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DTV and Content Identification

 Thursday’s program at the HPA Tech Retreat began with a Washington update from Jim Burger of Washington law firm Dow Lohnes Naturally, the DTV transition was a key topic. As we know, the Feb. 17 deadline was moved to June 12.

Burger reported that 69 million still receive over the air analog TV in the US, and that according to Nielsen, 6.5 million are not ready for DTV.

Burger addressed the problem of the DTV converter box coupon program, which currently has 3 million on a waiting list because the funding ran out (although not everyone who ordered coupons have used them). Burger reported that the federal government committed an additional $65 million to the program in the stimulus bill.

Content identification was up next. A highlight was a case study about the Beijing Olympics, presented by Sheau Ng of NBC Universal. He said:

–Real time fingerprinting technologies were used for the Beijing Olympics. As part of the workflow, each feed was kept in a remote database. This went hand in hand with manual work before the content reached the Internet.

–Olympics broadcast coverage continues to grow. The Sydney games produced 422 hours of content; Athens, 1219 hours; and Beijing, 1371 hours (with an additional 2200 hours of live streaming on NBCOlympics.com, there were an estimated 3600 hours in total).

–16 output formats

–Bandwidth: 80 feeds in and over 100 feeds out, used 1620 Mbps.

–Results: 3500 live Internet streams, 10 million hours watched on the web, 7 million mobile views.

–33% increase in cable viewership, 7 in 10 American watched the Beijing Olympics on TV. It’s hard to say if new media boosted old media, or the other way around.

–23,000 fingerprints generated; 99% of content was distributed legally.

–Lessons learned: Fingerprint technology is sound; expect to see more big sports events using similar content protection; illegal digital content distribution can be kept under control; socio-political aspects are key in successful use of the technology.

–Conclusion: Even with free, widespread, legal access to content on TV, VOD, Internet and mobile platforms, content identification still requires research and work.

DVP Interest at HPA

The HPA Tech Retreat’s Thursday program began with breakfast roundtable discussions. One of the most crowded sessions—where there is clearly a lot of interest both in and beyond Hollywood–offered a look at the Digital Video Package initiative, chaired by Disney’s Annie Chang.

Chang provided an overview of the effort of Disney, Fox, Paramount, Sony and Warner Bros., working under the ETC@ USC umbrella, to create recommendations for an industry standard for master digital files, which would be used to send entertainment content to broadcasters, Internet sites and mobile service providers. The DVP would be used in B2B settings between content providers and content distributors.

Chang reported that the goal is to complete the recommendations by year’s end, and to submit them to SMPTE for standardization.

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Specification for Naming VFX Image Sequences Released

ETC’s VFX Working Group has published a specification for best practices naming image sequences such as plates and comps. File naming is an essential tool for organizing the multitude of frames that are inputs and outputs from the VFX process. Prior to the publication of this specification, each organization had its own naming scheme, requiring custom processes for each partner, which often resulted in confusion and miscommunication.

The new ETC@USC specification focuses primarily on sequences of individual images. The initial use case was VFX plates, typically delivered as OpenEXR or DPX files. However, the team soon realized that the same naming conventions can apply to virtually any image sequence. Consequently, the specification was written to handle a wide array of assets and use cases.

To ensure all requirements are represented, the working group included over 2 dozen participants representing studios, VFX houses, tool creators, creatives and others.  The ETC@USC also worked closely with MovieLabs to ensure that the specification could be integrated as part of their 2030 Vision.

A key design criteria for this specification is compatibility with existing practices.  Chair of the VFX working group, Horst Sarubin of Universal Pictures, said: “Our studio is committed to being at the forefront of designing best industry practices to modernize and simplify workflows, and we believe this white paper succeeded in building a new foundation for tools to transfer files in the most efficient manner.”

This specification is compatible with other initiatives such as the Visual Effects Society (VES) Transfer Specifications. “We wanted to make it as seamless as possible for everyone to adopt this specification,” said working group co-chair and ETC@USC’s Erik Weaver. “To ensure all perspectives were represented we created a team of industry experts familiar with the handling of these materials and collaborated with a number of industry groups.”

“Collaboration between MovieLabs and important industry groups like the ETC is critical to implementing the 2030 Vision,” said Craig Seidel, SVP of MovieLabs. “This specification is a key step in defining the foundations for better software-defined workflows. We look forward to continued partnership with the ETC on implementing other critical elements of the 2030 Vision.”

The specification is available online for anyone to use.

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