technical specification for delivery of sd commercial and

 TECHNICAL SPECIFICATION FOR DELIVERY OF SD
COMMERCIAL AND SPONSORSHIP COPY TO
Version 1.0
This document is a complete guide to the common technical specification agreed by ITV, Channel 4, BT Sport,
IMD and Adstream.
The first three pages of this document outline parts of the specification that are unique to ITV.
The main body of the document outlines the specification as adopted by the above parties.
The Specification includes:
•
Technical Specifications, i.e. the technical production methods which must be used, and the parameters
which all material must meet to be acceptable by the broadcasters.
•
Picture and Sound Quality requirements, which also form a binding obligation on producers of material.
Assessment of quality is by nature subjective, and is highly dependent on the nature of the commercial
or sponsorship. Some of the Quality Requirements are expressed in relative terms (“reasonable”, “not
excessive” etc.), and it will be necessary to make a judgement as to whether the quality expectations of
the intended audience will be fulfilled, and whether the broadcaster will feel that value for money has
been achieved.
Delivery Requirements, which specify the form and layout of the material. Further technical help or guidance regarding this specification maybe obtained from the following:
•
Contact
Email
Telephone
Bill Brown
Head of Media Standards
[email protected]
+44 (0) 20 715 66542
+44 (0) 7917 577 700
Matt Price
Broadcast Service Manager
[email protected]
+44 (0) 20 715 67424
+44 (0) 7725 025 542
Sponsorship Delivery
This Technical Specification outlines the full details for SD Commercial delivery as well as relevant elements
for SD Sponsorship material, however it must be noted that Sponsorship clock numbers, file naming
conventions and approval processes differ from commercials and are broadcaster specific. Please see the
broadcaster section of this specification for sponsorship delivery details.
Material submitted for transmission must satisfy an IMD/Adstream Quality Control process. Material failing
the QC process may be rejected and returned to the supplier for repair.
Please ensure you are using the current version of this document, available at:
http://itv.com/technicalstandards
TECHNICAL SPECIFICATION FOR THE DELIVERY OF SD COMMERCIAL AND SPONSORSHIP COPY
ITV Sponsorship Delivery & Compliance Requirements
• For information regarding Sponsorship delivery please contact the ITV Commercial Operations team
at [email protected] and [email protected]
• When you place an order for delivery with IMD or Adstream this needs to be sent to both ITV
Southern Transmission Centre (Chiswick) and ITV Northern Transmission Centre (Leeds).
• On some occasions these may also need to be delivered to UTV and STV as well. Please check
with ITV Commercial Operations to ensure you are delivering to the correct Transmission Centres
before placing an order with IMD or Adstream.
• ITV Commercial Operations will inform you of the date Sponsorship needs to be delivered by. This
will usually be a minimum of two clear working days before you go to air.
• Every Sponsorship Ident requires a unique clock number, which is supplied by ITV.
• Please advise the ITV Commercial Operations team of how many Clock Numbers are required and
the durations and these will be set up for you.
• Any Sponsorship Idents delivered without the ITV generated Clock Number will be rejected by
Transmission and will need to be re-delivered with the ITV Clock Number.
• All Sponsorship Idents require compliance approval by ITV Compliance prior to transmission. The
contact details for Compliance will differ for each deal and will be sent out once a deal is agreed.
• Please send pre-production scripts to the Compliance team to arrange initial compliance guidance.
All pre-production scripts should be compliance approved before production and all post production
videos should be compliance approved before clocking.
• The final clocked Idents need to be sent to compliance five working days before transmission.
These can be sent as MPEG files and do not have to be broadcast quality.
• A Music Cue Sheet will be sent to you by ITV Commercial Operations with music details required for
each individual Ident. This will need to be filled in and returned prior to transmission even if no music
has been used. Please forward this information to [email protected] and
[email protected]
• Please note when you submit the Clocks for final approval these will need to be accompanied by a
Photosensitive (PSE) pass certificate demonstrating that the content is PSE compliant. For details
on how to gain access to this free service please contact [email protected]
All enquiries relating to ITV Sponsorship delivery should be directed to the following:
David Barton Sponsorship & Compliance Manager
[email protected] Tel: 020 7156 6592
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Contents
1 INTRODUCTION ............................................................................................................................................... 7 2 GENERAL QUALITY REQUIREMENTS ................................................................................................................. 8 2.1 2.2 2.3 2.4 3 FILE DELIVERY FORMAT – STANDARD DEFINITION ......................................................................................................... 8 PICTURE QUALITY .................................................................................................................................................. 8 SOUND QUALITY .................................................................................................................................................... 9 SUBTITLES AND AUDIO DESCRIPTION (A.D.) ................................................................................................................ 9 FILE DELIVERY REQUIREMENTS ...................................................................................................................... 10 3.1 FILE DELIVERY FORMAT – STANDARD DEFINITION ....................................................................................................... 10 3.2 TIMELINE OF A COMMERCIAL OR SPONSORSHIP .......................................................................................................... 10 3.3 THE IDENT CLOCK OR SLATE ..................................................................................................................................... 11 3.4 IDENTIFICATION ..................................................................................................................................................... 11 4 TECHNICAL REQUIREMENTS – VIDEO ............................................................................................................. 12 4.1 STANDARD DEFINITION VIDEO CODEC ...................................................................................................................... 12 4.2 STANDARD DEFINITION IMAGE FORMAT ................................................................................................................... 12 4.2.1 Origination ............................................................................................................................................... 12 4.2.2 Post-­‐production ....................................................................................................................................... 12 4.2.3 Field dominance ....................................................................................................................................... 12 4.3 VIDEO LEVELS AND GAMUT (ILLEGAL SIGNALS) ........................................................................................................... 13 4.3.1 Measuring signal levels ............................................................................................................................ 13 4.3.2 Tolerance of out of gamut signals ........................................................................................................... 13 4.4 ‘BLANKING’ ........................................................................................................................................................ 13 4.5 ASPECT RATIO ..................................................................................................................................................... 13 4.5.1 Non-­‐standard Active Picture Ratios ......................................................................................................... 14 4.6 PHOTOSENSITIVE EPILEPSY (PSE) ............................................................................................................................ 14 4.7 CAPTION LEGIBILITY .............................................................................................................................................. 14 4.8 CAPTION-­‐SAFE AREA ............................................................................................................................................ 15 4.8.1 16:9 Caption Safe Area in the SD Environment ........................................................................................ 15 5 TECHNICAL REQUIREMENTS – AUDIO ............................................................................................................. 17 5.1 TERMS, REQUIREMENTS AND GUIDELINES ................................................................................................................. 17 5.1.1 Guidelines for True Peak audio levels ...................................................................................................... 17 5.2 METERING REQUIREMENTS .................................................................................................................................... 17 5.3 STEREO AUDIO REQUIREMENTS .............................................................................................................................. 18 5.4 AUDIO FORMAT ................................................................................................................................................... 18 5.4.1 Track allocations ...................................................................................................................................... 18 6 XML METADATA SET ...................................................................................................................................... 20 APPENDIX 1 – VERSION CONTROL ……………………………………………………………………………………………………………………… 20 Page 6 of 21
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1 Introduction
•
Commercial and Sponsorship Copy are delivered by file only.
•
Once submitted, files will not be retrievable, so it is highly recommended that the producer retains their own
copy of the file.
•
This specification defines the delivery from the commercial and sponsorship suppliers listed below to the
Broadcasters, and not from the advertising copy producers.
Adstream
www.adstream.com
+44 (0)20 7539 8400
IMD UK Ltd
www.imdplc.com
+44 (0)20 7468 6868
•
Delivery on Tape: Tape delivery to the above suppliers is no longer permitted.
•
Adstream and IMD have their own delivery specification confirming how material needs to be delivered to
them from the advertising copy producers.
•
All commercials are currently delivered to the Broadcasters in Standard Definition (SD) only, even if they are
produced in HD or higher formats.
•
Commercials must conform to the current BCAP (Broadcast Committee of Advertising Practice) Television
Advertising Standards Code.
www.cap.org.uk/advertising-codes/broadcast
•
All commercials intended for transmission on any of the services listed in this document must be approved
by Clearcast.
www.clearcast.co.uk
•
All commercials delivered by file will be a single Media file per single item, with associated XML file.
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2 General Quality Requirements
2.1 File Delivery Format – Standard Definition
There may be other statements about aspects of file format in this document. However, the following paragraph
shall be the normative definition of the file format for SD Commercials and sponsorship.
The file format used for this SD Commercial and Sponsorship specification shall be based on the UK DPP SD
Shim version 1.1 of the AMWA AS-11 specification (www.amwa.tv/projects/AS-11.shtml) with the following
changes:
1. A file shall not contain the Descriptive Metadata Tracks and Segmentation Track (and associated
Descriptive Metadata Schemes and Frameworks) described in AS-11.
2. The metadata is to be delivered as a separate xml file as described in section 6.
3. The constraint on the presence of Closed Captions (out-of-vision subtitles) is lifted.
4. There is no line-up / tone present.
2.2 Picture Quality
The picture must be well lit and reasonably but not artificially sharp.
The picture must be free of excessive noise, grain and digital compression artefacts.
The picture must be free of excessive flare, reflections, lens dirt, markings and obstructions (e.g. lens hood), and
lens aberrations.
Movement must appear reasonably smooth and continuous, and must not give rise to distortions or break-up to
moving objects, or cause large changes in resolution.
The picture must be free of excessive black crushing and highlight compression. Hard clipping of highlights (e.g.
by legalisers) must not cause visible artefacts on screen.
There must be no noticeable horizontal or vertical aliasing, i.e. jagged lines, field or frame rate fluctuations in fine
detail.
Colour rendition, especially skin tones, must be consistent throughout, and a realistic representation of the scene
portrayed unless it is altered as an editorially essential visual effect.
The picture must be stable and continuous - i.e. no jumps, movements, shifts in level or position.
There must be no visible contouring / artefacts caused by digital processing. Quantisation noise must not be
apparent.
There must be no noticeable spurious signals or artefacts e.g. streaking, ringing, smear, echoes, overshoots,
moiré, hum, cross-talk etc.
Note: EBU R118 is used to assess the suitability of cameras for HD use (if the commercial is produced in HD).
In case of doubt please contact your broadcaster.
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2.3 Sound Quality
Sound must be recorded with appropriately placed microphones, giving minimum background noise and without
peak distortion.
The audio must be free of spurious signals such as clicks, noise, hum and any analogue distortion.
The audio must be reasonably continuous and smoothly mixed and edited.
Audio levels must be appropriate to the scene portrayed and dynamic range must not be excessive but suitable
for the whole range of domestic listening situations.
Stereo audio must be appropriately balanced and free from phase differences, which cause audible cancellation
in mono.
The audio must not show dynamic and/or frequency response artefacts as a result of the action of noise reduction
or low bit rate coding systems.
2.4 Subtitles and Audio Description (A.D.)
The Equalities Act 2010 (formerly the Disability Discrimination Act) requires service providers to take positive
steps to make their services accessible to people with disabilities. It states that where a service provider offers or
provides services to members of the public, the provider will have to take such steps as is reasonable to make it
easier for disabled people to make use of the service. Broadcasters are service providers and this therefore
applies to them. (DCMS Guidance 2006)
Commercial suppliers are therefore required to consider the needs of people with hearing or visual impairments
while generating captions, subtitles and graphics, using voiceovers, and while mixing sound.
The Communications Act 2003 sets targets for broadcasters (monitored by Ofcom) to provide subtitling, sign
language and audio description services, so commercial suppliers may be asked to provide appropriate additional
material. For further information, please refer to the appropriate technical contact on the front page of this
document.
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3 File Delivery Requirements
3.1 File Delivery Format – Standard Definition
This section covers the requirements for transmission ready SD files.
All commercials and sponsorship must be delivered as files and must comply with all the relevant video and audio
requirements below. The key standards are the MXF file wrapper (SMPTE ST 377:2004 and additions) and its
Operational Pattern OP1a (SMPTE ST 378:2004) (Single Item Single Package).
Commercial and sponsorship material must be delivered as a single principal MXF file containing the audio and
video. There must be only one asset in each file.
A single commercial or sponsorship will always be played out from start point to end point without interruption.
Programme start and DURATION OF ESSENCE for the continuous playback section must be included with the
delivery metadata.
As per the diagram below, “DURATION OF ESSENCE” does not include the five-second hold.
mm:ss (Duration of Essence)
3 sec
File Start
Audio
6 frames shorter than the video at either end.
(6 frames of silence before – and 6 frames of silence after)
Vision Hold
5 Seconds
6f SILENCE
3secs
6f SILENCE
SILENCE
Vision -­‐ Active Part
(Active on-­‐air duration, exact number of mm:ss)
BLACK
SILENCE
Programme Start
Ident Clock or
Slate.
7 secs
5s
mm:ss
00:00 00:01
00:02
00:03
00:04
00:05
00:06
00:07
00:08
00:09
00:10
7 sec
3.2 Timeline of a Commercial or Sponsorship
All commercial and/or sponsorship delivered on file must be laid out so that the start of the material is at timecode
00:00:10:00 as specified in the MXF Material Package timecode track.
VITC timecode should not be present.
There should be 6 frames of audio silence at the start and end of the item and the duration should not exceed the
stated length. At the end of the item there should be a 5 second hold on vision, completely still (No ‘Living
Freezes’ or animations).
Note that it is usual for sound and vision to be automatically cut to air on transmission, so early vision or sound is
not normally required. Vision may fade up from black starting at 00.00.10.00 if desired.
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3.3
The Ident Clock or Slate
Commercial copy requires a unique identifier supplied by the advertising agency. The content must be approved
by Clearcast.
Sponsorship copy requires a unique identifier supplied by the individual broadcasters. The content must be
approved by said broadcaster. Please see broadcaster specific information at the front of this specification.
For all commercial copy:
A clock or slate is to precede each item for a duration of 7 seconds. The clock or slate should identify:
•
•
Product name
Identifier/Agency copy number (clock number)
o Commercial item duration
o If Subtitles Present
Black and silence should exist for 3 seconds between the clock and the first frame of picture.
Note: The start of material is measured from the first frame of active picture. Vision fade-ups are acceptable - in
which case the first non-black frame is taken to be the start of material.
3.4 Identification
COMMERCIAL IDENTIFICATION:
Commercial copy is identified by unique clock numbers, obtained as outlined above in 3.3.
“Clock numbers” are denoted in metadata as “Material ID”
Without this number, the material will not be transmitted.
FILENAMES should follow the unique Clock Number assigned to it, in UPPERCASE, with the extension “.mxf” in
lowercase. Allowable characters are ‘A-Z’, ‘0-9’, & ‘_’
The underscore is used in place of a forward slash. Forward slashes are not acceptable.
Here is an example:
•
CTS/HXFA321/030
Becomes
• CTS_HXFA321_030.mxf (Please note the use of underscores, not hyphens).
The filename of the associated metadata xml shall have the same naming convention
e.g. CTS_HXFA321_030.xml
SPONSORSHIP IDENTIFICATION – See broadcaster specific information at the front of this specification.
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4 Technical Requirements – Video
4.1 Standard Definition Video Codec
The video essence and its mapping to the MXF file must be identical to that described by the UK DPP SD Shim
version 1.1 of the AMWA AS-11 Specification. The following paragraph is purely informative.
The video essence in the file must be encoded at a nominal bitrate of 50Mbit/s using the Type D10 MPEG2
4:2:[email protected] (SMPTE ST 356:2001) stream specification, I-frame only. The essence must be mapped to the MXF
Generic Container in accordance with SMPTE ST 386:2004.
4.2 Standard Definition Image format
Although many UK broadcasters require High Definition (HD) delivery for new programme content, this is not
currently the case for commercial content. For now, all commercials delivered for UK transmission must be
delivered in Standard Definition (SD).
All SD Commercials and Sponsorship delivered for UK transmission must have an active width of 720
pixels.
SD video files must be recorded with a picture area with a minimum 702 x 576 pixels where the 702
pixel wide picture must be centred in the active 720 pixel wide line. (Digibeta Legacy).
The picture information may extend to the full width of the 720 pixel wide line, providing the image
shape is not distorted.
The active video resolution is therefore 720 x 576.
In either case there must be an additional 32 lines corresponding to a Vertical Blanking Interval (VBI)
making a total of 720 wide x 608 high.
The VBI must not contain any data or image, save for any subtitle data.
The frame-rate must be 25 frames per second (50 fields) interlaced, known as 576i/25, with colour
sub-sampled at a ratio of 4:2:2.
The SD format is fully set out in ITU-R BT.601
•
•
•
•
•
•
•
•
4.2.1 Origination
Material may be originated with either interlaced or progressive scan.
4.2.2 Post-production
Electronically generated moving graphics and effects (such as rollers, DVE moves, wipes, fades and dissolves)
must be generated and added as interlaced to prevent unacceptable judder.
4.2.3 Field dominance
Cuts in material must happen on frame boundaries (i.e. between field 2 and field 1). Motion on psf material must
always occur between field 2 and field 1 (i.e. field 1 dominance).
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4.3 Video Levels and Gamut (illegal signals)
Video levels must be received within the specified limits so that the material can be used without adjustment. Any
signal outside the specified limits is described as a gamut error.
4.3.1 Measuring signal levels
Digital video levels are usually measured with a device which displays a trace like a traditional waveform monitor.
This gives readings in mV (emulating an analogue signal), or as a percentage of the allowable levels.
The limits of signal levels are defined by reference to a nominal black level and a nominal white level. Black level
comprises R, G and B, all at zero (or 0% or 0mV) and white level is all three components at 100 % or 700mV.
In a picture signal, each component is allowed to range between 0 and 100% (or 0mV and 700mV). This equates
to digital sample levels 16 and 235 (8-bit systems) or 64 and 940 (10 bit systems).
4.3.2 Tolerance of out of gamut signals
In practice it is difficult to avoid generating signals slightly outside this range, and it is considered reasonable to
allow a small tolerance, which has been defined as follows under EBU Rec103:
RGB components must be between -5 % and 105% (-35 and 735mV)
And
Luminance (Y) must be between -1% and 103% (-7mV and 721mV)
Slight transient overshoots and undershoots may be filtered out before measuring, and an error will only be
registered where the out of gamut signals total at least 1% of picture area. Many monitoring devices are designed
to detect errors to this specification.
4.4 ‘Blanking’
A two-pixel tolerance will be permitted during CG or complex overlay sequences where key signals, graphic
overlays or other effects do not fully cover the background image. Where animated key signals or overlays cause
moving highlights at the edge of the active image it is preferable to blank these pixels completely.
4.5 Aspect Ratio
The aspect ratio must be 16:9 Full Height Anamorphic and can be shot 16:9 Action Safe. This means that the
active picture must fill a 16:9 screen vertically and horizontally without geometric distortion.
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4.5.1 Non-standard Active Picture Ratios
In the case of the active picture ratio not being 16:9, such as 2:39:1, 2.35:1 (21:9) or 1.85:1, the picture should be
centred vertically between black bars in a 16:9 frame, filling the height of the frame, and with no geometric
distortion. Note however, that some widescreen consumer TV sets operating in Auto Zoom / Auto mode often
interpret large black borders at the top and bottom of the screen as letterbox, so are likely to enlarge the picture.
The resulting unpredictable zooming can be annoying for the viewer and undermine the artistic intent.
4.6 Photosensitive Epilepsy (PSE)
Flickering or intermittent lights and certain types of repetitive visual patterns can cause serious problems for
viewers who are prone to photosensitive epilepsy. Children & teenagers are particularly vulnerable. Commercials
must adhere to the following Broadcast Committee of Advertising Practice (BCAP) rule:
BCAP Rule 4.6 - Advertisements must not include visual effects or techniques that are likely to affect
adversely members of the audience with photosensitive epilepsy. For further guidance see Ofcom's
Guidance Note for Licensees on flashing images and Regular Patterns in Television at:
http://stakeholders.ofcom.org.uk/binaries/broadcast/guidance/831193/section2.pdf
Commercials for file delivery must be tested using any file based PSE device that meets the guidance given by
Ofcom. The DPP maintains a list of devices, which competently perform PSE testing, available at:
www.digitalproductionpartnership.co.uk/downloads/standards/ Under “PSE Devices”. Please note Clearcast
offer/operate a PSE checking service on submission of commercials for regulatory approval.
Any failure whatsoever will result in rejection of the commercial or sponsorship, and any affected sections
must be repaired and re-tested before acceptance.
4.7 Caption Legibility
Captions must be clear and legible and must be within the safe areas specified.
Text which is there for legal or regulatory purposes (the “small print”) must comply with Broadcast Committee of
Advertising Practice (BCAP) Guidelines. Height is measured using flat-topped letters, where possible, e.g. “v”, “w”
or “x”. If there is both upper and lower case lettering the lower case letter will be used to determine text height.
BCAP Guidelines state that the minimum text height is 16 television lines, except where there is a solid singlecoloured background when the text height can be 14 lines.
Please refer to the BCAP document entitled “Advertising Guidance Note No. 1, available here:
www.cap.org.uk/~/media/Files/CAP/Help%20notes%20new/BCAP_Advertising_Guidance_Notes_1.ashx
There is also further guidance on the Clearcast website:
http://kb.clearcast.co.uk/wiki/35/supers-test-card
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4.8 Caption-Safe Area
There is now only one caption safe area defined for 16:9 material for UK transmission:
“16:9 Caption-Safe”
SD Production
Caption Safe Area
SD 16:9 Caption safe
Defined as (%)
SD pixels (inclusive)
Vertical TV line numbers (inclusive)
first pixel numbered 1
numbering as per ITU-R BT.601
80% of Active Width
Width: 79 – 640 inclusive
90% of Active Height
Height: 30 – 547 inclusive
38 to 295 (F1) and 351 to 608 (F2)
The total number of lines is 625 (active lines from 23 to 310 and 336 to 623 inclusive = 576 lines).
HD Production
Caption Safe Area
HD 16:9 Caption safe
Defined as (%)
HD pixels (inclusive)
TV line numbers (inclusive)
first pixel numbered 1
numbering as per ITU-R BT.709
80% of Active Width
191 – 1726
90% of Active Height
55 – 1026
48 to 532 (F1) and 611 to 1095 (F2)
The total number of lines is 1125 (active lines from 21 to 560 and 584 to 1123 inclusive = 1080 lines)
At the discretion of the broadcaster, some commercials may be excluded from this requirement.
4.8.1 16:9 Caption Safe Area in the SD Environment
If producing in SD - or when down-converted to SD
NOTE: Below is an anamorphic image shown stretched to 16:9 raster.
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Pixel 1
Pixel 30 16:9 Caption Safe Area
Pixel 1
Pixel 79
Pixel 640
Pixel 720
Pixel 547
Pixel 576
If producing in an HD Environment…
Pixel 1
Pixel 55
16:9 Caption Safe Area
Pixel 1
Pixel 191
Pixel 1726
Pixel 1920
Pixel 1026
Pixel 1080
Note that whichever domain of SD or HD is used for production or delivery, the areas are the same so this check
need only be done once.
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5 Technical Requirements – Audio
5.1 Terms, Requirements and Guidelines
The measurement of audio is based on the EBU R128 Recommendation. The terms used in this document, how
they are measured, and the delivery requirements are listed below.
All commercials must be compliant with the Programme Loudness and Maximum True Peak requirements
below.
Other parameters are currently given for guidance only.
Term Description Measurement Reference Loudness Unit 1LU = 1dB change in loudness EBU Tech 3343 LUFS Loudness Unit relative to Full Scale LUFS EBU Tech 3343 LRA Loudness Range LU EBU Tech 3342 LU DPP Delivery Requirements Term Description Measurement DPP Requirement Programme Loudness The loudness measured over the duration of the commercial. LUFS Target Programme Loudness Non-­‐Live -­‐23.0 LUFS ±0.5LU Live -­‐23.0 LUFS ±1.0LU The maximum value of the audio signal waveform. dBTP (True Peak) It is recommended that the maximum true peak level should not exceed -­‐3dBTP. Content will fail if the maximum true peak exceeds -­‐1dBTP. (EBU Tech 3343) Maximum True Peak (EBU Tech 3343) 5.1.1 Guidelines for True Peak Audio Levels
The following table is only for guidance on the true peak levels of different types of audio. At all times
dialogue should be distinct and clear.
5.2 Metering Requirements
Material Recommended Maximum Peaks Uncompressed Music -­‐3 dBTP Compressed Music (depending on degree of compression) -­‐10 dBTP Heavy M & E (gunshots, warfare, aircraft, loud traffic, etc.) -­‐3 dBTP Background M & E (office/street noise, light mood music etc.) -­‐18 dBTP Page 17 of 21
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Meters must comply with the specifications in EBU Tech 3341. Commercials must be measured using the EBU
Integrated (I) mode and the measurement must be applied to the whole commercial (EBU Tech 3343 Section 5)
5.3 Stereo Audio Requirements
Stereo sound is the expected standard for commercial/sponsorship transmission on all channels. Audio tracks
used for stereo audio must carry the sound in the A/B (Left/Right) form. Surround Sound is not permitted.
Commercial copy that is not stereo should be delivered with phase coherent mono sound on both audio tracks, so
that it may be handled exactly as stereo. It must meet all the stereo standards regarding levels, balance and
phase. Stereo audio must be capable of mixing down to Mono without causing any noticeable phase cancellation.
5.4 Audio Format
The audio essence and its mapping to the MXF file must be identical to that described by the UK DPP SD Shim of
the AMWA AS-11 specification version 1.1. The following paragraph is purely informative.
In this specification only four tracks of audio are used. The essence for each individual audio track is encoded as
linear PCM with a sample rate of 48kHz and 24 bits per sample. The encoded data for all four of the audio tracks
is stored together in a single “8 channel AES3 element” in the MXF file within the “8 channel AES3 element” only
four of the channels are marked as “valid”. The four unused channels should contain digital silence. The MXF file
technical metadata contains a single MXF Sound Track with its “Channel Count” set to 4. This single MXF Sound
Track is used to describe the essence of all four of the audio tracks stored in the file.
5.4.1 Track allocations
The four tracks of audio must be used as follows:
•
•
•
Tracks 1&2 – main stereo audio (transmission audio) and must be synchronised with the vision.
Tracks 3&4 – stereo AD (where present) or digital silence.
Tracks 5-8 – are necessarily present, but should be unused and contain digital silence.
The unused audio tracks in the 8 track groups above must contain digital silence and be encoded as PCM audio.
For compatibility with stereo systems, any audio generated as mono must be presented on two phase-coherent
tracks.
The naming conventions used in all related documentation and metadata must match those specified in this
section.
The permitted audio track layouts are summarised in the table below. This table also gives the EBU code that
must be used to describe each track layout. Note the EBU defines some of these codes with subtly different
and/or broader meanings relative to how they are used in this specification.
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EBU Reference code Prog Type 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 R48: 2a Stereo St. Final Mix L St. Final Mix R Silence Silence TECHNICAL SPECIFICATION FOR THE DELIVERY OF SD COMMERCIAL AND SPONSORSHIP COPY
R123:4c Stereo with Audio Description St. Final Mix L St. Final Mix R St. Aud Desc L St. Aud Desc R Page 19 of 21
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TECHNICAL SPECIFICATION FOR THE DELIVERY OF SD COMMERCIAL AND SPONSORSHIP COPY
6 XML Metadata Set
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TECHNICAL SPECIFICATION FOR THE DELIVERY OF SD COMMERCIAL AND SPONSORSHIP COPY
Appendix 1 – Version Control
UK DPP VERSION VERSION UK 1.0 DATE REQUIRED / INFORMATION SECTION 17/03/15 UPDATE BROADCASTER VERSION VERSION
DATE
SECTION
REQUIRED /
INFORMATION
UPDATE
OWNER
ITV 1.0 01/05/15 Broadcaster Specific Required First version of specification issued. BB Page 21 of 21
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