Test, Measurement and Standards


Alan Wheable TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

Who are AIMS?

The Alliance for IP Media Solutions (AIMS), is a non-profit trade alliance that fosters the adoption of one set of common, ubiquitous, standards-based protocols for interoperability over IP in the media and entertainment, and professional audio/video industries.

The members of AIMS are a group of like-minded industry manufacturers who wish to create an end to end video production solution using network infrastructure instead of a traditional coaxial cable infrastructure.

Historically manufacturers in the broadcast industry have formed alliances to resolve interoperability issues using beneficial bleeding edge technical advances that can be adopted as common / best practice and subsequently standardised.

The benefits of such alliances are many fold and include minimising the risk and cost of developing or implementing new technologies in isolation and then hoping that they will be generally adopted by other manufacturers.

With rapidly changing and evolving standards what should I be considering to be the top 3 things to look for in test and measurement for Post Production?

When looking at T&M equipment for Post Production, there are 3 main things to consider:

Firstly, does the equipment have the depth of functionality now that is needed to do the work that you currently have? This includes current workflows, working practice, current video formats and connectivity. And not forgetting current compliance considerations for program loudness, gamut, closed captions, etc. This gives a significant indication that the equipment is sound investment now.

Secondly, will the equipment support what I want to do in the future and my clients future needs? Here you need to look at the track record of the manufacturer to see if they keep their products up to date with changes in the industry and which industry trends they are following. The depth of functionality is often an indication that the manufacturer is keeping up with changes in technology, new standards and new working practices.

Thirdly, will you get the support from the manufacturer that you need as you implement new workflows in the future? Here, industry reputation is the key. If your peers are using specific T&M equipment, talk to them about their experiences. Ask for a demonstration or loan unit to see the level of support you might get if you buy it. Ask the manufacturer or dealer anything and measure their response. In a rapidly changing industry, the manufacturer should be able to answer questions that you need the answers to.

I’m grading with HDR content, what are the key tools that I should be looking for?

There are only three main tools required when grading HDR content to ensure that the results are correct.

Firstly, a waveform monitor with a Nits graticule and input profiles of HLG, PQ, S-Log, etc is essential to ensure that both the source material is correct and the graded program with titles captions and graphics are at the correct levels for the target dynamic range.

Secondly, a Picture monitor that provides a high-quality false colour display, gives confidence that HDR and SDR material is correct in a mixed dynamic range environment.

Also, to ensure that any colour space conversion is correct, a CIE chart instrument is essential to ensure that colours on the graded program are within the target colour space.

To ensure that the program you grade is compliant with your customer’s requirement, then event logging is necessary to ensure that the whole program is within specified limits. Timecoded event logging allows simplified rework of content that is outside these limits.

In a new broadcast channel install we are faced with a mix of tradition SDI point to point technology and future looking IP technology, what are the key considerations when investing in monitoring equipment?

For anyone buying equipment these days, the list of requirements is quite long, and the decisions being made will affect them not just in the short term, but their long term production efficiencies as well. When buying T&M equipment, the challenge is to find the one that suits your immediate need, future needs and at a price that is within ever tighter budget constraints. And above all it needs to be fit for purpose, value for money and easy to use so that training does not become an issue.

To future proof yourself, you need to look for equipment that supports SDI, IP and hybrid workflows with the operational functionality to support HDR and WCG workflows. More and more broadcast equipment manufacturers are providing solutions for SDI, IP and hybrid environments.

Equipment such as the Omnitek Ultra TQ and XR product are SDI / IP devices that are at home in SDI, IP and hybrid environments. These products also support SDR, HDR and WCG workflows and in addition to this they offer the ability to analyse and decode Dolby E, Dolby D and Dolby D+ audio for monitoring and quality checking audio content from SDI / 2110 / 2022-6 sources as well as from AES inputs.

I’ve heard the term SNMP mentioned – please explain!

SNMP stands for Simple Network Management Protocol and it is commonly used in studios to monitor equipment and trap conditions that warrant attention and in production line testing to run tests and monitor the results.

In a production environment this is typically done using SNMP remote control of T&M equipment to run pre-defined scripts that report back a pass/fail for each parameter tested.

All of Omnitek Ultra’s powerful tools can be controlled from the user interface and via SNMP remote control, ideal for manufacturers entering full scale production of their 4K / UHD products and wanting to control test pattern generation and perform video and physical layer analysis on their production units.

What would be a typical case study of remotely sited unmanned equipment bays requiring monitoring?

Many organisations have remotely sited, unmanned equipment bays that are only accessed via remote control and via web browser technology. Only when something goes wrong will an Engineer visit the remote site. Many T&M equipment manufacturers provide both web browser access and remote control using this industry standard SNMP implementations.

Typically monitoring equipment is connected to an input or output feed at the remote location This monitoring equipment will have SNMP traps set up to monitor the feed and continually check for specific events such as missing inputs, non-conformances, CRC errors, etc. When the SNMP monitoring equipment detects a problem, the T&M equipment can be operated remotely via a web browser interface. The different instruments of the T&M equipment can be used to view event logs and try to establish what has gone wrong.

How can I check that either my SDR or HDR material is being correctly captured (or transmitted) when I cannot correctly render it on my monitor screen?

The HDR program being captured or transmitted not only includes the image content, but other elements such as graphics, titles, straps, etc which are created by other system and may be automatically inserted into the program. Care is required here to ensure that the levels of the components do not compromise the program. As part of the QC on any HDR program it is necessary to ensure that all aspects of the content are correct for transmission to the viewer. Here again the only safe way is to view and monitor the content. For QC other tools such as gamut monitoring and on-screen warning / false colour displays can also help.

A suitable HDR waveform monitor will provide the appropriate graticules and profiles to measure the reference levels of content captured as HLG, PQ, S-Log, etc. and will be able to display and measure levels in NITs.

This of course requires significant concentration to check whether all the levels are correct for the duration of a program. Here logging can be used to ensure that content does not exceed permitted limits. The false colour display available on some monitoring equipment provides an instantaneous continual display of the HDR areas of the image.


Tags: iss135 | omnitek | aims | SNMP | hdr | ai | Alan Wheable
Contributing Author Alan Wheable

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Omnitek Updates for Ultra 4k Toolbox at NAB 2018

    Omnitek Updates for Ultra 4k Toolbox at NAB 2018

  • Omnitek Ultra TQ at IBC 2017

    Omnitek Ultra TQ at IBC 2017

  • Omnitek Consultancy and Design Services at IBC 2017

    Omnitek Consultancy and Design Services at IBC 2017

  • Omnitek at IBC 2016

    Omnitek at IBC 2016

  • Omnitek at NAB 2016

    Omnitek at NAB 2016

  • Omnitek at BVE 2016

    Omnitek at BVE 2016

  • Omnitek Ultra 4K Tool Box at IBC 2015

    Omnitek Ultra 4K Tool Box at IBC 2015

  • Uncompressed Video over IP from Matrox at NAB 2017

    Uncompressed Video over IP from Matrox at NAB 2017

  • SMPTE 2110, UHD and HDR solutions from Phabrix at NAB 2019

    SMPTE 2110, UHD and HDR solutions from Phabrix at NAB 2019

  • Lynx Technik Evie 4k HDR to SDR Conversion at NAB 2019

    Lynx Technik Evie 4k HDR to SDR Conversion at NAB 2019

  • FS-HDR from AJA at NAB 2018

    FS-HDR from AJA at NAB 2018

  • All you need to know about the Sony FS5 Raw and HDR Upgrade and more from NAB 2017

    All you need to know about the Sony FS5 Raw and HDR Upgrade and more from NAB 2017

  • HDR, 12G, 4k, IP - the range expands from Phabrix at NAB 2017

    HDR, 12G, 4k, IP - the range expands from Phabrix at NAB 2017

  • IP, 3G-SDI + HDR generation, analysis and monitoring from Phabrix NAB 2017

    IP, 3G-SDI + HDR generation, analysis and monitoring from Phabrix NAB 2017

  • Ikegami 8k camera at IBC 2016

    Ikegami 8k camera at IBC 2016

  • Ikegami HQLM-3120W monitor at IBC 2016

    Ikegami HQLM-3120W monitor at IBC 2016

  • Ikegami UHK-430 camera at IBC 2016

    Ikegami UHK-430 camera at IBC 2016

  • Tektronix at IBC 2016

    Tektronix at IBC 2016

  • BBright at NAB 2016

    BBright at NAB 2016

  • Elemental Technologies at IBC 2015

    Elemental Technologies at IBC 2015

  • Inmarsat at NAB 2014

    Inmarsat at NAB 2014

  • Inmarsat: Global Xpress and Explorer at NAB 2013

    Inmarsat: Global Xpress and Explorer at NAB 2013

  • IPE show the EMU3 12 Output Mains Distribution Unit at BVE 2019

    IPE show the EMU3 12 Output Mains Distribution Unit at BVE 2019

  • Robotic bulk ingest of DigiBeta media explained with Spot and Spin at NAB 2019

    Robotic bulk ingest of DigiBeta media explained with Spot and Spin at NAB 2019

  • IMT Vislink Air Pro 75Ka and NewSwift 240HD Antenna at IBC 2018

    IMT Vislink Air Pro 75Ka and NewSwift 240HD Antenna at IBC 2018

  • Veritone AI Technology shown at IBC 2018

    Veritone AI Technology shown at IBC 2018

  • ChyronHego Paint 7.5 new features shown at IBC 2018

    ChyronHego Paint 7.5 new features shown at IBC 2018

  • Mixer Bags and New Airo Range from K-Tek at NAB 2018

    Mixer Bags and New Airo Range from K-Tek at NAB 2018

  • Paint from ChyronHego at NAB 2018

    Paint from ChyronHego at NAB 2018

  • Playbox Production Air Box shown at IBC 2017

    Playbox Production Air Box shown at IBC 2017

  • Playbox Cloud Air at IBC 2107

    Playbox Cloud Air at IBC 2107

  • Glyph External Storage including the Studio and Atom raid at IBC 2017

    Glyph External Storage including the Studio and Atom raid at IBC 2017

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Brainstorm Multimedia at NAB 2016

    Brainstorm Multimedia at NAB 2016

  • G-Technologys G Speed Shuttle XL Raid at BVE 2016

    G-Technologys G Speed Shuttle XL Raid at BVE 2016

  • Training and education within the broadcast industry

    Training and education within the broadcast industry

  • Brainstorm Multimedia at IBC 2015

    Brainstorm Multimedia at IBC 2015

  • CHYRONHEGO PAINT at NAB 2015

    CHYRONHEGO PAINT at NAB 2015

  • BRAINSTORM VIRTUAL SETS at NAB 2015

    BRAINSTORM VIRTUAL SETS at NAB 2015

  • Brainstorm Multimedia at BVE 2015

    Brainstorm Multimedia at BVE 2015

  • Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

    Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

  • Haivision at NAB 2014

    Haivision at NAB 2014

  • Brainstorm Multimedia at NAB 2014

    Brainstorm Multimedia at NAB 2014

  • Atomos Samurai Blade at BVE 2014

    Atomos Samurai Blade at BVE 2014

  • Haivision on BroadcastShow LIVE at IBC 2013

    Haivision on BroadcastShow LIVE at IBC 2013

  • Atomos with the Samurai Blade on BroadcastShow LIVE at IBC 2013

    Atomos with the Samurai Blade on BroadcastShow LIVE at IBC 2013

  • Brainstorm on BroadcastShow LIVE at IBC 2013

    Brainstorm on BroadcastShow LIVE at IBC 2013

  • Gearhouse Broadcast HD OB trailer at IBC 2013

    Gearhouse Broadcast HD OB trailer at IBC 2013

  • Atomos new Samurai Blade at IBC 2013

    Atomos new Samurai Blade at IBC 2013

  • Brainstorm with Aston demonstration at IBC 2013

    Brainstorm with Aston demonstration at IBC 2013

  • Brainstorm at IBC 2013

    Brainstorm at IBC 2013

  • Haivision live encoding HEVC at IBC 2013

    Haivision live encoding HEVC at IBC 2013

  • ChyronHego Paint at IBC 2013

    ChyronHego Paint at IBC 2013

  • Atomos Samurai Blade demonstration at NAB 2013

    Atomos Samurai Blade demonstration at NAB 2013

  • Brainstorm Multimedia: Aston3D at NAB 2013

    Brainstorm Multimedia: Aston3D at NAB 2013

  • Haivision: Video Cloud at NAB 2013

    Haivision: Video Cloud at NAB 2013

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Haivision at IBC 2012

    Haivision at IBC 2012

  • Brainstorm at IBC 2012

    Brainstorm at IBC 2012

  • Haivision at NAB 2012

    Haivision at NAB 2012

  • Brainstorm at NAB 2012

    Brainstorm at NAB 2012

  • Atomos Samurai at NAB 2012

    Atomos Samurai at NAB 2012

  • Brainstorm at IBC2011

    Brainstorm at IBC2011

  • Haivision at IBC2011

    Haivision at IBC2011

  • Object Matrix Hybrid Workflow and Artifical Intelligence at NAB 2018

    Object Matrix Hybrid Workflow and Artifical Intelligence at NAB 2018

  • NewsTicker 5 from ChyronHego at NAB 2017

    NewsTicker 5 from ChyronHego at NAB 2017

  • HEVC 4k Encoding from Aviwest at NAB 2017

    HEVC 4k Encoding from Aviwest at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Prime Focus Technologies at IBC 2016

    Prime Focus Technologies at IBC 2016

  • Videosys at NAB 2016

    Videosys at NAB 2016

  • 3D Storm at IBC 2015

    3D Storm at IBC 2015

  • Playbox at IBC 2015

    Playbox at IBC 2015

  • PlayBox at BVE 2015

    PlayBox at BVE 2015

  • KITPLUS rig setup at IBC 2014

    KITPLUS rig setup at IBC 2014

  • PAG talk about flying with batteries at IBC 2014

    PAG talk about flying with batteries at IBC 2014

  • Clear-Com FreeSpeak II at IBC 2014

    Clear-Com FreeSpeak II at IBC 2014

  • Fibrenetix with StorageDNA at IBC 2014

    Fibrenetix with StorageDNA at IBC 2014

  • Fibrenetix with Quadrus at IBC 2014

    Fibrenetix with Quadrus at IBC 2014

  • Libec ALLEX slider system at NAB 2014

    Libec ALLEX slider system at NAB 2014

  • Atomos Shogun and Ninja Star at NAB 2014

    Atomos Shogun and Ninja Star at NAB 2014

  • Atomos Operating System at NAB 2014

    Atomos Operating System at NAB 2014

  • Atomos at NAB 2014

    Atomos at NAB 2014

  • Atomos Ronin at BVE 2014

    Atomos Ronin at BVE 2014

  • Atomos Ninja Blade at BVE 2014

    Atomos Ninja Blade at BVE 2014

  • Camdec at BVE 2014

    Camdec at BVE 2014

  • Digital Vision on BroadcastShow LIVE at IBC 2013

    Digital Vision on BroadcastShow LIVE at IBC 2013

  • Atomos Ninja2 Recorder at IBC 2013

    Atomos Ninja2 Recorder at IBC 2013

  • Atomos Ronin at IBC 2013

    Atomos Ronin at IBC 2013

  • Softron Media at IBC 2013

    Softron Media at IBC 2013

  • Photon Beard: Cyc Hood at NAB 2013

    Photon Beard: Cyc Hood at NAB 2013

  • File Catalyst at NAB 2013

    File Catalyst at NAB 2013

  • Thear Technology at BVE 2013

    Thear Technology at BVE 2013

  • True Lens at BVE 2013

    True Lens at BVE 2013

  • Atomos at BVE 2013

    Atomos at BVE 2013

  • ATOMOS at BVE North 2012

    ATOMOS at BVE North 2012

  • Thear Technology Limited at BVE North 2012

    Thear Technology Limited at BVE North 2012

  • Scayl at IBC 2012

    Scayl at IBC 2012

  • Studer at BVE 2012

    Studer at BVE 2012

  • Global Distribution at BVE 2012

    Global Distribution at BVE 2012

  • Thear Technology Limited at BVE 2012

    Thear Technology Limited at BVE 2012

  • Real Life Kit at ProVideo2011

    Real Life Kit at ProVideo2011

  • Atomos at ProVideo2011

    Atomos at ProVideo2011

  • Thear Technology Limited at ProVideo2011

    Thear Technology Limited at ProVideo2011

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • The Vision Charity at BVE North 2011

    The Vision Charity at BVE North 2011

  • Hireacamera at BVE North 2011

    Hireacamera at BVE North 2011

  • G-Technology at IBC2011

    G-Technology at IBC2011

  • Sonnet Technology at IBC2011

    Sonnet Technology at IBC2011

  • Prime Focus at IBC2011

    Prime Focus at IBC2011

  • PlayBox Technology at IBC2011

    PlayBox Technology at IBC2011

  • Bristol VFX at IBC2011

    Bristol VFX at IBC2011


Related Shows
  • Samantha Baines at BVE 2015

    Samantha Baines at BVE 2015


Articles
Capturing Haute Couture
KitPlus As the fashion world returned to the French capital for the most prestigious of the 'Big Four’ fashion weeks, historical venues such as the Carrousel du Louvre and the Grand Palais played host to famous emblematic brands such as Chanel, Valentino, Louis Vuitton and Stella McCartney, showcasing their autumn/winter 2019 collections.
Tags: iss137 | blackmagic design | ursa mini | freecaster | atem | KitPlus
Contributing Author KitPlus Click to read or download PDF
The Latest Trend in Cloud Ingest Portals
Megan Cater The unique demands of the media industry have created an equally unique ecosystem. With high-resolution video constantly moving over the Internet during production, post production, and multi-device, multi-channel distribution, as well as the need for flexible storage and security at every stage — all under impossibly tight timelines — there isn’t another industry like it. It’s not surprising then that technologies that work for some industries often don’t work the same in media, and cloud ingest is a great example.
Tags: iss137 | signiant | saas | ftp | dropbox | file transfer | media shuttle | Megan Cater
Contributing Author Megan Cater Click to read or download PDF
State of the Nation - If Winter Comes
Dick Hobbs - new Here’s an important fact that might get lost in all the noise of the moment. HBO’s Game of Thrones, which is relentlessly covered in the press as well as being talked about by its fans, is not actually terribly popular. The opener of the current (and last, thank goodness) series attracted a consolidated audience of about 3.5 million – that includes 2.7 million who watched the first showing at 2am, plus those who watched it at a more civilised hour, or who recorded it. Informed comment seems to be that those who watch on catch-up at some time in the following week or so might add a million more.
Tags: iss137 | gof | games of thrones | 8k | hdr | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
Digital Video Tech Innovation - The Game Changer for Live Sports
Lorna Garrett Since the first live television sports event in 1936, when the Olympics was broadcast from Berlin, the sports industry has been an early adopter of the latest technology. The goal continues to be to deliver compelling content around the globe, now to multiple viewing platforms. It’s become a must-have that’s embedded in fan expectations and broadcasters’ marketing strategies.
Tags: iss137 | garland | gpl | liveU | sports | lu600 | hevc | lu300-hevc | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF
Post Production on Tour
Alex Macleod I’m writing this article after finally settling back into my office after a busy few days on the Kitplus Tour 2019. The tour saw me travelling from Manchester to Glasgow then onto Bristol, then finally returning back to Manchester. Quite a few miles travelled. But totally worth it.
Tags: iss137 | mediacity training | adobe | premiere pro | kitplus show | glasgow | bristol | Alex Macleod
Contributing Author Alex Macleod Click to read or download PDF