Metadata - We are SMPTE · 2017-03-31 · Recce notes Recce photos Contracts Risk assessment....

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Metadataand how not to loose your content

N A STA C ON FEREN C E 2017 @ GUI L D TV

PE T E R WE I T Z E L – H ON S E C A ND T RE A S URE R S MPT E UK

Let’s start with What is SMPTE

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SMPTE is .....

The worlds largest members society for those working with the moving image

– and its audio and metadata Built on Three Pillars

• Membership - we have about 7000 members - 550 in UK

• Education – Journals (from 1916) webinars courses conferences

• Standards - over 800 enabling interoperability

Very Active in the UK • - c36 meetings from Southampton to Salford & Newbury to Ipswich

• One VP 3 Directors and 1 Governor on SMPTE Board ( out of 4/9/16)

• The third largest section in SMPTE ( after Hollywood and New York)

• 5 student chapters – and this link with NaSTA – backed by £500 to the NaSTA tech award winner

Something you Should Join – Its free for Students for a year and then $10 £7 after that

Something that will help your Career www.smpte.org/uk

SMPTE is .....

The worlds largest members society for those working with the moving image

– and its audio and metadata Built on Three Pillars

• Membership - we have about 7000 members - 550 in UK

• Education – Journals (from 1916) webinars courses conferences

• Standards - over 800 enabling interoperability

Very Active in the UK • - c36 meetings from Southampton to Salford & Newbury to Ipswich

• One VP 3 Directors and 1 Governor on SMPTE Board ( out of 4/9/16)

• The third largest section in SMPTE ( after Hollywood and New York)

• 5 student chapters – and this link with NaSTA – backed by £500 to the NaSTA tech award winner

Something you Should Join – Its free for Students for a year and then $10 £7 after that

Something that will help your Career www.smpte.org/uk

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UK section

UK Section serves all who are working with the technology of moving picturesand associated sound & metadata

– creatively, practically and innovativelyin any format, and on any platform.

www.smpte.org/uk

So what is metadata?

One definitions

Its the bits about bits

Another

Content = Essence + Metadata

Essence is the audio and video which makes up the item

So metadata is what make it count that you can use, sell, view etc. !

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Some simple examples

“Free Radio Birmingham” “96.4 FM” Or “11C (220.352 MHz) CAB2”

“BBC Midlands News”

“The Latest news, sport and weather for the West Midlands [S] Followed by national weather”

Rights Holder = Guild Tv

Types

All need a Unique ID (UID) and there are other IDs – Packet ID (PID)

Technical Metadata – often Machine only readable

Production / Descriptive metadata - mostly Human readable• Mandatory (really mean it) e.g Video PID

• Mandatory (as Required by ......) e.g. Prog title

• Optional (May be good idea to have ) e.g. Device Serial no or Comment

• Optional (Probably not needed for your workflow) e.g. Iris setting

• Persistent (for how long?)

• Temporary

• How can you change things – when do you increment for a version?

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Some examples

Plan & Commission

Acquire, Create & Manage

Package & Publish/Playout

Consume & InteractDistribute

Production

Delivery and enjoyment

Interaction

Some examples Plan commission

Plan & Commission




Interaction

Treatment(W) Title ScriptRecce notesRecce photosContractsRisk assessment

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Some examples

Plan & Commission




Interaction

Camera script Kit listCodec planComms set up

Shot loggingRecording report Camera metadata

EDLText of captionsCommentary script

Prog as RecProg as TX Delivery documentation

Some examples

Plan & Commission




Interaction

Delivery DocumentationSchedule Trails list

Prog as Bcast TX Log

EPG InfoWeb linksSocial media links

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Some examples

Plan & Commission




Interaction

DVB SI MPEG DASH seg.EPG per Platform+ Platform metadata

Some examples

Plan & Commission




Interaction

EPGPersonalisation Interactive triggersWeb linksBARB ratingsAudience emails

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Tech 3349 Acquisition Tech Metadata

EBU tech 3349 – as an example of Tech metadata

(A bit old! – but highlights some of the issues – and is all optional! )

Lens metadata based on SMPTE RDD 18;

Camera metadata based on SMPTE RDD 18;

Device metadata based on EBU Tech 3301;

Audio metadata based on EBU Tech 3301;

Video metadata based on EBU Tech 3301;

Microphone metadata based on "2020 3D Media Special Sound & Vision" Deliverable 3.5 - Metadata Representation for 3D Cinema Production

Tech 3349 some features of Lens metadata

UID

F or T number

Iris ring position

Focus position – image plane and front of lens

Focus ring position

Zoom Focal length

Zoom ring Position

Lens type/ser no/ manufacturer/ model/ Comments

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Tech 3349 example of device metadata

UID

Device type

Device Description

Device manufacturer

Device model Number

Device Serial number

Device Software version

Device comment

Camera Unit metadata Ref = UID

Lens Unit metadata Ref = UIDThis is metadata on metadata

Acquisition Metadata you should use

EBU tech 3349 – as an example of Tech metadata

(A bit old! – but highlights some of the issues – and is all optional! )

Lens metadata based on SMPTE RDD 18;

Camera metadata based on SMPTE RDD 18;

Device metadata based on EBU Tech 3301;

Audio metadata based on EBU Tech 3301;

Video metadata based on EBU Tech 3301;

Microphone metadata based on "2020 3D Media Special Sound & Vision" Deliverable 3.5 - Metadata Representation for 3D Cinema Production

Whose / what kitare you using ?And any “Special settings” etc.

Set up and “Recording Report”

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Special types – Time code/ Time label

Timecode (SMPTE ST12 – ITU-BR 780-2)

Identifies a frame at 24 25 30 30/1.001 Fps (ST12-1)or 48 50 60 60/1.001 FPS (ST12-3) in hh:mm:ss:ff (*) format

hh limited to 0-23 except that (I think) 24:00:00:00 =00:00:00:00

Adjacent Frames are Monotonic except for 30 or 60/1.001 (Fractional Frame rates or Drop Frame time code)

Other issues • Setting time code reference e.g 00:00:00:00 or TOD or 10:00:00:00

• Multiple time codes per frame - e.eg slo-mo

• Not same as Frame count

• Does not work on HFR

• Or really for audio!

Special types – Time labels

Film and Tape are just stored linear video/ Audiothus Time code is fundamentally a linear signal

But these days Video and audio are stored as files and may not have full frames

– thus does a time with video really mean anything ???

If you are labelling time – should that label have “other info”

Ask the users!!!!! (not the manufactures directly)

SMPTE held Time Code Summits in Hollywood and New York (evenings)and a whole day in London at BT Tower –including Lunch @635Ft!

ANSWER – a pure-ish Time only label with time based on PTP (IEEE1588)as used in Future Digital video (ST2110 –other lecture!) & Digital audio AES67

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Special type Subtitles

This was the cause of a major Transatlantic Row!

Europe said that Subtitles were essence - because they were part of the Programme

USA said that they were metadata – because they wren not Video or audio

- This is mainly a cultural/ Regulatory issue

But they are Content

Essence = “ this is Subtitle Text”

Metadata = Time in / Time Out ( but is colour and position metadata or essence! )

But if Subtitles are used as a transcript they are Metadata!Including who is speaking!

UK delivery specification - DPP

Problem to solve ... In 2009

How to unify what a Programme maker delivers to UK Major Broadcasters BBC itv Ch. 4 ....Sky.... Ch5 ...... BT Sport ..STV ..TG4

Because an Programme maker makes programmes for more than one broadcasters

and it would save money , stop errors and just be more efficient

AND the world was changing to File delivery (spec 2012-F- Day Oct 14) (and also look at tape 2011 and live delivery)

www.digitalproductionpartnership.co.uk

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DPP Specification

Three Parts

Part 1 Picture and sound quality and QC requirements;

Part 2 Additional technical requirements for File programme delivery;

Part 3 Broadcaster specific requirements that are unique to the Broadcaster Name.

Metadata is in all parts – Audio e.g. technical for Dolby

But the main details are in Part 2

Rough summary of the Essence requirements

Part 1 General Requirements

Section 1 VideoSD/HD/UHD (BT601/709/2020&2110)Levels line up etc.Camera Quality required (note DSLR & Drones ) POST production Codec issues Up convert Archive etc.Safe text areas

Section 2 2 Audio DialogueLoudness Stereo and Surround - how it should be mixed (+Dolby Metadata)“lip sync”

Section 3 QCGeneral Quality PSE

AQC and Eyeballing

https://www.digitalproductionpartnership.co.uk/download/dpp-eyeball-qc-report-template-3/

Part 2 File delivered Programmes

Section4 Program Format Programme Layout (=“when Bars” and SOM)Parting Start and end ( =when Black, Silence Living holdClocks Audio tracksClosed captions

Section 5 File RequirementsVideo Codecs Audio Time code

Metadata

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DPP – What they say about Quality 3.1.1. General Video Quality

The picture must be well lit and reasonably but not artificially sharp.

The picture must be free of excessive noise, grain and digital compression artefacts.

The picture must be free of excessive flare, reflections, lens dirt, markings and obstructions (e.g. lens hood), and lens aberrations.

Movement must appear reasonably smooth and continuous, and must not give rise to distortions or break-up to moving objects, or cause large changes in resolution.

The picture must be free of excessive black crushing and highlight compression. Hard clipping of highlights (e.g. by legalisers) must not cause visible artefacts on screen.

There must be no noticeable horizontal or vertical aliasing, i.e. jagged lines, or field-rate or frame-rate fluctuations in fine detail.

Colour rendition, especially skin tones, must be consistent throughout, and provide a realistic representation of the scene portrayed unless it is altered as an editorially essential visual effect.

The picture must be stable and continuous – i.e. no jumps, movements, shifts in level or position. There should be no flash frames or very short shots unless editorially essential.

There must be no visible contouring / artefacts caused by digital processing. Quantisation noise must not be apparent.

There must be no noticeable spurious signals or artefacts e.g. streaking, ringing, smear, echoes, overshoots, moiré, hum, cross-talk etc.

3.1.2. General Audio Quality

Sound must be recorded with appropriately placed microphones, giving minimum background noise and without peak distortion.

The audio must be free of spurious signals such as clicks, noise, hum and any analogue distortion.

The audio must be reasonably continuous and smoothly mixed and edited.

Audio levels must be appropriate to the scene portrayed and dynamic range must not be excessive. They must be suitable for the whole range of domestic listening situations.

Surround and Stereo audio must be appropriately balanced and free from phase differences which cause audible cancellation in mono.

The audio must not show dynamic and/or frequency response artefacts due to the action of noise reduction or low bit rate coding systems.

Search for “TECHNICAL SPECIFICATION FOR THE DELIVERY OF TELEVISION PROGRAMMES AS AS-11 FILES”

And you will find everyone's spec

http://dpp-assets.s3.amazonaws.com/wp-content/uploads/specs/bbc/TechnicalDeliveryStandardsBBC.pdf

DPP meta data schema

Minimal Set of Programme Domain Specific Metadata needed – these probably applies to anyone's programme

Series Title

Episode title / Episode number

Programme Title ( think version )

Synopsis (not for EPG – but sort of a check )

(Genre)

You can down load a free tool for this https://www.digitalproductionpartnership.co.uk/metadata-application-download-v1-2/

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Minimal Set of Programme Domain Specific Metadata needed – this probably applies to anyone's programme

Completion date

Copyright Year

Originator

Distributor

Contact Email

Contact Phone number

You can down load a free tool for this https://www.digitalproductionpartnership.co.uk/metadata-application-download-v1-2/


Minimal Set of Programme Domain Specific Metadata needed the more techy bits!!

Picture RatioAFD

Product PlacementTextless elements Programme TextProgramme Text Language

Total Prog duration Line up start Indent clock start Part number Part total

Part Start of Media (SOM) Part Duration Total (hard) Parts

3D

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Set of Invision Access services

Open captions Present Open captions Language

Signing Present Signing Language

Set of Content details

Video Comments

PSE/PSE Manufacturer / PSE Version

Audio Comments

Audio Primary/ secondary /Tertiary Languages

Loudness

Sum up - useful fields from DPP Schema

• Series Title

• Episode title / Episode number

• Programme Title ( think version )

• Synopsis not for EPG – but sort of a check

• Completion date /Copyright Year

• Originator /Distributor

• Contact Email

• Contact Phone number

• Total Prog duration

• Part Start of Media

• Video Comments

• Audio Comments

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Metadata Persistence

Good practice says

Enter Metadata (manually or automatically) at the earliest time

But where is it needed? – and thus how far down the chain do you need to persist it –or for how long do you keep it!

Bearing in mind that loosing it could mean your programme is lost!

But do you want to spend time / money etc. on handling information you do not need!

And what happens when metadata changes? Think when the final title for the programme is decided????

Plan & Commission




Production


Interaction

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Metadata Persistence Pass down the chain

Aka “Work out your workflow”

Example – Time code

Can you easily compile a EDL without knowing the source (file/tape) and the Camera time code?

How can you add subtitles to the Pragmas if you do not have time Codie as meat add to link the heard speech and the subtitle Text?

In bath of these the Information passes from one stage to another –BUT in POST the camera time code is lost and the Programme time cider becomes important and is passed to play out ...

Metadata Persistence “keep in file”

... Where you can easily find it!

Example a recce photographs

This is likely to persists onto shooting – as you will need to know where you found a good shot / Location.......

BUT after that.........

What if you want to go there again ...... If you have the photo ....(I use my phone to photograph Mic positioning )

OR

The programme website wants a picture of the location..

Metadata becomes essence!!!!

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Persistence of metadata

Plan & Commission




Interaction

Recce photos

Camera timecodes

Prog timecode

Location edit qc subtitle Playout

(W) Title

Web linksM to E

Plan & Commission




Production


Interaction

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There is a a lot more!

There is a lot going on in the technology of the moving pictures industries -and many relearning fundamentals

Today I have only looked at two areas

BUT what matters is that the technology helps and enhances the storytelling which get the money flowing in...

– technology on its own is waste of time and money ....

I asked one chief engineer what his Priorities were

• UHD... Practically HDR , but all the other issues of WCG HFR *

• VR and 360 deg videos ( which are not the same thing) – And AR

• Remote Production

• Scalable Cross platform compliance

• IP Production *

• IMF (interoperable mastering format ST 2067)*

• DPP Specs and metadata

• Object audio

Questions ??

You have the persistence to stay to the end - what more do you want to know!

Find this slide pack and how to join SMPTE – at www.smpte.org/uk

If your Station wants to get in touch – [email protected](use Subject: NaSTA <Station Name> )

Next some extra slides with Links to useful things!

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Useful Links

Standards bodies

www.smpte.org/standards

www.itu.int BT 601, 709 2020 2100

www.etsi.org DVB specs etc.

Specification bodies

www.digitalproductionpartnership.co.uk

www.dtg.org

www.Amwa.tv

www.nmos.tv

Useful links

Files are made using MXF SMPTE ST337 As a wrapper /Data model

See http://academy.dalet.com/video-gallery/bruces-shorts/what-mxf

A particular Flavour of MXF is uses in the Application specificationsAS by Amwa – DPP uses AS11 as the basis

There are Other File formats using MXF – the up and coming one is IMF see https://mrmxf.com/shorts/

And to explain the all Mr MXF ....

http://academy.dalet.com/video-gallery/file-formats-what-f-are-all-these-formats

Mr MXF is SMPTE fellow and UK governor Bruce Devlin and he is looking for you to help him! https://mrmxf.com/shorts/?sponsor

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Why join SMPTE - go to www.smpte.org/uk

Join in our success

Meeting others working in our industries - that what SMPTE meetings are all about

Receiving the Motion Imaging Journal (not associate members) how-to- full of the latest techniques and news from SMPTE sections around the World

Participating the Technology relevant webcasts at no Charge

Access our archive - Look back over SMPTEs work over the past 100 years

Attending events conferences and Courses at member discount rates– you can easily save your subscription (and it can be offset against tax)

Discounts on conference papers, proceedings and Standards in the SMPTE Digital Library

Getting Preferential booking for our meetings

Supporting those joining our industries through the Graduate Initiative

Taking part in standards work and directing the way our industries move

Just being an active member of the world’s largest Members society for those working with the moving image, its audio and metadata- on any platform - Film, Television , Digital media

Join us and Join in

Student Members First year Free – Following Years only $10

Go to www.smpte.org/uk and click on “Student members free” link https://www.smpte.org/store/product/membership-individual-studentbut choose “Pay Later” as your payment method.When it askes for the name of your lecturer etc. put “NaSTA Weitzel” (When you join, you will be asked to set up an online account you will use to access your membership benefits)

Once you have joined, email us at [email protected] will make your membership active, and send you a welcome email.

And problems email SMPTE Home office (East Coast USA) [email protected] and all will happen!

AND TAKE PART _ UK meetings plus the webcasts and by contacting any SMPTE member ( via website!)

YOU have a better idea of the future than we do!!

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Metadata - We are SMPTE · 2017-03-31 · Recce notes Recce photos Contracts Risk assessment....

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