Why is ST2110 important


Penny Westlake TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

Presenting to a capacity audience at a joint meeting of the RTS Thames Valley Centre and SMPTE in Reading, research engineer and industry commentator Tony Orme opened the evening with the assertion - “SMPTE’s ST2110 is the most important development to hit broadcast television since John Logie Baird went head to head with EMI-Marconi at the 1936 BBC trials in Alexandra Palace, London”.

Real-time is a term often bandied around without much regard to accuracy, but Orme reminded the audience how the term has been degraded over the past twenty years. In the analogue days, delays were typically less than a few fields. Fields turned into frames as synchronizers appeared in vision switchers and MPEG increased delivery time to half a second. Another change was with IPTV, as the advent of the long group of pictures (GOPs) was used to improve compression and reduce bit rates, Â timing delays potentially increased to many tens of seconds.

Timing is really the essence of ST2110 and is a real game changer. “In the history of television, this is the first time we have abstracted away the underlying hardware from the video, audio and metadata essence”, said Orme. Clock and data are firmly tied together in SDI, AES and MADI, and embedded metadata and audio in SDI guarantees frame accurate timing. ST2110 offers flexibility far beyond this.

SMPTE’s ST2022 was the first transition into IP for many. It mapped SDI directly into IP packets and managed to maintain the line, frame and video sync timing relationship between sender and receiver but was extremely wasteful of data bandwidth. Also, metadata and audio had to be extracted from the packets if it was to be processed independently of the video - further complicating timing relationships.

Up to 40% of bandwidth can potentially be gained by moving from ST2022 to ST2110, and with 4K and 8K productions just around the corner with data rates topping 120GBps, every bit of data saved is worthwhile.

Orme showed how ST2110 breaks the video, audio and metadata into independent IP streams, all with the same timestamps resulting in each essence stream being processed without reference to the others.

The world of processing suddenly opens as the full plethora of possibilities becomes clear. ST2110 allows us to process video in an on-prem datacenter, audio in virtualized servers, and metadata in the Cloud. As each stream has its own time stamp, but referenced to each other, distributed processing becomes possible. And when we assemble it all for playout, or in an edit suite, or in a studio, there is no lip-sync error and metadata still maintains its frame accuracy.

Examining the possibilities and use-cases, Orme demonstrated how outside broadcasts may no longer need a large production truck to make a program. Using PTP (precision time protocol –ST2059) - borrowed from IT, remote time sources can be slaved to a central master, so video, audio and metadata essence IP streams are referenced to a centralized time source in the main studio. Analogously, this is like the traditional SPG (sync pulse generator), but far more versatile.

PTP automatically corrects for transmission delays in IP circuits and will even auto switch masters if the grand-master was to fail. Again, like an SPG auto-change-over, but far more efficient and flexible.

As broadcasters start to take advantage of wide color gamut (WCG) and high dynamic range (HDR), the importance of maintaining accurate frame synchronization between video and metadata becomes even more evident.

Traditionally, broadcasters would have achieved this accuracy by embedding the metadata into the auxiliary data of the SDI video. However, this provides all kinds of challenges as video and metadata is processed in a studio environment. As each camera creates its own WCG and HDR data, processing in a vision switcher or edit suite becomes a nightmare.

ST2110 solves this problem beautifully as each essence IP stream has its own time stamp referenced to a master PTP clock. Post, studio or edit processing is simply a matter of processing IP streams of data to join the timestamps together and determine which metadata to use and how to modify it.

As we transition to IP, Orme demonstrated further use-cases to mix and match traditional SDI systems with ST2110. By using 10GBps ports on an ethernet switch, up to three – 3G-SDI video circuits can be distributed on each fiber or ethernet circuit. Ethernet switches are easily currently reaching 100GBps speeds with 400GBps currently in design by companies such as Cisco and Arista.

Orme delivered a compelling case for the importance of ST2110 from a practical immediate use-case point of view, and gave the audience insight into the many potential exciting possibilities that this standard offers. The Baird and Marconi engineers would be proud.


Tags: iss131 | st2110 | rts | aes | madi | st2059 | wcg | hdr | Penny Westlake
Contributing Author Penny Westlake

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
  • Live Sports Broadcast Commentator from Glensound at NAB 2017

    Live Sports Broadcast Commentator from Glensound at NAB 2017

  • RTS Intercoms show Roameo and Omneo intercom and keypanels at BVE 2018

    RTS Intercoms show Roameo and Omneo intercom and keypanels at BVE 2018

  • RTS at BVE 2017

    RTS at BVE 2017

  • RTS Intercoms at BVE 2016

    RTS Intercoms at BVE 2016

  • DALET SportsPack at NAB 2015

    DALET SportsPack at NAB 2015

  • RTS at BVE 2015

    RTS at BVE 2015

  • RTS Omneo at BVE 2014

    RTS Omneo at BVE 2014

  • Hague Camera Supports at ProVideo2011

    Hague Camera Supports at ProVideo2011

  • RTS Telex at IBC2011

    RTS Telex at IBC2011

  • LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

    LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

  • Dejero at IBC 2016

    Dejero at IBC 2016

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Dalet at NAB 2014

    Dalet at NAB 2014

  • NewTek TriCaster at BVE 2014

    NewTek TriCaster at BVE 2014

  • Glensound on BroadcastShow LIVE at IBC 2013

    Glensound on BroadcastShow LIVE at IBC 2013

  • Primestream on BroadcastShow LIVE at IBC 2013

    Primestream on BroadcastShow LIVE at IBC 2013

  • Stream UK on BroadcastShow LIVE at IBC 2013

    Stream UK on BroadcastShow LIVE at IBC 2013

  • Polecam talk high speed on BroadcastShow LIVE at IBC 2013

    Polecam talk high speed on BroadcastShow LIVE at IBC 2013

  • Dalet at IBC 2013

    Dalet at IBC 2013

  • i-Movix Slow Motion and D-Flicker at IBC 2013

    i-Movix Slow Motion and D-Flicker at IBC 2013

  • SIS LIVE and their products ManPak and DriveForce at IBC 2013

    SIS LIVE and their products ManPak and DriveForce at IBC 2013

  • ChyronHego Paint at IBC 2013

    ChyronHego Paint at IBC 2013

  • Gearhouse Broadcast on Tour May 2013

    Gearhouse Broadcast on Tour May 2013

  • Quantel Enterprise sQ at NAB 2013

    Quantel Enterprise sQ at NAB 2013

  • TSL Products at BVE 2013

    TSL Products at BVE 2013

  • Sonifex at NAB 2012

    Sonifex at NAB 2012

  • Glensound at NAB 2012

    Glensound at NAB 2012

  • The Vision Charity at BVE North 2011

    The Vision Charity at BVE North 2011

  • JVC at BVE North 2011

    JVC at BVE North 2011

  • Intercom over AES67 with V-Series IRIS from Clear-Com at IBC 2018

    Intercom over AES67 with V-Series IRIS from Clear-Com at IBC 2018

  • Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

    Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

  • Clear-Com Eclipse MADI Card at NAB 2012

    Clear-Com Eclipse MADI Card at NAB 2012

  • 4HM at BVE 2012

    4HM at BVE 2012

  • 4HM at BVE North 2011

    4HM at BVE North 2011

  • PARADISO Lite commentary unit from Glensound at BVE 2018

    PARADISO Lite commentary unit from Glensound at BVE 2018

  • Telos Alliance at BVE 2017

    Telos Alliance at BVE 2017

  • TSL Products SAM1 MADI at BVE 2014

    TSL Products SAM1 MADI at BVE 2014

  • DiGiCo at BVE 2012

    DiGiCo at BVE 2012

  • 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


Related Shows
  • RTS Intercoms at BVE

    RTS Intercoms at BVE


Articles
Sony HDC-4800 Review
Andy McKenzie First announced at NAB 2016, the Sony HDC-4800 is a studio camera system capable of shooting 4K/UHD at up to 8x or full HD at up to 16x. With a price point upwards of £250,000 it is a very high-end product with a wide feature set. In Sony's own words, "This is the future of live production, designed to satisfy the storytelling aspect of modern sports production.” Deliveries began in mid 2017 and, after careful preliminary evaluation, we invested in several systems for our hire fleet ahead of the FIFA World Cup in Russia.
Tags: iss134 | review | hdc-4800 | sony | finepoint | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
What content providers need to know about OTT
Hiren Hindocha As OTT (Over-The-Top) technology has gotten more mature and established robust standards over the years, the concept of OTT monitoring is gaining popularity. With customer expectations soaring, it’s vital for OTT providers to deliver superior quality content. To deliver Quality of Experience (QoE) on par with linear TV broadcast, the entire system, starting from ingest to multi-bitrate encoding to delivery to CDN must be monitored continuously.
Tags: iss134 | ott monitoring | qos | logging | compliance | dash | atsc | cloud | Hiren Hindocha
Contributing Author Hiren Hindocha Click to read or download PDF
Protecting the continuity of transmission
Lorna Garrett Your viewers love you. You consistently bring them their preferred channels 24/7. They’ve come to rely on you for their viewing pleasure. They never miss cheering on their beloved sports teams. They’re the envy of their friends as they watch live concerts of their favourite bands. They gather the family around and catch up on their must-see shows. They don’t have a bad word to say about you.
Tags: iss134 | garland | gpl | streaming | artel | disaster recovery | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
The brave new world of software based production
Boromy Ung In today’s rapidly evolving broadcast industry, the only constant media organizations can truly count on is change — and the need to adapt as rapidly and cost-effectively as possible. One of the biggest agents of change is the IP revolution, driving broadcasters to migrate their operations to all-software solutions running on commodity, IT-based technologies.
Tags: iss134 | chyronhego | graphics | sports | ott | Boromy Ung
Contributing Author Boromy Ung Click to read or download PDF