Showing posts with label Analysis and Measurement. Show all posts
Showing posts with label Analysis and Measurement. Show all posts

Free Loudness Meter for Windows & Mac

Orban has introduced Version 2.7 of the free Loudness Meter for Windows (Vista/7/8) and Mac (OS X 10.6 or greater). The software adds two important new features: support for up to 7.1-channel surround, and the ability to analyse files in several common formats offline to measure their ITU-R BS.1770-3 Integrated Loudness and Loudness Range. This combination of new features allows any organization to qualify files, whether stereo or surround, for compliance with the Calm Act and EBU R128.

Like its predecessor, version 2.7 measures loudness using both the Jones & Torick (CBS Technology Center) and BS.1770-3 algorithms, displaying BS.1770-3 Short-Term, Momentary, and Integrated loudness in addition to the Jones and Torick loudness.



The metre also provides PPM and VU meters, and a "Reconstructed Peak" meter with an 8X-upsampled sidechain to predict the peak levels that will appear after digital to analogue conversion. This reconstructed peak metre exceeds the requirements of the "true-peak" metre described in BS.1770-3, which specifies a 4X-upsampled sidechain.

Source: TV Technology

Tech Upstarts Kicking Glasses in 3D

There's no shortage of innovation from the major TV manufacturers on display at the huge booths at CES: OLED, 4K -- even 8K -- resolution, new interfaces, connectivity, exclusive content. What's absent here, though, are any prototypes to indicate that glasses-free (autostereo) 3D TV is anywhere close to market.

That's not to say that autostereo TV can't be found at CES. It's just coming from smaller companies in smaller booths -- one with barely a booth at all. They are pressing ahead with -- and showing off -- autostereo screens for television, tablets and smartphones while the big makers remain oddly quiet on the topic.

"Consumer electronics companies wanted to get into the home market quickly," said Raja Rajan, chief operating officer of Stream TV, whose booth in Central Hall, of the mammoth Las Vegas Convention Center, is not far from Sony's. "The consumer electronics companies have tremendous financial pressures to get to market with the fastest, easiest technologies."

That is echoed by one of Rajan's competitors, Stephen Blumenthal of 3D Fusion, a late addition to the floor that has one of its models tucked into the 3D Bee booth at the periphery of Central Hall.

"They brought (3D with glasses) to the market as a very straightforward consumer play, and until they burn through the opportunity to make as much revenue off of it as possible, this adventure with the next step is on the back burner," Blumenthal said.

His partner Ilya Sorokin noted, "The 3D with glasses technology was much easier to incorporate into their existing infrastructure because it was already there, and just lying on a shelf."

Both 3D Fusion and Stream TV are using advanced, lens-based tech that, according to Rajan, was abandoned by the big companies.

Rajan said he toured Asia showing Stream TV's screens and its real-time 2D-to-3D converter to major hardware makers, who responded enthusiastically. Stream TV is looking to be a technology provider, not to manufacture under its own name.

"We expect in the next few weeks to start announcing some of the first brands and products rolling out," Rajan said.

He said there is strong interest from Hollywood in the converter box, because it can be built into cable and satellite boxes, enabling all channels to be in 3D. At the same time, Stream's units come with controllers so the consumer can turn the 3D down, or off altogether, for comfort or personal preference.

"Our cost is incrementally 10% to 15% max over the cost of goods for a 2D television," Rajan said. "That's significant because a big re-seller can get into the consumer market at a cost consumers can afford."

MasterImage 3D, which has a solid worldwide business projecting 3D in theaters, is in the South Hall. It has been in the autostereo screen business for some time, and this year is at CES with two screens aimed straight at state-of-the-art mobile devices: a 720p 4.3-inch smartphone display and a WUXGA (1920x1200) display for tablets.

Royston Taylor, exec VP and general manager for MasterImage, said he welcomes the competition from Stream TV, which is also showing tablet screens.

"First, it validates what you're trying to do," Taylor said. "Being on your own is nice in terms of no competition, but it's very lonely in terms of being the only voice saying how great something is. The second thing is competition is always good for the consumer."

Despite strong sales of the Nintendo 3DS, the poor critical response to the 3DS, the HTC Evo 3D phone and the LG Optimus 3D phone have made some makers nervous, Taylor said. He now expects to be making announcements of deals with consumer electronics companies by April and to have gear with MasterImage 3D screens in stores by Thanksgiving.

One hurdle that had to be overcome was the lack of technical standards for judging the quality of a 3D display.

"Right now it's almost entirely subjective," he said. "Big companies won't risk a $250 million phone line on 3D just because it looks nice."

But a French company, Eldim, has come up with a product for testing 3D displays on objective, technical measurements. With standards in place, it will be possible to compare products and establish quality control in manufacturing.

3D Fusion is already selling autostereo TVs for use in digital signage. Blumenthal said the company is selling its turnkey solution, which includes a 42-inch autostereo display, at CES. Cost is $8,000. His sales are to retailers, small mom-and-pop chains, malls. Blumenthal and Sorkin recognize that their company is small and they're in no position to ramp up to consumer volumes on their own. Like Stream TV, they'd be happy to license their technology.

By David S. Cohen, Variety

Getting Machines to Watch 3D for You

The advantages of automatic monitoring of multiple television channels are well known. There are just not enough eyeballs for human operators to see what is going on. With the advent of stereoscopic 3D in mainstream television production and distribution, the benefits of automatic monitoring are even greater, as 3D viewing is even less conducive to manual monitoring.

This paper, presented at IBC 2011, gives a comprehensive introduction to a wide range of automatic monitoring possibilities for 3D video. There are significant algorithmic challenges involved in some of these tasks, often involving careful high-level analysis of picture content. Further challenges arise from the need for monitoring to be robust to typical processing undergone by video signals in a broadcast chain.

By Mike Knee, Consultant Engineer, R&D Algorithms Team, Snell

MPEG Analysis and Measurement

Broadcast engineering requires a unique set of skills and talents. Some audio engineers claim the ability to hear the difference between tiny nuisances such as different kinds of speaker wire. They are known as those with golden ears. Their video engineering counterparts can spot and obsess over a single deviate pixel during a Super Bowl touchdown pass or a “Leave it to Beaver” rerun in real time. They are known as eagle eyes or video experts.

Not all audio and video engineers are blessed with super-senses. Nor do we all have the talent to focus our brain’s undivided processing power to discover and discern vague, cryptic and sometimes immeasurable sound or image anomalies with our bare eyes or ears on the fly, me included. Sometimes, the message can overpower the media. Fortunately for us and thanks to the Internet and digital video, more objective quality and measurement standards and tools have developed.

One of those standards is Perceptual Evaluation of Video Quality (PEVQ). It is an End-to-End (E2E) measurement algorithm standard that grades picture quality of a video presentation by a five-point Mean Opinion Score (MOS), one being bad and five being excellent.

PEVQ can be used to analyze visible artifacts caused by digital video encoding/decoding or transcoding processes, RF- or IP-based transmission systems and viewer devices like set-top boxes. PEVQ is suited for next-generation networking and mobile services and include SD and HD IPTV, streaming video, mobile TV, video conferencing and video messaging.

The development for PEVQ began with still images. Evaluation models were later expanded to include motion video. PEVQ can be used to assess degradations of a decoded video stream from the network, such as that received by a TV set-top box, in comparison to the original reference picture as broadcast from the studio. This evaluation model is referred to as End-to-End (E2E) quality testing.

E2E exactly replicates how so-called average viewers would evaluate the video quality based on subjective comparison, so it addresses Quality-of-Experience (QoE) testing. PEVQ is based on modeling human visual behaviors. It is a full-reference algorithm that analyzes the picture pixel-by-pixel after a temporal alignment of corresponding frames of reference and test signal.

Besides an overall quality Mean Opinion Score figure of merit, abnormalities in the video signal are quantified by several Key Performance Indicators (KPI), such as Peak Signal-to-Noise Ratios (PSNR), distortion indicators and lip-sync delay.

PVEQ References
Depending on the data made available to the algorithm, video quality test algorithms can be divided into three categories based on available reference data.

A Full Reference (FR) algorithm has access to and makes use of the original reference sequence for a comparative difference analysis. It compares each pixel of the reference sequence to each corresponding pixel of the received sequence. FR measurements deliver the highest accuracy and repeatability but are processing intensive.

A Reduced Reference (RR) algorithm uses a reduced bandwidth side channel between the sender and the receiver, which is not capable of transmitting the full reference signal. Instead, parameters are extracted at the sending side, which help predict the quality at the receiving end. RR measurements are less accurate than FR and represent a working compromise if bandwidth for the reference signal is limited.

A No Reference (NR) algorithm only uses the degraded signal for the quality estimation and has no information of the original reference sequence. NR algorithms are low accuracy estimates only, because the original quality of the source reference is unknown. A common variant at the upper end of NR algorithms analyzes the stream at the packet level, but not the decoded video at the pixel level. The measurement is consequently limited to a transport stream analysis.

Another widely used MOS algorithm is VQmon. This algorithm was recently updated to VQmon for Streaming Video. It performs real-time analysis of video streamed using the key Adobe, Apple and Microsoft streaming protocols, analyzes video quality and buffering performance and reports detailed performance and QoE metrics. It uses packet/frame-based zero reference, with fast performance that enables real-time analysis on the impact that loss of I, B and P frames has on the content, both encrypted and unencrypted.

The 411 on MDI
The Media Delivery Index (MDI) measurement is specifically designed to monitor networks that are sensitive to arrival time and packet loss such as MPEG-2 video streams, and is described by the Internet Engineering Task Force document RFC 4445. It measures key video network performance metrics, including jitter, nominal flow rate deviations and instant data loss events for a particular stream.

MDI provides information to detect virtually all network-related impairments for streaming video, and it enables the measurement of jitter on fixed and variable bit-rate IP streams. MDI is typically shown as the ratio of the Delay Factor (DF) to the Media Loss Rate (MLR), i.e. DF:MLR.

DF is the number of milliseconds of streaming data that buffers must handle to eliminate jitter, something like a time-base corrector once did for baseband video. It is determined by first calculating the MDI virtual buffer depth of each packet as it arrives. In video streams, this value is sometimes called the Instantaneous Flow Rate (IFR). When calculating DF, it is known as DELTA.

To determine DF, DELTA is monitored to identify maximum and minimum virtual depths over time. Usually one or two seconds is enough time. The difference between maximum and minimum DELTA divided by the stream rate reveals the DF. In video streams, the difference is sometimes called the Instantaneous Flow Rate Deviation (IFRD). DF values less than 50ms are usually considered acceptable. An excellent white paper with much more detail on MDI is available from Agilent.


Figure 1 - The Delay Factor (DF) dictates buffer size needed to eliminate jitter


Using the formula in Figure 1, let’s say a 3.Mb/s MPEG video stream observed over a one-second interval feeds a maximum data rate into a virtual buffer of 3.005Mb and a low of 2.995Mb. The difference is the DF, which in this case is 10Kb. DF divided by the stream rate reveals the buffer requirements. In this case, 10K divided by 3.Mb/s is 3.333 milliseconds. Thus, to avoid packet loss in the presence of the known jitter, the receiver’s buffer must be 15kb, which at a 3Mb rate injects 4 milliseconds of delay. A device with an MDI rating of 4:0.003, for example, would indicate that the device has a 4 millisecond DF and a MLR of 0.003 media packets per second.

The MLR formula in Figure 2 is computed by dividing the number of lost or out-of-order media packets by observed time in seconds. Out-of-order packets are crucial because many devices don’t reorder packets before handing them to the decoder. The best-case MLR is zero. The minimum acceptable MLR for HDTV is generally considered to be less than 0.0005. An MLR greater than zero adds time for viewing devices to lock into the higher MLR, which slows channel surfing an can introduce various ongoing anomalies when locked in.


Figure 2 - The Media Loss Rate (MLR) is used in the Media Delivery Index (MDI)


Watch That Jitter
Just as too much coffee can make you jittery, heavy traffic can make a network jittery, and jitter is a major source of video-related IP problems. Pro-actively monitoring jitter can alert you to help avert impending QoE issues before they occur.

One way to overload a MPEG-2 stream is with excessive bursts. Packet bursts can cause a network-level or a set-top box buffer to overflow or under-run, resulting in lost packets or empty buffers, which cause macro blocking or black/freeze frame conditions, respectively. An overload of metadata such as video content PIDs can contribute to this problem.

Probing a streaming media network at various nodes and under different load conditions makes it possible to isolate and identify devices or bottlenecks that introduce significant jitter or packet loss to the transport stream. Deviations from nominal jitter or data loss benchmarks are indicative of an imminent or ongoing fault condition.

QoE is one of many subjective measurements used to determine how well a broadcaster’s signal, whether on-air, online or on-demand, satisfies the viewer’s perception of the sights and sounds as they are reproduced at his or her location. I can’t help but find some humor in the idea that the ones-and-zeros of a digital video stream can be rated on a gray scale of 1-5 for quality.

Experienced broadcast engineers know the so-called quality of a digital image begins well before the light enters lens, and with apologies to our friends in the broadcast camera lens business, the image is pre-distorted to some degree within the optical system before the photons hit the image sensors.

QoE or RST?
A scale of 1-5 is what ham radio operators have used for 100 years in the readability part of the Readability, Strength and Tone (RST) code system. While signal strength (S) could be objectively measured with an S-meter such as shown in Figure 3, readability (R) was purely subjective, and tone (T) could be subjective, objective or both.


Figure 3 - The S-meter was the first commonly used metric to objectively
read and report signal strength at an RF receive site


Engineers and hams know that as S and or T diminish, R follows, but that minimum acceptable RST values depend almost entirely on the minimum R figure the viewer or listener is willing to accept. In analog times, the minimum acceptable R figure often varied with the value of the message.

Digital technology and transport removes the viewer or listener’s subjective reception opinion from the loop. Digital video and audio is either as perfect as the originator intended or practically useless. We don’t need a committee to tell us that. It seems to me the digital cliff falls just south of a 4x5x8 RST. Your opinion may vary.

By Ned Soseman, Broadcast Engineering

Getting Machines to Watch 3D for You

How can 3D television signals be analysed automatically to provide quality of broadcast service? Mike Knee, consultant engineer, research & development at Snell is working on the answer, and provides a short overview of his work here.

Running a multi-channel TV installation brings new headaches when 3D is involved. For live monitoring of 2D TV channels, manufacturers have developed automated solutions covering many tasks, such as lip-sync measurement or compression quality estimation. 3D brings a new dimension to monitoring, because we additionally have to check the relationship between the left and right-eye signals.

Manual monitoring of 3D is more difficult than 2D because operators need to wear glasses or accept limitations of autostereoscopic displays. So there is a burgeoning interest in automatic monitoring of 3DTV. In this article we look at how various aspects of 3D television signals can be analysed.

Format Detection
Left and right signals may be packed into a single video channel in many ways. Some formats, such as left/right juxtaposition, are ‘loose packed’ because the two pictures are physically separate. Other formats, such as line interleaving, are ‘close packed’ because corresponding left and right pixels are close together.

One way to detect the packing format is to perform a trial unpacking with an assumed format and then detect whether the resulting images appear to be a stereoscopic pair. For loose packed formats, we look for relative similarity between the left and right images when compared with unrelated parts of the picture. For close packed formats, we look for relative differences between the left and right images when compared with adjacent pixels or lines.

Depth or Disparity Analysis
An important 3D analysis task is to measure the perceived depth of objects in the scene, which depends on disparity (the horizontal distance between left and right representations of the object). In 3D monitoring, we measure disparity and relate it to perceived depth for different display configurations.

The most important use of disparity measurement is to provide a warning if the viewer is likely to suffer eye strain. It can also be used to verify that the sequence really is 3D, to detect and correct for geometric distortions between the two channels, and to assist in the insertion of captions or subtitles at suitable depths.

One class of disparity measurement methods involves correlating the left and right images to generate a sparse disparity map. This approach is ideal for looking at the behaviour of different objects in the scene and for determining whether limits have been exceeded. Other methods generate a dense disparity map – a disparity value for every pixel. This approach would be necessary if the measurement were being used to drive post-processing, for example to change the effective camera spacing.

Left-Right Swap Detection
If the left and right images are inadvertently swapped, the result is disturbing, though it is not always obvious what is wrong. It would be useful to detect the swap automatically. A disparity map is a good starting point, but a 3D pair will often exhibit both negative and positive disparity values. So a simple disparity histogram analysis, for example, would not be enough.

One approach is based on the spatial distribution of disparity values. Objects at the centre and bottom of the screen are generally nearer than objects at the top and sides. A left-right swap detector could correlate measured disparity with a template of expected values to see which way round gives the better match.

A better method is based on the observation that closer objects occlude more distant objects. Occluded regions extend to the left of transitions in the left-eye view and to the right in the right-eye view. This observation enables us to determine statistically which view is which.

2D to 3D Conversion Detection
In the rush to deliver 3D content, it is tempting to use 2D to 3D conversion. Some automatic conversion is impressive, but concern remains that over-use of simple conversion algorithms may undermine the appeal of 3DTV. So it would be desirable when monitoring 3D content to detect the possible use of a converter.

One simple 2D to 3D conversion technique is to apply a fixed spatial disparity profile. Another technique is to introduce delay between two versions of the same moving sequence to give an impression of depth depending on motion. The use of these techniques can be detected using a combination of fingerprint comparison, temporal alignment and disparity estimation.

One can envisage a game of ‘cat and mouse’ whereby detection algorithms become ever more sophisticated in order to keep up with the increasing complexity of automatic 2D to 3D converters.

Source: TVB Europe

Improving QoE for IP Video Services

The boom in OTT and TV Anywhere services is underlined by rapid growth in IP video transmission at all stages of the content lifecycle, and this is expanding greatly the scope and demand for Quality Assurance (QA) products. Even leading proponents of OTT services still admit there is some way to go to provide acceptable Quality of Experience (QoE) for high-definition premium content over unmanaged networks in particular.

“One of the main obstacles to OTT is the lack of a great user experience,” says Helge Høibraaten, CEO of Vimond Media Solutions, a spin-off of Norwegian commercial TV station TV 2, which is commercialising its OTT broadcast platform internationally.

Speaking at a conference during the recent IBC exhibition in Amsterdam, Høibraaten indicated that an OTT platform was defined by the quality it delivers and must meet the needs of all devices including tablets, PCs and smartphones. Vimond itself has only just extended its applications suite to Apple iOS devices (iPad and iPhone), Android and Windows phones, in addition to Windows desktop PCs which it already supported. The message for vendors of OTT platforms, and for the services that run on them, is that they should only embrace new device types when acceptable quality can be guaranteed.

The definition of acceptable quality is admittedly rather subjective. It is certain, though, that IP networks are creating new challenges for providers of QA video products. These vendors have been extending their portfolios to tackle video delivery over both managed and unmanaged IP networks, with various announcements made at IBC.

While unmanaged networks including the Internet pose the greatest challenge, even managed IP networks require careful handling to avoid packet loss and latency resulting from congestion within the infrastructure. This can happen because unlike traditional broadcast networks, IP infrastructures do not have fixed end-to-end paths and have no pre-determined transmission times for each IP packet. It is possible for more packets to enter the network than can be delivered within an acceptable time frame, leading to congestion and either dropped packets, delays, or both. Either of these can cause loss of quality on receiving devices.

The remedy is to apply traffic shaping, which involves holding up IP packets that are less critical or which can afford a little delay in order to preserve capacity for the most important packets. This can be performed at the point of entry to the network or within the network by routers themselves or other dedicated devices, and the key with managed networks is that operators can control the traffic shaping process better. Potentially, packet loss can be eliminated and latency kept within acceptable limits, according to Per Lindgren, VP Business Development and Co-Founder of Net Insight, the Swedish-owned vendor of the Nimbra IP media transport platform. Net Insight tackles the managed IP quality issue by breaking the network down into separate segments and applying QoE mechanisms including traffic shaping to each.

The first step is to ensure that the routers themselves do not create problems under congestion by dropping packets as they pass through, so Net Insight has applied traffic shaping at this level to ensure this does not happen. “By traffic shaping even inside our MSRs (Media Switch Routers), we can traffic shape down until we ensure we do not lose any packets there,” says Lindgren.

The next step is to address the links through the core network between the routers and ensure that the QoS needs of each individual service are met. “Traditionally telcos have not been treating media traffic as a special service,” says Lindgren. “So we propose building service aware media networks. MSRs aggregate traffic so that the core network (provided by a telco) only handles aggregated flows rather than individual services. Our MSRs then handle the different protection needs of each service, and can add QoS enhanced links inside a media service network rather than just at the edges.”

In this way, by addressing both the routers and links between them separately as part of a coordinated traffic management approach, the network can achieve much higher levels of quality. Even then, though, the possibility of packet loss or delay cannot be discounted, and so the third element of Net Insight’s QA strategy is to monitor every link. “We can do continuous real-time monitoring of traffic between MSRs and see any packet loss sent between one MSR and another,” Lindgren explains. “That makes it much easier to troubleshoot.”

Within unmanaged IP networks, on the other hand, it is impossible for broadcasters or operators to do either traffic shaping or performance monitoring since they do not own the infrastructure. This is an increasing issue with the growth of cloud-based services where the infrastructure is normally owned and managed by a third-party with video delivered over some Content Distribution Network (CDN). In that case there is an apparent black hole between the cloud and the end user, making it difficult for a content provider to know what quality the customer is getting.

Another Swedish vendor specialising in distributed video delivery, Edgeware, has tackled this problem with its Convoy VDN, which is software operating within the company’s Distributed Video Delivery Network (D-VDN) platform. Announced at IBC, this operates by combining the receiving device’s capability with the QoS known to be provided by the delivery infrastructure, according to Edgeware’s Chief Marketing Officer Duncan Potter.

The point is that CDNs usually operate via adaptive streaming protocols to improve network efficiency and performance, breaking video up into multiple small file chunks that can take different routes before being reassembled at the destination. The network detects each user’s CPU capacity and bandwidth continuously and adjusts the quality of the stream in real-time to ensure that QoE is always as good as it can be at that point in time. But breaking up video into chunks does make it hard to monitor what is going on within the CDN, and this is the problem Edgeware has addressed with Convoy VDN. “As we are a network device we can see what is going through,” said Potter. “We work out what is sent, collect statistics via a central reporting engine, and that is integrated with the higher level CDN management system.”

Such measures may help ensure optimum quality when a service is working normally but do not cater for major outages within the infrastructure. While IP networks are becoming more reliable, there is rising dependence in an increasingly global content market on external communication links that may be unreliable. This is a particular problem for the growing number of niche and ethnic services that have a global audience distributed across numerous, often small, communities around the world.

Such ethnic services can be lucrative, with high profit margins for operators because consumers are prepared to pay a premium or a separate subscription to receive them, but the total revenue in a given region is usually relatively small. This means operators cannot afford to spend too much capital on protecting against failure of the service in a region beyond their control, according to Danny Wilson, CEO of TV performance monitoring vendor Pixelmetrix. “Typically if an operator imports content from, say, India, they are vulnerable to loss of signal from Delhi,” he points out.

Pixelmetrix is tackling this with software announced at IBC that enables its DVStor recording and playback platform to perform disaster recovery and start playing out the content in the event of an outage. “We are recording what is going on at a downlink coming in from overseas and have integrated this with our test and measurement devices,” says Wilson. “Then if there is any interruption, the sensor detects that input signal is lost, and this DVStor solution can then provide back-up recovery on a real-time basis.”

This, in effect, is a cloud-based disaster recovery service and could be incorporated within IP-based delivery infrastructures. It highlights the growing scope of Quality Assurance, bringing together elements of disaster recovery, troubleshooting and performance monitoring within an overall QoE package.

By Philip Hunter, Videonet

Monitoring MPEG in an IP Network

The cost and ease-of-use advantages of moving video using IP have been welcomed in cable, IPTV and satellite applications around the world. For the most part, IP remains a rarity in most of today's television studios. However, these same benefits will eventually make the approach more prevalent in the broadcast market. Signal monitoring throughout the video delivery chain is essential to ensuring the viewer's quality of experience (QoE), and for this reason, broadcasters will benefit from having a thorough understanding of what is required to effectively deploy IP and accurately monitor IP content.

IP's Usefulness in Broadcast
While a broadcast facility may never have a fully deployed IP network backbone in the studio, IP links are set to replace ASI interconnects between equipment in many applications.

Encoders, multiplexers and other equipment located at the broadcaster's headend are already IP-capable devices, likely linked by ASI in most environments. Moving forward, IP networks with high-end switches or routers at the center will feed multiple pieces of equipment within the broadcast operation and become increasingly common as organizations begin recognizing the benefits of this technology. Benefits include relatively low-cost, facilitated transmission of signals to multiple destinations (multicasting) and ease of signal monitoring.


The use of IP in a variety of broadcast applications is becoming more common.

Another likely location for the imminent incursion of IP into the broadcaster's world is the connection between the studio and the transmitter. A transmitter is typically linked to the studio by microwave; however, some broadcasters are already considering replacing this link via an IP connection. Leasing fiber eliminates both the expense and uncertainty of microwave systems, which are subject to weather and other interference.

How Video Over IP Works
Digital video is packetized data — ones and zeros moving 188 bytes at a time in a transport stream. IP transmits data from one point to another, and because digital video is essentially data, it can also be arranged in Ethernet frames and transmitted. However, IP does pose fundamental problems as a video transfer scheme, most of them stemming from the nature of IP. IP was developed some 30 years ago as a way to move data quickly and efficiently from Point A to Point B. In traditional data transfers, timing and sequence do not matter very much. For example, when sending or viewing a Web page or e-mail, the order in which the data components arrive is unimportant as long as the content appears correctly once loading is complete. Should data be lost or corrupted in transit, the content can easily be retransmitted and loaded without the end user ever knowing the difference.

Transmitting live video is entirely different. The frames containing the data — typically MPEG — must arrive synchronized, on time and in sequence if the footage is going to appear as intended to the viewer. In a video application, retransmission of lost or corrupt data is nearly impossible because the appropriate moment for display has passed.

When MPEG-compressed video travels on an IP network, the content is typically arranged in groups of seven data packets, each wrapped in an Ethernet frame. These frames each contain source and destination addresses so that the data is routed appropriately within the network. As the frame arrives at the receiver-decoder (or other device), the MPEG packets are extracted and treated the same as they would have had they arrived by ASI.


Ethernet frames carry the compressed MPEG video information.

In an IP network that has been properly designed to carry video, the switches and routers are configured to prioritize video data. If the integrity of the video is to be maintained at a high level, then IP infrastructure must also be maintained and a monitoring solution put in place that addresses the problems unique to IP infrastructure — specifically jitter and dropped, lost or out-of-order data packets.

How Video Over IP is Monitored
In the cable and satellite industries where video delivery over IP is common, effective monitoring techniques have been tried and proven. Typically, a monitoring device performs multiple tests continuously on all inputs. Because almost all of these tests are based on the timing within the data transmission, the monitor's most fundamental job is to keep track of packet arrival times with a high degree of accuracy. Within the MPEG signal, the monitoring device assesses the timing to ensure that it meets a predetermined standard, such as ETSI TR 101 290 in Europe. The timing standard — designed to ensure QoE for the viewer — codifies acceptable arrival timing for the component parts of the stream and the Program Clock Reference (PCR), which contributes to timing accuracy. The component parts are audio and video data, as well as the tables that enable the consumer's television to perform decoding, display the image on the screen, and properly represent auxiliary items like a program guide and subtitles.

Effective monitoring of an IP-based system requires timestamping every Ethernet frame so that the rate and sequence can be tested. The first test that must be performed is for jitter, which is a measure of the cadence of the packets in the line. The packets should arrive at regular intervals, without bursts or prolonged gaps. To some extent, the buffer in the receiver-decoder can compensate for these issues, but if they become extreme, the buffer is overwhelmed and viewer experience suffers.

The second test is for dropped or out-of-order packets. These can be hard to recognize because the IP stream typically lacks both indicators of packet order and a means of notifying the network that a packet has been lost. To get around this, a monitoring device can penetrate the packet, scrutinize the MPEG packets within and use continuity counters to determine whether all the packets are present. This is the same kind of MPEG test that is conducted for an ASI or other traditional broadcast signal. With IP transport, the Ethernet frame adds another layer of complexity to the address with monitoring.

Monitoring devices typically incorporate slots for one or two cards that can perform either IP or ASI monitoring, depending on the needs of the system. In a traditional broadcast station, a monitor with four ASI inputs might be implemented to cover all the necessary streams at the headend or studio. One of IP's advantages over ASI is that a single IP input can simultaneously monitor all the traffic on the network — hundreds of IP multicasts — rendering multiple monitor inputs unnecessary and ultimately saving the broadcaster money. In fact, the number of IP transport streams is limited only by overall network capability.

Once the Ethernet frame is removed from the MPEG layer, the monitoring process is the same as for transport streams carried over any other physical medium. The monitor assesses the timing of elements such as PAT and PMT tables to ensure their rates meet the predetermined standard (ie: ETSI TR 101 290). The time-checks also reveal gaps between packets that contain video and audio. Beyond that, the monitor scrutinizes the accuracy of the PCR.

Because timing really is everything for optimal video delivery, the accuracy of the monitoring device is also important; even a small degree of inaccuracy distorts the information gained from the monitoring process. Some monitors unintentionally introduce delay and inaccuracy because they rely on an off-the-shelf network interface card to input the video streams and disregard the specialized requirements of delicate IP-based transport streams. Because these cards must subsequently pass the data through the operating system's software IP stack, much of the timing information's granularity is inevitably lost to processing delays.

A more effective technique is for a proprietary network interface card to timestamp the Ethernet frames at the time of input — without injecting processing delays. This can be accomplished by using specialized hardware on the input card to separate Ethernet frames carrying transport stream packets from those containing general IP traffic. The general traffic data can be passed through the operating system's normal IP stack while the frames containing transport stream packets are timestamped and passed directly to the analysis software, bypassing the IP stack.

The Ethernet frame timestamping is done using a highly accurate clock reference (such as an oven-controlled crystal oscilator), and then the frame timestamps can be inferred and transferred to the transport packets inside the frames by referencing the physical link speed on the Ethernet interface. This methodology yields more accurate data for subsequent reference and analysis by the specialized software. In fact, timestamping techniques like this have been proven effective and are common with single stream ASI inputs. In an IP network, where there may be hundreds of IP multicasts, it is less common but even more useful and necessary.

Conclusion
As digital television becomes the global standard, delivering video from source to home becomes an increasingly complex process that relies on multiple transport techniques. Each of these techniques — and each combination of them — is accompanied by a potential for error that can diminish the quality of the video signal being delivered. If signal quality deteriorates or is interrupted, viewers may change channels, switch providers, or even turn off the television set altogether. IP-based signal transmission schemes are not yet as familiar to broadcast engineers as their more traditional ASI and RF counterparts. However, as the use of IP-based signals increases, their effective and accurate monitoring becomes commensurately important to the viewer's quality of experience.

By Seth Vermulm, Broadcast Engineering

VideoHans 3D Monitor

VideoHans offers ultimate quality monitoring solution for 3D content creators. This unmatched tool provides visualization capabilities to efficiently detect and objectively measure various 3D quality issues such as depth map artifacts, vertical disparities, stereo-pair mis-synchronization, wrong 3D parallax range, etc.


Click to enlarge


This easy-to-use but extremely powerful analysis tool brings quantitative metrics to 3D quality analysis. Unique error detection system provides comprehensive feedback to efficiently correct quality issues. Straightforward and intuitive interface provides a lot of extremely useful and easy to understand information.


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Depth Map Monitor
It is important to monitor proper distribution of objects within a depth map since depth map displacements may cause serious 3D perception problems. Good 3D assumes smart distribution of the object between back and front stages. VideoHans offers depth map monitoring technology to analyze each particular element of 3D for possible depth map displacements.

Time Synchronization Monitor
Capturing the left and the right frames can be slightly shifted in time and add vertical or other wrong motions and parallax. VideoHans can automatically check time-synchronization of left and right cameras to avoid this problem. With 3D SynchroScope it is easy to detect and monitor mistiming of 3D video sequences.


Time Synchronization Graph


Stereo-pair Consistency Control
Control brightness, white and black balance and color consistency for left and right images. This discrepancy may originate from the use of heterogeneous cameras, calibration errors and changes due to the different viewing angles. Histogram matching is used to detect and show difference between the right to left camera view. The goal of 3D Monitor is to check and correct these colors, brightness and other characteristic differences between two stereo images.


Stereo-pair Consistency Window


3D Parallax Monitor
VideoHans parallax monitor is aimed at stereo pair analysis for optimal 3D viewing. The main goal is to make 3D comfortable and safe for viewing without any risks and discomfort for eyes. VideoHans parallax monitoring technology offers comprehensive control of 3D parallax values, defining the range of screen sizes for comfortable viewing and other parameters.


Parallax Window


VideoHans 3D Monitor supports all commonly used data formats. Custom data formats support can be added with add-on modules. VideoHans error detection technology is also available as SDK for system integrators. Convenient API provides full access to all 3D error analysis options. VideoHans 3D Monitor works on Windows platform and will be available for Mac and Linux soon.

Stereolabs Launches 3D Production Processor

3D firm Stereolabs has released Pure, a live 3D production system for studio and mobile 3D production. Pure features automated alignment of stereo images, correcting lens, sensors and geometric mismatches directly on-set. The processor also provides real-time 3D monitoring, convergence adjustment and a range of tools to help producers and stereographers control depth during shooting.

Source: Broadcast

ATIS IIF Launches Stereoscopic 3DTV Quality Initiative

The Alliance for Telecommunications Industry Solutions’ (ATIS) IPTV Interoperability Forum (IIF) has recently launched a new work program to address Quality of Service (QoS) and Quality of Experience (QoE) for Stereoscopic 3D IPTV.

Stereoscopic 3D is a rapidly developing area, but further data collection is necessary in order to best understand user perceptions of quality. To this end, the IIF will describe, analyze and recommend multiple quality-related metrics. Potential metrics include: depth maps and depth perception, loss of resolution caused by frame-compatible formats, video synchronization, 3D graphics and closed captioning, ghosting from left-right cross-talk, QoE issues such as 3D fatigue, and more.

Once the information gathering and analyses are complete, the IIF will produce specifications which address areas of applicable QoS and QoE.

Source: ATIS

Technicolor Launches 3D Certification Program

Technicolor announced the launch of its 3D Certification program branded “Technicolor Certifi3D”. The certification program is geared towards broadcasters and network service providers with the goal of delivering quality and comfortable 3D experiences to end consumers.

Technicolor Certifi3D was created to ensure that 3D material meets minimum quality requirements before it is delivered to consumers. As part of the service, Technicolor evaluates each shot against a set of objective criteria for stereographic reproduction, including a 15-point quality checklist to identify common errors in production which result in suboptimal 3D content. The company will also offer training programs to broadcasters and content creators to help them migrate their production and post-production techniques from traditional television to the three dimensional medium.

Behind the technology that serves as the foundation for the Technicolor Certifi3D service is an advanced 3D analysis software tool that was developed by Technicolor’s Research and Innovation team. Utilizing the left and right source masters, the software builds a 3D model in real time giving an accurate pixel count for objects that are too close or too far away from the viewer that would result in discomfort. It also automatically detects and flags conflicts with the edges of the TV screen, another significant source of discomfort for 3D in the home.

“Our 3D certification platform allows our stereo technicians to quickly and precisely diagnose many of the issues that create viewer fatigue and discomfort” says Pierre Routhier, Technicolor’s Vice President for 3D product strategy and business development. “Our goal in launching the Certifi3D program was to take a proactive approach in support of the industry to ensure a consistent and quality end consumer 3D experience in the home.”

Technicolor is a leader in providing an array of 3D services to its media and entertainment customers ranging from 3D visual effects, post production, Blu-ray 3D services, 3D VOD encoding to mobile 3D.

Technicolor 3D Certification Poster

Source: Technicolor

The Stereographer’s Friend

Advanced 3D Systems are proud to announce a new ortho-stereoscopic 3D digital processor. The Stereographer’s Friend offers real-time, low-latency Digital Processing in a compact 1RU frame, suitable for live Stereoscopic production, drama/feature production or post production.

The Stereographer’s Friend allows real-time adjustment of Digital toe-in and can correct for all the regular rig errors such as roll, vertical misalignment including lens corrections.

Main Features
- Real-time Stereoscopic 3D Processor
- 1 Frame total processing delay
- Two HD-SDI Inputs
- Two HD-SDI Outputs
- Inbuilt Synchronisers
- Analogue Monitoring Output
- Compact 1U Chassis

Live Controls
- Auto Zoom
- Toe-In
- H-offset
- Vertical Disparity
- Crop
- Banana Distortion Compensation

Rig-Alignment Controls
- H/V-Shift
- Zoom
- Roll
- Toe
- Flip H/V
- Keystone H/V

Shot-Box
- For quick recall of presets during live performance
- Smooth match depth presets

Analysis Tools
- DVI Viewer
- Left, Right, Mix & Diff Modes

Options
- Advanced Analysis Package

CEL-Soft to Introduce Stereoscopic Analyser

Compatible with all current versions of Microsoft Windows, Cel-Soft's Cel-Scope3D allows stereoscopic camera alignment to be performed quickly and confidently so that the 3D is accurate from the moment of capture. Running on a suitably powerful PC platform, Cel-Scope3D can display left and right channels simultaneously plus actual depth dynamics.

Its display window can each be set to show the usual waveform, vectorscope and histogram graphics as well as differences in video parameters between each channel. Geometry issues can be easily identified using built-in real-time image manipulation. Quality-control tests can be performed on live stereoscopic video sources in any SD, HD or 2K format from industry standard capture cards or Firewire inputs, or alternatively from file playback.


Screenshot of Cel-Scope3D


Cel-Scope3D is designed for use both on set with live inputs and in post-production, reviewing and playing back 3D media files. Captured footage or edits in a wide range of file formats can be viewed and assessed in real time. Disparities are analysed and displayed as clear and intelligible graphics on 2D or 3D monitors. Anaglyph display, touch-screen control and auto-alarm are all supported. Displays can be scaled and arranged as six or eight windows on one or two PC monitors and also on a 3D monitor.

The most important setting the stereographer or operator has to do is to assign the target depth budget for the production in percentage of screen width or in pixels. The live 3D analysis displays then include depth analysis with depth budget markers, vertical disparity, depth histogram and vertical disparities histogram. These can be colour-coded to correspond to the false colour used on the depth map, for easy problem-area recognition.

Left/right focus-difference and colour-balance-difference displays allow camera matching to be checked easily. Each display mode is configured via a simple menu. Up to 20 configurations can be stored on preset buttons for fast recall. Embedded audio, stereo or multi-channel surround-sound can also be extracted, displayed, monitored and checked alongside the video. Logging and GPI options enable Cel-Scope3D to monitor content at any part of the 3D distribution chain.

An optional 3D recording facility allows dual stream 3D be captured direct to hard disk in a number of alternative formats.

Source: Live Production

TestVid's 3D Stereoscopic Test Sequences

TestVid will be launching the World’s first comprehensive 3D stereoscopic video test sequences designed specifically for testing the quality of video codecs - T3D003 Europe.

There is very little 3D content available - and most of what is available comprises commercial movies, which are only available compressed at relatively modest bit-rates, and cannot be freely used for demos and tests. T3D003 Europe solves this problem: it comprises more than 60 pairs of uncompressed Left + Right video sequences, in HD and 2K D-Cinema formats, with the usage rights to do tests, trade shows, public demos - even use on websites.

T3D003 Europe is intended both for broadcasters and for broadcast equipment manufacturers (such as server or encoder companies), to give full test coverage of just about any type of 3D video feature that an encoder is likely to encounter.

As well as the video itself, 3D Tvids are fully documented, so it is easy to find video which will stress a 3D codec in many ways, with a wide range of subjects including 'difficult' video such as fast scene changes, reflections, lots of detail, night-time highlights, hand-held camera - and the issues specific to 3D such as inter-ocular and convergence, alignment, matching camera parameters, lenses.

Source: TestVid

Binocle Starts Commercialization of the Disparity Tagger

At IBC Amsterdam, held from 9 to 14 september 2010, French company Binocle will start the commercialization of its real-time high-definition stereoscopic correction unit: the DisparityTagger. A prototype was shown at NAB in April 2010 and was a major success among visitors.

One of the challenges in mastering 3D cinema and television is related to the difficulty in transmitting deformation-free images, despite the extreme care needed for 3D shooting. The DisparityTagger allows the 3D TV viewers to experience corrected 3D video, stripped of vertical disparities, when watching stereoscopic 3D live broadcasts. Vertical disparities cause visual discomfort when viewing stereoscopic images by causing eyestrain due to the geometric deformations intrinsic to 3D shooting.

The DisparityTagger is the universal tool for monitoring stereoscopic shots, allowing to automatically detect in real time every issue that can arise while shooting. Moreover – with the new SDI out capability – the DisparityTagger can automatically correct in real time the stereoscopic streams on the fly to reach a shot free of vertical disparities.

An off-line version (DisparityKiller) is also available for post-production.


Screenshot of the DisparityTagger


The DisparityTagger is the result of 12 years of stereoscopic shooting experience by Binocle, and 4 years of research by the INRIA Research Institute, in the “French Silicon Valley” of Grenoble. High-definition real-time processing is made possible by the extraordinary computational power of the NVIDIA SDI Quadro solutions.

Binocle was awarded in IBC 2009 with the SVG Sports Award for it's coverage of the French Open Roland Garros in 3D. Binocle is also responsible for the stereoscopy of the first French Stereoscopic Feature Film: Derriere les murs. Binocle is part of the 3DLive research consortium, funded by National Research Agency (ANR) in France.

Binocle proposes today the tool which was missing from the 3D images production line, and this tool will boost the invention of a new art form for television and cinema.

IBC visitors will be able to see demonstrations and order the DisparityTagger at IBC booth (11.C50b).

Binocle will be also on following exhibitions:
CINEC Munich - 18-20th September - Std 2-E34
SATIS Paris - 19-21st October

Sony Builds 2D-3D Conversion Tool

Sony is to build realtime 2D to 3D conversion capability into its 3D Processor box, while a potentially serious power shortage involving the 3D setup nearly derailed World Cup production.

Sony is taking stock of the technical lessons it learned during the intense 3D match day production schedule during the recent World Cup tournament. Future iterations of its MPE-200 3D processor are likely to include 2D to 3D conversion, finessed colour correction, QC for 3D on ingest into edit suites or before transmission and improved configuration tools between the lenses, rigs and processor box.

JVC’s IF-2D3D1 video image processor was used to convert 2D images shot from helicopter, Spidercam and some pitchside steadicams for the production.

“One of the things we are sensitive to is that when companies buy into the hardware power of the MPE-200 processor they need to look at return on investment around 3D,” explains Mark Grinyer, Head of Sports Business, Sony Professional. “We’re looking at what we can do around the hardware platform (based on the Cell engine which drives the PS3) and 3D conversion is one of those ideas. For outside broadcasters the flexibility of a production tool is also key. We want to automate as many 3D processes as possible with this platform.”

By all accounts the system itself worked almost without hitch during the 25 match 3D run. According to Duncan Humphreys, Creative Director of CAN Communicate who was technical consultant to production team HBS for the production: “It was a very smooth operation. I always believed eventually that 3D correction would be done digitally rather than mechanically and what Sony has achieved in such a short period of time is unbelievable.

“We had virtually no problem with the 3D boxes. In fact it’s a game-changer – producing quality live 3D with standard broadcast lenses and cameras. The one thing that will kill off 3D is expensive 3D, because broadcasters are not going to pay the kind of premiums that are being required at the very top end.”

Humphreys revealed that the production team had to solve one major technical glitch during tests in the run up to South Africa. The fault, which took a month to identify and fix, turned out to be an issue with the Sony HDC-1500’s power supply.

“The cameras were working just fine until we went into live trials and the system was zooming strangely and at one point failed all together,” says Humphreys. “We eventually realised that since we were powering the Element Technica rigs including all zooming and lens matching alteration, and communications traffic that there wasn’t enough power in the cameras to be able to do everything we needed.”

The problem was resolved by attaching an external power supply to the rigs although Sony is addressing the issue. “In stadia or other venues with power sources there’s no problem but in certain locations it could be, so we’ll look into it,” says Grinyer.

The next version of the Sony 3D boxes’ software will be released shortly after IBC. At the Amsterdam event Sony will also reveal the next stage of its prototype 3D single bodied dual lens camcorder which is not thought to be radically different in design from that released earlier this year by Panasonic.

By Adrian Pennington, TVB Europe

FOR-A Color Equalizer Targets Growing 3-D Market

FOR-A has developed a new color equalizer that includes an integrated processor developed specifically for 3-D production. The new CEQ-100HS offers a number of tools to help calibrate, adjust, correct and monitor live 3-D video, resulting in better quality.

The compact, 1RU CEQ-100HS includes HD/SD-SDI I/O and supports 1080i, 720p, NTSC and PAL with auto-detection of the signal. Equipped with two frame synchronizers, it enables stereo 3-D filming with cameras that have no external synchronous input.


FOR-A CEQ-100HS Color Equalizer


By capturing a color chart recorded by both cameras, its automatic color calibration helps correct color between the pictures from both cameras. The CEQ-100HS can also adjust the horizontal parallax, which determines the depth of the 3-D images, for optimal axis correction, and with its parallax calculation function, the CEQ-100HS can determine the maximum parallax within the 3-D video.

In addition, the CEQ-100HS provides a variety of monitoring options. It enables side-by-side, field-sequential, anaglyph and other 3-D video output on a 3-D monitor and provides synthesis and differential offset video output to check horizontal parallax and color adjustment.

Source: Broadcast Engineering