Handling Event-Based Frame Rate Conversion in OTT Streaming Services - $15
Date: October 9, 2021Topics: 2021 BEITC Proceedings, AI and Cloud Technologies for BroadcastingThis paper explains how a fully on-demand cloud-based, live, real-time frame rate conversion service was created and evaluated by a major streaming service.
Paola Hobson | InSync Technology Ltd | Petersfield, Hants, United Kingdom
Valentijn Siebrands | M2A Media | London, United Kingdom
Hands On Towards Next Generation Media Distribution with the 5G-Mag Reference Tool - $15
Date: April 14, 2023Topics: 2023 BEITC Proceedings, Sustainability and 5GThe 3rd Generation Partnership Project (3GPP) has defined multiple specifications for 5G Media Streaming, allowing operators or third-party service providers to build media services and applications on top of 5G systems. With 3GPP Release 17, these specifications are expanded into the domains of dynamic QoS policies, event exposure, Multicast Broadcast Services, Edge applications, or XR.
3GPP is lacking a reference and conformance program to validate and prototype these specifications. The 5G Media Action Group (5G-MAG) has undertaken the task to accelerate the creation of 5G Media applications by providing the open-source 5G-MAG Reference Tools development program.
In this paper we focus on the implementation of 5G Media Streaming (5GMS) components in the 5G-MAG Reference Tools. Based on a set of industry relevant use-cases, we identify four minimum viable products (MVPs). Starting with a simple implementation of the 5GMS Application Server (AS) and 5GMS-Aware Application for media playback, we move to more advanced features such as media session handling and dynamic configuration of the AS by the 5GMS Application Function (AF). The presented features serve as a foundation for contributors to add more advanced functionalities. An example is a DVB-I Hybrid Service delivered over 5G Broadcast and 5G Media Streaming, enabling the insertion of Premium and Targeted Content on top of it.Daniel Silhavy | Fraunhofer FOKUS | Berlin, Germany
Richard Bradbury | British Broadcasting Corporation | London, United Kingdom
David Waring | British Broadcasting Corporation | London, United Kingdom
Dev Audsin | British Broadcasting Corporation | London, United Kingdom
Thomas Stockhammer | Qualcomm CDMA Technologies | Munich, Germany
Aytac Biber | Qualcomm CDMA Technologies | Carlsbad, California, United States
Kurt Krauss | Dolby Germany GmbH | Nuremberg, Germany
JordiJoan Gimenez | 5G-MAG Association | Geneva, Switzerland
Johann Mika | ORS | Vienna, Austria
Haptic Perception System Synchronized with Live Broadcasts - $15
Date: October 9, 2021Topics: 2021 BEITC Proceedings, TV EnhancementsWe developed a haptic-perception system that supplies haptic stimuli, which are sychronized with live broadcasts during public viewing sporting events.
Masaki Takahashi | Japan Broadcasting Corporation (NHK) | Tokyo, Japan
Taichi Ishiwatari | Japan Broadcasting Corporation (NHK) | Tokyo, Japan
Makiko Azuma | Japan Broadcasting Corporation (NHK) | Tokyo, Japan
Takuya Handa | Japan Broadcasting Corporation (NHK) | Tokyo, Japan
Masanori Sano | Japan Broadcasting Corporation (NHK) | Tokyo, Japan
HDR Challenges and Solutions - $15
Date: April 23, 2022Topics: 2022 BEITC Proceedings, Ultra HD Video and UHDTV BroadcastingHDR lures, yet challenges, content producers. Content sources and display targets vary widely in luminance capability. Tone mapping solutions offer different degrees of ease and quality.
Bill Redmann | InterDigital | Wilmington, Delaware, United States
David Touze | InterDigital | Wilmington, Delaware, United States
Frederic Plissonneau | InterDigital | Wilmington, Delaware, United States
Alan Stein | InterDigital | Wilmington, Delaware, United States
Guy Ducos | Philips IP&S | Eindhoven, Netherlands
HDR for Full HD - $15
Date: April 26, 2020Topics: 2020 BEITC Proceedings, Converting to Ultra HD Television BroadcastingAlthough 4K/UHD, High Dynamic Range (HDR) and Wide Color Gamut (WCG) are usually mentioned together, HDR/WCG is not limited to 4K/UHD. Full HD (1080p60) can also benefit from a dramatic improvement in picture quality with HDR and WCG. The average worldwide viewing distance of 9 feet is too far away to see the optimum 4K/UHD resolution on a typical 65? TV. A properly set-up HD image with HDR will look better than a 4K/UHD image with Standard Dynamic Range (SDR). Upconversion by consumer UHD TVs will provide nearly the same visual experience, but consumes about ? of delivery and storage requirements of 4K/UHD.
One enduring misconception about HDR is it produces brighter pictures. In fact, the Average Picture Level (APL) will not change. Only peak highlights will be brighter. In addition to recovering detail from dark shadows or bright areas, HDR offers a more realistic picture, like the way the Human Visual System sees things in real life. Another misconception is that HDR is incompatible with existing Standard Dynamic Range (SDR) TVs. Modern flat-panel SDR displays are capable of higher luminance, contrast ratio and wider color gamut than is standardized in today?s program production. Hybrid Log Gamma (HLG) can produce better pictures on these SDR TV displays even without HDR processing. However, for SMPTE ST-2084/PQ and Dolby Vision, the latest UHD HDR TVs are required.????
Producing and delivering both SDR and HDR signals is the next big challenge. Acquisition and production systems will need to handle SDR and HDR signals for compatible mixing of content. This presentation deals with both the technology and workflow related to HDR. Newly developed techniques will allow video engineers to shade HDR cameras while using standard SDR monitoring. This is accomplished using an inverse HDR gamma and remapping gamma for SDR. With this process, cameras can output both HDR and SDR feeds in UHD and HD. Conversion of other SDR signals to HDR may be required in the short term. Program production may require UHD, HD, SDR, and HDR versions for wide distribution.
Many US mobile companies and sports networks are moving toward adopting Full HD with HDR for both archive and OTT delivery. For broadcast, ATSC 3.0 can use the HDR SL-1 standard to deliver all HDR profiles in a compatible transmission system for delivery of HD and UHD in SDR and HDR.
Due to the different requirements for live sports and post-produced programs, it is highly likely that multiple HDR profiles will be used in the future.
John Humphrey | Hitachi Kokusai Electric America, LTD. | Woodbury, NY USA
HDR-SDR conversion: Live HDR Single Master Production Conversion Interoperability Challenges - $15
Date: April 3, 2024Topics: 2024 BEITC Proceedings, Video Technology - Miscellaneous TopicsLive production workflows, particularly those for sports, employ complex pipelines to deliver HD, UHD, SDR, and HDR video streams. Because content originates as HDR or SDR, effective and flexible conversions are required between formats. A growing number of live sport events are today produced in a HDR single-master workflow, where conversions are still required at production stage and HDR to SDR down-conversion is necessary at distribution side. An emerging challenge is about ensuring operational knowledge to secure proper use of conversion tools and to improve interoperability between different solutions such as static and dynamic conversions. This paper discusses the challenge and evaluation consensus. A generic solution is proposed, based on metadata to improve workflows efficiency while providing premium HDR and SDR contents.
David Touze | InterDigital R&D France | Rennes, France
Frederic Plissonneau | InterDigital R&D France | Rennes, France
Patrick Morvan | InterDigital R&D France | Rennes, France
Laurent Cauvin | InterDigital R&D France | Rennes, France
Valerie Allie | InterDigital R&D France | Rennes, France
