Inter BEE Content Forum 2013Prior Applications Required

Mr. Thomas Lund
CTO Broadcast & Production, TC Electronic A/S

[Abstract]

Newly produced pop/rock music rarely sounds good on fine loudspeakers, commercials on TV are annoyingly loud, and a visit to the cinema may be a deafening experience. This is audio's dark middle ages, from which there will be little content for future generations to enjoy.
However, 2013 could be a renaissance year. Transparent loudness metering, normalization and processing has arrived to broadcast, gaming and iPod, thereby making senseless hyper-compression futile. Japan and Europe have been major contributors to the development of open standards based on facts rather than proprietary technology.
This paper describes the far-reaching implications transparent loudness control will have on audio production at large. New terms are described, and it is shown how even journalists and video editors can use these revolutionary technologies.

(Part 1)
MPEG-DASH - The Background and Objectives
Mr. Hiroyuki Niwa
Director, Media Solutions Department, Multimedia Systems Business Unit, Digital Video & Systems Business Group, NTT Electronics Corporation

[Abstract]

In February 2012, Dynamic Adaptive Streaming over HTTP (DASH) was formally recognized as the ISO international standard. However, it has to be said that the degree of familiarity of this in Japan is still low. Various formats have already been implemented and are widely used. These include Dynamic Streaming extensively used in Android devices and Apple’s HLS which have taken the spotlight recently with the rapid proliferation of smartphones and tablet devices. Against this background, why DASH now? The image compression equipment manufacturer NTT Electronics was quick to focus on the possibilities of DASH and was the first Japanese company to participate in the DASH Promoters Group, which is an international industry organization for the purpose of promoting DASH. In this talk, the current situation surrounding DASH and the background leading up to this will be woven together and there will be an easy-to-understand commentary on the structure of DASH and the benefits this brings.

(Part 2)
Dynamic Adaptive Streaming over HTTP(MPEG-DASH)
Mr. Michael Luby
VP of Technology, Qualcomm

[Abstract]

Although video streaming is one of the primary reasons end users access the Internet, there are some challenges. One challenge is the variety of devices and networks over which Internet video streams are accessed, i.e., devices that include tablets, smart phones, game boxes, PCs and TVs, and networks that include 3G, LTE, WiFi, Cable and DSL. Another challenge is that although HTTP was not designed for streaming, there are undeniable economic and deployment advantages to use the same HTTP delivery infrastructure for video streaming as for delivery of all other Internet content.
These challenges have led to the rapid adoption of HTTP adaptive streaming: the original video content is encoded at various rates, for example representations of the video ranging from 100 Kbps up to 5 Mbps, and these video representations are partitioned into fragments that are made available through standard HTTP-URLs. Based on currently available bandwidth and the capabilities of an end user device, client software on the device dynamically selects an appropriate video representation fragment to download via HTTP at each point in time to allow seamless playback of the video content at the highest quality possible.
MPEG developed and ratified in 2012 the Dynamic Adaptive Streaming over HTTP standard (ISO/IEC 23009-1, commonly referred to as MPEG-DASH), which has become the standardized basis for HTTP adaptive streaming. Subsequently, the DASH Industry Forum has developed implementation guidelines (DASH-AVC/264) that enable interoperable deployments of MPEG-DASH. In this talk we will provide a high level description of MPEG-DASH and DASH-AVC/264, their technical and market advantages, and the current state of the industry.

(Part 1)
Instant Video Clip Creation by Playlist Editing
Mr. Masaharu Takano
CEO, President, Bitmedia Inc.

[Abstract]

This talk will give an overview and case studies of the Web service “ShareCastPlaylist Editor” which makes it possible to create video clips just by editing the playlists of one of the HTTP video streaming formats called “HTTP Live Streaming.” There will also be a report on the method of applying this to MPEG-DASH.

(Part 2)
Independent Development Useful in the Video Analysis of Sports Performances
Mr. Chikara Miyaji
Dupty Director, Department of Sports Science, Japan Institute of Sports Science

[Abstract]

Use of videos in sports: Meta-data, players and cameras
Video in sports is used in a variety of ways. The Japan Institute of Sports Science has developed SMART-system. This is an image database of a meta-database. This database already holds more than 160,000 images and is being used by various sports associations. This talk will look at the section and meta-data at the center of this system, as well as players and cameras aimed toward sports.

(c)Takanobu Kawatsu

Dr. Jun Murai
Dean and Professor, Faculty of Environment and Information Studies, Keio University

“Hybridcast”
Mr. Masaru Takechi
Senior Research Engineer, Integrated Broadcast-Broadband Systems Research Division, Science and Technology Research Laboratories, NHK (Japan Broadcasting Corporation)

“JoinTV”
Mr. Kiyoyasu Ando
Programming Division, Nippon Television Network Corporation

“Multimedia Broadcasting Study Group”
Mr. Shin Hamaguchi
Assistant Manager, Strategy Planning Division, Mainichi Broadcasting System, Inc.

“Multimedia Broadcasting (V-Low)”
Mr. Naruhiko Nihira
Deputy Division Manager, Multimedia Broadcasting Development Div., TOKYO FM Broadcasting Co., Ltd.

Mr. John Ive
Director of Business Development and Technology
IABM

[Abstract]

The broadcast and media industry is evolving very quickly with improvements in image quality and much greater use of IT technology. It is interesting to note how technology and business are now combined as the two key elements of change. This presentation will overview the current business climate for technology suppliers to the broadcast and media industry and identify the key enablers contributing to the technology revolution. What is on the horizon and which initiatives are most likely to succeed? The presentation will also look at the new end-user priorities when making purchase decisions.

The IABM is an industry organisation representing 300 companies from of the broadcast and media supply industry. Through our members the IABM has a unique understanding of the supply and services sector. Included in the many activities conducted by the IABM are market research and market studies. This work seeks to understand the business, technology dynamics and trends.

Mr. Olimpio Jose Franco
President of SET

[Abstract]

My presentation will tell about the SET society, our goals, activities and challenges.
Concluding with my visions about industry’s future.

Mr. Fernando Bittencourt
General Director of Engineering Globo TV Network

[Abstract]

I will give a brief summary about the introduction of Digital TV in Brazil and why we decided to choose ISDB-T as our standard . In addition I will also talk about the current threats and opportunities for the broadcasters in Brazil and South America.

Mr. Charles Sevior
EMC Isilon Asia Pacific and Japan Regional HQ CTO

[Abstract]

The media and entertainment industry has rapidly adopted a fully digital workflow - where all content assets and essence are held, managed and manipulated in the form of a digital file.

As we evolve from HD resolution (1920x1080) video formats into 4K resolution (3840x2160) video formats the need for scale-out storage architecture with predictable performance is a critical design component of the modern media / broadcast facility. Specific architecture approaches need to be considered and compared when mapping out the appropriate technology infrastructure roadmap for your particular business requirements and growth plans.

This presentation will examine the different use cases for 4K production – from feature films to live sports, entertainment and news telecasts and 4K down-converted to HD. Specifically we will focus on the evolving standards for physical interfaces, codec considerations, storage considerations and advanced architectures that assist with the unconstrained throughput needed in a live 4K television production workflow.

Mr. Hideichi Tamegaya
Professor, Graduate School, Joshibi University of Art & Design

Mr. Seiji Kunishige
Director, A Member of Executive Board, NHK Art Inc.

(1)Toward "Broadcasting First Century" - Expectations and Problems for 4K,8K and Smart TV Age -
Mr. keiya Motohashi
Executive Office of the Next Generation Television and Broadcasting Promotion Forum

[Abstract]

Shooting and producing elaborate dramas and news programs that require mobility was a major challenge up to about 20 years ago. Virtually all broadcast programs are currently made in HDTV and HDTV has now become the standard in TV. Widely used at sports days and holiday resorts, amateur video and smartphone cameras now support HDTV. We are on the cusp of an era of 4K and 8K TV with twice and four times the horizontal and vertical resolution of HDTV respectively. As a new markup language and browser technology for the World Wide Web, HTML5 will become a standard feature of TVs as well as PCs and tablets. 4K and 8K TV is attracting the interest of video producers across the world not only for resolution (pixel count) aspects, but also for its expanded color gamut and smooth gradation expression. On the other hand, producing TV programs in 4K now is fraught with the same kind of problems that hi-vision once was. The search continues for service and business models for smart TV that combine broadcasting and Internet services based on HTML5. How will the results of new technological innovations be used in services and creatively? How will digital natives confront the growing detachment from TV? What will become of the roles of "broadcasting" and "TV" in an aging and mature society? With these issues in mind, I hope to raise discussions that will lead to the creation of attractive next-generation services.

(2)Concerning content production in super hi-vision (4K and 8K)
Mr. Takashi Isshiki
Executive Director, Drama Programs, Production Headquarters, NHK Enterprises, Inc.

[Abstract]

We are now entering the era of 4K / 8K. In this era, the barriers around film and TV resolution are disappearing and the quality of content is being called into question.
I will be introducing the production of 4K / 8K works by RED ONE, F65 and SHV and 4K / 8K content production points based on my experience of making 2K dramas with CINE ALTA and C300, etc.

(3)Why does NHK begin Hybridcast?
Mr. Tomohisa Kuwahara
Controller, Programming, Programming Department, Japan Broadcasting Corporation

[Abstract]

NHK started its new combined broadcasting and communications "NHK Hybridcast" service on NHK Sogo television (NHK General TV). This is a service in which broadcasting stations themselves provide images and information linked with television. Differing to existing data broadcasts delivered by radio wave, it allows vast amounts of high-definition and expressive contents to be delivered and realizes link-ups between smartphones, tablet PCs and TV screens. Why start Hybridcast? How will the TV viewing experience change? I will be introducing the latest strategy of Hybridcast development and organization.

(4)Changing Television Advertising in Multiscreen Broadcasting Services
Mr. Hidekazu Imatani
Deputy Director, Media Service / TV Division, Kansai Branch Dentsu, Inc.

[Abstract]

The Multiscreen Broadcasting Study Group aims to not only enhance the value of programs but to give value to commercials and improve the profitability of the entire television business. We establish connected content and links even in 15-second commercial spots. We aim to give televisions a second screen function as a shared broadcasting system instead of at the level of each program or each channel.

(5)On Radio Services in Digital Age
Mr. Keishi Kandori
Chief, Media Center, radiko Co., Ltd.

[Abstract]

Mr. Kandori will give a presentation on radiko.jp, which simulcasts over IP combining 67 commercial radio stations. It is a grassroots development model of terrestrial media - the first of its kind in Japan. He will talk about the sequence of events leading to its establishment, its current status, issues and future goals.

Mr. Mick Sawaguchi
President, Mick Sound Lab.,
Fellow AES/IBS

Mr. Toru Kamekawa
Professor, Musical Creativity and the Environment,
Tokyo University of the Arts

Have Loudness Operations Been Successful?
Mr. Hideo Irimajiri, Ph.D.
Specialist Manager, TV Operation Engineering Department,
Broadcasting Operations Division, Mainichi Broadcasting System, Inc.

[Abstract]

All broadcasters in Japan started full-fledged operations of broadcast sound using ARIB TR-B32 compliant loudness meters from April 2013. It has now been half a year, so are these standards being followed? Moreover, it also appears there have been attempts to aim for a loud sound with the loudness standards without learning from experience. Programs in the wide dynamic range like movies are also facing the problem of not being able to measure loudness accurately. In this session, I would like to consider the realities of loudness operations and attempt to consider what is important in the creation of sound friendly to people.

Reconsidering the Meaning of "Mixing to Achieve a Target Loudness Value"
Mr. Hiroshi Noro
General Manager, Engineering Department, technicaland company limited

[Abstract]

Over about a year, including the period of transition from October last year, Hiroshi Noro has been conducting a survey on on-site staff in post-production about how they feel and what work they are doing in regards to loudness standards. He will be giving a presentation on the aggregated data and sharing information from this. Furthermore, he would like to make this an occasion to look at the issues that come to light in this, as well as to rediscover the original purpose of the loudness standards, which are to “produce the target level (-24.0FKLS) as the goal.”

Loudness and Mixing from the point of Post Production: Introducing Cases in Nagoya
Mr. Hiroki Sawada
Tokai Sound Co., Ltd.

[Abstract]

This session will look at the current situation in relation to loudness in Nagoya. This talk will also be sprinkled with examples of changes and operations in technologies and awareness before and after application. Furthermore, there will also be a report on the problems faced in the field and points that will require improvement in the future.

Current Situation of Loudness Meter Operation
Mr. Sadami Minamisawa
Sales Engineer, 1st Sales Department, TOYO Corporation

[Abstract]

Together with the start of loudness operations, there has been a tremendous deployment of loudness meters. How will single-function additional device loudness meters evolve in the future? This talk will predict future loudness metering over momentary, short-term and loudness range analysis techniques, as well as loudness controller and file-based additional functions.