Leader Archives – The Broadcast Knowledge

Video: The Future of Live HDR Production

Posted on 26th May 2021 by Russell Trafford-Jones

HDR has long been hailed as the best way to improve the image delivered to viewers because it packs a punch whatever the resolution. Usually combined with a wider colour gamut, it brings brighter highlights, more colours with the ability to be more saturated. Whilst the technology has been in TVs for a long time now, it’s continued to evolve and it turns out doing a full, top tier production in HDR isn’t trivial so broadcasters have been working for a number of years now to understand the best way to deliver HDR material for live sports.

Leader has brought together a panel of people who have all cut their teeth implementing HDR in their own productions and ‘writing the book’ on HDR production. The conversation starts with the feeling that HDR’s ‘there’ now and is now much more routinely than before doing massive shows as well as consistent weekly matches in HDR.

Pablo Garcia Soriano from CORMORAMA introduces us to light theory talking about our eyes’ non-linear perception of brightness. This leads to a discussion of what ‘Scene referred’ vs ‘Display referred’ HDR means which is a way of saying whether you interpret the video as describing the brightness your display should be generating or the brightness of the light going into the camera. For more on colour theory, check out this detailed video from CVP or this one from SMPTE.

Pablo finishes by explaining that when you have four different deliverables including SDR, Slog-3, HLG and PQ, the only way to make this work, in his opinion, is by using scene-referred video.

Next to present is Prin Boon from PHABRIX who relates his experiences in 2019 working on live football and rugby. These shows had 2160p50 HDR and 1080i25 SDR deliverables for the main BT Programme and the world feed. Plus there were feeds for 3rd parties like the jumbotron, VAR, BT Sport’s studio and the EPL.

2019, Prin explains, was a good year for HDR as TVs and tablets were properly available in the market and behind the scenes, Stedicam now had compatible HDR rigs and radio links could now be 10-bit. Replay servers, as well, ran in 10bit. In order to produce an HDR programme, it’s important to look at all the elements and if only your main stadium cameras are HDR, you soon find that much of the programme is actually SDR originated. It’s vital to get HDR into each camera and replay machine.

Prin found that ‘closed-loop SDR shading’ was the only workable way of working that allowed them to produce a top-quality SDR product which, as Kevin Salvidge reminds us is the one that earns the most money still. Prin explains what this looks like, but in summary, all monitoring is done in SDR even though it’s based on the HDR video.

In terms of tips and tricks, Prin warns about being careful with nomenclature not only in your own operation but also in vendor specified products giving the example of ‘gain’ which can be applied either as a percentage or as dB in either the light or code space, all permutations giving different results. Additionally, he cautions that multiple trips to and from HDR/SDR will lead to quantisation artefacts and should be avoided when not necessary.

The last presentation is from Chris Seeger and Michael Drazin from NBC Universal talk about the upcoming Tokyo Olympics where they’re taking the view that SDR should look the ‘same’ as HDR. To this end, they’ve done a lot of work creating some LUTs (Look Up Tables) which allow conversion between formats. Created in collaboration with the BBC and other organisations, these LUTs are now being made available to the industry at large.

They use HLG as their interchange format with camera inputs being scene referenced but delivery to the home is display-referenced PQ. They explain that this actually allows them to maintain more than 1000 NITs of HDR detail. Their shaders work with HDR, unlike the UK-based work discussed earlier. NBC found that the HDR and SDR out of the CCU didn’t match so the HDR is converted using the NBC LUTs to SDR. They caution to watch out for the different primaries of BT 709 and BT 2020. Some software doesn’t change the primaries and therefore the colours are shifted.

NBC Universal put a lot of time into creating their own objective visualisation and measurement system to be able to fully analyse the colours of the video as part of their goal to preserve colour intent even going as far as to create their own test card.

The video ends with an extensive Q&A session.

Watch now!
Speakers

	Chris Seeger Office of the CTO, Director, Advanced Content Production Technology NBC Universal
	Michael Drazin Director Production Engineering and Technology, NBC Olympics
	Pablo Garcia Soriano Colour Supervisor, Managing Director CROMORAMA
	Prinyar Boon Product Manager, SMPTE Fellow PHABRIX
	Moderator: Ken Kerschbaumer Editorial Director, Sports Video Group
	Kevin Salvidge European Regional Development Manager, Leader

Video: ST 2110 The Future of Live Remote Production

Posted on 29th March 2021 by Russell Trafford-Jones

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.

Watch now!
Speakers

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

Video: ST-2110 – Measuring and Testing the Data, Control and Timing Planes

Posted on 15th December 2020 by Russell Trafford-Jones

An informal chat touching on the newest work around SMPTE ST-2110 standards and related specifications in today’s video. The industry’s leading projects are now tracking the best practices in IT as much as the latest technology in IP because simply getting video working over the network isn’t enough. Broadcasters demand solutions which are secure from the ground up, easy to deploy and have nuanced options for deployment.

Andy Rayner from Nevion talks to Prin Boon from Phabrix to understand the latest trends. Between then, Andy and Prin account for a lot of activity in standards work within standards and industry bodies such as SMPTE, VSF and JT-NM to name a but a few, so whom better to hear from regarding the latest thinking and ongoing work.

Andy starts by outlining the context of SMPTE’s ST-2110 suite of standards which covers not only the standards within 2110, but also the NMOS specifications from AMWA as well as the timing standards (SMPTE 2059 and IEEE 1588). Prin and Andy both agree that the initial benefit of moving to IT networking was benefiting from the massive network switches which now delivering much higher switching density than SDI ever could or would, now the work of 2110 projects is also tracking IT, rather than simply IP. By benefiting from the best practices of the IT industry as a whole, the broadcast industry is getting a much better product. Andy makes the point that broadcast-uses have very much pushed fabric manufacturers to implement PTP and other network technologies in a much more mature and scalable way than was imagined before.

Link to video

The focus of conversation now moves to the data, control and timing plane. The data plane contains the media essences and all of the ST 21110 standards. Control is about the AMWA/NMOS specs such as the IS-0X specs as well as the security-focused BCP-003 and JT-NM TR-1001. Timing is about PTP and associated guidelines.

Prin explains that in-service test and measurement is there to give a feeling for the health of a system; how close to the edge is the system? This is about early alerting of engineering specialists and then enable deep faultfinding with hand-held 2110 analysers. Phabrix, owned by Leader, are one of a number of companies who are creating monitoring and measurement tools. In doing this Willem Vermost observed that little of the vendor data was aligned so couldn’t be compared. This has directly led to work between many vendors and broadcasters to standardise the reported measurement data in terms of how it’s measured and how it is named and is being standardised under 2110-25. This will cover latency, video timing, margin and RTP offset.

More new work discussed by the duo includes the recommended practice, RP 2059-15 which is related to the the ST 2059 standards which apply PTP to media streams. As PTP, also known as IEEE 1588 has been updated to version 2.1 as part of the 2019 update, this RP creates a unified framework to expose PTP data in a structured manner and relies on RFC 8575 which, itself, relies on the YANG data modeling language.

We also hear about work to ensure that NMOS can fully deal with SMPTE 2022-7 flows in all the cases where a receiver is expecting a single or dual feed. IS-08 corner cases have been addressed and an all-encompassing model to develop against has been created as a reference.

Pleasingly, as this video was released in December, we are treated to a live performance of a festive song on piano and trombone. Whilst this doesn’t progress the 2110 narrative, it is welcomed as a great excuse to have a mine pie.

Watch now!
Speakers

	Andy Rayner Chief Technologist, Nevion
	Prinyar Boon Product Manager, PHABRIX

Video: Migrating to IP – Top Questions from Broadcasters

Posted on 28th August 2020 by Russell Trafford-Jones

Moving to IP can be difficult. For some, it’s about knowing where to even start. For others, it’s a matter of understanding some of the details which is the purpose of this talk from Leader US which looks at the top questions that Leader’s heard from its customer base:

How do we look at it?
How do we test it?
How is the data sent?
What is PTP?
How do we control it?
What is NMOS?
What are the standards involved?

These questions, and more, are covered in this webinar.

Steve Holmes from Lader Us details the IP relevant basics starting with the motivations: weight, cost, scale, density, and independent essences. We can then move on to the next questions covering RTP itself and how 2022-6 was built upon it. SMPTE ST 2022-6 splits up a regular SDI signal into sections and encapsulates them, uncompressed. This is one big difference from SMPTE ST 2110 where all essences are sent separately. For some, this is not a benefit, but for general broadcast workflows, it can sometimes be tricky getting them into alignment and some workflows are aimed at delivering an incoming bundle of PIDs so being able to separate them is a backward step.

With this groundwork laid, Steve explains how seamless redundancy works with SMPTE 2022-7 going on to then describe the difficulty of keeping jitter low and the importance of sender profiles in ST 2110. Steve finishes this section with a discussion of NMOS specifications such as IS-05 and IS-06. The session ends with a Q&A.

Watch now!
Speaker

Steve Holmes
Freelance consultant

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