Broadcast Delivery 101

Broadcast Delivery 101 is a book created for the post production community from around the world, this tool will allow you to understand the different requirements for Television Commercial Delivery.

Created by Craig Russill-Roy a 25 year professional in the industry and offers a window into the world of digital delivery, video codecs, audio loudness and most importantly tutorials.

This 117 page book is a great tool for anyone that is exporting commercials for not only local adaptation but international requirements as well.

This book is available for download on your iPad with iBooks or on your computer with iTunes.

The Master Guide to Rigging a Blackmagic Design Cinema Camera

A free guide about BMCC.

Microsoft: Why MPEG DASH Will See Broad Adoption in 2013




Source: StreamingMedia

Will Gesture Recognition Reach its Potential?

In the run up to the 2013 Consumer Electronics Show in Las Vegas, I find an increasing level of interest in a variety of gesture recognition technologies. Leap Motion, eyeSight, and Tobii Technology are among the firms planning to use CES to showcase their latest developments in non-touch gesture recognition technology.

Leap has announced that they have secured $30 million in Series B funding and their first global OEM partnership with personal computer maker ASUS. Leap Motion’s non-contact motion controller technology can track hand and finger movements to 1/100th millimeter. The Leap Motion controller has a 150-degree field of view, and tracks individual hands and all 10 fingers at 290 frames per second.



Since announcing their motion controller technology in May 2012, Leap has delivered 12,000 Leap Motion devices and software development kits to developers to encourage adoption of their technology. Developers have been quick to utilize the Leap Motion controllers to realize new gesture input applications.

Developer Adam Somers has posted a video of his AirHarp application that illustrates the responsive nature of the Leap Motion controller.



LabVIEW developers have also been busy creating Leap Motion applications including a quadrotor flight controller.



Also at CES, eyeSight and Tobii will be launching gesture recognition technologies involving hand gestures (eyeSight) and eye tracking and gaze interaction (Tobii).

eyeSight’s offering is a software-based technology that utilizes camera hardware, as present in many of today’s devices including tablets and smartphones, to enable robust gesture recognition using only a standard 2D camera.  eyeSight claims that their solution is appropriate for handheld devices used at close range as well as longer range applications such as televisions and set top boxes.



Tobii Technology is announcing at CES 2013 their Tobii REX gaze interaction peripheral for the consumer electronics market.  The Tobii REX device enables users to control their computer by combining their eye gaze with other controls including touch screen, mouse and keyboard.

The Tobii REX peripheral adds eye gaze control features to any Windows 8 PC. The Tobii REX adheres to the bottom of a desktop monitor and is connected to the computer via a USB connection. At CES Tobii will demonstrate several aspects of their Gaze platform including: Gaze Select, Gaze Scroll, Gaze Zoom and Gaze Navigate.



By Phil Wright, Display Central

Field of View Comparator

AbeCine's field of view comparator.

35mm Digital Sensors




PDF version of the chart.

By Mitch Gross: AbelCine

Depth of Field




Source: Vimeo

Focal Length




Source: Vimeo

An Intro to Lenses




Aperture
The aperture is the diameter of the lens opening. The larger the diameter of the aperture, the more light reaches the film or image sensor. The aperture also performs a critical function for focus. As the aperture decreases in size, the background and foreground gain sharpness. This zone of sharpness is called the depth of field.

Aperture is expressed as F-stop and will be indicated on your camera in abbreviations that look like this: F2.8 or f/2.8. The "F" stands for the focal length of your lens, and the number indicates the diameter of the iris opening.



Focal Length
16mm: An ultra wide lens, this bad boy distorts heavily, emphasizing objects in the foreground by making them look a lot larger than the background. Dynamic, but use with caution!

28mm: Standard for documentary and photojournalism to shoot cowboy shots, otherwise known as medium shots.

35mm: Another standard for documentary filming, also tight enough to shoot portraits.

50mm: Standard for cinema/video, it approximates the human eye's typical focal length.

85mm: A popular portrait, or "beauty" lens. Capable of making everyone look lovely!

200mm: The top of the scale for most people, this is a telephoto lens. Their inherent shallow depth of field makes them useful in eliminating unwanted foreground and background objects by simply throwing them out of focus. Great for sports photography!

Source: Vimeo

The Economic Impact of Lord of the Rings




Source: OnlineMBA

Digital Film Tour: Canon C300/C100/5D Mark III, Sony FS100/FS700, BMCC, RED Scarlet X




Source: ImpulseKitty Productions

Google's New VP9 Video Technology Reaches Public View

VP9, the successor to Google's VP8 video compression technology at the center of a techno-political controversy, has made its first appearance outside Google's walls.

Google has built VP9 support into Chrome, though only in an early-stage version of the browser for developers. In another change, it also added support for the new Opus audio compression technology that's got the potential to improve voice communications and music streaming on the Internet.

VP9 and Opus are codecs, technology used to encode streams of data into compressed form then decode them later, enabling efficient use of limited network or storage capacity. Peter Beverloo, a developer on Google's Chrome team, pointed out the new codec support in a blog post earlier this month.

Releasing VP9 gives Google a chance to improve the video-streaming performance and improve other aspects of VP8. That's important in competing with today's prevailing video compression technology, H.264, and with a successor called H.265 or HEVC that also has the potential to be attract broad support across the electronics and computing industry with better compression performance.

Codecs might seem an uninteresting nuts-and-bolts aspect of computing, but they actually ignite fierce debates that pit those who like H.264's convenience and quality against those who like that Google offers VP for free use.

H.264 is used in videocameras, Blu-Ray discs, YouTube, and more. But most organizations using it must pay patent royalties to a group called MPEG LA that licenses H.264-related patents on behalf of their many owners.

Google has tried to spur adoption of VP8 instead, which it's released for royalty-free use. One major area: online video built into Web pages through the HTML5 standard.

However, VP8 hasn't dented H.264's dominance, and VP8 allies failed in an attempt to specify VP8 as the way to handle online video. As a result, HTML5 video can be invoked in a standard way, but Web developers can't easily be assured that a browser can properly decode the video in question. Internet Explorer and Safari support H.264 video, Firefox and Opera support VP8 video, and Chrome supports both codecs.

Google had tried to encourage VP8 adoption by pledging in 2011 to remove H.264 support from Chrome, but it reversed course and left the support in. Mozilla, several of whose members were bitter about Google's reversal, has since begun adapting Firefox so it can use H.264 when the operating system supports it. Windows 7 and 8, Apple's OS X and iOS, and Google's Android all have H.264 support built in.

One cloud that's hung over VP8 is the possibility that others besides Google would demand royalty payments for patented technology it uses. Indeed, MPEG LA requested such organizations come forth as it considered adding VP8 licensing program, and it said last year that 12 organizations have said they have patents essential to VP8 use.

But it's been nearly two years since MPEG LA issued started seeking VP8-related patents, and the organization still hasn't offered a license.

The VP8 and VP9 codecs have their origins at On2 Technologies, a company Google acquired for $123 million. Google and assorted allies combined VP8 with the freely usable Vorbis audio codec to form a streaming-video technology called WebM.

By Stephen Shankland, CNET

Comprehensive Guide to Rigging Any Camera

An interesting free guide.
By Sareesh Sudhakaran, Wolfcrow

Making Blackmagic Cinema Camera Work for You


Two Worlds Collide: Smooth Streaming Meets Flash Player

Microsoft today announced that it is launching a preview version of a Smooth Streaming plugin for the Open Source Media Framework (OSMF) player. Developers can use Smooth Streaming capabilities in any OSMF-compliant player, as well as Adobe's own Strobe player.

"We are pleased to announce that Windows Azure Media Services team released a preview of Microsoft Smooth Streaming plugin for OSMF," wrote Cenk Dingiloglu, a program manager on the Windows Azure Media Services team, in a Microsoft IIS blog posting. He also provided a link, for developers who want to integrate the plugin, to a set of documents and licensing requirements.

In a series of meetings last Thursday on the Microsoft campus in Redmond, Washington, the Windows Azure Media Services team laid out their strategy on a number of fronts, including the extension of Smooth Streaming client software development kits (SDKs) to embedded devices, iOS devices, and player frameworks.

During one of those Microsoft-sponsored meetings, hosted by Microsoft senior technical evangelist Alex Zambelli, Dingiloglu and Mike Downey discussed the most recent addition of OSMF support, noting that Smooth Streaming shares similarities when it comes to codecs and the use of the fragmented MP4 file.

"Support for the same audio and video codecs, H.264 and AAC, respectively," said Dingiloglu, "provides the opportunity to use fMP4, leveraging the best of both the OSMF framework and the Smooth Streaming Client SDK."

The Smooth Streaming plugin will provide some key features of Smooth Streaming, such as on-demand functionality (play, pause, seek, stop), but will also use OSMF built-in API hooks to support two key features: multiple audio language switching and maximum playback quality selection.

OSMF supports late binding, based on its use of fMP4, allowing multiple languages to be accessible to the end user without requiring all possible languages' audio tracks to be multiplexed together into a single Transport Stream, the way that iOS devices require.

OSMF and a Strobe player support also provides Microsoft a way onto the Android OS platform, too, making it possible for Smooth Streaming content to reach Android-powered smartphones and tablets.

"You can build rich media experiences for Adobe Flash Player endpoints using the same back-end infrastructure you use today to target Smooth Streaming playback to other devices like Win8 store apps, browser and so on," Dingiloglu wrote in the IIS blog post.

Microsoft isn't claiming the new OSMF plugin is ready for prime time quite yet, but I was able to see a working version of Smooth Streaming within an OSMF player during last week's visit.

In fact, one of the more impressive demonstrations was that of a playlist/manifest file that contained both Adobe .f4v files and Microsoft .ism files. The OSMF player seamlessly switched between the two fMP4 file formats, allowing content owners to intermix content from either format for playback.

"As this is a preview release, you're likely to hit issues, have feature requests, or want to provide general feedback," wrote Dingiloglu. "We want to hear it all! Please use the Smooth Streaming plugin for OSMF forum thread to let us know what's working, what isn't, and how we can improve your Smooth Streaming development experience for OSMF applications."

All of this raises the question around Smooth Streaming as it relates to MPEG DASH, the ratified dynamic adaptive streaming standard. Like Adobe, which noted it will continue to develop its own HTTP Dynamic Streaming (HDS) flavor of HTTP-delivered adaptive bitrate streaming, Microsoft sees a benefit in continuing to push the envelope with Smooth Streaming.

The company made it clear that it fully supports DASH, and yet it sees Smooth Streaming as a test bed in which it can continue to innovate for major events like the Olympic Games, which served as a catalyst - over the past three Games - for a number of innovations that now find their way into both Windows Azure Media Services and DASH.

The Smooth Streaming plugin requires browsers supporting Flash Player 10.2 or higher and also requires OSMF 2.0. Microsoft provides licensing details for the Smooth Streaming plugin for interested developers.

By Tim Siglin, StreamingMedia

4K Test Sequences

As professionals in the video industry know, building the best video processing systems takes top-notch engineering and countless hours of testing a wide range of content. Ultra-high resolution 4K video, generally 3840 x 2160, is on the immediate horizon and poised to enter the mainstream. However, bringing 4K to the masses faces an obstacle: a dearth of quality test content.

Elemental decided to remedy this problem, and just in time for the holidays. Remember those classic test sequences from a couple decades ago? We picked the best of the best clips and recreated them using a RED Epic 4K camera. These clips are now available for download, in compressed and uncompressed formats.

Windows Firefox Stiffs Adobe Flash, Plays H.264 YouTube Vids

Users of the Firefox web browser on Windows can now dump Adobe Flash and still watch H.264-encoded videos online. Fresh overnight builds of Firefox 20 will now play footage found on HTML5 websites, such as YouTube and Vimeo, that use the patent-encumbered video codec - without the need for Adobe's oft-criticised plugin, which also handles H.264.

The Mozilla Foundation, which makes Firefox, slipped support for the popular video compression standard into beta-test versions of its browser by drilling into Microsoft's Media Foundation, which does the actual H.264 video decoding.

Mozilla is averse to proprietary codecs because they're typically buried under patents and require a licensing fee. By using the video support built into the operating system, the open-source browser maker can sidestep these constraints.

The codec support is not enabled by default and requires at least Windows Vista, although support isn't there for Windows 8 yet. Official Firefox 20 builds are due to be released in April 2013.

Firefox for Android 4.x already supports H.264, again using the operating system and underlying hardware to decode the video for playback. Mozilla reluctantly added the ability to play the high-definition format on Google's platform in March to compete in the mobile arena.

The organisation had hoped patent-free codecs, such as Google’s VP8, would succeed at the expense of H.264 on the web, but that hasn’t happened. Google bought VP8 in 2009 as WebM from On2 Technologies for $124.6m and released it under a royalty-free licence in May 2010.

However, H.264, which is licensed from the MPEG-LA patent pool, remains the standard for video playback for desktop web browsing and handheld devices.

As Firefox on Android gained support for the codec, Mozilla chief technology officer Brendan Eich wrote at the time: “H.264 is absolutely required right now to compete on mobile. I do not believe that we can reject H.264 content in Firefox on Android or in B2G and survive the shift to mobile.”

By Gavin Clarke, The Register

Verizon Patents Targeted Advertising Method that Determines if Viewers are Laughing, Cuddling, Sleeping or Singing

Verizon has filed a patent application for targeting ads to viewers based on information collected from infrared cameras and microphones that would be able to detect conversations, people, objects and even animals that are near a TV.

If the detection system determines that a couple is arguing, a service provider would be able to send an ad for marriage counseling to a TV or mobile device in the room. If the couple utters words that indicate they are cuddling, they would receive ads for "a romantic getaway vacation, a commercial for a contraceptive, a commercial for flowers," or commercials for romantic movies, Verizon states in the patent application.

For years, technology executives have discussed the possibility of using devices such as Microsoft's Xbox 360 Kinect cameras to target advertising and programming to viewers, taking advantage of the ability to determine whether an adult or child is viewing a program. But Verizon is looking at taking targeted advertising to a new level with its patent application, which is titled "Methods and Systems for Presenting an Advertisement Associated with an Ambient Action of a User."

Similar to the way Google targets ads to Gmail users based on the content of their emails, Verizon proposes scanning conversations of viewers that are within a "detection zone" near their TV, including telephone conversations.

"If detection facility detects one or more words spoken by a user (e.g., while talking to another user within the same room or on the telephone), advertising facility may utilize the one or more words spoken by the user to search for and/or select an advertisement associated with the one or more words," Verizon states in the patent application.

Verizon says the sensors would also be able to determine if a viewer is exercising, eating, laughing, singing, or playing a musical instrument, and target ads to viewers based on their mood. It also could use sensors to determine what type of pets or inanimate objects are in the room.

"If detection facility detects that a user is playing with a dog, advertising facility may select an advertisement associated with dogs (e.g., a dog food commercial, a flea treatment commercial, etc.)," Verizon writes in the patent application.

Several types of sensors could be linked to the targeted advertising system, including 3D imaging devices, thermographic cameras and microphones, according to the patent application.

Verizon also details how it may be able link smartphones and tablet computers that viewers are using to the detection system.

"If detection facility detects that the user is holding a mobile device, advertising facility may be configured to communicate with the mobile device to direct the mobile device to present the selected advertisement. Accordingly, not only may the selected advertisement be specifically targeted to the user, but it may also be delivered right to the user's hands," Verizon writes in the patent application.

The targeted advertising system is one of the innovations that Verizon could potentially develop through a joint innovation lab it has created with Comcast, Time Warner Cable and Bright House Networks. Earlier this month, Comcast CFO Michael Angelakis said that engineers from Comcast and Verizon have been meeting on the West Coast to work on developing products and services. The innovation lab, which is focused on developing advanced products that take advantage of cable programming and the Verizon Wireless platform and devices, was formed after Comcast and other major MSOs agreed to sell Advanced Wireless Services (AWS) spectrum to Verizon last year.

Officials at Verizon declined to comment about the patent application.

The inventors named on the patent are Verizon Solutions Engineer Brian Roberts, Manager of Convergence Platforms Anthony Lemus, Verizon Wireless Director of Product Design Michael D'Argenio and Verizon Technical Manager Don Relyea. Verizon filed the patent application in May 2011. It was published by the U.S. Patent & Trademark Office on Thursday.

By Steve Donohue, FierceCable

David Wood on High Frame Rates



Google Needs a Strategy for Video on Android Devices

Many content owners who want to get their live event-based streaming content on mobile phones and tablets quickly find out that getting it to Android devices is extremely challenging. Unlike Apple’s iOS platform, Google has yet to provide an easy way to get live video to Android devices, and to date, it hasn’t detailed any strategy for fixing the situation. Many content owners I have spoken with, as well as those who help these content owners encode and distribute their video, are now questioning why they should even continue to go through all the trouble of trying to support Android-based devices at all.

While media companies can always build an app for their event series, most do one-off events and are faced with streaming to the mobile web and reaching their audience using browsers on Android and iOS devices. When Android phones became popular, live video was supported in the mobile browser via Adobe Flash, so digital video professionals with live content to distribute were able to keep doing what they were doing on the desktop. That’s not to say that Flash was perfect; in many cases these desktop players were heavy, containing ad overlays and metadata interaction that had a major impact on the playback quality. To get better quality video playback, some people turned to RTSP delivery. Android touted RTSP as its native live video format until Android 2.3.4 came out, after which that feature no longer worked.

The most effective way to get live video to Android browsers was to make a stripped-down Flash player that didn’t demand much from the phones. Video was decoded in the software, but it would drain batteries quickly. It was imperfect, but it functioned well enough. With the introduction of Android 3.0, it looked like HLS support was going to be built-in for all future devices, and that has held true — sort of. HLS support doesn’t match the specification, and buffering is common. Industry-leading HLS implementations such as those from Cisco and Akamai Technologies will not load on Android devices, so for the most part, content owners went back to Flash. But now Flash isn’t available for new Android phones.

Right now, content owners are left in an awkward state if they want to deliver live video to Android browsers. If Flash is present, you can deliver a basic Flash video player. If it is not, you can try to deliver HLS, but the HLS manifests must either be hand-coded or created using Android-specific tools. If the HLS video can play without buffering, you’ll find that there is no way to specify the aspect ratio, so in portrait mode it looks broken. The aspect ratio problem seems to have been fixed in Android 4.1, but it will often crash if you enter video playback in landscape mode and leave in portrait. You can allow the HLS video to open and play in a separate application, but you lose the ability to communicate with the page, and exiting the video dumps users back on their home screens.

Content owners can still send the same live video to iOS devices that they could in 2009, and it will play smoothly with little buffering. Live video support for browser-based streaming within Android tablets and phones is a significant challenge with little help available from Google. And with Google still talking about removing H.264 video support in Android, many content owners are wondering why they should even try to support Android any longer.

What’s clear is that Google doesn’t have a strategy to fix the problem, and many content owners and video ecosystem vendors are frustrated. Content owners want to get their live video on as many devices and platforms as possible, and right now, getting it to Android devices is very difficult and costly. Unless Google steps in to solve the problem, don’t expect content owners to continue to try to support Android devices for live video streaming.

By Dan Rayburn, Streaming Media