MEZZANINE F PEC 1.0 - Entertainment Merchants … · 2015-06-04 · – EMA, DEG, UltraViolet,...
Transcript of MEZZANINE F PEC 1.0 - Entertainment Merchants … · 2015-06-04 · – EMA, DEG, UltraViolet,...
MEZZANINE FILE SPEC 1.0.1
Steven KangSr. Engineer, Content Partner Ops, Netflix
MEZZANINE FILESTechnical Goals
• One format acceptable to all retailers and content providers• Lower bitrates than MPEG‐2 or ProRes for efficient delivery and storage • Support for compressed or uncompressed audio• Broadly compatible format with reasonable encoding and decoding speeds• No proprietary technologies needed to create or accept assets in this spec• Creative decisions by content owners or post houses, not resellers.
MEZZANINE FILESStatus = 1.0.1
• Ready to use now.• But please provide feedback to the working committee.• EMA members should submit change/addition requests to Jennifer Lane Burnell
MEZZANINE FILESHigh Level Tech Specs
• H.264 VBR bitstream• PCM or AAC‐LC audio encoding• .MOV container• Video and Primary language stereo and surround audio streams in same file. • Fallback MPEG‐2 modes for easy legacy support and 4:2:2 interlaced.
MEZZANINE FILESMore In‐depth info available at EMA site.
• www.digitalema.org/committeescouncils/mezzanine‐file‐work‐groupo In‐depth H.264 encoding settingso Example command lines for libav and x264 file creationo Sample fileso Content preparation instructions for:
o Mixed media contento Interlacingo Cropping
MEZZANINE FILESNext step: 1.5
• First feature update to standard, plans to add:• Ultra HD and 4K modes• H.264 High 4:2:2 mode for 10‐bit 4:2:2• Transport Stream container
MEZZANINE FILES2.0 and beyond
• Rec. 2020 and xvYCC• Hi444PP to allow 12‐bit encoding and high dynamic range Rec. 2020• Stereoscopic 3D• HEVC
MEDIA ENTERTAINMENT COREMETADATA STANDARD
Craig Seidel VP Distribution Technology, MovieLabs
Metadata Initiative
Objective – Develop a common structure with common rules and definitions to support the B2B transfer of metadata related to audiovisual content for delivery via the Internet (compatible with other industry standards).
Benefits – Supply chain efficiency; Improved accuracy of information.
Participants – All major and some independent content providers and many key digital retailers.
Metadata family
Studios RetailersMedia Entertainment Core (MEC)
Avails Metadata
EIDR
CommonMetadata
EIDRIdentifiers
UltraViolet Metadata
UltraViolet Coordinator
EIDR Metadata
Media Entertainment Core
Studios RetailersMedia Entertainment Core (MEC)
Avails Metadata
EIDR
UltraViolet Metadata
CommonMetadata
EIDRIdentifiers
UltraViolet Coordinator
EIDR Metadata
What’s in MECBasic MetadataIDsLanguageTitlesSummariesCastGenresRatingsArtworkLengthRelease historyWork typeCountry of originRelated content
Digital Asset MetadataVideo:
codec, bitrate, aspect ratio, color
Audio:Codec, bitrate, channels, language
Subtitle:Format, type, language
Supply Chain DataSourceContact infoCompany Display CreditGroupingTitle Alias
Features• Distilled set of essential metadata• Well‐defined (in detail)• XML‐based• Broad Industry Cooperation
– EMA, DEG, UltraViolet, EIDR, etc.• Compatible with other metadata
systems– UltraViolet– EIDR (Identifiers)
• Internationalized• Supports Accessibility• Supports all Common Metadata data
elements– Pretty much anything you might want
• Extensible
Genre
Release DateArtwork
SynopsisCast
Runtime
Rating
Status
• Minor revision pending (v2.1)• New ratings system
– Captures ratings worldwide (HTML and XML)– Builds on existing ratings (PDF)– Suitable for data verification and for building internationalized
Parental Control Systems– Preview: www.movielabs.com/md/ratings/
For More…• Specs
http://entmerch.org/digitalemahttp://www.movielabs.com/md
• EMA Members should contactJennifer Lane, EMA(818) 385‐[email protected]
• Common MetadataCraig Seidel, MovieLabs(650) 224‐[email protected]
Introduction and Call to Action
Metadata is the face of content for online retailersFrequently lacking necessary fields for driving consumer purchasing behaviorInconsistent format across studiosInconsistent format across retailers
Goal:Lower operational overheadIncrease consumer confidence in purchasing contentDrive adoption of the EMA common metadata specification for video and video games
2007 –EMA begins Metadata Specification Development
2009 –EMA Video Metadata Specification Published
2011 –EMA Video Game Metadata Specification Published
2013 –Launch of Open Metadata Database initiative
Planning and DefinitionCollaboration on system definition and priorities through EMA working groupsDefine web services for submitting and accessing EMA metadata
Software DevelopmentSoftware development and initial data populated by V2Solutions
Launch & Ongoing OperationsData continually submitted and accessed by all EMA membersOpen to members outside of EMA for a nominal fee
Open MetadataDatabase
Internet
Web Services Interfaces
Content Owners Retailers
Studios and RetailersWork to drive definition and priorities of software development
StudiosSubmit data to Open Metadata Database
RetailerIntegrate with Open Metadata Database as a source of information for your online properties
AVAILS
Mark FlemingPartner Operations Specialist, Google
AVAILSCurrent Issues
• No standards exist across any of the studios or retailers. Avails arrive in a variety of formats that require manual handling, which is labor‐intensive and error prone.
• Entry errors or missed notices result in reduced revenue and/or can negatively impact business relationships.
• Most templates can’t keep up with evolving content/retail strategies.
AVAILSRecommended Standard
• Since no two partners or retailers handle avails the same way, a set of formats were created to accommodate everyone.
• Excel – non‐technical, universally accessible, ready now, semi‐automatable • XML – highly automatable, support for future API integration that will
eliminate need for emails/notices
• Formats were developed with shared elements and structure. Mapping allows for eventual transition from Excel to XML with minimal re‐classification of elements.
AVAILSRecommended Standard
• XML – integrates with greater Metadata standard.
• Excel – new format adjusts the title‐level focus to offer/SKU‐level focus.
• Commonly used: 1:1 Title to spreadsheet row• Proposed: 1:1 Offer/SKU to spreadsheet row
Results in more rows, but supports rapidly evolving product and retail strategies (e.g., new avail window types) and reduces confusion.
AVAILSGoals
• Reduce resource requirements to enter and/or audit data• Eliminate errors caused by manual entry or confusion• Support a constantly changing product and retail strategy• Establish a path toward automation that could be taken at each studio or
retailer’s pace
IMAGE FILES
Jennifer Lane BurnellDirector Brand Image
EMA
IMAGE FILESRecommended Standard
• Unnecessary costs and the delay of new content as result of image files created for individual retailers.
• Frequently, retailers/distributors will edit and adapt studio‐supplied image files themselves in order to meet their merchandising needs; results in lengthy, cyclic approval process.
• QC issues slow down processes.
IMAGE FILESMOVIES TV
SIZES REQUIRED • Box Art ‐ 3:4 ‐ Minimum of 1000 pixels wide • Horizontal Image ‐ 4:3 and 16:9 ‐ Minimum of
2000 pixels wide
• Box Art ‐ 3:4 ‐ Minimum of 1000 pixels wide • Horizontal Image ‐ 4:3 or 16:9 ‐ Minimum of 2000
pixels wide • Square Image ‐ 1:1‐ 800x800 pixels
FILE FORMAT • Both a layered PSD file and either a png or
jpeg need to be available. • PSD files should contain any titles, branding,
or text in a separate layer. (Key art with title treatment layers removed should not show major gaps in design.)
• Both a layered PSD file and either a png or jpeg need to be available.
• PSD files should contain any titles, branding, or text in a separate layer. (Key art with title treatment
• layers removed should not show major gaps in design.)
SERIES/SEASON/ Episode Requirements
N/A • Required: Series and Season artwork • Option: Episode artwork
COLOR • RGB • TV Safe Colors
• RGB • TV Safe Colors
IMAGE FILESMOVIES TV
IMAGE GUIDELINES • No Tag lines • No Ratings • No Critic Quotes • No Dates • No Cast/Credits • Image must be recognizable from 10ft away
on an SD TV that is 38‐40 inches • If key artwork alternative, image provided
must have one focal point (i.e., not too crowded/busy ‐ 1 ‐ 2 people max.)
• No Tag lines • No Ratings • No Critic Quotes • No Dates • No Cast/Credits • Image must be recognizable from 10ft away on an
SD TV that is 38‐40 inches • If key artwork alternative, image provided must
have one focal point (i.e., not too crowded/busy ‐ 1 ‐ 2 people max).
• Lower 1/8 of portrait art is clear of important details
NAMING • Use EIDR if available • If no EIDR available, please refer to the naming
conventions agreed upon by the Studio/Network and Digital Distributor
• Use EIDR if available • If no EIDR available, please refer to the naming
conventions agreed upon by the Studio/Network and Digital Distributor
IMAGE FILESMOVIES TV
FOREIGN RELEASES • Need the localized name • Would prefer art used in the local territories
• Need the localized name • Would prefer art used in the local territories • Use “series” instead of “season’ when applicable
NO KEY ART AVAILABLE • Choose an image to be consistent across platforms such as a still frame or images from other promotional materials
• Choose an image to be consistent across platforms such as a still frame or images from other promotional materials
ADDITIONAL IMAGES • Minimum of two stills in each of above sizes
that are relevant to the audience (i.e., violent vs. conservative image.)
• Minimum of two stills in each of above sizes that are relevant to the audience (i.e., violent vs. conservative image.)
IMAGE FILES
SQUARE (1:1) IMAGE BOX ART (3:4) IMAGE
IMAGE FILESHORIZONTAL (16:9 and 3:4) IMAGES
CLOSED CAPTIONING BESTPRACTICES
Sean Bersell, EMAKen Harrenstien, Google
Why Closed Captioning Best Practices?
• Better Serve Diverse Audiences• Twenty‐First Century Communications and Video Accessibility Act of 2010
• Conversion Can Be Complicated
The Issue: Certification
• Video programming owner is to provide the closed captioning file to the video programming distributor.
• Owner and distributor are to establish a mechanism for ongoing communication whether a particular video requires captioning.
The Issue: Certification
• Distributor must make a “good faith effort” to identify covered programming using that mechanism.
• Distributor may rely on a certification from the owner that a video is not subject to captioning requirement if it includes a clear and concise explanation of why captioning is not required.
• If closed caption file is not provided for IP‐delivered video programming, the video programming owner should include a certification in the avails and the metadata that closed captions are not required and why.
Best Practices: Certification
Metadata Caption Exception Reasons• ‘Never on TV’ – Content has never aired on TV in the U.S.• ‘TV without captions’ – Content has only aired on TV in the
U.S. without captions.• ‘No captions since 20120930’• ‘Not full length programming’• ‘NA per FCC Reg’ – Content does not fall within a category
of online programming that currently requires captions under FCC regulations
• ‘Exempted’ – FCC and/or U.S. Congress has granted an exemption from captioning requirements for this content.
Best Practices: Certification
• In order for broadcast video to be delivered over the Internet with closed captions, the closed caption file must be converted from the CEA‐608 protocol used for TV closed captions to a format suitable for Internet delivery, after which the captions can be edited.
The Issue: Recommended Formats
• Conversion and editing can be done manually, from scratch, or by using software to extract and reformat the data (preferred).
• Even with software, conversion can be challenging, especially when it involves a broadcast closed caption file in a legacy format.
The Issue: Recommended Formats
• It is desirable to have the closed caption file delivered in a format that is relatively easy to extract and reformat.
• It is also desirable and often necessary to preserve the original caption presentation.
The Issue: Recommended Formats
• OPTION 1: Delivery of closed caption files in SCC format (with .scc file extension).
Best Practices:Recommended Formats
• OPTION 2: Delivery of CEA‐608 closed caption files in SMPTE‐TT format.– SMPTE‐TT must be constrained by a defined profile or other profiles that implement the features of the defined profile.
– The use of other features defined in SMPTE‐TT is not precluded.
– Additional or alternative preferences should be clearly communicated.
Best Practices:Recommended Formats
Additional Comment:• Also acceptable is Simple Delivery Profile (SDP), which is in process with the W3C TT Working Group.
Best Practices:Recommended Formats
• Ideally, the caption frame rate should match the native frame rate of the source.
• They often do not, and synchronization of the two can be a problem.
The Issue:Frame Rates
• If the content distributor does not require the closed caption data file to be already synchronized to the video, the closed caption file may be submitted in any frame rate in which it was created, so long as the frame rate is clearly indicated.
Best Practices: Frame Rates
• For .SCC files, the file name should indicate whether the file is drop‐frame (DF) or non‐drop‐frame (NDF) and the timecode should be:– hours:minutes:seconds:frames for NDF– hours:minutes:seconds;frames for DF
Best Practices: Frame Rates
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