’s a compromise to it sound right.
Object oriented audio sends the position information for some of the audio which means that the decoder can work out how much of the sound to put in each speaker to best represent that sound for whatever room and speaker set-up it has.
AC-4 from Dolby is one technology which allows objects to be sent with the audio. It still supports conventional 5.1 style sound but can also contain up to 7 audio objects. AC-4 is one NGA technology adopted by DVB for DASH.
In this webinar, Simon Tuff from the BBC discusses what the Audio Video Coding (AVC) experts of DVB have been working on to introduce Next Generation Audio (NGA) to the DVB specifications over recent years. With the latest version of TS 101 154, DVB’s guidelines for the use of video and audio coding in broadcast and broadband applications, being published by ETSI, it seems like a great time to unpack the audio part of the tool box and share the capabilities of NGA via a webinar.
With all the talk of the SMPTE ST 2110 standards suite, it’s sometimes forgotten that it only deals with content. If you want a working system, you’ll need to do a few more things – find new devices on the network, work out what they can do, control them, guarantee the bandwidth and often deal with metadata that arrives separately like tallies.
This is what the AMWA NMOS specifications do. Peter Brightwell and Thomas Edwards have been heavily involved in creating them and in this video lead us through what each one does and how they are used.
Learn how the BBC and Nine Network have enhanced the user experience and created new business models and opportunities, giving audiences more choices with more features, all while maintaining broadcast-grade service. When your business is providing live content to viewers, you know that there are no second chances. Audiences have come to expect a faultless live broadcast, and providers know they must ensure reliability with failover and redundancy plans. Learn how migrating to the cloud offers a new way to architect live-streaming workflows while maintaining the highest standards of resilience.
The BBC’s Mark Patrick talks about the BBC’s move not only of their Welsh HQ but of their move from SDI to IP. Covering the reasons for the move, the architectures they are implementing and how they are mitigating the risks, this is a great real-world example of implementing SMPTE ST 2110.
From IBC’s IP Showcase, Mark explains the interoperability work they are doing and critically how they have approached testing. In large systems and with IT-based systems Mark explains it’s imperative to have repeatable, structured and where possible automated acceptance testing which is a big change in the way we do things in the industry.
Mark also covers training, audio issues, timing incompatibilities and control of the system with NMOS to round off a great, pragmatic overview of this ST 2110 project.
However it’s applied in our industry, AI is here to stay. In the area of production it is set to revolutionise working practice, by dispensing with many formulaic and repetitive tasks, and making more effective use of human creative skills. Nowhere is this more significant than in live broadcasting where the economic advantages of AI can allow the coverage of events which would not otherwise be cost-effective. In these Tech Talks three industry experts will describe and demonstrate the latest ideas and technologies in AI-assisted production, including one who will address the storytelling benefits for live football. Another international broadcaster will introduce the concept of smart production, where hardly anything is left to the human – even the script is generated automatically by mining information from sources such as social media.
A thought provoking glimpse of how AI researchers see the future of production.
In this Tech Talk we shall hear from researchers and vision scientists, how they are ensuring the precision of HDR and colour in image capture.
Today’s imaging technology strives to produce a viewing experience which is, as far as possible, identical with that perceived by the human visual system. Strangely, one limiting factor in high dynamic range (HDR) design has been that existing measurements of the human vision have not been sufficiently accurate. Another of these issues is skin tone: humans are particularly sensitive to skin colour – regarding it as an indicator of well-being. The accurate portrayal of this subtle parameter is therefore particularly important. A further interesting image quality issue is slow motion – here we explore the development of an 8K UHD 240fps camera and slow motion capture and replay server.
BBC Northern Ireland produces a complete schedule of news and current affairs programming that it distributes over two television channels, two radio stations, and multiple online platforms.
BBC NI also delivers content from other BBC production centers to Northern Ireland audiences. In addition, its facilities also serve as a central digital archive for the Rewind Projects, hosting thousands of hours of existing content from all of the BBC’s different national sites.
To meet their challenge of storing, protecting, and making the content available for reuse, they turned to a workflow management solution from Cinegy built on the Quantum StorNext storage platform.
Attend this webinar and learn more about key elements of the BBC NI solution:
• Unified asset management environment spans multiple, discrete storage tiers for storing video and audio essences together with metadata
• Teams of users and applications in all areas have fast, simultaneous access to all media content on disk and tape
• Automated movement of data between disk and tape tiers for backup and archive
• High-speed, multi-stream transcoding delivers content quickly for accelerated production because data is visible on any computer
• Dual-redundant systems supports around-the-clock operations and provides back-end storage support to ensure DR protection
• A scalable solution that can grow as storage demands increase in the future
The BBC iPlayer is the biggest audio and video-on-demand service in the UK. It receives 10 million video playback requests every day and the service publishes over 10,000 hours of media every week.
Moving iPlayer to the cloud has enabled the BBC to shorten the time-to-market of content from 10 hours to 15 minutes.
In this session, the BBC’s lead architect, Stephen Godwin, describes the approach behind creating iPlayer architecture, which uses Amazon SQS and Amazon SNS in several ways to improve elasticity, reliability, and maintainability. You see how BBC uses AWS messaging to choreograph the 200 microservices in the iPlayer pipeline, maintain data consistency as media traverses the pipeline, and refresh caches to ensure timely delivery of media to users.
This is a rare opportunity to see the internal workings and best practices of one of the largest on-demand content delivery systems operating today. Watch now!
A review of current technology and real-world deployments
The WOW factor: Why HDR?
HDR standards: HLG, PQ or HDR10 variants?
Content availability: HD or UHD?
Consumer displays: Mobile phones or 4K/8K TV?
HDR distribution: Broadcast, OTT or 4G/5G?
Real world deployments
The competition for viewers’ eyeballs and their disposable income has never been fiercer. Great picture quality is one weapon that service providers – especially broadcasters – can deploy to attract and retain viewers.
It’s true that millions of 4K ready TVs have been sold, but in practice most TVs sold before 2017 don’t have any support for HDR at all. Many different variants of HDR have also emerged in an attempt to offer higher quality coupled with some backwards compatibility with those early TVs, but broadcasters have been perhaps understandably reluctant to commit to producing 4K or HDR content with the costs of the ill-fated 3DTV still on their books.
This webinar looks at HDR in general and the different variants that have emerged. The drive for 4K, or even 8K, content and displays is contrasted with consumers’ willingness to watch full HD with HDR on the latest mobile phone displays… Register Now!
David Smith Technology Manager Rohde & Schwarz
Andy Quested Technology Strategy & Architecture BBC Design + Engineering