TECHNICAL GUIDELINES AND MATERIAL SPECIFICATIONS

Transcription

1 TECHNICAL GUIDELINES AND MATERIAL SPECIFICATIONS based on the Technical Guidelines of IRT, ARD, ZDF, ORF, SF, EBU, RTL and Worldwide Distribution. These Technical Guidelines and Material Specifications apply specifically to as of August 2012 Version 1.1 1

2 CONTACTS For technical questions relating to playout and transfer Frank Bischoff, Technical Dept.: format transfer Tel Thomas Schwarz, Technical Dept.: playout Tel Achim Schymurra, Technical Dept.: playout Tel For questions relating to acceptance Mathias Blitz, Technical Approval Tel Gerhard Warmuth, Technical Approval Tel Renato Parussini, Technical Approval Tel Christian Laus, Dept. Head, Technical Approval Tel Übersetzung: Dr. Thomas J. Kinne, Nauheim 2

3 CONTENTS PART A: General Technical Guidelines General Conditions Video Issues in Production Technical Issues in Video Audio Issues Technical Parameters Video Signal Aspect Ratio Audio Signal Recording Leveling Full-Scale Leveling EBU R Program Loudness Loudness Range (LRA) Maximum True Peak Level Mono Compatibility of Stereo Signals Track Allocation Supply Format, Broadcast Standards, and Finalization Accepted Supply Formats Time Code Material Labeling Tape Material Storage Medium (CD, DVD, Hard Disc, etc.) Broadcast Standards Technical Leader Finalization Neutral Title Backgrounds Title Specifications

4 PART B: Guidelines for Film General Conditions Formats mm and 35 mm Production Master Formats Master Tape Production / Film Scanning Negative Scanning Field Dominance Aspect Ratio Broadcast in 4:3 Full Frame Video Signal Final Report Technical Properties of Film Stock Density Range Modulation Depth Color Balance Quality Gradation Mechanical Properties of Film Stock Splices Cleaning Technical Report Audio Audio Recording Leveling PART C: Additional Information Additional Information on the Production of Distribution Tapes Technical Inspection Video Imperfections Audio Imperfections General Imperfections

5 3. Specifications for the Supply of Audio Material General DAT / DA88 (DTRS) Broadcast WAV Files Specifications for the Supply of HD Material Accepted Formats, Finalization, and Audio Track Allocation Scanning Formats Special Note Material Inspection Audio PART D: Supply of Video and Audio Files Preferred Supply Formats Accepted Supply Formats PART E: Appendices APPENDIX 1: Supply of Broadcast WAV Files General Specifications Labeling and File Structure Specifications APPENDIX 2: Accepted Supply and Master Formats Tape Material SDTV HDTV Storage Media XDCAM-HD Hard Discs, Flash Drives, etc Data CDs, Data DVDs, Blu-ray Discs Upload/Download Other Supply and Master Formats Accepted File Formats XDCAM Formats AVC-Intra Formats Apple ProRes Formats Apple DnxHD Formats (for PAL)

6 3. Appendix 3: Finalization Specifications for Master Formats Tape Material XDCAM-HD Files (Hard Discs, Data CD/DVDs, Blu-ray Discs, Up-/Download) Appendix 4: Specifications for Audio Track Allocation Digital Betacam Mono/Stereo Routing Original Version German Version HDCAM Original Version German Version Original Version Dolby E Music and Effects Version Dolby E HDCAM-SR Original Version German Version Dolby E Version XDCAM-HD Original Version German Version Music and Effects Version

7 PART A: General Technical Guidelines 7

8 1. General Conditions The video and audio quality of all television productions has to meet the highest quality standards achievable with state-of-the-art production means and technology. These means have to be kept up to date, incorporating the latest technological developments and advancements. In general, all equipment and material used in production has to meet broadcast standards. Continuity and consistency throughout a production is imperative. In order to achieve the highest possible video and audio quality in broadcast, attention has to be paid in the production stage to both the physical and technical possibilities, but also to the limitations of the medium Video Issues in Production Video imperfections caused in production, such as noise (color noise, power-supply noise) fringing jitter flicker inadequate lighting as well as any other flaws to the extent that they are correctable will not be tolerated. As far as technical specifications are concerned, the values required by the present guidelines correspond to the relevant European Broadcast Union (EBU) recommendations Technical Issues in Video Technical video imperfections, such as faulty image geometry (e.g. stretched 4:3 images in 16:9 productions) vertical smear smearing unbalanced, non-standard lighting / non-permissible colors aliasing, moiré patterns, exaggerated contours compression artifacts (block structures, posterization, etc.) interlacing artifacts hook-up errors, freeze frames, black screens, other image artifacts missing technical leader as well as any other flaws to the extent that they are correctable will not be tolerated. As far as technical specifications are concerned, the values required by the present guidelines correspond to the relevant European Broadcast Union (EBU) recommendations. 8

9 1.3. Audio Issues Audio disturbances, such as e.g. correlation feedback noise humming microphone plopping sounds distortions due to faulty leveling, e.g. harmonic distortion broadcast audio interference from studio set-up (e.g. reverb due to excessive loudness) or studio ambiance (e.g. humming from studio lights) unrelated background noises (e.g. outside sounds) clicks, dropouts, level drops, etc. as well as any other flaws to the extent that they are correctable will not be tolerated. As far as technical specifications are concerned, the values required by the present guidelines correspond to the relevant European Broadcast Union (EBU) recommendations. 2. Technical Parameters 2.1. Video Signal In general, any programming intended for broadcast has to conform to the parameters of the B/G PAL standard, as specified in ITU Report 624. The maximum level of the luminance signal must not exceed 100% (= 0.7 V), while that of the FBAS signal must not exceed 133%. Signal overshoots are not permissible. Such material will be declined without exception. The setup (pedestal) may lie between 0% and 2% (maximum). Under no circumstances, however, may blacks be compressed. Usually, TV grading is required in compliance with all level ratios. Attention has to be paid that blacks are not raised (tolerance range: 2%) and luminance levels reach full scale on light peaks and highlights. An overall impression of low contrast (dull, washed out image) will not be accepted. The production must be completely balanced in terms of color and density. Artistic devices are permissible, as long as they are reasonably based on content (look, character). Inserts produced by character generators are limited to a total luminance + chrominance level of 100%. When handling FBAS, RGB, analog and digital component signals, attention must be paid that standard PAL encoding is possible. No illegal or invalid signal levels should occur (e.g. gamut errors). In order to avoid interference effects, suitable production techniques have to be employed for high-contrast textures (e.g. in sets or clothing) and in choosing locations. 9

10 2.2. Aspect Ratio For master tapes, material originally produced with a 16:9 aspect ratio is required. Material using faulty image geometry as well as reformatted, masked, or zoomed material is not acceptable. It is permissible, however, in certain cases, to produce distribution copies in 4:3 full frame or letterbox format, if required and in agreement with the client. When using file footage (e.g. in 4:3 format), attention must be paid that the material is properly adjusted to the 16:9 image ratio (e.g. by pan and scan or pillarboxing). In these exceptional cases, it is permissible to change the original material s image geometry and/or to zoom it up. In the case of masked formats, it has to be determined whether the mask was applied in production via the open-gate process (only possible for scan and analog film) or in postproduction. The latter will not be accepted. For the purposes of digital filing and storage as well as the (future) provision of VoD platforms, the active scan lines of the applicable format have to be in absolute compliance with standards there is zero tolerance. Any deviation will result in a rejection of the material. For mere broadcast use, a tolerance of no more than ±3 lines is permissible Audio Signal Recording The recording of audio signals has to correspond in a reasonable way to the image content, i.e. the visual perspective should match the aural perspective. Audio signals should not contain any inadvertent alterations of the acoustic ambiance and need to be in a balanced mix throughout the program, especially in the case of productions with stereo sound and surround effects. The original dynamic response has to account for the limitations of broadcasting and has to restrict the maximum dynamic range to 40 db, while respecting the artistic integrity of the production and the director s intentions. For dialog, the dynamic range must not exceed 20 db. Different level adjustments between reference level and program will result in rejection Leveling Since 2012, all new productions have to conform to the television mix according to EBU Recommendation R128. As before, the subjective perception and an assessment based on measurement have to be incorporated into the results of the inspection. 10

11 Full-Scale Leveling The maximum recording level at full scale equals 0 db = 100% (for analog metering) and has to correspond to the test signal section of the reference film or tape. It must not be exceeded. The audio level has to be determined using a peak program meter (PPM) conforming in characteristics and response qualities to IEC publication and DIN 45406, both for digital and analog metering. Response characteristics have to conform to the specifications of EBU Technical Recommendation R68 with an integration time of 10 ms and 9 db headroom. In general, dialog should be foregrounded, music and sound effects should be mixed at a lower volume relative to speech. In technical parameters, this means that spoken dialog should fall between 6 and 0 db (in analog metering) or between 15 and 9 dbfs (in digital metering). Deviations required by the logic of the plot e.g. in soft passages are not automatically categorized as theater mix at the technical inspection, but only as long as speech remains intelligible in these sequences EBU R128 In the metering procedure according to EBU R128, the following three parameters have to comply with the Recommendation in order not to jeopardize the suitability of the audio material for broadcast: program loudness, loudness range, and maximum true peak levels Program Loudness Program loudness is metered on three different time scales: momentary loudness (M): sliding time window of 400 ms; short-term loudness (S): sliding time window of 3 s; integrated loudness (I): time window over the entire length of the program. The value of integrated loudness has to be indicated in LUFS (Loudness Unit Full Scale) and must not exceed the target value of 23 LUFS (tolerance: ±1 LU). N.B.: 23 LUFS = 0 dbfs, with units having equal value, i.e. 1 LU = 1 db Loudness Range (LRA) small loudness range, if LRA 5 LU medium loudness range, if LRA = 5 15 LU large loudness range, if LRA 15 LU So far, there are no authoritative specifications on LRA correlation. Therefore, for final inspection, subjective perception and measurement-based assessment should be taken into account, as before, especially in terms of loudness range (correct mix ratio) with regard to theatrical or broadcast use Maximum True Peak Level The unit for Maximum True Peak Levels is still dbfs, and they must not exceed the target value of 1 dbfs. Should this target value be exceeded, the program has to be rejected, even if its integrated loudness falls within the specified parameters. 11

12 Mono Compatibility of Stereo Signals When supplying stereo material (LT/RT), such material has to be mono-compatible, i.e. in stereo recordings, the correlation between the left and right audio channel has to be observed, and the degree of correlation has to be 0. For the maximum phase difference permissible, the specifications of ITU Recommendation BR apply Track Allocation The specifications for track allocation are listed in Appendix 4 (PART E). 3. Supply Format, Broadcast Standards, and Finalization 3.1. Accepted Supply Formats A list of supply formats currently accepted can be found in Appendix 2 (PART E). All formats not listed require prior contractual agreement. Distribution copies in general have to be supplied in Digital Betacam or HDCAM format, unless otherwise agreed. Such deviations will be listed in the requirements specifications (in particular with regard to the HD format) Time Code Both LTC and VITC have to be recorded continuously, increasing at equal increments and without any interruption. The values of LTC and VITC have to be identical. The time code has to be CSC-coupled, indicated by bit no. 11 in the 80-bit time code (LTC). The VITC is added in lines 9 or 22, alternatively 322 or 335 (unless specified otherwise by broadcaster or client) Material Labeling Tape Material All broadcast and distribution tapes produced have to be accompanied by duly completed VTR record cards. All tapes have to carry VTR labels both on cassette and box, which have to indicate unambiguously program title, total running time (TRT), recording standard, and audio track allocation Storage Medium (CD, DVD, Hard Disc, etc.) Storage media that cannot be labeled directly have to be accompanied by fully and correctly completed data sheets. This also applies to all video and audio files supplied via data upload. In order to ensure a uniform format, the form supplied by Bavariapool Services GmbH has to be used Broadcast Standards The specifications for current broadcast standards are listed in Appendix 2 (PART E). 12

13 3.5. Technical Leader For the purpose of calibrating both broadcast material and raw footage that requires further processing, each production has to start with a technical leader recorded on the equipment intended to be used in the production itself. Programs, without exception, have to start at 10:00:00:00. Neutral title backgrounds have to be recorded for at least 30 seconds after the end of the program, starting at the next full minute. They must start no later than 90 seconds after the end of the program. Example: TC in TC out video audio 09:58:00:00 09:59:29:24 color bars test signal 1kHz // 18dBfs 09:59:30:00 09:59:59:24 black mute 10:00:00:00 11:23:14:12 program program audio 11:24:00:00 11:26:12:08 neutral background mute The color bar signal has to conform to ITU-R BT with a uniform red area in the lower third of the frame at a red signal level of 75%. Designation according to CCIR 471: 100 / 0 / 75 / 0 A / B / C / D A = B = C = D = primary color signal level during transmission of the white color bar primary color signal level during transmission of the black color bar maximum level of the primary color signal during transmission of a primary color minimum level of the primary color signal during transmission of a primary color Sync signal, control track, and time code must not be interrupted from the start of the leader to the end of the trailer Finalization Broadcast tapes have to be produced without interruption. Time codes for program start, program end, and TRT have to be indicated accurately to the frame on the VTR record card, counting only the first and last active frame. If start and end of the audio recording diverge from that of the video, they have to be indicated separately. A production consisting of several broadcast tapes (e.g. due to excessive TRT) has to be recorded on material from the same manufacturer. Attention has to be paid that the time code continues from the last active frame of one tape to the first active frame of the next tape. The broadcast tape must not show any signs of damage and/or imperfections. In the case of HDCAM-SR in particular, the proper winding of the tape has to be checked immediately upon receipt. Any special requests in finalization have to be arranged in advance. 13

14 3.7. Neutral Title Backgrounds In general, every program has to be supplied inclusive of neutral title backgrounds for opening and closing titles, main titles, credits, and captions, as well as inserts, unless they have been set on a black background. Depending on the format in which they are supplied (tape, hard disc, etc.), titles have to conform to the corresponding specifications in PART E. For the production of a dubbed German version, additional material is required apart from the neutral title backgrounds, including files (e.g. video sequences) of key masks for processing the necessary templates, specification of fonts used, etc. 4. Title Specifications It is imperative that the title safe area (TSA) is respected, in order to ensure that the relevant part of the titles is properly displayed on the screens of all consumer devices commonly used today. The title safe area is the safe area in which important video information such as titles, inserts, captions, etc. is guaranteed to be visible. The area depends on the aspect ratio. For this reason, titles and captions for the 4:3 and 16:9 aspect ratios should always be placed within the boundaries of the title safe area, which takes into account safety margins of 7.5% each on all sides, relative to the total broadcast image area (frame raster edge). In letterboxed productions (i.e. 2.35:1 for 16:9), both subtitle lines have to be placed within the image area. Lines within the masked area will not be accepted (exception: screeners). A sans-serif font has to be used, which in HD productions has to have a size of no less than 48 pt with a black border line of at least 2 pt. The font size has to have an evennumbered point value. The only color accepted for subtitles is white. Any change of color requires prior arrangement/permission. 14

15 PART B: Guidelines for Film 15

16 1. General Conditions In general, programs produced on film have to be converted into a tape format suitable for broadcasting, processing, filing, and storage. It is not possible to broadcast film directly. In order to obtain the best possible state-of-the-art quality in video and audio, the physical and technical possibilities, but also the limitations of today s television system have to be taken into account early on in the development and production stages. The planning and decision-making regarding production, post-production, and completion procedures to be employed requires contractual agreement in all cases. 2. Formats In specifying formats, a distinction has to be made between production formats on the one hand and video master tape or broadcast formats on the other mm and 35 mm Production Films produced for television are recorded and played back at 25 frames per second (fps). Motion pictures produced for theatrical release and produced at a speed of 24 fps have to be converted to run at 25 fps, which reduces their TRT by 4 percent. The conversion requires a pitch adjustment on the corresponding audio tracks. All playback options deviating from these standards require contractual agreement in all cases Master Formats In order to obtain the highest possible video and audio quality in the production of a master tape, the Digital Betacam format is mandatory for SD recording. The broadcast standards for HD are HDCAM, HDCAM-SR, and XDCAM-HD. The master tape formats for HDTV are HDCAM and HDCAM-SR. (1080psf/25 4:2:2 as well as 1080i/25 4:2:2 are accepted. Supply of tapes recorded in 4:4:4 mode as well as frame rates other than 25 fps requires prior arrangement.) The technical parameters and the track allocation for the SD master are described in PART A of these technical guidelines. 3. Master Tape Production / Film Scanning The film has to be scanned on suitable equipment that is completely up to date in terms of function and technology. Should color grading, contrast, or brightness require unusual deviations from accepted technical standards (e.g. for artistic reasons), the scanning may only be performed by arrangement with the relevant departments at Bavariapool Services GmbH. 16

17 3.1. Negative Scanning When scanning original 35- or 16-millimeter negatives directly, the increased mechanical strain on the material caused by sorting and cutting necessitates a wet-gate scan, which must be performed exclusively on systems recommended and certified by the equipment manufacturer and in accordance with environmental protection guidelines. Any adjustment or calibration work performed has to use the test films recommended by the EBU and film manufacturers and to observe their respective specifications Field Dominance In scanning film, the first frame of the film and the first field of the television signal have to be coupled in such a way that the start of a new film frame corresponds to the start of the first frame of the television signal Aspect Ratio The broadcast aspect ratio currently used is 16:9. For formats deviating from the full-frame format, it is necessary to ensure that they were not masked after production and that the format is an open gate format Broadcast in 4:3 Full Frame Films that are meant to be broadcast exclusively in the classic 4:3 aspect ratio may have to be scanned in an enlarged format, resulting in the black bars (that appear with 1.66:1, 1.85:1, and 2.35:1 aspect ratios at the top and bottom of the 4:3 image) to be no larger than for a 1.66:1 film. Title sequences or shots with important content displayed close to the margin of the frame have to be panned and scanned, which requires prior arrangement Video Signal At all stages of video processing, the broadcast parameters for video and audio signals mentioned in Section 2 of PART A of these technical guidelines have to be observed Final Report For all productions, in-house or commissioned, which were recorded on film, a Final Report has to be furnished after the conclusion of post-production, documenting all relevant technical data and processing steps, in order to facilitate the reutilization of the original negative at any point in the future. 17

18 4. Technical Properties of Film Stock In order to obtain flawless results in the scanning process and thus in broadcast, certain minimum values for the following criteria are required: density range, modulation depth, grain, and color balance Density Range The upper and lower limits of the transmissible density range are designated herein as D min and D max, respectively. A part of the frame with maximum reflection (60%) that lies within the full lighting of the filmed scene should be represented on film with a minimal optical density of D min = 0.35 ± The maximum density on film is not a result of scene contrast and the film stock s characteristics. If correct color mapping is less important than the discriminability of image details of various brightness, an optical density of D max = 2.35 is still acceptable. Due to the reduced influence of scattered light in images with low brightness (e.g. night scenes), image details up to a maximum density of 2.5 can still be transmitted Modulation Depth The definition of the broadcast television image is characterized by the modulation depth of the smallest image detail transmitted. Its value is defined by the television standard and, according to ITU Report 624, equals 625 lines and a frequency limit of 5 MHz at a refresh rate of 25 Hz (50 fields per second) Color Balance Reference white for television receivers is defined by the EBU as illuminant D65 with a color temperature T n = 6,500 K. With subtractive printers, scene-to-scene color balance must not deviate by a filter value larger than 0.05, and with additive printers by not more than two points (equivalent to 0.05 log E). The differences in density of successive similar shots must not exceed one step with subtractive printers and two points (equivalent to 0.05 log E) with additive printers Quality Gradation Density range, color matching, and color cast are independent of the format. The various film formats, stocks, and processes have different values for modulation depth and grain and thus a direct effect on image quality. For drama productions, high-speed stock and forced processing are not to be used. 18

19 5. Mechanical Properties of Film Stock 5.1. Splices In principle, all film material produced for final processing has to be spliced with an overlapped cement splice according to DIN Part 1 (for 16 mm film) and DIN Part 1 (for 35 mm film). In order to achieve the best possible quality, the material should be cut with an asymmetrical type-a beveled splice. This is the only type that ensures a steady pass through the film scanner Cleaning Material used for scanning has to be cleaned by means of an ultrasonic cleaner before processing. Should this option not be available, another suitable cleaning system has to be employed Technical Report A Technical Report has to be furnished for film productions. The original copy of this report has to be filed together with the film. 6. Audio 6.1. Audio Recording For audio recording, the recommendations and specifications in PART A, Section 2.2. of these guidelines have to be observed, insofar as mix ratios and their artistic design in motion picture production can be based on the specifications for video tape recording Leveling The maximum recording level at full scale has to correspond to the test signal section of the reference film or tape (for additional details, please refer to PART A, Section 2.2. of these guidelines). 19

20 PART C: Additional Information 20

21 1. Additional Information on the Production of Distribution Tapes The objective of these guidelines is to ensure that future business partners/licensees are provided with flawless, high-quality broadcast material (distribution copies). The service provider s departments in charge of mastering, copying, and processing have to be aware of the fact that the generation of masters or distribution copies may require the consideration of specific demands by the broadcaster or licensee. In case of ambiguities or different interpretation or assessment options, advance clarification is required. 2. Technical Inspection The items listed below, among others, may result in an objection. It should be noted in this context, that usually only those flaws will be criticized that are actually visible to or may bother the viewer, impact on the comprehensibility of the plot, and/or violate the broadcaster s existing technical guidelines or parameters Video Imperfections Mechanical: dirt, dust, scratches, streaks, damaged emulsion, splices visible at the cutting edge, geometrical distortions, pasted-over tears, changeover cues, jerky movement at splices, splice flashes, water stains, faulty perforation, punched-in cue marks, black frames, misplaced (alien) frames, horizontal or vertical misalignment Image: jitter, shaky image, faulty changeover within a scene or at the cutting edges, double/interpolation images, changes in aspect ratio, non-standard aspect ratio due to active lines (no tolerance!) Chrominance: cross-color effects, color leaps, changes in color temperature, color fluctuations Luminance: steep gradation, density leaps, density fluctuations, overframing whites, brightness flicker, brightness leaps, brightness fluctuations, black level / setup, black level leaps, black level fluctuations, shapes or textures barely recognizable in dark areas Focus: out of focus, motion blur, smearing due to the use of filters, filters visibly overused Technical: dropouts, tape dropouts and smears, double images, freeze frames, black frames and other flawed frames, rendering errors, interlacing errors Digital: pixel fault, data reduction flaws (e.g. posterization) Titles: titles outside the title safe area, titles shifted, titles outside the frame, neutral backgrounds missing, neutral backgrounds do not match color or format Tape: cassette damaged, tape edges damaged, running noise, channel condition orange or red Video recording: faulty level ratios / leveling of chrominance, luminance, or black level, color correction missing 21

22 2.2. Audio Imperfections Signal interference: crackle, noise, patter, disturbance Dropouts: audio dropouts, cut-off syllables, audio editing errors, level drops, etc. Balance: audio favoring the right or left side, etc. Phase and compatibility: audio out of phase (phase rotation), not mono-compatible, etc. Leveling: digital clipping, distortions, overdrive, etc. Synchronization: asynchronicity in the final mix / M&E mix, foley missing, time-code jumps, etc. Level: level jumps, level ratio faulty, audible compressor noise, pumping, etc. Conversion: uneven pitch (pitch correction) Mixing: faulty loudness balance, sound fluctuations, missing sound effects / background noise / music, etc. Track allocation incorrect 2.3. General Imperfections Time code: missing time code, TC jumps, LTC and VITC not identical Labeling incorrect 3. Specifications for the Supply of Audio Material 3.1. General The supply of audio material by reel (act) requires prior arrangement. Highest leveling: 0 db = 100% = +6 dbu = 1.55 V RMS on analog and 9 dbfs on digital meters. The broadcast use of theatrical productions requires a TV downmix (LT/RT). Only mixes at 25 fps are accepted for broadcast use. The sampling rate is 48 khz for DAT and 48 or 98 khz for DTRS. The stereo mix has to be mono-compatible. If a surround mix exists, it cannot be fully mono-compatible. The degree of correlation, especially in music and effects, will tend towards the negative. For this reason, attention has to be paid to the deletion of signals as early as in the mixing stage. It is a common mistake to designate all surround sound automatically as Dolby Surround. It is therefore imperative that the correct term be used on the VTR record card and the external labels. Track allocation has to be in phase. Different level adjustments between reference level and program will result in rejection. 22

23 3.2. DAT / DA88 (DTRS) DAT and DTRS tapes have to be identical in time code, coupled, and in sync with the video master supplied. The 5.1 mix should not be supplied with an excessive loudness range. In technical parameters, this means that spoken dialog should fall between 6 and 0 db (in analog metering) or between 15 and 9 dbfs (in digital metering). Deviations required by the logic of the plot e.g. in soft passages are not automatically categorized as theater mix at the technical inspection, but only as long as speech remains intelligible in these sequences. The audio track allocation requires prior arrangement with Bavariapool Services GmbH. Based on our experience, it is necessary for DTRS (DA88) tapes supplied to have been recorded on a DA98 HR device, as there are compatibility issues between DA88 and DA98 equipment Broadcast WAV Files Broadcast WAV files supplied have to conform to EBU guidelines and specifications. The audio mix has to be supplied on a storage medium, if possible. The files supplied have to carry complete and unambiguous designations. The supply of audio files has to conform to the specifications of PART D of these guidelines. The mix has to be identical in TC and in sync with the video master supplied. Program start has to be identical to the video master. The sync tone has to be located exactly 2 seconds before the start of the program (i.e. at TC 09:09:58:00). The required sampling rate is always 48 khz, the bit depth 24 bits. Audio files have to be supplied as discrete files. The supply of audio material by reel (act) requires prior arrangement. Highest leveling: 0 db = 100% = +6 dbu = 1.55 V RMS on analog and 9 dbfs on digital meters. Different level adjustments between reference level and program will result in rejection. The broadcast use of theatrical productions requires a TV downmix (LT/RT). For new productions (produced in April 2012 or later), the mix has to conform to EBU R128 guidelines. Only mixes at 25 fps are accepted for broadcast use. A stereo mix has to be mono-compatible. Track allocation has to be in phase. The surround mix should not be supplied with an excessive loudness range. In technical parameters, this means that spoken dialog should fall between 6 and 0 db (in analog metering) or between 15 and 9 dbfs (in digital metering). Deviations required by the logic of the plot e.g. in soft passages are not automatically categorized as theater mix at the technical inspection, but only as long as speech remains intelligible in these sequences. 23

24 The 5.1 mix has to be supplied on one surround track (5.1). The track allocation of a surround track (5.1) has to be as follows: Ch. 1 Ch. 2 Ch. 3 Ch. 4 Ch. 5 Ch. 6 Ch. 7 Ch. 8 Left Center Right LFE Left Surround Right Surround LT RT Additional audio versions (by prior arrangement) have to be identical in channel sequence, e.g. ch (5.1) / (LT/RT). 4. Specifications for the Supply of HD Material 4.1. Accepted Formats, Finalization, and Audio Track Allocation A list of currently commonly used and accepted formats, finalizations, and track allocations can be found in Appendices 2, 3, and 4 of this document Scanning Formats Based on the preliminary guidelines of the IRT, HD programs are accepted in the 1080psf/25 and 1080i/50 (i25) scanning formats. Any other scanning format (e.g. 1080psf/23.98, etc.) requires prior arrangement with Bavariapool Services GmbH regarding the usability of the material. Special attention has to be paid to consistency within a single production. For this reason, particular attention is required in checking whether a production uses the same scanning format (interlaced or progressive) throughout. Changes in scanning formats may occur particularly in crawls and rolling titles (credits). If progressive material is used within an interlaced production, it will show line/frame flicker in freeze-frame mode. In the reverse case i.e. the use of interlaced material within a progressive production, it will result in double edges and artifacts in freezeframe mode. In both cases, such material will be rejected without exception. It is important to determine the exact aspect ratio, without any tolerance. The inspection also has to take into account whether it is dealing with an open gate format. Lines = 16:9 in 1.78:1 (16:9 full frame); lines = 16:9 in 1.85:1; lines = 16:9 in 2.35:1. For aspect ratios that do not match the 16:9 full frame, it has to ascertained whether the version has been masked and whether the format was defined in production ( open gate format) or created afterwards. Only open gate formats are accepted. All changes of the aspect ratio within a program have to be noted, e.g. the use of 4:3 file footage alongside 16:9 footage in a single production. In principle, unconverted 4:3 sequences are not permissible. For important and logical reasons (e.g. the loss of important content in the conversion), exemptions may be granted. Proper image geometry within a program has to be safeguarded at all times. When including 4:3 file footage, for example, the image geometry has to be adjusted to the 16:9 aspect ratio, either by panning and scanning or by pillarboxing. In these exceptional cases, it is permissible to change the original material s image geometry and/or to zoom it up. 24

25 4.3. Special Note Title design: When inspecting HDTV material, special attention has to be paid to the font sizes of titles. If these sizes are too small, legibility problems and other issues may occur in down-conversion to SD or in simulcasting. For this reason, titles created in HD have to conform to SD specifications as well Material Inspection Any material has to be checked upon receipt for damage to the tape edges or faulty winding. In cases of incorrect or misaligned winding, it is recommended to rewind the tape completely by once winding and rewinding it in slow mode. Due to the sensitivity of the material, audio and video data errors occur frequently. In these cases, it is recommended to wind the tape completely to the beginning or end and to replay the same sequence. If the error is still visible or shows up in the error log, the sequence in question should be counterchecked on a separate HD tape Audio For HDCAM-SR, the 12 audio tracks have to be used for discrete multi-channel audio. Alternatively, a Dolby-E-encoded stream is acceptable. In any case, however, tracks 1 and 2 have to contain the original version or the German broadcast version (LT/RT) in a mix suitable for television broadcast. The audio track allocation has to conform to one of the options specified in Appendix 4. 25

26 PART D: Supply of Video and Audio Files 26

27 1. Preferred Supply Formats For the supply of audio and video files, the following formats are preferably accepted: Format Name Format Container Codec fps Bit Depth Color Sampling Bitrate (Mbit/s) Audio MPEG IMX MXF MPEG-2 25i, 25p 29.97i, 29.97p, 23.98p 8 4:2:2 30 CBR 40 CBR 50 CBR PCM 8 ch/ 16 bit/48 khz, or 4 ch/ 24 bit/48 khz MPEG HD MXF MPEG-2 422P@HL 29.97i, 25i, 29.97p, 25p, 23.98p 59.94p, 50p, 23.98p 8 4:2:2 50 CBR PCM 8 ch/ 16 bit/48 khz, or 4 ch/ 24 bit/48 khz DNxHD MXF MOV DNxHD185 25p 10 4:2:2 184 CBR PCM 8 ch/ 16 bit/48 khz, or 4 ch/ 24 bit/48 khz Audio files have to be supplied in broadcast WAV format with integrated time code. Name Compression fps Sampling Rate Bitrate Broadcast WAV none khz 24 Bit 2. Accepted Supply Formats A complete list of formats accepted for the supply of audio and video files can be found in PART E, Section 2.3. Accepted File Formats. 27

28 PART E: Appendices 28

29 1. APPENDIX 1: Supply of Broadcast WAV Files 1.1. General Specifications The audio mix has to be supplied on a storage medium, if possible. The mix has to be supplied as a discrete file. The supply by reel (act) requires prior arrangement. The mix has to be identical in TC and in sync with the video master supplied. Program start has to be identical to the video master. The beep (audio cue) before the program start has to be located exactly 2 seconds before the start of the program. Different level adjustments between reference level and program will result in rejection. The required sampling rate is always 48 khz, the bit depth 24 bits. A stereo mix has to be mono-compatible. Track allocation has to be in phase. Highest leveling: 0 db = 100% = +6 dbu = 1.55 V RMS on analog and 9 dbfs on digital meters. The mix has to conform to the specifications of EBU R128. The broadcast use of theatrical productions requires a TV downmix (LT/RT). Only mixes at 25 fps are accepted for broadcast use. The surround mix should not be supplied with an excessive loudness range. In technical parameters, this means that spoken dialog should fall between 6 and 0 db (in analog metering) or between 15 and 9 dbfs (in digital metering). Deviations required by the logic of the plot e.g. in soft passages are not automatically categorized as theater mix at the technical inspection, but only as long as speech remains intelligible in these sequences. The 5.1 mix has to be supplied on one surround track (5.1). The track allocation of a surround track (5.1) has to be as follows: Ch. 1 Ch. 2 Ch. 3 Ch. 4 Ch. 5 Ch. 6 Ch. 7 Ch. 8 Left Center Right LFE Left Surround Right Surround LT RT Additional audio versions (by prior arrangement) have to be identical in channel sequence, e.g. ch (5.1) / (LT/RT). 29

30 1.2. Labeling and File Structure Specifications In order to ensure an unambiguous identification, the individual files of the audio tracks have to be labeled according to the following nomenclature and arranged in a directory tree: Each program has a main folder named after the title of the program. Depending on its contents, the main folder has to contain one or more subfolders, labeled according to the type of program (e.g. feature, trailer, EPK, etc.). If different frame rates are supplied, each subfolder contains another subfolder for each frame rate. Different subfolders have to be created for each audio version (original, German dub, M&E, etc.) The files contained in the subfolders have to be labeled unambiguously. Example: 30

31 2. APPENDIX 2: Accepted Supply and Master Formats The current broadcast tape standard is Digital Betacam for SDTV and HDCAM-SR and XDCAM-HD for HDTV. Other formats require a contractual agreement. Distribution copies in general have to be supplied in Digital Betacam or HDCAM format, unless otherwise agreed. Any deviations will be listed in the requirements specifications (in particular with regard to the HD format). The production of broadcast tapes by means of data-compressing editing systems must not have an impact on audio and video content Tape Material Any tapes supplied have to conform to the material specifications listed below. Noncompliance or deviations from these specifications will result in rejection SDTV For SDTV broadcast standard, only Digital Betacam cassettes are accepted. For recording, these tapes have to be handled according to manufacturer specifications. Exceptions require a contractual agreement. The finalization of the broadcast terms (program start, track allocation, etc.) have to conform to the finalization specifications (Appendix 3) in this document. Betacam-SP will not be accepted as a broadcast master. Exceptions require a special contractual agreement HDTV For tape-based HDTV, HDCAM and HDCAM-SR are recognized as broadcast standard. As formats, both 1080psf/25 4:2:2 and 1080i/25 4:2:2 are accepted. Tapes recorded in 4:4:4 may be submitted for technical inspection, but their supply requires prior arrangement. The frame rate for all material supplied has to be 25 fps. Supply of any material deviating from these specifications requires prior agreement. The following standards are accepted for HDTV material supply: HDCAM psf/25 in 3:1:1 or HDCAM i/25 in 3:1:1. Exceptions require special contractual agreement. HDCAM-SR 1080psf/25 in 4:2:2 or HDCAM-SR 1080i/25 in 4:2:2. HDCAM-SR Material 3D: For the broadcast of programs in 3D, left eye and right eye material has to be supplied separately. Both tapes have to be identical in time code over their entire length. Audio track allocation has to be identical on both tapes. Apart from the left-eye and right-eye version, an additional 2D television version has to be supplied (if part of the contract), or one of the 3D versions has to be designated as suitable for use as a 2D version. XDCAM-HD 422. Video encoding with 4:2:2 sampling at full resolution. HDCAM-SR ( ) + HDCAM ( ). 31

32 2.2. Storage Media XDCAM-HD XDCAM-HD material will be accepted in the following formats: 1080psf/25 4:2:2 and 1080i/25 4:2:2. The entire technical leader (90 sec. color bars + test signal + 30 sec. black and mute) has to be contained in clip 1 and the program itself from the first to the last active frame in clip Hard Discs, Flash Drives, etc. When supplying hard discs, attention has to be paid to the compatibility of the data transmission interface and to formatting. Hard discs with a USB 2.0 interface (or higher) and/or with an esata interface will be accepted. The hard discs have to be formatted in either NTSF (MS Windows) or HFS+ (Mac OS extended) Data CDs, Data DVDs, Blu-ray Discs For the supply of small quantities of data (e.g. audio mixes), data Compact Discs (CDs) or Digital Versatile Discs (DVDs) will also be accepted. The supply of Blu-ray Discs (BDs) has to be arranged in advance Upload/Download In general, files may also be supplied via data upload. Files will only be accepted if unambiguously labeled. They have to be supplied together with the completed data sheet for the technical acquisition of the material (form will be provided by Brainpool Services) Other Supply and Master Formats Other digital or analog tape formats or storage media do not comply with broadcast standards and will only be accepted in exceptional cases, which require prior contractual agreement. 32

33 2.3. Accepted File Formats XDCAM Formats Format name Container Video encoding Bit Color Frame Frame size depth sampling rate and scanning type Video bitrate in Mbit/s Audio coding DVCAM MPEG IMX MFX, DV-AVI MXF MPEG HD MXF,MP4 MPEG HD422 MXF DV 8 MPEG-2 422P@ML MPEG-2 MP@H14/H L MPEG-2 422P@HL 8 4:2:2 8 4:2:0 8 4:2:2 4:2: i, 25p 4:1: i, 29.97p i, 25p i, 29.97p, 23.98p i, 25i, 29.97p, 25p, 23.98p 29.97i, 29.97p, 23.98p, 25p 59.94p, 29.97p, 23.98p, 50p, 25p 29.97i, 25i, 29.97p, 25p, 23.98p p, 50p, 23.98p 25 (CBR) 30 (CBR), 40 (CBR), 50(CBR) 35 (VBR) 18 (VBR), 25 (CBR), 35 (VBR) 25 (CBR), 35 (VBR), 19 (CBR) 50 (CB PCM 4 ch/ 16 bit/48 khz PCM 8 ch/ 16 bit/48 khz, or 4 ch/ 24 bit/48 khz PCM 4 ch/ 16 bit/48 khz PCM 8 ch/ 16 bit/48 khz, or 4 ch/ 24 bit/48 khz AVC-Intra Formats AVC-Intra variants: Data rate Profile 1080 Resolution 720 Resolution Color sampling Color depth 50 Mbit/s High 10 Intra :2:0 (3:1,5:0) 10 bit 100 Mbit/s High 422 Intra :2:2 10 bit Refresh rates: Format Refresh rate(s) 1080p 23.98, 25, i p 23.98, 25, 29.97, 50, Apple ProRes Formats The following Apple ProRes formats will be accepted: a) Standard 147 Mbit/s and High-Quality 220 Mbit/s for HD resolution at 60i b) Standard 42 Mbit/s and High-Quality 63 Mbit/s for SD resolution at

34 Apple DnxHD Formats (for PAL) The following resolutions and data rates are being offered for PAL: Format fps Color depth Name Data rate in Mbit/s 1080i/ bit DNxHD 185x i/ bit DNxHD i/ bit DNxHD p/ bit DNxHD 185x p/ bit DNxHD p/ bit DNxHD p/ bit DNxHD 175x p/ bit DNxHD p/ bit DNxHD p/ bit DNxHD 175x p/ bit DNxHD p/ bit DNxHD At a resolution of , there is no 24-fps mode, only fps. 34

35 3. Appendix 3: Finalization Specifications for Master Formats 3.1. Tape Material For all accepted tape formats (Digital Betacam for SDTV; HDCAM and HDCAM-SR for HDTC), the technical leader has to conform to the technical specifications listed below: For the purpose of calibrating material for broadcast or post-production, a technical leader has to be recorded at the beginning of each program, using the same recording device that will be used for the production itself. Programs, without exception, have to start at 10:00:00:00. Neutral title backgrounds have to be recorded for at least 30 seconds after the end of the program, starting at the next full minute. They must start no later than 90 seconds after the end of the program. There has to be at least 30 seconds of black screen after the end of the neutral title background. Example: TC in TC out video audio 09:58:00:00 09:59:29:24 color bars test signal 1kHz // 18dBfs 09:59:30:00 09:59:59:24 black mute 10:00:00:00 11:23:14:12 program program audio 11:24:00:00 11:26:12:08 neutral background mute 11:26:12:09 11:26:45:00 black mute The color bar signal has to conform to ITU-R BT with a uniform red area in the lower third of the frame at a red signal level of 75%. Designation according to CCIR 471: 100 / 0 / 75 / 0 A / B / C / D A = B = C = D = primary color signal level during transmission of the white color bar primary color signal level during transmission of the black color bar maximum level of the primary color signal during transmission of a primary color minimum level of the primary color signal during transmission of a primary color Sync signal, control track, and time code must not be interrupted from the start of the leader to the end of the trailer. Broadcast tapes have to be produced without interruption. Time codes for program start, program end, and TRT have to be indicated accurately to the frame on the VTR record card, counting only the first and last active frame. If start and end of the audio recording diverge from that of the video, they have to be indicated separately. A production consisting of several broadcast tapes (e.g. due to excessive TRT) has to be recorded on material from the same manufacturer. Attention has to be paid that the time code continues from the last active frame of one tape to the first active frame of the next tape. The program has to start with an overlap of exactly 2 minutes 0 seconds 0 frames with the preceding tape. Any special requests in finalization have to be arranged in advance. 35