MEZZANINE FILE SPEC Steven Kang Sr. Engineer, Content Partner Ops, Netflix

Transcription

1 MEZZANINE FILE SPEC Steven Kang Sr. Engineer, Content Partner Ops, Netflix

2 MEZZANINE FILES Technical 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.

3 MEZZANINE FILES Status = Ready to use now. But please provide feedback to the working committee. EMA members should submit change/addition requests to Jennifer Lane Burnell at jlane@entmerch.org

4 MEZZANINE FILES High 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.

5 MEZZANINE FILES More In depth info available at EMA site. file work group o o o o In depth H.264 encoding settings Example command lines for libav and x264 file creation Sample files Content preparation instructions for: o o o Mixed media content Interlacing Cropping

6 MEZZANINE FILES Next 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

7 MEZZANINE FILES 2.0 and beyond Rec and xvycc Hi444PP to allow 12 bit encoding and high dynamic range Rec Stereoscopic 3D HEVC

8 MEDIA ENTERTAINMENT CORE METADATA STANDARD Craig Seidel VP Distribution Technology, MovieLabs

9 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.

10 Metadata family Avails Metadata Studios Media Entertainment Core (MEC) Retailers UltraViolet Metadata Common Metadata UltraViolet Coordinator EIDR EIDR Metadata EIDR Identifiers

11 Media Entertainment Core Avails Metadata Studios Media Entertainment Core (MEC) Retailers UltraViolet Metadata Common Metadata UltraViolet Coordinator EIDR EIDR Metadata EIDR Identifiers

12 What s in MEC Basic Metadata IDs Language Titles Summaries Cast Genres Ratings Artwork Length Release history Work type Country of origin Related content Digital Asset Metadata Video: codec, bitrate, aspect ratio, color Audio: Codec, bitrate, channels, language Subtitle: Format, type, language Supply Chain Data Source Contact info Company Display Credit Grouping Title 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

13 Artwork Release Date Cast Synopsis Rating Runtime Genre

14 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:

15 Specs EMA Members should contact Jennifer Lane, EMA (818) Common Metadata Craig Seidel, MovieLabs (650) For More

16 Introduction and Call to Action

17 Metadata is the face of content for online retailers Frequently lacking necessary fields for driving consumer purchasing behavior Inconsistent format across studios Inconsistent format across retailers Goal: Lower operational overhead Increase consumer confidence in purchasing content Drive adoption of the EMA common metadata specification for video and video games

18 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

19 Planning and Definition Collaboration on system definition and priorities through EMA working groups Define web services for submitting and accessing EMA metadata Software Development Software development and initial data populated by V2Solutions Launch & Ongoing Operations Data continually submitted and accessed by all EMA members Open to members outside of EMA for a nominal fee

20 Content Owners Retailers Internet Web Services Interfaces Open Metadata Database

21 Studios and Retailers Work to drive definition and priorities of software development Studios Submit data to Open Metadata Database Retailer Integrate with Open Metadata Database as a source of information for your online properties

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23 AVAILS Mark Fleming Partner Operations Specialist, Google

24 AVAILS Current 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.

25 AVAILS Recommended 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 s/notices Formats were developed with shared elements and structure. Mapping allows for eventual transition from Excel to XML with minimal re classification of elements.

26 AVAILS Recommended 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.

27 AVAILS Goals 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

28 IMAGE FILES Jennifer Lane Burnell Director Brand Image EMA

29 IMAGE FILES Recommended 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.

30 IMAGE FILES MOVIES SIZES REQUIRED Box Art 3:4 Minimum of 1000 pixels wide Horizontal Image 4:3 and 16:9 Minimum of 2000 pixels wide 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.) TV 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 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

31 IMAGE FILES MOVIES 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 inches If key artwork alternative, image provided must have one focal point (i.e., not too crowded/busy 1 2 people max.) NAMING Use EIDR if available If no EIDR available, please refer to the naming conventions agreed upon by the Studio/Network and Digital Distributor TV 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 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 Use EIDR if available If no EIDR available, please refer to the naming conventions agreed upon by the Studio/Network and Digital Distributor

32 IMAGE FILES MOVIES FOREIGN RELEASES Need the localized name Would prefer art used in the local territories NO KEY ART AVAILABLE 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.) TV Need the localized name Would prefer art used in the local territories Use series instead of season when applicable Choose an image to be consistent across platforms such as a still frame or images from other promotional materials Minimum of two stills in each of above sizes that are relevant to the audience (i.e., violent vs. conservative image.)

33 IMAGE FILES SQUARE (1:1) IMAGE BOX ART (3:4) IMAGE

34 IMAGE FILES HORIZONTAL (16:9 and 3:4) IMAGES

35 CLOSED CAPTIONING BEST PRACTICES Sean Bersell, EMA Ken Harrenstien, Google

36 Why Closed Captioning Best Practices? Better Serve Diverse Audiences Twenty First Century Communications and Video Accessibility Act of 2010 Conversion Can Be Complicated

37 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.

38 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.

39 Best Practices: Certification If closed caption file is not provided for IPdelivered video programming, the video programming owner should include a certification in the avails and the metadata that closed captions are not required and why.

40 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 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.

41 The Issue: Recommended Formats 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.

42 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

43 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.

44 Best Practices: Recommended Formats OPTION 1: Delivery of closed caption files in SCC format (with.scc file extension).

45 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.

46 Best Practices: Recommended Formats Additional Comment: Also acceptable is Simple Delivery Profile (SDP), which is in process with the W3C TT Working Group.

47 The Issue: Frame Rates 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.

48 Best Practices: 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.

49 Best Practices: Frame Rates For.SCC files, the file name should indicate whether the file is drop frame (DF) or nondrop frame (NDF) and the timecode should be: hours:minutes:seconds:frames for NDF hours:minutes:seconds;frames for DF

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