Production Technology Seminar 2009 - EBU Technical

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SD distribution, the HD output is down-converted to SD and cropped to 4:3. The picture aspect ratios of
the sources, 4/3 SD (still 25% of incoming feed for all channels) or 16/9 SD (67%) or HD 16/9 (10%), are
handled in different ways at the HD and SD output [19]-[21]. The commercials are in a "14/9" box to
manage in the same way the HD and the SD output. The switch to the 16/9 picture aspect ratio will be
complete mid 2010.
Tape formats are only used for ingest: Digital Betacam for SD and HDCAM for HD. For the recording
and editing, the SD compression format has been upgraded on the server from 24 Mbit/s to IMX
50 Mbit/s and the HD compression format corresponds to XDCAM MPEG HD 422 50 Mbit/s [25].
In order to get higher HD programme quality, what is needed?
� Productions by the host broadcasters in SD 16:9 at least.
� More productions by the host broadcasters in native HD with Dolby E multi-channel audio.
� High bit rate on SD or HD contribution links from the event.
� An efficient workflow to limit up/down conversion and aspect ratio conversion.
� Good encoders (the Thomson Grass Valley is the only one to handle 12 audios).
Test reports – HD User equipment
1.4 Acquisition formats for HDTV production
Walter Demonte, Camera and Sound department, WDR, Germany
The key points in HDTV drama production are: formats, camera systems and workflows.
Formats
For HDTV drama production the 16mm film is suitable only with optimal operation and under use of the
best technology. The grain noise and resulting sharpness of the film material is always critical. This
brings no real HDTV impression with existing production workflows. The way out would be to use 35 mm
film, but this is impossible because of the budget.
Full digital HD-production avoids disadvantages of analogue film and is future proof. First the direct
transfer to the postproduction workflow offers possible savings on production costs (no film stock, no film
processing, no telecine). Second, during the last two years the current camera systems has been
improved so far, that they can achieve the look and quality of film, with enhanced dynamic range and
optimized colour space being the major improvements. In comparison to 16mm film the resolution of
digital cinema cameras is now much better.
Camera systems
Currently there are 3 camera systems on the market which are suitable for drama production: Sony
F23/F35, Arri D-21, RED ONE. WDR conducted tests [6] on all systems in case of drama production with
the following criteria: picture quality (on 50" display), operational and handling aspects, postproduction
workflow. Sony F-23 has even been tested in comparison to 16mm film and the HDCAM-Camcorder
HDW-750 9 with „Digi-Primes“ and Pro 35. The test results are presented in the table hereafter
9 Shows recognisable weakness in dynamic range and picture quality.
© EBU 2009 / Production Technology seminar / January 27 - 29, 2009
Reproduction prohibited without written permission of EBU TECHNICAL & EBU TRAINING