Study of UMID Applications in MXF and Streaming Media
This SMPTE TC-30MR study report discusses the UMID applications specifically for the MXF technology.
The UMID, or Unique Material IDentifier, is the SMPTE standard unique identifier of an audiovisual material. Based on the recommendations by the EBU/SMPTE Task Force envisioning the file-based media production workflow we have today, it was initially SMPTE standardized in 2000 prior to the MXF technology in 2004. As a mandatory component of an MXF file, the UMID has been widely spread in the Media & Entertainment (M&E) industry by using the MXF file as a vehicle. But it has been eventually useless in practice so far because of lack of industry standard technologies called UMID Application Principles and UMID Resolution Protocol. The UMID Application Principles are fundamental rules for the UMID to be treated in a reliable and consistent way over the media products from multiple vendors, which have been standardized in the latest SMPTE RP 205 in 2014. The UMID Resolution Protocol is a standard method for a given UMID to be converted into the corresponding URL of a material uniquely identified by the UMID, for which an intensive development is ongoing in SMPTE.
In this study report, based on those standard technologies, the UMID applications specifically for the MXF technology are discussed. Thanks to the MXF’s logical structure, which realizes what we can observe at the playout of an MXF file is not always identical with what is stored within the MXF file; an MXF file has three kinds of UMID. The first two are called MXF Material Package UID and File Package UID, both of which take a form of the 32-byte Basic UMID.
Study Group Report: High-Dynamic-Range (HDR) Imaging Ecosystem
The capture and display of content with a dynamic range that approaches real scenes has been a long term challenge. Limitations come from the choice of imaging technologies such as early pick-up devices (Vidicon, Image Orthicon) and the traditional video display device, the CRT. Until recently the industry has accepted that content capture and display technologies have inherent limitations that would limit the ability to reproduce more realistic High Dynamic Range (HDR) images.
Traditional capture techniques using film camera negative that has been used in motion picture and television episodic production has allowed more scene dynamic range to be captured by the film negative that was ultimately shown to the viewer in the film print.
Joint Task Force on Networked Media (JT-NM) Reference Architecture V1.0
The European Broadcasting Union (EBU), Society of Motion Picture and Television Engineers (SMPTE) and the Video Services Forum (VSF) have announced the release of the JT-NM Reference Architecture (RA) v1.0 document; a collection of models, best practices, and frameworks intended to facilitate interoperability in networked media systems.
In this first version, the RA focuses on three foundational frameworks. The foundational frameworks provide our industry with a common, interoperable approach to how devices and services are uniquely identified, discovered and how their capabilities are registered. The RA also provides a timing model supporting PTP and SMPTE 2059 Standards. These frameworks are building blocks that will enable networked media to deliver new workflow possibilities.
Joint Task Force on Networked Media (JT-NM) Minimum Viable System Requirements Of a Sample System Architecture for Live Multi-Camera Studio Production
This report from the Joint Task Force on Networked Media (JT-NM)1 presents the detailed requirements of the Minimum Viable System (MVS) that was introduced in the “Phase 2 Interim Report December 2014”2. MVS is a sample System Architecture that addresses a well-known operational scenario of minimal scope.
This set of requirements could change or be expanded in the future to reflect the development of the JT-NM Reference Architecture.
B-Chain Frequency and Temporal Response Analysis of Theatres and Dubbing Stages
The Theatre B-Chain Study Group was formed in March 2010 in response to the work statement that was approved by the SMPTE Standards Committee on 4 March 2010. The goal of the group was to study the
current standards and practices regarding B-chain electroacoustic response and calibration, and make recommendations for work that SMPTE should undertake in these areas. During this 2.5-year study, the group tested many aspects of the subject.
Joint Task Force on Networked Media (JT-NM): Phase 2 Interim Report for IBC 2014
The goal of Phase 2 is to create a system reference architecture. This will be a key tool to guide the industry towards interoperability. It will achieve this by providing a template based on a generalized solution. It will include a set of patterns that can be composed together to form a specific solution. It will also provide a common vocabulary with which to facilitate discussing implementations between the different levels (i.e. management, integrators, architects, developers, sellers, etc.) from the different domains (i.e. broadcast, IT) involved.
On-Screen Light Measurement Study Group Report
There are seven identified SMPTE standard or recommended practice documents that identify or refer to methods of measuring screen luminance. Each document identifies a different specific methodology for measurement. While each of these approaches has some validity, each will result in different measured screen characteristics from the point of view of peak brightness and light distribution. This report details the approach we took to the study group task, and provides recommendations for the measurement approaches.
Open Binding of IDs to Audiovisual Essence Report
This effort had its origins within the Coalition for Innovative Media Management (CIMM). CIMM is a group of buyers and sellers of advertising-supported media formed to promote innovation and explore new, high-quality ways to measure audiences across traditional and new media in the United States. CIMM began in 2009, founded by leading television content providers, media agencies, and advertisers.
Joint Task Force on File Formats and Media Interoperability: User Requirements Survey Report
The JTFFFMI has an ultimate goal to create greater efficiencies and cost savings for exchange of file-based content. The group’s initial focus will be to gather and analyze requirements for a machine-generated and readable file interchange and delivery specification — including standardized and common structured metadata — for the professional media industry. To achieve this, one of its initial actions is the publication of a survey to collect data on user requirements.
Report of the Study Group on Immersive Audio Systems: Cinema B-Chain and Distribution
Monophonic sound was transformative for the art of motion pictures. Every sound format that followed has attempted to improve the sense of reality by adding more channels feeding ever more speakers. With rare exception, those speakers were located behind the screen and around the audience, effectively on the same horizontal plane. Even though the ensuing decades transitioned from optical film to digital media, the planar sound concept lives on with 5.1 and 7.1 soundfield configurations. (In this document, any references to “5.1” also include 7.1 unless noted.)
The movie industry is now evolving toward an expanding range of audio formats with additional audio signals driving height and overhead speakers to achieve a more immersive experience. Broadly stated, the Immersive Audio Study Group (IASG) was formed to explore ways to deliver these capabilities using a common distribution method and possible shared B-chain attributes.
Beyond the Digital Conversion: The Integration of Information Technology and Professional Media
Report of the SMPTE Study Group on Media Production System Network Architecture
The design and architecture of Professional Media Networks (PMN) is becoming increasingly important with the ever-increasing use of shared packet switched networks (PSN). These PMNs are used for applications such as live contribution and production, post-production, and presentation. Typically these are built upon Internet Protocol networks and used for the production of media, including the carriage of media essence (audio & video), metadata, synchronization and control traffic. Where media traffic coexists with other sorts of communication and business traffic (multi-service networks), it is particularly important to balance the requirements of media production network traffic with other types of network traffic. This other traffic may or may not be related to the Professional Media Network workflows.
This report, dated 28 March 2014, represents the final considerations of the Society of Motion Pictures and Television Engineers (SMPTE) study group investigating the Ultra-High Definition Television (UHDTV) Ecosystem. The report provides recommendations for further work, which will be further analyzed within SMPTE.
The industry has developed technologies for increasing image pixel arrays, capturing higher frame rates, extended color gamut and other image parameters beyond those currently defined for High Definition Television (HDTV).
Image formats for UHDTV have been approved by, SMPTE and the International Telecommunications Union (ITU). It has been indicated that commercial deployment of UHDTV could begin as early as 2014 for UHDTV1 and 2016 for UHDTV2. While the intent is distribution of the content to the home, overall questions for the professional industry sector are:
- How to interchange content with these new formats in the professional real-time and non-real-time domains (considering uncompressed, mezzanine and contribution quality)
- What exchange and interface standards are needed
- What issues need further investigation to provide compatible workflows with current HDTV and SDTV systems