Interoperable Master Format (IMF)

Specification

February 19, 2011Version 1.0

http://entechcenter.com/files/imf/2011.02.19/IMF_Specification_V1.0.pdf

Copyright 2009, 2010, 2011 byEntertainment Technology Center

509 West 29th StreetLos Angeles, California 90007

United States of America213-743-1600

www.etcenter.org

1

NOTICEThe Entertainment Technology Center at the University of Southern California (ETC) is the author and creator of this draft specification for the purpose of copyright and other laws in all countries throughout the world. The ETC copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. ETC hereby grants to persons and entities reviewing this document a limited, non-exclusive license to reproduce this specification for their own use, provided it is not sold. Inquiries regarding permission to reproduce or distribute this specification should be directed to the Entertainment Technology Center at the University of Southern California; Attn: CEO and Executive Director; 509 West 29 th

Street, Los Angeles, California 90007; USA; (213) 743-1600 (voice); (213) 743-1803 facsimile; e-mail: imf@etcusc.org.

This document is a draft specification developed by the Interoperable Master Format (IMF) project participants, as hosted by the ETC. It is intended solely as a guide for companies interested in developing products that can be compatible with other products developed using this document. Neither the IMF project participants nor ETC shall be liable for any direct, exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document defines only one approach to compatibility regarding its subject matter, and other approaches may be available.

By creation and distribution of this draft document, no position is taken by the IMF project participants or ETC with respect to the validity or infringement of any patent or other proprietary right. The IMF participants and ETC hereby expressly disclaim any liability for infringement of intellectual property rights of others by virtue of the use of this document. The IMF participants and ETC have not and do not investigate any notices or allegations of infringement prompted by the distribution of this document, nor do the IMF participants or ETC undertake a duty to advise users or potential users of this document of such notices or allegations. The IMF participants and ETC hereby expressly advise all users or potential users of this document to investigate and analyze any potential infringement claims, seek the advice of intellectual property counsel, and, if indicated, obtain a license under any applicable intellectual property right or take the necessary steps to avoid infringement of any intellectual property right. The IMF participants and ETC expressly disclaim any intent to promote infringement of any intellectual property right by virtue of the creation or distribution of this document.

2

Table of Contents

1 IMF INTRODUCTION.......................................................................................................................32

1.1 INTRODUCTION..................................................................................................................................32

1.1 INTRODUCTION............................................................................................................................32

1.2 SCOPE................................................................................................................................................32

1.2 SCOPE...............................................................................................................................................32

1.3 BASIC AND EXTENDED LEVELS.........................................................................................................32

1.3 BASIC AND EXTENDED LEVELS..............................................................................................32

1.4 SYSTEM OBJECTIVES.........................................................................................................................32

1.4 SYSTEM OBJECTIVES..................................................................................................................32

1.5 DOCUMENT LANGUAGE.....................................................................................................................33

1.5 DOCUMENT LANGUAGE............................................................................................................33

2 SYSTEM OVERVIEW.......................................................................................................................35

1.6 DOCUMENT FRAMEWORK .................................................................................................................35

1.6 DOCUMENT FRAMEWORK .......................................................................................................35

1.6.1 Basic and Extended Level References..........................................................................................35

1.6.1 BASIC AND EXTENDED LEVEL REFERENCES..................................................................................35

1.7 OVERVIEW.........................................................................................................................................36

1.7 OVERVIEW......................................................................................................................................36

1.7.1 IMF System Architecture.............................................................................................................36

1.7.1 IMF SYSTEM ARCHITECTURE.........................................................................................................36

1.7.2 Major System Key Concepts........................................................................................................37

1.7.2 MAJOR SYSTEM KEY CONCEPTS....................................................................................................37

1.7.3 Business-to-Business Solution.....................................................................................................37

1.7.3 BUSINESS-TO-BUSINESS SOLUTION................................................................................................37

1.7.4 Digital Source Master (DSM)......................................................................................................37

1.7.4 DIGITAL SOURCE MASTER (DSM).................................................................................................37

1.7.5 Archive not in Scope....................................................................................................................37

3

1.7.5 ARCHIVE NOT IN SCOPE..................................................................................................................37

1.7.6 File/Frame-Based System............................................................................................................38

1.7.6 FILE/FRAME-BASED SYSTEM..........................................................................................................38

1.7.7 Essence and Data Essence...........................................................................................................38

1.7.7 ESSENCE AND DATA ESSENCE........................................................................................................38

1.7.8 Metadata......................................................................................................................................38

1.7.8 METADATA.....................................................................................................................................38

1.7.9 Security........................................................................................................................................38

1.7.9 SECURITY........................................................................................................................................38

1.7.10 Wrapping and Track File Creation............................................................................................38

1.7.10 WRAPPING AND TRACK FILE CREATION......................................................................................38

1.7.11 Composition...............................................................................................................................39

1.7.11 COMPOSITION................................................................................................................................39

1.7.12 Versions......................................................................................................................................39

1.7.12 VERSIONS......................................................................................................................................39

1.7.13 Sequence....................................................................................................................................39

1.7.13 SEQUENCE.....................................................................................................................................39

1.7.14 Output Profile List.....................................................................................................................40

1.7.14 OUTPUT PROFILE LIST..................................................................................................................40

1.7.15 Packages....................................................................................................................................40

1.7.15 PACKAGES.....................................................................................................................................40

1.8 IMF ELEMENTS AND PROCESSES.......................................................................................................42

1.8 IMF ELEMENTS AND PROCESSES...........................................................................................42

2 ESSENCE.............................................................................................................................................43

2.1 OVERVIEW.........................................................................................................................................43

2.1 OVERVIEW......................................................................................................................................43

2.1.1 Introduction..................................................................................................................................43

4

2.1.1 INTRODUCTION...............................................................................................................................43

2.1.2 Essence System Overview............................................................................................................43

2.1.2 ESSENCE SYSTEM OVERVIEW.........................................................................................................43

2.2 ESSENCE FUNDAMENTAL REQUIREMENTS........................................................................................43

2.2 ESSENCE FUNDAMENTAL REQUIREMENTS........................................................................43

2.2.1 Common Essence File Formats...................................................................................................43

2.2.1 COMMON ESSENCE FILE FORMATS................................................................................................43

2.2.2 Frame Rates and Synchronization...............................................................................................43

2.2.2 FRAME RATES AND SYNCHRONIZATION.........................................................................................43

2.3 IMAGE SPECIFICATION.......................................................................................................................44

2.3 IMAGE SPECIFICATION..............................................................................................................44

2.3.1 Image Container, Active Image, Pixel Aspect Ratio....................................................................44

2.3.1 IMAGE CONTAINER, ACTIVE IMAGE, PIXEL ASPECT RATIO...........................................................44

2.3.2 Pixel Aspect Ratio........................................................................................................................46

2.3.2 PIXEL ASPECT RATIO......................................................................................................................46

2.3.3 Bit Depth......................................................................................................................................46

2.3.3 BIT DEPTH......................................................................................................................................46

2.3.4 Chroma Subsampling...................................................................................................................46

2.3.4 CHROMA SUBSAMPLING.................................................................................................................46

2.3.5 Color Space, Color Space Gamuts..............................................................................................46

2.3.5 COLOR SPACE, COLOR SPACE GAMUTS.........................................................................................46

2.3.6 Stereoscopic Content...................................................................................................................47

2.3.6 STEREOSCOPIC CONTENT................................................................................................................47

2.3.7 Compression Requirements........................................................................................................47

2.3.7 COMPRESSION REQUIREMENTS......................................................................................................47

2.3.7.1 Image Compression Requirements.......................................................................................47

2.3.7.1 Image Compression Requirements...........................................................................................47

5

2.3.7.2 Intra-Frame Compression.....................................................................................................47

2.3.7.2 Intra-Frame Compression........................................................................................................47

2.3.7.3 Spatial Resolution Scalability..............................................................................................48

2.3.7.3 Spatial Resolution Scalability...................................................................................................48

2.3.7.4 Image Compression Codecs.................................................................................................48

2.3.7.4 Image Compression Codecs......................................................................................................48

2.3.8 Uncompressed Requirements.......................................................................................................48

2.3.8 UNCOMPRESSED REQUIREMENTS...................................................................................................48

2.3.9 Structural Metadata.....................................................................................................................48

2.3.9 STRUCTURAL METADATA...............................................................................................................48

2.3.9.1 Image Metadata Required Fields..........................................................................................48

2.3.9.1 Image Metadata Required Fields..............................................................................................48

2.4 AUDIO SPECIFICATION.......................................................................................................................51

2.4 AUDIO SPECIFICATION..............................................................................................................51

2.4.1 Audio File Format........................................................................................................................51

2.4.1 AUDIO FILE FORMAT......................................................................................................................51

2.4.2 Sampling Rate..............................................................................................................................51

2.4.2 SAMPLING RATE.............................................................................................................................51

2.4.3 Frame Rate/Audio Speed.............................................................................................................51

2.4.3 FRAME RATE/AUDIO SPEED...........................................................................................................51

2.4.4 Allowable Samples per Frame.....................................................................................................51

2.4.4 ALLOWABLE SAMPLES PER FRAME................................................................................................51

2.4.5 Audio Bit Depth............................................................................................................................52

2.4.5 AUDIO BIT DEPTH..........................................................................................................................52

2.4.6 Audio Track File Content.............................................................................................................52

2.4.6 AUDIO TRACK FILE CONTENT........................................................................................................52

2.4.7 Audio Track File Element Constraint..........................................................................................52

6

2.4.7 AUDIO TRACK FILE ELEMENT CONSTRAINT..................................................................................52

2.4.8 Audio Track File Language Constraint.......................................................................................53

2.4.8 AUDIO TRACK FILE LANGUAGE CONSTRAINT...............................................................................53

2.4.9 Track File Loudspeaker Channel Content Constraint.................................................................53

2.4.9 TRACK FILE LOUDSPEAKER CHANNEL CONTENT CONSTRAINT.....................................................53

2.4.10 Channels Per Track File Constraint..........................................................................................53

2.4.10 CHANNELS PER TRACK FILE CONSTRAINT...................................................................................53

2.4.11 Simultaneous Multiple Audio Track File Availability and Playout...........................................53

2.4.11 SIMULTANEOUS MULTIPLE AUDIO TRACK FILE AVAILABILITY AND PLAYOUT..........................53

2.4.12 Multiple Audio Track File Routing............................................................................................53

2.4.12 MULTIPLE AUDIO TRACK FILE ROUTING.....................................................................................53

2.4.13 Mixing of Audio Channels.........................................................................................................53

2.4.13 MIXING OF AUDIO CHANNELS......................................................................................................53

2.4.14 Soundfield Configuration Constraints.......................................................................................53

2.4.14 SOUNDFIELD CONFIGURATION CONSTRAINTS..............................................................................53

2.4.15 Channel Layout and Mapping...................................................................................................54

2.4.15 CHANNEL LAYOUT AND MAPPING...............................................................................................54

2.4.16 Audio Metadata Data Elements.................................................................................................54

2.4.16 AUDIO METADATA DATA ELEMENTS...........................................................................................54

3 DATA ESSENCE.................................................................................................................................57

3.1 OVERVIEW.........................................................................................................................................57

3.1 OVERVIEW......................................................................................................................................57

3.1.1 Introduction..................................................................................................................................57

3.1.1 INTRODUCTION...............................................................................................................................57

3.1.2 Data Essence System Overview...................................................................................................57

3.1.2 DATA ESSENCE SYSTEM OVERVIEW..............................................................................................57

3.1.3 Major Data Essence Concepts and Definitions...........................................................................57

7

3.1.3 MAJOR DATA ESSENCE CONCEPTS AND DEFINITIONS...................................................................57

3.1.4 Subtitles........................................................................................................................................57

3.1.4 SUBTITLES.......................................................................................................................................57

3.1.5 Captions.......................................................................................................................................57

3.1.5 CAPTIONS........................................................................................................................................57

3.1.6 Closed..........................................................................................................................................58

3.1.6 CLOSED...........................................................................................................................................58

3.1.7 Open.............................................................................................................................................58

3.1.7 OPEN...............................................................................................................................................58

3.1.8 Data Essence Fundamental Requirements..................................................................................58

3.1.8 DATA ESSENCE FUNDAMENTAL REQUIREMENTS...........................................................................58

3.1.9 Common File Formats.................................................................................................................58

3.1.9 COMMON FILE FORMATS................................................................................................................58

3.1.10 Frame Rates...............................................................................................................................58

3.1.10 FRAME RATES...............................................................................................................................58

3.1.11 Synchronization..........................................................................................................................58

3.1.11 SYNCHRONIZATION.......................................................................................................................58

3.1.12 Sub Picture (Pre-Rendered Open Text and/or Graphics)..........................................................58

3.1.12 SUB PICTURE (PRE-RENDERED OPEN TEXT AND/OR GRAPHICS).................................................58

3.1.13 Description.................................................................................................................................58

3.1.13 DESCRIPTION.................................................................................................................................58

3.1.14 File Format................................................................................................................................58

3.1.14 FILE FORMAT................................................................................................................................58

3.1.15 Composition...............................................................................................................................58

3.1.15 COMPOSITION................................................................................................................................58

3.1.16 Text Color Interpretation...........................................................................................................59

8

3.1.16 TEXT COLOR INTERPRETATION....................................................................................................59

3.1.17 Frame Rate and Timing ............................................................................................................59

3.1.17 FRAME RATE AND TIMING ...........................................................................................................59

3.1.18 Synchronization..........................................................................................................................59

3.1.18 SYNCHRONIZATION.......................................................................................................................59

3.1.19 Timed Text (Presentation of Text in Sync with Audio and Video).............................................59

3.1.19 TIMED TEXT (PRESENTATION OF TEXT IN SYNC WITH AUDIO AND VIDEO)................................59

3.1.20 Description.................................................................................................................................59

3.1.20 DESCRIPTION.................................................................................................................................59

3.1.21 File Format ...............................................................................................................................59

3.1.21 FILE FORMAT ...............................................................................................................................59

3.1.22 Default Fonts.............................................................................................................................59

3.1.22 DEFAULT FONTS...........................................................................................................................59

3.1.23 Identification .............................................................................................................................60

3.1.23 IDENTIFICATION ...........................................................................................................................60

3.1.24 Searchability .............................................................................................................................60

3.1.24 SEARCHABILITY ...........................................................................................................................60

3.1.25 Multiple Captions ......................................................................................................................60

3.1.25 MULTIPLE CAPTIONS ...................................................................................................................60

3.1.26 Synchronization .........................................................................................................................60

3.1.26 SYNCHRONIZATION ......................................................................................................................60

3.1.27 Stereoscopic Offset.....................................................................................................................60

3.1.27 STEREOSCOPIC OFFSET.................................................................................................................60

3.1.28 Data Essence Specification........................................................................................................60

3.1.28 DATA ESSENCE SPECIFICATION....................................................................................................60

4 DYNAMIC METADATA...................................................................................................................61

4.1 OVERVIEW.........................................................................................................................................61

9

4.1 OVERVIEW......................................................................................................................................61

4.1.1 Introduction..................................................................................................................................61

4.1.1 INTRODUCTION...............................................................................................................................61

4.1.2 Dynamic Metadata System Overview..........................................................................................61

4.1.2 DYNAMIC METADATA SYSTEM OVERVIEW....................................................................................61

4.1.3 Major Dynamic Metadata Concepts............................................................................................61

4.1.3 MAJOR DYNAMIC METADATA CONCEPTS......................................................................................61

4.1.4 Dynamic Metadata Fundamental Requirements.........................................................................61

4.1.4 DYNAMIC METADATA FUNDAMENTAL REQUIREMENTS................................................................61

4.1.5 Common File Formats.................................................................................................................61

4.1.5 COMMON FILE FORMATS................................................................................................................61

4.2 STORED TIME CODE REQUIREMENTS................................................................................................61

4.2 STORED TIME CODE REQUIREMENTS..................................................................................61

4.3 PAN AND SCAN SPECIFICATION.........................................................................................................62

4.3 PAN AND SCAN SPECIFICATION..............................................................................................62

4.3.1 Pan and Scan Requirements........................................................................................................62

4.3.1 PAN AND SCAN REQUIREMENTS.....................................................................................................62

4.3.2 Time Code and Movement Identification.....................................................................................62

4.3.2 TIME CODE AND MOVEMENT IDENTIFICATION..............................................................................62

4.3.3 Source Image, Output Image and Viewport.................................................................................63

4.3.3 SOURCE IMAGE, OUTPUT IMAGE AND VIEWPORT..........................................................................63

4.3.4 Pan and Scan Metadata Required Fields....................................................................................63

4.3.4 PAN AND SCAN METADATA REQUIRED FIELDS.............................................................................63

5 WRAPPING.........................................................................................................................................69

5.1 OVERVIEW.........................................................................................................................................69

5.1 OVERVIEW......................................................................................................................................69

5.1.1 Introduction..................................................................................................................................69

5.1.1 INTRODUCTION...............................................................................................................................6910

5.2 WRAPPING REQUIREMENTS...............................................................................................................69

5.2 WRAPPING REQUIREMENTS....................................................................................................69

5.2.1 Introduction..................................................................................................................................69

5.2.1 INTRODUCTION...............................................................................................................................69

5.2.2 Format Information.....................................................................................................................70

5.2.2 FORMAT INFORMATION..................................................................................................................70

5.2.3 Metadata......................................................................................................................................70

5.2.3 METADATA.....................................................................................................................................70

5.2.4 Synchronization............................................................................................................................70

5.2.4 SYNCHRONIZATION.........................................................................................................................70

5.2.5 Splicing........................................................................................................................................70

5.2.5 SPLICING.........................................................................................................................................70

5.2.6 Security........................................................................................................................................70

5.2.6 SECURITY........................................................................................................................................70

5.2.7 Extensibility..................................................................................................................................70

5.2.7 EXTENSIBILITY................................................................................................................................70

5.2.8 Simple Essence.............................................................................................................................70

5.2.8 SIMPLE ESSENCE.............................................................................................................................70

5.3 MXF TRACK FILE ENCRYPTION (EXTENDED LEVEL).......................................................................70

5.3 MXF TRACK FILE ENCRYPTION (EXTENDED LEVEL).....................................................70

5.3.1 Introduction..................................................................................................................................70

5.3.1 INTRODUCTION...............................................................................................................................70

5.3.2 Standards.....................................................................................................................................71

5.3.2 STANDARDS....................................................................................................................................71

5.4 IMAGE TRACK FILE............................................................................................................................71

5.4 IMAGE TRACK FILE.....................................................................................................................71

5.4.1 Introduction..................................................................................................................................71

11

5.4.1 INTRODUCTION...............................................................................................................................71

5.4.2 Frame Boundaries.......................................................................................................................71

5.4.2 FRAME BOUNDARIES......................................................................................................................71

5.4.3 Compression................................................................................................................................71

5.4.3 COMPRESSION.................................................................................................................................71

5.4.4 Standards....................................................................................................................................71

5.4.4 STANDARDS...................................................................................................................................71

5.5 AUDIO TRACK FILE...........................................................................................................................71

5.5 AUDIO TRACK FILE.....................................................................................................................71

5.5.1 Introduction..................................................................................................................................71

5.5.1 INTRODUCTION...............................................................................................................................71

5.5.2 Standards.....................................................................................................................................71

5.5.2 STANDARDS....................................................................................................................................71

5.5.3 Metadata......................................................................................................................................71

5.5.3 METADATA.....................................................................................................................................71

5.6 TIMED TEXT TRACK FILE..................................................................................................................71

5.6 TIMED TEXT TRACK FILE.........................................................................................................71

5.6.1 Introduction..................................................................................................................................71

5.6.1 INTRODUCTION...............................................................................................................................71

5.6.2 Standards.....................................................................................................................................72

5.6.2 STANDARDS....................................................................................................................................72

5.7 TIME CODE TRACK FILES (EXTENDED LEVEL).................................................................................72

5.7 TIME CODE TRACK FILES (EXTENDED LEVEL).................................................................72

5.7.1 Introduction..................................................................................................................................72

5.7.1 INTRODUCTION...............................................................................................................................72

6 Frame Rate.........................................................................................................................................72

6 FRAME RATE.........................................................................................................................................72

12

7 Faithful Capture.................................................................................................................................72

7 FAITHFUL CAPTURE..............................................................................................................................72

8 Flexible Output..................................................................................................................................72

8 FLEXIBLE OUTPUT................................................................................................................................72

9 Frame Boundaries.............................................................................................................................72

9 FRAME BOUNDARIES............................................................................................................................72

10 Metadata..........................................................................................................................................72

10 METADATA.........................................................................................................................................72

7 THE COMPOSITION.........................................................................................................................73

10.1 INTRODUCTION................................................................................................................................73

10.1 INTRODUCTION..........................................................................................................................73

10.2 OVERALL REQUIREMENTS...............................................................................................................73

10.2 OVERALL REQUIREMENTS.....................................................................................................73

10.2.1 Synchronization..........................................................................................................................73

10.2.1 SYNCHRONIZATION.......................................................................................................................73

10.2.2 Human Readable Metadata.......................................................................................................73

10.2.2 HUMAN READABLE METADATA...................................................................................................73

10.2.3 Stereoscopic Content.................................................................................................................73

10.2.3 STEREOSCOPIC CONTENT..............................................................................................................73

10.2.4 File Format................................................................................................................................73

10.2.4 FILE FORMAT................................................................................................................................73

10.2.5 Audio..........................................................................................................................................74

10.2.5 AUDIO...........................................................................................................................................74

10.2.6 Synchronization..........................................................................................................................74

10.2.6 SYNCHRONIZATION.......................................................................................................................74

10.2.7 Audio Editing Granularity.........................................................................................................74

10.2.7 AUDIO EDITING GRANULARITY....................................................................................................74

13

10.2.8 Crossfades and Transitions........................................................................................................74

10.2.8 CROSSFADES AND TRANSITIONS...................................................................................................74

10.3 TERMINOLOGY.................................................................................................................................75

10.3 TERMINOLOGY...........................................................................................................................75

10.4 SYNCHRONIZATION..........................................................................................................................76

10.4 SYNCHRONIZATION..................................................................................................................76

10.5 COMPOSITION PLAYLIST STRUCTURE..............................................................................................80

10.5 COMPOSITION PLAYLIST STRUCTURE..............................................................................80

10.5.1 Id................................................................................................................................................81

10.5.1 ID..................................................................................................................................................81

10.5.2 Annotation [optional]................................................................................................................81

10.5.2 ANNOTATION [OPTIONAL].............................................................................................................81

10.5.3 IssueDate....................................................................................................................................81

10.5.3 ISSUEDATE....................................................................................................................................81

10.5.4 Issuer [optional]........................................................................................................................81

10.5.4 ISSUER [OPTIONAL].......................................................................................................................81

10.5.5 Creator [optional].....................................................................................................................81

10.5.5 CREATOR [OPTIONAL]...................................................................................................................81

10.5.6 ContentTitleText.........................................................................................................................81

10.5.6 CONTENTTITLETEXT....................................................................................................................81

10.5.7 ContentKind [optional]..............................................................................................................81

10.5.7 CONTENTKIND [OPTIONAL]..........................................................................................................81

10.5.8 ContentVersionList [optional]...................................................................................................82

10.5.8 CONTENTVERSIONLIST [OPTIONAL].............................................................................................82

10.5.9 Id................................................................................................................................................82

10.5.9 ID..................................................................................................................................................82

10.5.10 LabelText..................................................................................................................................82

14

10.5.10 LABELTEXT................................................................................................................................82

10.5.11 EssenceDescriptorList [optional]............................................................................................82

10.5.11 ESSENCEDESCRIPTORLIST [OPTIONAL]......................................................................................82

10.5.12 CompositionTimecode [optional]............................................................................................83

10.5.12 COMPOSITIONTIMECODE [OPTIONAL].........................................................................................83

10.5.13 TimecodeDropFrame...............................................................................................................83

10.5.13 TIMECODEDROPFRAME..............................................................................................................83

10.5.14 TimecodeInterlace....................................................................................................................83

10.5.14 TIMECODEINTERLACE.................................................................................................................83

10.5.15 TimecodeRate...........................................................................................................................83

10.5.15 TIMECODERATE..........................................................................................................................83

10.5.16 TimecodeStartAddress.............................................................................................................83

10.5.16 TIMECODESTARTADDRESS.........................................................................................................83

10.5.17 EditRate....................................................................................................................................83

10.5.17 EDITRATE...................................................................................................................................83

10.5.18 TotalRunningTime [optional]..................................................................................................83

10.5.18 TOTALRUNNINGTIME [OPTIONAL]..............................................................................................83

10.5.19 LocaleList [optional]...............................................................................................................84

10.5.19 LOCALELIST [OPTIONAL]............................................................................................................84

10.5.20 Annotation [optional]..............................................................................................................84

10.5.20 ANNOTATION [OPTIONAL]...........................................................................................................84

10.5.21 LanguageList [optional]..........................................................................................................84

10.5.21 LANGUAGELIST [OPTIONAL].......................................................................................................84

10.5.22 CountryList [optional].............................................................................................................84

10.5.22 COUNTRYLIST [OPTIONAL].........................................................................................................84

10.5.23 RegionList [optional]...............................................................................................................84

15

10.5.23 REGIONLIST [OPTIONAL]............................................................................................................84

10.5.24 RatingList [optional]...............................................................................................................84

10.5.24 RATINGLIST [OPTIONAL]............................................................................................................84

10.5.25 Agency......................................................................................................................................85

10.5.25 AGENCY......................................................................................................................................85

10.5.26 Label........................................................................................................................................85

10.5.26 LABEL.........................................................................................................................................85

10.5.27 SequenceList............................................................................................................................85

10.5.27 SEQUENCELIST...........................................................................................................................85

10.5.28 Signer [optional]......................................................................................................................85

10.5.28 SIGNER [OPTIONAL]....................................................................................................................85

10.5.29 Signature [optional].................................................................................................................85

10.5.29 SIGNATURE [OPTIONAL]..............................................................................................................85

10.6 SEQUENCE STRUCTURE....................................................................................................................85

10.6 SEQUENCE STRUCTURE...........................................................................................................85

10.6.1 Id................................................................................................................................................86

10.6.1 ID..................................................................................................................................................86

10.6.2 Annotation [optional]................................................................................................................86

10.6.2 ANNOTATION [OPTIONAL].............................................................................................................86

10.6.3 SequenceIssueDate [optional]...................................................................................................86

10.6.3 SEQUENCEISSUEDATE [OPTIONAL]...............................................................................................86

10.6.4 SegmentList................................................................................................................................86

10.6.4 SEGMENTLIST...............................................................................................................................86

10.6.5 SegmentType..............................................................................................................................86

10.6.5 SEGMENTTYPE..............................................................................................................................86

10.6.6 Id................................................................................................................................................86

10.6.6 ID..................................................................................................................................................86

16

10.6.7 TrackId [optional].....................................................................................................................87

10.6.7 TRACKID [OPTIONAL]...................................................................................................................87

10.6.8 ResourceList...............................................................................................................................87

10.6.8 RESOURCELIST.............................................................................................................................87

10.6.9 ImageSegment [optional]...........................................................................................................87

10.6.9 IMAGESEGMENT [OPTIONAL]........................................................................................................87

10.6.10 AudioSegment [optional].........................................................................................................87

10.6.10 AUDIOSEGMENT [OPTIONAL]......................................................................................................87

10.6.11 SubtitleSegment [optional]......................................................................................................87

10.6.11 SUBTITLESEGMENT [OPTIONAL].................................................................................................87

10.6.12 TimecodeSegment [optional]...................................................................................................87

10.6.12 TIMECODESEGMENT [OPTIONAL]................................................................................................87

10.6.13 MarkerSegment [optional].......................................................................................................87

10.6.13 MARKERSEGMENT [OPTIONAL]..................................................................................................87

10.6.14 CaptionSegment [optional]......................................................................................................87

10.6.14 CAPTIONSEGMENT [OPTIONAL]..................................................................................................87

10.6.15 Extension (defining new kinds of Segments)............................................................................88

10.6.15 EXTENSION (DEFINING NEW KINDS OF SEGMENTS)....................................................................88

10.7 RESOURCE STRUCTURE....................................................................................................................88

10.7 RESOURCE STRUCTURE..........................................................................................................88

10.7.1 BaseResourceType.....................................................................................................................88

10.7.1 BASERESOURCETYPE...................................................................................................................88

10.7.2 Id................................................................................................................................................88

10.7.2 ID..................................................................................................................................................88

10.7.3 AnnotationText [optional].........................................................................................................88

10.7.3 ANNOTATIONTEXT [OPTIONAL]....................................................................................................88

10.7.4 IntrinsicDuration ......................................................................................................................88

17

10.7.4 INTRINSICDURATION ....................................................................................................................88

10.7.5 IntrinsicEditRate [optional].......................................................................................................88

10.7.5 INTRINSICEDITRATE [OPTIONAL].................................................................................................88

10.7.6 EntryPoint [optional].................................................................................................................88

10.7.6 ENTRYPOINT [OPTIONAL].............................................................................................................88

10.7.7 RepeatCount [optional].............................................................................................................89

10.7.7 REPEATCOUNT [OPTIONAL]..........................................................................................................89

10.7.8 SourceDuration [optional]........................................................................................................89

10.7.8 SOURCEDURATION [OPTIONAL]....................................................................................................89

10.7.9 TrackFileResourceType.............................................................................................................89

10.7.9 TRACKFILERESOURCETYPE..........................................................................................................89

10.7.10 AssetId......................................................................................................................................89

10.7.10 ASSETID......................................................................................................................................89

10.7.11 SourceEncoding.......................................................................................................................89

10.7.11 SOURCEENCODING......................................................................................................................89

10.7.12 KeyId [optional].......................................................................................................................89

10.7.12 KEYID [OPTIONAL].....................................................................................................................89

10.7.13 Hash [optional]........................................................................................................................89

10.7.13 HASH [OPTIONAL].......................................................................................................................89

10.7.14 StereoImageTrackFileResourceType.......................................................................................89

10.7.14 STEREOIMAGETRACKFILERESOURCETYPE................................................................................89

10.7.15 MarkerResourceType...............................................................................................................90

10.7.15 MARKERRESOURCETYPE............................................................................................................90

10.7.16 MarkerList................................................................................................................................90

10.7.16 MARKERLIST..............................................................................................................................90

10.7.17 Label........................................................................................................................................90

18

10.7.17 LABEL.........................................................................................................................................90

10.7.18 AnnotationText [optional].......................................................................................................91

10.7.18 ANNOTATIONTEXT [OPTIONAL]..................................................................................................91

10.7.19 Offset........................................................................................................................................92

10.7.19 OFFSET........................................................................................................................................92

10.8 CONSTRAINTS..................................................................................................................................92

10.8 CONSTRAINTS.............................................................................................................................92

10.8.1 Constant Frame and Sample Rate.............................................................................................92

10.8.1 CONSTANT FRAME AND SAMPLE RATE........................................................................................92

10.8.2 Minimum Track File Duration...................................................................................................92

10.8.2 MINIMUM TRACK FILE DURATION...............................................................................................92

10.8.3 Minimum Sequence Duration....................................................................................................92

10.8.3 MINIMUM SEQUENCE DURATION.................................................................................................92

10.8.4 Fractional Sample Editorial Granularity..................................................................................92

10.8.4 FRACTIONAL SAMPLE EDITORIAL GRANULARITY........................................................................92

10.8.5 Stereoscopic Content.................................................................................................................92

10.8.5 STEREOSCOPIC CONTENT..............................................................................................................92

10.9 ESSENCEDESCRIPTOR INFORMATION...............................................................................................92

10.9 ESSENCEDESCRIPTOR INFORMATION...............................................................................92

10.9.1 Generic.......................................................................................................................................93

10.9.1 GENERIC.......................................................................................................................................93

10.9.2 SourceMediaDescription...........................................................................................................93

10.9.2 SOURCEMEDIADESCRIPTION........................................................................................................93

10.9.3 StandardBadge...........................................................................................................................93

10.9.3 STANDARDBADGE........................................................................................................................93

10.9.4 StandardsBody...........................................................................................................................93

10.9.4 STANDARDSBODY.........................................................................................................................93

19

10.9.5 Label..........................................................................................................................................93

10.9.5 LABEL...........................................................................................................................................93

10.9.6 TimecodeType............................................................................................................................93

10.9.6 TIMECODETYPE............................................................................................................................93

10.9.7 Image..........................................................................................................................................93

10.9.7 IMAGE...........................................................................................................................................93

10.9.8 FrameRate..................................................................................................................................93

10.9.8 FRAMERATE..................................................................................................................................93

10.9.9 ContainerHeight........................................................................................................................93

10.9.9 CONTAINERHEIGHT......................................................................................................................93

10.9.10 ContainerWidth........................................................................................................................93

10.9.10 CONTAINERWIDTH.....................................................................................................................93

10.9.11 ColorSampling.........................................................................................................................93

10.9.11 COLORSAMPLING........................................................................................................................93

10.9.12 ColorEncoding.........................................................................................................................93

10.9.12 COLORENCODING.......................................................................................................................93

10.9.13 SampleType..............................................................................................................................94

10.9.13 SAMPLETYPE..............................................................................................................................94

10.9.14 ImageBitDepth.........................................................................................................................94

10.9.14 IMAGEBITDEPTH.........................................................................................................................94

10.9.15 ImageAspectRatio....................................................................................................................94

10.9.15 IMAGEASPECTRATIO..................................................................................................................94

10.9.16 ActiveCoordinates....................................................................................................................94

10.9.16 ACTIVECOORDINATES................................................................................................................94

10.9.17 CodeValueBlack.......................................................................................................................94

10.9.17 CODEVALUEBLACK....................................................................................................................94

20

10.9.18 CodeValueWhite......................................................................................................................94

10.9.18 CODEVALUEWHITE....................................................................................................................94

10.9.19 Audio........................................................................................................................................94

10.9.19 AUDIO.........................................................................................................................................94

10.9.20 SampleRate..............................................................................................................................94

10.9.20 SAMPLERATE..............................................................................................................................94

10.9.21 AudioSamplesPerFrame..........................................................................................................94

10.9.21 AUDIOSAMPLESPERFRAME........................................................................................................94

10.9.22 SoundfieldConfig......................................................................................................................94

10.9.22 SOUNDFIELDCONFIG...................................................................................................................94

10.9.23 SampleBitDepth.......................................................................................................................94

10.9.23 SAMPLEBITDEPTH......................................................................................................................94

10.9.24 ChannelCount..........................................................................................................................94

10.9.24 CHANNELCOUNT.........................................................................................................................94

10.9.25 Language [optional]................................................................................................................95

10.9.25 LANGUAGE [OPTIONAL]..............................................................................................................95

10.9.26 Subtitle and Caption Essence...................................................................................................95

10.9.26 SUBTITLE AND CAPTION ESSENCE..............................................................................................95

10.9.27 Format [optional]....................................................................................................................95

10.9.27 FORMAT [OPTIONAL]..................................................................................................................95

10.9.28 Language [optional]................................................................................................................95

10.9.28 LANGUAGE [OPTIONAL]..............................................................................................................95

11 OUTPUT PROFILE LIST................................................................................................................96

11.1 INTRODUCTION................................................................................................................................96

11.1 INTRODUCTION..........................................................................................................................96

11.1.1 Output Profile List Definition....................................................................................................96

11.1.1 OUTPUT PROFILE LIST DEFINITION..............................................................................................96

21

11.2 OUTPUT PROFILE LIST OVERVIEW..................................................................................................96

11.2 OUTPUT PROFILE LIST OVERVIEW.....................................................................................96

11.2.1 Functional Framework..............................................................................................................96

11.2.1 FUNCTIONAL FRAMEWORK...........................................................................................................96

11.2.2 OPL Relationship Overview......................................................................................................97

11.2.2 OPL RELATIONSHIP OVERVIEW...................................................................................................97

11.2.3 Functional Framework..............................................................................................................97

11.2.3 FUNCTIONAL FRAMEWORK...........................................................................................................97

11.2.4 Output Parameters.....................................................................................................................98

11.2.4 OUTPUT PARAMETERS..................................................................................................................98

11.2.5 Pre-Process Parameters............................................................................................................98

11.2.5 PRE-PROCESS PARAMETERS.........................................................................................................98

11.2.6 ColorSpace Conversion Parameters..........................................................................................98

11.2.6 COLORSPACE CONVERSION PARAMETERS...................................................................................98

11.2.7 Encoding/Transcoding Parameters...........................................................................................98

11.2.7 ENCODING/TRANSCODING PARAMETERS......................................................................................98

11.3 OUTPUT PROFILE LIST FUNDAMENTAL REQUIREMENTS (BASIC LEVEL)........................................99

11.3 OUTPUT PROFILE LIST FUNDAMENTAL REQUIREMENTS (BASIC LEVEL)............99

11.3.1 Open Standard...........................................................................................................................99

11.3.1 OPEN STANDARD..........................................................................................................................99

11.3.2 Interoperable..............................................................................................................................99

11.3.2 INTEROPERABLE............................................................................................................................99

11.3.3 Scalable....................................................................................................................................100

11.3.3 SCALABLE...................................................................................................................................100

11.3.4 Extensible.................................................................................................................................100

11.3.4 EXTENSIBLE................................................................................................................................100

11.3.5 Synchronization........................................................................................................................100

22

11.3.5 SYNCHRONIZATION.....................................................................................................................100

11.3.6 Human Readable Metadata.....................................................................................................100

11.3.6 HUMAN READABLE METADATA.................................................................................................100

11.3.7 File Format..............................................................................................................................100

11.3.7 FILE FORMAT..............................................................................................................................100

11.4 OUTPUT PROFILE LIST CONSTRAINTS...........................................................................................100

11.4 OUTPUT PROFILE LIST CONSTRAINTS.............................................................................100

11.4.1 Reference to a CPL (Basic Level)............................................................................................101

11.4.1 REFERENCE TO A CPL (BASIC LEVEL).......................................................................................101

11.4.2 Precedence of Operations (Extended Level)............................................................................101

11.4.2 PRECEDENCE OF OPERATIONS (EXTENDED LEVEL)...................................................................101

11.5 OUTPUT PROFILE LIST STRUCTURE...............................................................................................101

11.5 OUTPUT PROFILE LIST STRUCTURE.................................................................................101

11.5.1 General Information................................................................................................................101

11.5.1 GENERAL INFORMATION.............................................................................................................101

11.5.2 Header [required]....................................................................................................................101

11.5.2 HEADER [REQUIRED]...................................................................................................................101

11.5.3 Unique Id.................................................................................................................................101

11.5.3 UNIQUE ID..................................................................................................................................101

11.5.4 AnnotationText [optional].......................................................................................................102

11.5.4 ANNOTATIONTEXT [OPTIONAL]..................................................................................................102

11.5.5 IssueDate..................................................................................................................................102

11.5.5 ISSUEDATE..................................................................................................................................102

11.5.6 Issuer [optional]......................................................................................................................102

11.5.6 ISSUER [OPTIONAL].....................................................................................................................102

11.5.7 Creator [optional]...................................................................................................................102

11.5.7 CREATOR [OPTIONAL].................................................................................................................102

23

11.5.8 ContentTitleText.......................................................................................................................102

11.5.8 CONTENTTITLETEXT..................................................................................................................102

11.5.9 ContentKind [optional]............................................................................................................102

11.5.9 CONTENTKIND [OPTIONAL]........................................................................................................102

11.5.10 CompositionPlayList Reference.............................................................................................102

11.5.10 COMPOSITIONPLAYLIST REFERENCE........................................................................................102

11.5.11 OutputText [optional]............................................................................................................102

11.5.11 OUTPUTTEXT [OPTIONAL]........................................................................................................102

11.5.12 ImageOutputFormat [optional].............................................................................................102

11.5.12 IMAGEOUTPUTFORMAT [OPTIONAL].........................................................................................102

11.5.12.1 BitRate............................................................................................................................103

11.5.12.1 BitRate.................................................................................................................................103

11.5.13 ColorEncoding.......................................................................................................................104

11.5.13 COLORENCODING.....................................................................................................................104

11.5.13.1 StandardsBody [optional]...............................................................................................104

11.5.13.1 StandardsBody [optional]...................................................................................................104

11.5.13.2 ColorSpace [optional]....................................................................................................104

11.5.13.2 ColorSpace [optional]........................................................................................................104

11.5.13.3 ChromaFormat [optional]...............................................................................................104

11.5.13.3 ChromaFormat [optional]..................................................................................................104

11.5.13.4 ChromaEncoding [optional]...........................................................................................104

11.5.13.4 ChromaEncoding [optional]...............................................................................................104

11.5.13.5 BitDepth [optional]........................................................................................................105

11.5.13.5 BitDepth [optional].............................................................................................................105

11.5.13.6 TransferFunction [optional]...........................................................................................105

11.5.13.6 TransferFunction [optional]...............................................................................................105

24

11.5.13.7 CodeRange [optional]....................................................................................................105

11.5.13.7 CodeRange [optional]........................................................................................................105

11.5.14 Compression Standard...........................................................................................................105

11.5.14 COMPRESSION STANDARD........................................................................................................105

11.5.14.1 CompressionType [optional]..........................................................................................105

11.5.14.1 CompressionType [optional]..............................................................................................105

11.5.14.2 Label [optional]..............................................................................................................105

11.5.14.2 Label [optional]..................................................................................................................105

11.5.14.3 PictureCoding [optional]................................................................................................106

11.5.14.3 PictureCoding [optional]....................................................................................................106

11.5.14.4 ProfileType [optional]....................................................................................................106

11.5.14.4 ProfileType [optional]........................................................................................................106

11.5.14.5 LevelType [optional]......................................................................................................106

11.5.14.5 LevelType [optional]...........................................................................................................106

11.5.14.6 StandardsBody [optional]...............................................................................................107

11.5.14.6 StandardsBody [optional]...................................................................................................107

11.5.14.7 Label [optional]..............................................................................................................107

11.5.14.7 Label [optional]..................................................................................................................107

11.5.15 FrameRate [optional]............................................................................................................107

11.5.15 FRAMERATE [OPTIONAL]..........................................................................................................107

11.5.16 Crop [optional]......................................................................................................................107

11.5.16 CROP [OPTIONAL].....................................................................................................................107

11.5.17 CanvasCoordinates [optional]..............................................................................................108

11.5.17 CANVASCOORDINATES [OPTIONAL].........................................................................................108

11.5.18 AudioOutputFormat [optional].............................................................................................109

11.5.18 AUDIOOUTPUTFORMAT [OPTIONAL]........................................................................................109

25

11.5.18.1 SampleRate [optional]....................................................................................................109

11.5.18.1 SampleRate [optional]........................................................................................................109

11.5.18.2 BitDepth [optional]........................................................................................................109

11.5.18.2 BitDepth [optional].............................................................................................................109

11.5.18.3 SamplesPerFrame [optional]..........................................................................................109

11.5.18.3 SamplesPerFrame [optional].............................................................................................109

11.5.18.4 SpeedChange [optional].................................................................................................109

11.5.18.4 SpeedChange [optional].....................................................................................................109

11.5.18.5 PitchCorrection [optional]..............................................................................................109

11.5.18.5 PitchCorrection [optional].................................................................................................109

11.5.18.6 CompressionStandard [optional]....................................................................................110

11.5.18.6 CompressionStandard [optional].......................................................................................110

11.5.18.7 BitRate [optional]...........................................................................................................110

11.5.18.7 BitRate [optional]...............................................................................................................110

11.5.18.8 StandardsBody [optional]...............................................................................................110

11.5.18.8 StandardsBody [optional]...................................................................................................110

11.5.18.9 Label [optional]..............................................................................................................110

11.5.18.9 Label [optional]..................................................................................................................110

11.5.19 AudioConfig [optional]..........................................................................................................110

11.5.19 AUDIOCONFIG [OPTIONAL].......................................................................................................110

11.5.19.1 ChannelNN [optional]....................................................................................................110

11.5.19.1 ChannelNN [optional]........................................................................................................110

11.5.19.2 Language [optional].......................................................................................................110

11.5.19.2 Language [optional]...........................................................................................................110

11.5.19.3 Config [optional]............................................................................................................110

11.5.19.3 Config [optional]................................................................................................................110

26

11.5.19.4 Channel [optional]..........................................................................................................110

11.5.19.4 Channel [optional]..............................................................................................................110

11.5.19.5 Label [optional]..............................................................................................................110

11.5.19.5 Label [optional]..................................................................................................................110

11.5.20 OutputSpeedOffset [optional]................................................................................................111

11.5.20 OUTPUTSPEEDOFFSET [OPTIONAL]...........................................................................................111

11.5.21 ColorTransforms [optional]..................................................................................................111

11.5.21 COLORTRANSFORMS [OPTIONAL].............................................................................................111

11.5.22 EncodingFormat [optional]...................................................................................................112

11.5.22 ENCODINGFORMAT [OPTIONAL]...............................................................................................112

11.5.23 PreProcessOps [optional].....................................................................................................112

11.5.23 PREPROCESSOPS [OPTIONAL]...................................................................................................112

11.5.24 Scaling....................................................................................................................................112

11.5.24 SCALING....................................................................................................................................112

11.5.25 TimeCodeChange...................................................................................................................113

11.5.25 TIMECODECHANGE..................................................................................................................113

11.5.26 OverlayType...........................................................................................................................113

11.5.26 OVERLAYTYPE..........................................................................................................................113

11.6 OPL EXAMPLES.............................................................................................................................113

11.6 OPL EXAMPLES.........................................................................................................................113

11.6.1 A Simple OPL (Basic Level)....................................................................................................113

11.6.1 A SIMPLE OPL (BASIC LEVEL)..................................................................................................113

11.6.2 A Level-1 Complex OPL (Extended Level)..............................................................................114

11.6.2 A LEVEL-1 COMPLEX OPL (EXTENDED LEVEL)........................................................................114

11.6.3 A Level-2 Complex OPL (Extended Level)..............................................................................116

11.6.3 A LEVEL-2 COMPLEX OPL (EXTENDED LEVEL)........................................................................116

11.6.4 An Overlay Pre-Processing Block for an OPL (Extended Level)............................................119

27

11.6.4 AN OVERLAY PRE-PROCESSING BLOCK FOR AN OPL (EXTENDED LEVEL)...............................119

12 PACKAGING..................................................................................................................................121

12.1 INTRODUCTION..............................................................................................................................121

12.1 INTRODUCTION........................................................................................................................121

12.2 PACKAGING SYSTEM OVERVIEW...................................................................................................121

12.2 PACKAGING SYSTEM OVERVIEW......................................................................................121

12.2.1 Functional Framework............................................................................................................121

12.2.1 FUNCTIONAL FRAMEWORK.........................................................................................................121

12.2.2 Packaging Concepts.................................................................................................................121

12.2.2 PACKAGING CONCEPTS...............................................................................................................121

12.3 DISTRIBUTION PACKAGE...............................................................................................................121

12.3 DISTRIBUTION PACKAGE......................................................................................................121

12.3.1 Introduction..............................................................................................................................121

12.3.1 INTRODUCTION...........................................................................................................................121

12.3.2 Distribution Package...............................................................................................................121

12.3.2 DISTRIBUTION PACKAGE............................................................................................................121

12.3.3 General....................................................................................................................................121

12.3.3 GENERAL....................................................................................................................................121

12.3.4 Packing for Transport..............................................................................................................121

12.3.4 PACKING FOR TRANSPORT..........................................................................................................121

12.3.5 Distribution Volume.................................................................................................................122

12.3.5 DISTRIBUTION VOLUME..............................................................................................................122

12.3.5.1 General.............................................................................................................................122

12.3.5.1 General.................................................................................................................................122

12.3.6 Standards.................................................................................................................................122

12.3.6 STANDARDS................................................................................................................................122

ANNEX.................................................................................................................................................123

A - EXAMPLE WORKFLOWS..................................................................................................................12328

A - EXAMPLE WORKFLOWS.........................................................................................................123

B - COMPOSITION PLAYLIST (CPL) EXAMPLE.....................................................................................125

B - COMPOSITION PLAYLIST (CPL) EXAMPLE......................................................................125

B1 – CPL Schema..............................................................................................................................125

B1 – CPL SCHEMA...............................................................................................................................125

B2 – Composition PlayList (CPL) Example......................................................................................139

B2 – COMPOSITION PLAYLIST (CPL) EXAMPLE..................................................................................139

C - OUTPUT PROFILE LIST XML EXAMPLES........................................................................................143

C - OUTPUT PROFILE LIST XML EXAMPLES..........................................................................143

C1 - OPL Outline in pseudo-XML (Extended Level)....................................................................143

C1 - OPL OUTLINE IN PSEUDO-XML (EXTENDED LEVEL).............................................................143

C2 - A Simple OPL (Basic Level).................................................................................................143

C2 - A SIMPLE OPL (BASIC LEVEL)...............................................................................................143

C3 - A Complex (level1) OPL (Extended Level)...........................................................................145

C3 - A COMPLEX (LEVEL1) OPL (EXTENDED LEVEL)....................................................................145

C4 - A Complex (level2) OPL (Extended Level)...........................................................................146

C4 - A COMPLEX (LEVEL2) OPL (EXTENDED LEVEL)....................................................................146

C5 - A Pre-processing section for an OPL (Extended Level).......................................................149

C5 - A PRE-PROCESSING SECTION FOR AN OPL (EXTENDED LEVEL).............................................149

GLOSSARY OF TERMS....................................................................................................................151

29

Table of Figures

FIGURE 1 - EXAMPLE THEATRICAL WORKFLOW...................................................................36

FIGURE 2 - EXAMPLE IMF SYSTEM ARCHITECTURE..............................................................37

FIGURE 3 - EXAMPLE WRAPPING..................................................................................................38

FIGURE 4 - EXAMPLE IMF COMPOSITION..................................................................................39

FIGURE 5 - EXAMPLE IMF HIERARCHICAL STRUCTURE......................................................40

FIGURE 6 - EXAMPLE IMP.................................................................................................................41

FIGURE 7 - EXAMPLE OF AN IMAGE CONTAINER VS. 2.39:1 ACTIVE IMAGE AREA.....44

FIGURE 8 - EXAMPLE 1: SIMPLE CUTS FROM ONE AREA TO ANOTHER..........................65

FIGURE 9 - EXAMPLE 2: PAN FROM ONE AREA TO ANOTHER.............................................66

FIGURE 10 - EXAMPLE 3: CHANGE IN OUTPUT IMAGE SIZE................................................67

FIGURE 11 - EXAMPLE 4: SQUEEZING OR SCALING SHOTS..................................................67

FIGURE 12 - EXAMPLE TRACK FILE STRUCTURE....................................................................69

FIGURE 13 - EXAMPLE OF KLV CODING......................................................................................70

FIGURE 14. COMPOSITION PLAYLIST TIMING..........................................................................76

FIGURE 15. SEQUENCE TIMING......................................................................................................76

FIGURE 16. SEGMENT TIMELINE...................................................................................................77

FIGURE 17. RESOURCE TIMELINE ................................................................................................77

FIGURE 18. SAMPLE MONOSCOPIC COMPOSITION PLAYLIST. ONLY THE FIRST AND LAST BYTES OF UUIDS ARE REPRESENTED...............................................................................78

FIGURE 19. SAMPLE STEREOSCOPIC COMPOSITION PLAYLIST. ONLY THE FIRST AND LAST BYTES OF UUIDS ARE REPRESENTED...............................................................................79

FIGURE 20. COMPOSITION PLAYLIST ELEMENT STRUCTURE............................................80

FIGURE 21. LOCALE ELEMENT STRUCTURE.............................................................................84

FIGURE 22 - SEQUENCE STRUCTURE............................................................................................86

FIGURE 23 - OUTPUT PROFILE LIST RELATIONSHIP OVERVIEW.......................................97

FIGURE 24 - FUTURE STATE - MASTERING & DISTRIBUTION SERVICING....................123

FIGURE 25 - EXAMPLE IMF WORKFLOW..................................................................................124

Table of Tables

TABLE 1: IMF ELEMENTS.................................................................................................................42

TABLE 2: BASIC LEVEL IMAGE CONTAINERS AND FRAME RATES..................................45

30

TABLE 3: EXTENDED LEVEL IMAGE CONTAINERS AND FRAME RATES.........................46

TABLE 4: IMAGE METADATA DATA ELEMENTS.......................................................................49

TABLE 5: ALLOWABLE SAMPLES/FRAME FOR SPECIFIED FRAME RATES*...................52

TABLE 6 - AUDIO METADATA DATA ELEMENTS......................................................................54

TABLE 7 - PAN AND SCAN METADATA DATA ELEMENTS......................................................64

TABLE 8 METADATA FIELDS COMMON TO EVENT 0000 AND 0001.....................................65

TABLE 9 - PS EVENT ID: 0000, PAN/SCAN EVENT FOR SHOT #1.............................................66

TABLE 10 - PS EVENT ID: 0001, PAN/SCAN EVENT FOR SHOT #2...........................................66

TABLE 11: XML NAMESPACES.........................................................................................................73

TABLE 12: TERMS AND DEFINITIONS...........................................................................................75

TABLE 13: EXAMPLES OF CONTENT KIND.................................................................................81

TABLE 14: EXAMPLE RATINGS (INFORMATIVE)......................................................................85

TABLE 15: EXAMPLES OF MARKER LABELS..............................................................................90

TABLE 16: XML NAMESPACES.......................................................................................................100

TABLE 17: EXAMPLES OF COMPRESSIONTYPE ELEMENTS...............................................106

TABLE 18: EXAMPLES OF PICTURECODING ELEMENTS.....................................................106

TABLE 19: EXAMPLES OF PROFILETYPE ELEMENTS...........................................................106

TABLE 20: EXAMPLES OF LEVELTYPE ELEMENTS...............................................................107

TABLE 21: EXAMPLES OF LABEL ELEMENTS..........................................................................107

TABLE 22: GLOSSARY OF TERMS.................................................................................................151

31

1 IMF Introduction

1.1 IntroductionWith the advance of technology within the motion picture post-production industry, a paradigm shift is upon us as we move from the videotape workflow to the file-based workflow. It is with this shift that a need has arisen for a standardized set of specifications for this file-based workflow. In light of this shift, an organization was sought out by content creators to provide the facility for detailed discussions surrounding this topic. The Entertainment Technology Center (ETC) stood out as a leading candidate for such discussions and in November of 2008 the Interoperable Master Format or IMF specification effort was initiated.

1.2 ScopeThe IMF file-based workflow is designed to replace the existing tape-based Distribution Servicing workflow. It will store one master set of file-based elements to be assembled for any downstream distribution using multiple Composition PlayLists (Recipes), similar to what is used in present day Digital Cinema Packaging (DCP). The broad concept of a high quality, uniform IMF should lower costs, improve time-to-market, and increase interoperability of existing production processes and needs.

This specification is intended to promote interoperability and faster implementation of multiple variants on a common video package, while retaining highest quality and appropriate security of the material. It is envisioned that this Final Specification would then be presented to SMPTE (Society of Motion Picture and Television Engineers) to create standards, recommended practices and engineering guidelines to implement this specification throughout the industry as a common interchange method.

1.3 Basic and Extended LevelsIn order to accelerate the adoption of this specification, it has been conceptualized into two levels. The first is the Basic Level, which will be less complicated to implement at the time of this publication. This document also identifies additional functionality, which is beyond the scope of the Basic Level. These are described as Extended Level, which may be realized as one or more extensions to the Basic Level standard

Throughout this document you will see certain items and elements identified as either Basic or Extended. If there is no reference to Basic or Extended then an item or element should be assumed to be Basic.

1.4 System ObjectivesAt the onset of writing a specification for an Interoperable Master Format, ETC acknowledged certain fundamental requirements, which are:

• The Interoperable Master Format (IMF) shall provide for a single set of master files and recipes to allow for easy creation of versions for distribution channels. This should also provide the potential to repurpose existing content.

• The IMF shall have the capability to present Essence and Metadata that is equal to or better than what one could achieve with current practice (i.e., Videotape).

• The IMF shall provide mechanisms (i.e., asset management, packing lists) for the exchange of IMF metadata or packages between facilities.

• This system should be based upon international standards so that content can be interchanged anywhere in the world as can be done today with videotape. These standards should be open published industry standards that are widely accepted and codified by regional and international standards bodies such as: ANSI, SMPTE, ITU, W3C, and ISO/IEC.

• The system specification and formats should be chosen so that the capital equipment and operational costs are reasonable and exploit, as much as possible, the economies of scale associated with equipment and technology in use in other industries.

• The hardware and software used in the system should be easily upgraded as advances in technology are made. Upgrades to the format should be designed in a way so that content may be

32

distributed and compatibly exchanged on the latest IMF-compliant hardware and software, as well as earlier adopted IMF-compliant equipment installations.

• The Interoperable Master Format shall be based upon a component architecture (e.g., Mastering, Compression, Encryption, Distribution, Storage, Playback) that allows for the components to be replaced or upgraded in the future without the replacement of the complete system. It is the intention of this Digital Video specification to allow for advances in technology and the economics of technology advancement.

• IMF Extended Level(s) must be backward compatible with all functionality in IMF Basic. As technology advances, further extensions in functionality may be amended to the specification, resulting in additional Extended Levels. Each new level must be backward compatible with all previous extensions and the Basic Level.

• The Interoperable Master Format shall provide a reliability and availability that is equal to, or better than, current practice (i.e., Videotape).

• The Interoperable Master Format shall allow for the use of a security method. The system should provide a means to allow the content to use standardized encryption with private/public keys. The IMF should also allow the use of forensic marking of the content for providing traceable forensic evidence in the case of theft.

1.5 Document LanguageThis document consists of normative text and optional informative text. Normative text is text that describes the elements of the design that are indispensable or contains the conformance language keywords: “shall”, “should” or “may”. Informative text is text that is potentially helpful to the user, but not indispensable and can be removed, changed or added editorially without affecting interoperability. Informative text does not contain any conformance keywords. All text in the document is, by default, normative except: any section titled “Introduction,” any section explicitly labeled as “Informative,” or individual paragraphs that start with the word “Note.” Normative references are those external documents referenced in normative text and are indispensable to the user. Informative, or bibliographic, references are those references made from informative text or are otherwise not indispensable to the user.

The keywords “shall” and “shall not” indicate requirements that must be strictly followed in order to conform to the document and from which no deviation is permitted.

The keywords “should” and “should not” indicate that among several possibilities one is recommended as particularly suitable, without mentioning or excluding others; or that a certain course of action is preferred but not necessarily required. In the negative form, a certain possibility or course of action is deprecated but not prohibited.

The keywords “may” and “need not” indicate a course of action permissible within the limits of the document.

The keyword “reserved” indicates that a condition is not defined and shall have no meaning. However, it may be defined in the future. The keyword “forbidden” is the same as reserved, except that the condition shall never be defined in the future.

A compliant implementation is one that includes all mandatory provisions (“shall”) and, if implemented, all recommended provisions (“should”) as described. A compliant implementation need not implement optional provisions (“may”).

Requirements are indicated with the key phrases “is required to”, “is encouraged to” and “can” which represent “shall,” “should” and “may” (had the text been in a separate requirements document). This is necessary in order to distinguish requirements from the specification conformance language.

The following keywords are italicized: shall, shall not, should, should not, required, not required, encouraged, and not encouraged.

The names of standards publications and protocols are placed in [bracketed text]. International and industry standards contain provisions, which, through reference in this text, constitute provisions of this specification. At the time of publication, the editions indicated were valid. These referenced standards are subject to revision, and parties to agreements based upon this specification are encouraged to investigate the possibility of applying the most recent editions of the referenced standards. Section is a glossary of technical terms and acronyms used throughout this specification. The reader is encouraged to refer to the glossary for any

33

unfamiliar terms and acronyms.

Trademarked names are the property of their respective owners.

34

2 SYSTEM OVERVIEW

1.6 Document Framework The document defines technical specifications and requirements for the creation and distribution of an Interoperable Master Format. The details are in the following sections:

Essence: This section provides specifications for the image and audio essence and its specific inherent metadata. The image essence specification defines a common set of image structures by specifying parameters such as image container, colorimetry and, if required, a mezzanine compression structure for the Interoperable Master Format (IMF). The Audio Essence specifies audio characteristics such as; bit depth, sample rate, minimum channel count, channel mapping and reference levels.

Data Essence: This section provides specifications for the subtitle (timed text and sub pictures) and captions data essence. The Subtitles Essence specifies the format of a Digital Video subtitle track file. A subtitle file contains a set of instructions for placing rendered text or graphical overlays at precise locations on distinct groups of motion picture frames. A caption file should provide graphical overlays or provide graphical information to a secondary system for display of text. Outside of providing to a secondary system most other parameters are the same as subtitle data essence.

Dynamic Metadata: This section provides the specifications for the metadata that is outside of the associated metadata of the essence or data essence. This would be metadata such as time code, pan and scan, and color transforms.

Wrapping: This section defines the requirements for wrapping the content and metadata (image, audio and subtitle) files using (where possible) existing Material eXchange Format (MXF) specifications. The output of this process is the Track Files. This section also defines the requirements for encrypting the essence (sound, picture and subtitles) of the IMF if required.

Composition: This section provides the specifications for the creation of XML using Composition PlayLists (CPL), which are scripts that link the IMF Track Files together into synchronized pieces of content. This section will also touch upon the security requirements for a composition and Composition PlayList.

Output Profile List: This section describes a set of information that would be used in conjunction with a CPL to specify particular content provider output preferences. In a typical workflow, it would point to a specific CPL within an IMF and instruct a transcoder or playout device to manipulate the content per those provider output preferences.

Packaging: Interoperable Master Format Compositions can be packaged for distribution, which is detailed in this section. Provides requirements for all the tools necessary for editorial functions in a typical post-production environment.

Annex: This section contains example workflows using the IMF as well as definitions and suggested devices for editorial systems, transcoding, and playout systems.

1.6.1 Basic and Extended Level ReferencesThroughout this document there are elements of the specification that are categorized as either Basic Level or Extended Level. This is done intentionally to distinguish the difference to the reader of what will be included in a Basic IMF structure and what will be added to extend the Basic Level. This designation will be specified within each chapter where it is pertinent. Where it is not designated then it is assumed to be a part of the Basic Level specification.

35

1.7 OverviewThe goal of the IMF project is to establish an integrated hardware and software solution for the processing, storage, and management of digital content intended for downstream distribution to business that will consume such content.

1.7.1 IMF System ArchitectureFigure 1, below, demonstrates an example of the end-to-end data flow from Production to Distribution. The focus of IMF is within the Distribution Servicing phase.

Figure 1 - Example Theatrical Workflow

To further demonstrate the concept of the Interoperable Master Format in a system architecture for distribution servicing refer to Figure 2, below. The IMF aggregates image, audio, and other files to support processing for any downstream delivery requirement. It does this using Composition PlayLists to create the deliverables using transcoding technologies. The IMF package shall allow for delivery using the image elements stored in either a compressed or uncompressed file. An example of this would be an HD resolution with 709 color space at 24 FPS converted to SD resolution with 601 color space at 29.97 FPS.

36

Distribution Mechanisms

Figure 2 - Example IMF System Architecture

1.7.2 Major System Key ConceptsThe following concepts listed below are the Key Concepts of the IMF as a system. These concepts are derived from work done by content creators to create masters for the downstream distribution servicing of theatrical content. This is not to say that these concepts or the IMF should not be applied to other forms of content. Instead it is noted here so that the reader may better understand its origin.

1.7.3 Business-to-Business SolutionThe IMF is intended to facilitate internal or a business-to-business relationship and is not intended to be delivered to the consumer directly.

1.7.4 Digital Source Master (DSM)The IMF is derived from a wide range of sources with a wide range of technical levels. One example is content in its finished state at the end of the theatrical post-production process, which is shown above in Figure 2, as a Digital Intermediate, or also known as a Digital Source Master (DSM). The DSM may also be used to convert to a film duplication master and/or a master for archival purposes. It is not the intention of this document to, in any way, specify the DSM. This is left to the discretion of the content provider.

1.7.5 Archive not in ScopeIt is also not the intention of this specification to design the IMF as an archiveable master. One could conceive this as another use of the IMF; however, this is not part of the scope of this specification.

37

1.7.6 File/Frame-Based SystemThe IMF is built upon a data file-based design, i.e., all of the content is made up of data stored in files. These files are organized around the image frames, which means that all of the synchronization references to the image frames and frame rate. The file is the most basic component of the system.

1.7.7 Essence and Data EssenceThe raw image and audio files of the IMF make up what is known as Essence. Also included as part of the IMF shall be subtitle or caption essence. This type of essence is called Data Essence and because of its nature it shall require different specifications and hence is described in its own section.

1.7.8 MetadataMetadata is essentially data about data. There are many examples of metadata:

• Supporting metadata

• Descriptive metadata

• Dynamic metadata

Supporting and Descriptive metadata are defined by SMPTE. A new concept proposed for the IMF is Dynamic metadata. This metadata is metadata that changes on a frame basis such as time code, pan and scan, and color transforms. This metadata may be applied to the underlying essence. It shall be synchronized to the essence and therefore with these requirements shall be wrapped and contained as Track Files.

1.7.9 SecurityThe IMF should not preclude the use of encryption or the use of forensic marks. This should occur at the wrapping, composition or packaging stage.

1.7.10 Wrapping and Track File CreationWrapping is the process of encapsulating the essence, data essence and dynamic metadata files into well understood temporal units, called Track Files, using a standardized wrapping method, such as MXF. Figure 3, below, shows a basic example of this process of wrapping Essence and Metadata into Track Files. This process includes a way to uniquely identify each Track File along with its associated essence and metadata. It also provides a method to identify synchronization locations within each of the Track Files.

Figure 3 - Example Wrapping

38

1.7.11 CompositionA Composition represents a complete set of files that may be a feature, an episode, a trailer, an advertisement or any other single piece of content. A composition minimally consists of a Composition PlayList (CPL) and one or more Track Files. Composition PlayLists (CPL’s) are XML structured textual lists that define how elements of an IMF are to be assembled and either transcoded to another format or played out as a presentation.

Figure 4 - Example IMF Composition

1.7.12 VersionsOne of the main reasons for having an IMF is the ability to create many versions of a program without duplicating the common essence used for each version. Instead, one Composition PlayList (CPL) is required for each version of the program, which is much smaller in size as compared to the Track Files themselves. Essence that is specific to the desired version is created and supplied along with a new CPL, which in conjunction with the common essence results in the desired version.

1.7.13 SequenceWithin the Composition PlayList (CPL) one should create sequences where the Track Files are nested within these sequences. The CPL is organized in such a way that, finding and possibly replacing sequences becomes more efficient depending on the number of Track Files. This configuration was selected to give the content creator more choices for the structure of the Composition PlayList.

In the IMF, a sequence represents a conceptual period of time having a specific duration chosen by the content provider. For example, a Sequence may be the same length as a reel or it may be the running time of a television program between commercials. Again, this length is determined by the content provider to fit both the particular workflow and content type. Once created, Sequences can then be electronically spliced together within the CPL to create a complete presentation.

An example below (see Figure 5) shows the hierarchical structure of the CPL. A sequence shall have one or more Track Files nested within it. The IMF allows cuts only to occur between Track Files as well as allowing a minimum duration of a single image frame/field.

39

Figure 5 - Example IMF Hierarchical Structure

1.7.14 Output Profile ListOnce versions of a Composition are created, many different distribution formats can be made from that particular version. In order to assist with the automation of this process, one could use a standard method to define the transcoder or playout device’s output. The IMF method of communicating the desired output is called the Output Profile List or OPL. The OPL is a textual list that contains the specification of the output. It is linked to the CPL by using the UUID of the CPL. This allows one to link many OPL’s to a single CPL and automate the transcoding of the Composition into multiple distribution formats.

1.7.15 PackagesAn Interoperable Master Package (IMP) shall minimally consist of a Composition, an Output Profile List, an Asset Map and Packing List. An Asset Map is a text document that describes how the files are distributed across the physical media that is used for transport. A Packing List is a text document that provides a list of all of the files included in that specific IMP. An example of an IMP is shown below, in Figure 6.

40

Figure 6 - Example IMP

41

1.8 IMF Elements and ProcessesThe following table provides a list of the identified IMF elements and processes Some of these elements may be in Extended Level(s) – the designation as Basic or Extended will be specified in the sections in which the elements are defined.

Table 1: IMF Elements

Element

Image

Audio

Primary Display Subtitles / Captions

Composition PlayList (CPL) Files

Output Profile List (OPL)

Packing List

Asset Map

Time Code

Secondary Display Captions/Subtitles

10. QC / Picture Reports and Fact Sheets

11. Forensic Marking

12. Pan and Scan (Aspect Ratio Conversion)

13. Time Compression/ Expansion

14. Color Transform

15. HI (Hearing Impaired)

16. VI (Visually Impaired)

42

2 Essence

2.1 Overview

2.1.1 IntroductionEssence files are the core files that contain the image and audio data. One of the goals of the IMF is to allow for a variety of these files to be included into the IMF. For example, the IMF will support multiple image resolutions (e.g., 1920x1080 and 1280x720).

2.1.2 Essence System OverviewFor the purpose of documenting the specific requirements and specifications for Essence, it is helpful to divide the system into a set of components. The specifications and requirements for each of these components will be described in the following sections:

• Image – The image specification and file format

o Compression Requirements

o Structural Metadata

• Audio – The audio specification and file format

o Structural Metadata

2.2 Essence Fundamental Requirements

2.2.1 Common Essence File FormatsThe Essence file types shall use a common standardized file format for each element (image and audio). The image essence file format shall be a standard-conformant file based on existing ISO or SMPTE standards. The audio track file format shall be based on Recommendation ITU-R BR.1352-3 (2007) version of Broadcast Wave. Essence file formats shall also use standardized structure metadata to optimize interchange.

An MXF-conformant file, based on existing SMPTE standards, shall be used for wrapping each type of element (Image, Audio, Time Code, Dynamic Metadata, etc.).

2.2.2 Frame Rates and SynchronizationThe frame rate within any of any individual IMF essence file must remain constant. Metadata must be carried in the image and audio data file format to indicate the frame rate.

Frame Rates and Synchronization are covered in more detail here in this section and also in Sections 3 Data Essence, 4, Dynamic Metadata and 7, The Composition.

43

2.3 Image Specification

2.3.1 Image Container, Active Image, Pixel Aspect Ratio

The Image Container is defined as the full canvas of the image area, parts of which are not necessarily meant to be seen. Image Container is defined here as a rectangular array of pixels that contains the maximum possible image area in a given format. In contrast, the Active Image area is a subset of the Image Container and is defined as the area that the content provider considers active picture. Active Image contains the active image content only, but may contain letterboxing mattes or side mattes if the content provider wants to include them as active image. The Active Image area metadata tags are designed to be informative. They are not intended to be specifically acted upon by either the CPL or OPL. In addition, downstream transcoding devices shall not use this metadata to crop the image. The Active Image area shall not exceed the size of the Image Container.

Because the Active Image area may be smaller than the Image Container, the Active Image area needs to be defined by a horizontal and vertical position within the Image Container. In order to describe the location and size of the Active Image area with the least amount of information, the Active Image area shall be expressed as two x/y coordinate values: Top Left Coordinate and Bottom Right Coordinate. For example, the Active Image of content that is shown in the 2.39:1 aspect ratio in the highest resolution of HD (Active Image Width of 1920 pixels) would have an Active Vertical size of 803 (1920/2.39). Because the vertical size is an odd number, the placement of the Active Image cannot be centered within the 1920x1080 Image Container; however, by using coordinates to describe the position, the exact location within the Image Container can be made, as shown in Figure 7. The Top Left of the Image Container is always at coordinate (0,0). . Table 2: Basic Level Image Containers and Frame Rates and Table 3: Extended Level Image Containers and Frame Rates denote the image containers and frame rates for Basic and Extended Levels.

Figure 7 - Example of an Image Container vs. 2.39:1 Active Image Area

The IMF Image Container is expressed in the metadata (see section 5.5.3). Note: The IMF does not

44

specify any hard constraints for horizontal or vertical resolution.

Raster Format (Interlaced or Progressive) and Frame Rate are dependent on each other and to some extent, on the resolution of the image. The IMF must support the same Raster Formats and Frame Rates that are currently used in mastering today including those listed in the following SMPTE specifications:

• SMPTE 259M

• SMPTE 296M

• SMPTE 274M

• SMPTE 428-9 (Extended Level)

Because the file-based world affords some extra flexibility in regards to the mixing of resolution, frame rate and raster formats, particularly with progressive frame rate material, the IMF shall support the resolutions and frame rates listed in Table 2: Basic Level Image Containers and Frame Rates, and Table 3: Extended Level Image Containers and Frame Rates, in addition to the above SMPTE standards.

Table 2: Basic Level Image Containers and Frame Rates

System Level 1 (Basic)

Image Container support up

to:

Frame/Field Rates (Hz)*

Color Encoding

Color Encoding

Ratio

Raster Format

StereoscopicSupport

1.1 1920x1080 50.00, 60/1.001, 60.00

Y’,C’B,C’R 4:2:2 Interlaced1 Yes

1.2 1920x1080 24/1.001, 24.00, 25.00, 30/1.001,

30.00

Y’,C’B,C’R 4:2:2 Progressive Yes

1.3 1920x1080 24/1.001, 24.00, 25.00, 30/1.001,

30.00

R’,G’,B’ 4:4:4 Progressive No

1.4 1920x1080 50.00, 60/1.001, 60.00

Y’,C’B,C’R 4:2:2 Progressive No

1.5 1920x1080 50.00, 60/1.001, 60.00

Y’,C’B,C’R 4:2:2 Progressive Yes

1.6 1920x1080 50.00, 60/1.001, 60.00

R’,G’,B’ 4:4:4 Progressive Yes

1 There may need to be additional metadata defined for Interlaced Raster Formats. Because this is a field rate, additional data elements including field order (bottom or top field first) and possibly repeated fields for content with 3:2 pulldown should be needed to thoroughly describe the Interlaced content.

45

Table 3: Extended Level Image Containers and Frame Rates

System Level 3

(Extended)

Image Container support up

to:

Frame Rates (Hz)* Color Encoding

Color Encoding

Ratio

Raster Format

StereoscopicSupport

2.1 2048x1080 24.00, 25.00, 48.00, 50.00, 60.00

R’,G’,B’ 4:4:4 Progressive Yes

2.2 2048x1080 24.00, 25.00, 48.00, 50.00, 60.00

X’,Y’,Z’ 4:4:4 Progressive Yes

2.3 4096x2160 24.00, 48.00, 50.00, 60.00

R’,G’,B’ 4:4:4 Progressive Yes

2.4 4096x2160 24.00, 48.00, 50.00, 60.00

X’,Y’,Z’ 4:4:4 Progressive Yes

2.5 7680x4320 24.00, 25.00, 30.00, 50.00, 60.00

Y’,C’B,C’R 4:2:2 Progressive Yes

* Frame/field rate per eye for stereoscopic content. Display may be at a different rate.

2.3.2 Pixel Aspect RatioThe Pixel Aspect Ratio (PAR) defines the shape of the pixel used by the image in a ratio of width versus height. Square PAR is the same as a ratio of 1:1. Depending on the standard used, the PAR can differ (examples include the non-square PAR for NTSC and PAL). Both the Image Container and the Active Image shall share the same Pixel Aspect Ratio.

2.3.3 Bit DepthIn regards to Bit Depth, Basic Level IMF shall support 8-bit and 10-bit image content and Extended Level IMF shall support 12-bit and 16-bit content.

2.3.4 Chroma SubsamplingFor Y’CbCr, the Basic Level IMF shall support 4:4:4 (no chroma subsampling) and 4:2:2 chroma subsampling types. Current mastering standards use both of these ratios; therefore, the IMF shall include both of these in the format.

2.3.5 Color Space, Color Space GamutsThe Basic Level IMF shall include the Color Space and Color Space Gamuts that are currently used in mastering, which include:

• R’G’B’ ITU-R BT.709

• Y’CbCr ITU-R BT.709

• Y’CbCr ITU-R BT.601

The Extended Level IMF shall support:

• XYZ standard CIE 15:2004, Colorimetry

• Additional Extended Color Gamuts as needed

46

2.3.6 Stereoscopic ContentThe Basic Level IMF shall support stereoscopic content. The image essence parameters for each eye shall match the parameters for monoscopic image essence in the IMF. For stereoscopic content, the left eye content shall be encapsulated in a single track file, and the right eye content shall be encapsulated in a single and separate track file.

2.3.7 Compression RequirementsThe IMF shall support image essence formats in uncompressed, lossy compressed and lossless compressed forms. The compressed data essence shall support all properties of the image essence format (e.g. bit depth, resolution) as described in this document.

The following section describes requirements for compressed image essence.

Lossy image compression typically involves significant reduction in image data rates at the expense of some loss of image quality. If the loss of image quality is so small that the compressed image is perceptually equivalent to the original uncompressed image, then image compression is often described as “visually lossless” since there is no visual difference between the compressed and uncompressed image. The classification of a lossy image compression method as “visually lossless” is dependent on viewing distance, viewing environment, display type, display post-processing settings, the visual acuity and sensitivity of the viewer, and many other factors. For these reasons, it is not required that lossy compression used in the IMF be “visually lossless” because the viewing conditions of an IMF are unspecified and will instead defined by the use of each individual IMF system implementation.

The data rate of lossy image compression is typically described as either “constant bitrate” or “variable bitrate”. Constant bitrate image compression assigns the same number of bytes per image for all images in the composition. This results in a fixed data rate but an image quality that is dependent on the complexity of the image, generally lower complexity images will be represented with higher image quality. Variable bitrate image compression assigns a variable amount of bytes to each image. A variable bitrate image compression will typically assign more bytes to image with more complexity and/or detail, while assigning fewer bytes to less complex images.

Lossless image compression is a name given to a class of image compression techniques that only reduce the data rate of the image information and do not reduce the image quality. The lossless class of image compression is also known as “mathematically lossless” to distinguish itself from “visually lossless” lossy compression. Lossless image compression typically results in a variable bitrate, as the bitrate is dependent on the image complexity.

2.3.7.1 Image Compression Requirements

The following section defines the requirements for an Image Compression format and structure.

The Lossless and Lossy compression schemes for Basic Level IMF shall meet the following requirements:

• Shall be an Industry Standard (i.e., SMPTE, ITU, etc.)

• Shall support Intra-Frame

• Shall support MXF wrapping

• Shall support Variable and Constant Bit Rates

• Shall support Spatial Resolution Scalability

The compression scheme shall use documented industry standards in order to ensure consistent interoperability between system implementations and to prevent conflicts with intellectual property. In order to encourage adoption of the IMF by a large number of participants, the compression scheme should either be license-free or available on reasonable and non-discriminatory terms

2.3.7.2 Intra-Frame Compression

Intra-Frame compression is an important part of the image requirements because it allows for each image frame to be self-contained thereby allowing edits to occur in one-frame increments

47

without any required additional decoding. Both variable and constant bit rates should be used in the compression scheme in order to allow the content owner to balance quality of the image versus overall data size.

2.3.7.3 Spatial Resolution Scalability

The compression scheme shall allow for different spatial resolution levels within the same frame.

Note: This allows one set of files to contain multiple resolutions of the image at various image quality levels. For example, the compressed HD image with a resolution of 1920x1080 shall allow extractions of lesser resolutions such as 960x540 (half of the original width and height) and 480x270 (one-quarter of the original width and height), without having to decode the full image resolution and then scale the image width and height to the smaller resolutions. This method of extraction allows for smaller proxy versions of the files to be used without having to generate a separate file for a system that requires a smaller resolution or image quality level. Smaller proxies are used in many situations including editing and as reference files for audio conforming and subtitling creation.

2.3.7.4 Image Compression Codecs

At the time of this writing, a lossy and lossless CODEC that meets all of the above image and compression requirements is JPEG2000 Part 1; however, the IMF may use any CODEC that meets the above image and compression requirements.

At a minimum, the IMF shall support the JPEG2000 Part 1 (ISO.IEC 15444-1) codec, including the following profiles:

• JPEG2000 Part 1 – Amd 4 - Broadcast Profile Single-Tile Profile Level-1 shall be supported for standard definition content.

• JPEG2000 Part 1 – Amd 4 - Broadcast Profile Single-Tile Profile Level-2 thru Level-4 shall be supported for high definition content.

• JPEG2000 Part 1 – Amd 1 – 2K Digital Cinema Profile – shall be supported for 2K Digital Cinema content. (Extended Level)

• JPEG2000 Part 1 – Amd 1 – 4K Digital Cinema Profile – shall be supported for 4K Digital Cinema content. (Extended Level)

2.3.8 Uncompressed RequirementsUncompressed image formats shall be supported in Basic Level IMF, and shall be able to be wrapped into MXF.

The IMF shall support the following uncompressed formats:

• Generic Container (SMPTE 384M-2005)

• DPX (SMPTE 268M-2003)

Note: At the time of this writing, the Generic Container and DPX meet the uncompressed image requirements.

2.3.9 Structural Metadata

2.3.9.1 Image Metadata Required Fields

Specific image metadata shall be required for each image track, including stereoscopic images, that describes the native parameters of the image content, in order to allow for proper interchange between different implementation systems. At the time of this writing, however, the actual metadata fields cannot be defined. Instead, the data elements shown in Table 4 shall be the minimum amount of information supported by the IMF for image. These data elements shall be converted into specific metadata fields once the specification is complete.

48

Table 4: Image Metadata Data Elements

Data Element Data Element Definition Examples Stereoscopic

Active Image Top Left Start Coordinate (x,y)

Start of Active Image within an Image Container area expressed in an (x,y) coordinate value that is placed in relation to the Image Container Top Left Coordinate of (0,0).

Varies – examples include (0,0) and (0,239)

Active Image Bottom Right End Coordinate (x,y)

End of Active Image within Image Container area expressed in an (x,y) coordinate value that is placed in relation to the Image Container Top Left Coordinate of (0,0).

Varies – examples include (1919,1079) and (1679, 1079)

Code Value Range

Range used to represent zero black and 100% white.

Full-Range (0-1023), Limited-Range (64-940)

CODEC Coder Decoder for a digital stream of data.

JPEG 2000 Part 1

Color Channel Bit Depth

Number of bits used to represent the digital image data.

8, 10, 12, 16

Color Encoding Type of color model used for the image expressed in a set of components.

RGB, YCbCr, XYZ

Color Encoding Ratio

Number of samples used per color space component expressed in a ratio.

4:4:4, 4:2:2

Color Primaries xy chroma coordinates of the tri-stimulus values.

Rxy,Gxy,Bxy

Coordinate Origin

Coordinates that define the upper left corner of the Active Image within the Image Container.

Top-left, bottom-right

Frame Rate Rate that each image is shown; used in conjunction with Raster Format to express fields/second or frames/second.

Frame Rates are specified in the Essence section, Ref: 2.2.2

HANC Horizontal Ancillary Data - Ancillary packets located in the horizontal blanking region.

Embedded Audio

Image Container Horizontal Pixels

Total number of horizontal pixels used for the Image Container.

4096, 2048, 1920, 720, could be many

49

Data Element Data Element Definition Examples Stereoscopic

Image Container Vertical Pixels

Total number of vertical pixels used for the Image Container.

3112, 2160, 1556, 1080, 576, 486, 480, could be many

Mastering Luminance(Optional)

Optional metadata item that provides the reference luminance value used in the mastering environment.

14fL, 35fL

Mono Playback Enables or disables the ability to playback one eye out of a stereoscopic pair - also gives control to the content owner to not allow one eye to be played out.

Allowed, Not Allowed

Stereoscopic

Pixel Aspect Ratio

Shape of the pixel expressed in a ratio of width divided by height of the pixel. Note that the PAR is assumed to be the same for both the Image Container and the Active Picture.

1:1, could be any ratio

Raster Format Interlaced (fields/second) or Progressive (frames/second).

Interlaced, Progressive

Stereoscopic ID Identifies the Track as either a monoscopic or stereoscopic Track and if stereoscopic, identifies which Track is which eye.

Mono, Stereo_Left, Stereo_Right

Stereoscopic

Transfer Function

Relationship of code value to brightness value.

Linear, log, power function

VANC Vertical Ancillary Data - Ancillary packets located in the vertical blanking region.

Closed Caption data and VPID

Floating Window Indicates the presence of floating windows for stereoscopic content.

PresentNot Present

Stereoscopic

Mastering Screen Size

Indicates the diagonal screen size that the content was mastered on.

42” or 2m Stereoscopic

2D Extraction Method

If stereoscopic tracks may be viewed as a single track, this identifies the best eye track (right or left) to use. “None” if there is no best eye. “Prohibited” means that 2D extraction is not allowed

Right, Left, None, Prohibited

Stereoscopic

50

2.4 Audio SpecificationMost of what is detailed in this section shall be included in Basic Level. Areas of Audio that shall be in Extended Level are explicitly stated as such in this section.

2.4.1 Audio File FormatAudio Essence Track Files represent audio within the IMF.

• An audio essence track file shall be a single, complete audio element, which may be any soundfield configuration supported in IMF (see section 2.4.14).

• An audio essence track file would typically be wrapped or interleaved into a single file, and shall be limited to a single audio element (such as a composite mix or dialog track) and a single soundfield configuration (such as 5.1 or mono) per audio track file.

• Audio essence track files shall be further constrained per sections 2.4.2 through 2.4.15

• Data rate encoded audio shall not be used (e.g., AC3, DTS-MA, Dolby E).

• Matrix encoded audio (e.g. Lt-Rt, Dolby EX) may be used.

Note: Discrete inputs to IMF authoring include (informative): Broadcast Wave, Wave, PCM

2.4.2 Sampling RateSampling rates shall include 48.000k, 96.000k, 47.952k, and 95.904k.

2.4.3 Frame Rate/Audio SpeedFrame rates shall include Native Speed and Pulldown Speed frame rates as follows:

• Native Speed: 24.00, 25.00, 30.00, 50.00 and 60.00 fps. Note, these are equivalent audio speeds, as the image being represented is the same.

• Pulldown Speed: 23.976, 29.97 and 59.94 fps. Note, these are equivalent audio speeds, as the image being represented is the same.

2.4.4 Allowable Samples per FrameAllowable samples per frame shall be based on frame rate, according to the following table. The required sample (word) clocking rate stated in the column header shall cause the audio to sync to the frame speed of the associated image.

51

Table 5: Allowable Samples/Frame for Specified Frame Rates*

Frame RateSamples/Fram

e @ 47.952kHz

Samples/Frame

@48kHz

Samples/Frame

@95.9kHz

Samples/Frame @96kHz

24/1.001 2000 2002 4000 4004

24 n/a 2000 n/a 4000

25 n/a 1920 n/a 3840

30/1.001 1600 1600/.9992 3200 3200/.9993

30 n/a 1600 n/a 3200

50 n/a 960 n/a 1920

60/1.001 800 800/.9994 1600 1600/.9995

60 n/a 800 n/a 1600

48 n/a 1000 n/a 2000

2.4.5 Audio Bit DepthThe audio bit depth shall be 24 bits.

16 and 20 bit are not allowed - they shall be padded in the least significant bits to create 24 bit.

Note: Metadata should be included to reflect the source file bit depth.

2.4.6 Audio Track File ContentInformative Note: IMF differs conceptually from D-Cinema in the way audio is handled. In D-Cinema, one audio track file is playable at a time, and that audio track file can contain multiple audio elements within its 16 allowable channels. In IMF, multiple audio track files are playable at a time, and each audio track file contains only one audio element with only one soundfield configuration within its 16 allowable channels.

2.4.7 Audio Track File Element ConstraintThere shall be one audio element per audio track file. Multiple audio elements shall not be combined in a single audio track file.

The following audio elements are typical examples of what may be carried in the IMF.

• Printmaster (reels)

• Composite Mix (full length or parts)

2 Not to be confused with stereoscopic frame rates (see 2.2.2, above)3 Not to be confused with stereoscopic frame rates (see 3.2.2, above)4 If the frame rate is not an integer multiple of the audio sample rate, then the number of samples in each frame length shall vary such that the correct aggregate number of samples are maintained per the coding theory delineated in SMPTE 382M, Section 6.2. In practice this is aggregated over a 5 frame period. Therefore, for these cases, the audio editorial granularity is restricted to once every 5 frames. See CPL requirement 10.2.7, Audio Editing Granularity.5 Not to be confused with stereoscopic frame rates (see 2.2.2, above)

52

• Music+Effects (one track, two tracks or full multitrack)

• M+E optional material (one track, two tracks or full multitrack)

• Narration

• VI (Visually Impaired)

• HI (Hearing Impaired)

• SAP

• Dialog (one track, two tracks, or full multitrack) Often, this is part of a “DME split track”

• Music (one track, two tracks, or full multitrack) Often, this is part of a “DME split track”

• Effects (one track, two tracks, or full multitrack) Often, this is part of a “DME split track”

2.4.8 Audio Track File Language ConstraintThere shall be only one audio language per audio track file. The audio language is named by the primary language spoken in the track.

2.4.9 Track File Loudspeaker Channel Content Constraint

A given loudspeaker channel shall only be represented once per track file (i.e., within a track file containing multiple audio channels); there shall be a one-to-one relationship between loudspeakers and audio channels. There shall not be multiple instances of a loudspeaker channel within a track file.

2.4.10 Channels Per Track File ConstraintAn audio track file shall not exceed 16 audio channels.

2.4.11 Simultaneous Multiple Audio Track File Availability and Playout

The CPL in an IMF shall be capable of pointing to multiple audio track files, which are simultaneously available for use by a transcoder or real-time playout device.

IMF shall support simultaneous multiple audio track file playout, as multiple audio elements may be available to play out at once.

2.4.12 Multiple Audio Track File RoutingWhen accessing multiple track files, the track file individual channels shall be combined (like channel to like channel) for output routing purposes on a unity gain basis. For example, the left channel of audio track file A and the left channel of audio track file B are combined at unity gain as the overall left channel content of the IMF.

Multiple track file like channels shall not be combined at other than unity gain.

Different loudspeaker channels shall not be combined (e.g., Left and Right are never combined to make a mono output).

2.4.13 Mixing of Audio Channels• Individual audio channels within a track file shall not be mixed.

• Audio channels between multiple track files shall not be mixed, other than the routing spec stated above.

Different channels shall not be combined (downmixed) to make a narrower soundfield configuration.

2.4.14 Soundfield Configuration ConstraintsThere shall be only one soundfield configuration per track file. Multiple soundfield configurations shall not be combined in a single audio track file.

53

The soundfield configuration shall be described in the metadata that is carried with the audio track file. A registry of IMF soundfield configurations shall be created in conjunction with SMPTE 30MR and shall be used for this purpose.

The following soundfield configurations shall be supported in IMF: Note: Additional soundfield configurations must be registered in order to be supported.

• 5.1

• 5.0

• L/R (Lo-Ro) “Standard Stereo”

• Lt-Rt

• Mono

• LCR

• LCRS

• 5.1EX

• 6.1 (discrete)

• 6.0 (discrete)

• 7.1 (L, C, R, Lss, Rss, Lrs, Rrs, LFE)

2.4.15 Channel Layout and Mapping• Basic Level

Until such time as the MXF MCA Labeling Standard is ratified, IMF audio track files shall have a defined channel layout for a given soundfield configuration, which is stated in the metadata. For example, 5.1 (6 channel) would always be L, R, C, Sub, Ls, Rs. Note: These layouts should be defined in the SMPTE audio ad hoc group.

• Extended Level

When the MXF MCA Labeling Standard is ratified, IMF will need to register UL’s for Audio Channel, Soundfield Group and Group of Soundfield Group labels for the IMF application. Once these are registered, IMF shall support these labels. IMF Extended Level Compliant devices will be required to read and write these labels.

The recognition of Soundfield Configurations and automated routing of audio channels shall be implemented in Extended Level.

2.4.16 Audio Metadata Data ElementsSpecific audio metadata shall be required for each audio track, that describes the native parameters of the audio content, in order to allow for proper interchange between different implementation systems. At the time of this writing, however, the actual metadata fields cannot be defined. Instead, the data elements shown in Table 6 - Audio Metadata Data Elements, shall be the minimum amount of information supported by the IMF for audio. These data elements shall be converted into specific metadata fields once the specification is complete.

Audio Metadata elements are given in the following table.

Table 6 - Audio Metadata Data Elements

Audio Data Element Data Element Definition Examples

Essence Audio File Type Audio file type of the essence contained in the track file.

2’s Complement PCM

54

Audio Data Element Data Element Definition Examples

Track Audio Type The type of wrapper that is conveying the essence.

MXF

Sample Rate Number of audio samples in a second.

48K, 96K

Frame Rate The audio speed as expressed by the frame rate of the associated picture file.

Samples/Frame The number of audio samples in the duration of one frame of the associated picture file.

2000, 2002, 4000, 4004

Source File Bit Depth The number of bits in the audio word of the source file.

Note that in the IMF itself this is always 24 bit, but it is important to know if this is the source file bit depth or if it has been padded.

16 bit, 20 bit, 24 bit

Language The primary spoken language of the audio essence.

English, Italian

Audio Element Type The type of audio contained in the audio essence.

Partial DME split track, printmaster, music and effects

Audio Content An additional modifier to describe the content of the audio contained in the audio essence.

Dialog, Visually Impaired, SAP

Associated Audio Track Files Y/N

Absence of this value assumes “No”

Yes indicates that this track file is part of a group of track files that are to be played out simultaneously.

Yes or No

Associated Track File Information

This information is required only if the Associated Audio Track Files data is set to “Y”.

This indicates which other audio tracks in the IMF are associated with this track file.

Music, Effects (e.g. these are other track files that may be associated with a Dialog track file)

Soundfield Configuration This indicates the intended loudspeaker configuration.

5.11

55

Audio Data Element Data Element Definition Examples

Channel Layout

Basic Level Only, not required in Extended Level.

This is the order of the channel samples and their associated channel labels that are contained in the track file.

L, R, C, LFE, Ls, Rs1

Native Speed Y/N

(Required)

If NO, look to speed/processing and pitch correction fields.

Yes or No

Speed/Processing (If applicable).

Required if Native Speed=NO.

Indicates if the audio has been processed in order to attain a different speed than its native recorded speed.

Varispeed, Time Compression

25/23.976

(This is “25 fps”, but is sped up from the native speed of 23.976 to 25 fps. The resultant audio is 4.1% faster and higher in pitch than the original captured audio. Metadata should indicate it is “25 fps sped up 4.1% using Varispeed” (or time compression)

Pitch Correction Y/N

Absence of this value assumes “No”

Indicates that the pitch of the audio has been corrected to its original pitch after speed processing.

Yes or No

Loudness (Number) This is the loudness value, as measured by the Loudness Standard/Method.

-25

Loudness Standard/Method The standards document or method used to measure the loudness of the program

ITU 1770, LKFS, Dialog Level

Loudness Range (LRA) Range of loudness level throughout the program measured using an integrated technique

10LU, 20LU

True Peak (Number) The loudness value at the peak point in the program.

-6dbFS

1 – Per work being performed in SMPTE 31FS-10.

56

3 Data Essence

3.1 Overview

3.1.1 IntroductionThis section provides requirements for the subtitle and closed caption data essence. The area pertaining to subtitle requirements provides information about the format of a digital video subtitle track file. The area pertaining to closed captioning provides information about the format of timed text data contained within a digital video file/signal. A subtitle file contains a set of instructions for placing rendered text or graphical overlays at precise locations on distinct image frames. A caption file should provide graphical overlays or provide graphical information to a secondary system for display of text. Outside of providing instructions to a secondary system most other parameters are the same as subtitle data essence.

Data Essence information listed in this section shall be included in Basic Level.

3.1.2 Data Essence System OverviewData Essence within the IMF is intended to enable the repurposing of subtitle and caption data to create various output formats as specified in the Output Profile List. There are a multitude of subtitle and caption formats in use within the motion picture and television industry (many of which are proprietary in nature) which inhibit interoperability between systems. In this regard it is desired to utilize a single common file format to store both subtitle and caption data within the IMF.

The Data Essence common file format can be either (i) generated natively, or (ii) derived from existing subtitle/caption source data (e.g. CEA 708 captions, Digital Cinema subtitles). An Output Profile List will then indicate the desired output format to be generated from the common file format stored within the IMF.

3.1.3 Major Data Essence Concepts and Definitions

For the purpose of documenting the requirements and specifications for IMF Data Essence, it is helpful to divide the system into a set of components. The specifications and requirements for each of these components will be described in the following sections:

For the purposes of the IMF, data essence can be one of the following:

• Rendered in a specified font (Timed Text) and overlaid by the system

• Pre-rendered PNG bitmaps (sub picture)

3.1.4 SubtitlesTextual representation of the audio track, usually just the dialog and usually in a language other than the audio track dialog, intended for foreign language audience. A subtitle track file contains a set of metadata and a set of subtitle structures that encode the content and temporal/spatial locations of subtitles to be displayed over a primary image. It is understood that this data shall be output as a file and that the data in that file shall remain related to associated video but that the information is not included as part of a video image file.

3.1.5 CaptionsGenerated data associated with video and intended for “optional” decode by consumer display devices that are equipped with caption decoders. The resulting text information, generated by the decoding unit, is displayed at specified times during the playback of an image file. Captions are understood to be a textual representation of the audio track, usually including all sounds, and usually in the same language as the audio track dialog, intended for hearing impaired audiences. For the purpose of the IMF we are specifically referencing timed text formats conforming to the CEA-608 (CEA-608-E “ANSI

57

CEA Line 21 Data Services” Specification) and CEA-708 (CEA-708-D “DTV Closed Captioning” Specification) specifications, which will be identified further below.

3.1.6 ClosedCaptions that may be displayed or not displayed depending on user preference. Not all viewers can see the text. The playback device shall be activated in order for the text to be visible. Assumes the viewer cannot hear the program audio and therefore all pertinent audio information is described. Delivered to consumers as part of the video signal and decoded by the display device.

3.1.7 OpenText is visible to all viewers and cannot be removed or turned off. Text that is “burned in” to the video or delivered in a way that cannot be deactivated. Delivered as part of the video.

3.1.8 Data Essence Fundamental Requirements

3.1.9 Common File FormatsThe Essence and Data Essence is required to use a common standardized file format for each element (image, audio, subtitles, etc.). The image essence file format is required to be a SMPTE-conformant file based on existing SMPTE standards such as SMPTE-TT which is described in SMPTE ST 2052-1:2010. The audio essence file format is required to be based on Broadcast Wave. The Subtitle essence should be based on PNG and XML file formats.

3.1.10 Frame RatesThe image structure is required to support all the frame rates listed in both section 3, which details the Image Essence and section 8, which details the Output Profile List. The frame rate of any individual IMF source master is required to remain constant. Metadata is carried in the image data file format to indicate the frame rate.

3.1.11 SynchronizationFiles within the image and/or audio essence are required to carry information to provide for frame-based synchronization between each file. Both the timed text and subtitle functions are required to synchronize with the image file at any point. It is required that an IMF device establish correct location and synchronous playback while taking into account frame rate and editing decisions listed in the OPL.

3.1.12 Sub Picture (Pre-Rendered Open Text and/or Graphics)

3.1.13 DescriptionA sub picture data stream is a multiple-image data stream intended for the transport of supplemental visual data to a pre-existing digital image. The data is designed for graphic overlay of the main image and for output to a file format specified by the OPL (see Section 8). It should be designated as open display and/or closed display depending on the output format specified. The sub picture data stream, when employed, shall typically be used for the transport of subtitle data.

3.1.14 File FormatSub picture data is required to be encoded as a standardized, XML-based document. Such a standard is required to define both timed text and sub picture encoding methods allowing mixed-media rendering. Sub picture frames are required to be encoded as [ISO/IEC 15948:2004] PNG files.

3.1.15 CompositionPNG image files shall have three (3) 8-bit color components (R, G, and B). An 8-bit alpha channel may be present. If an alpha channel is present, the decoder shall use it when creating a composite image. Regardless of the headers present in a PNG image file, the image shall be interpreted as though the

58

"sRGB" chunk is present, having a "rendering intent" value of 3 (three) (“absolute colorimetric”, see [ISO/IEC 15948:2004]).

The width and height (in pixels) of a subpicture shall be equal to or less than the width and height, respectively, of the associated main picture.

When creating the composite image, the sub-picture shall appear over the main image. A sub-picture's pixels shall be considered equal in size to the those of the main image; each pixel of the sub-picture shall be composed onto exactly one pixel of the main image, i.e., no resizing shall take place during the composite operation.

Some legacy formats are encoded as image data and no original text version is available. In addition, they may contain logos or other non-text presentations, which cannot be readily converted into text. This requires some kind of image processing techniques, such as optical character recognition, to recover the text information. This process might not be practical or might be lossy – especially if the font information is variable or unknown.

While tunneling of the original data is possible as a complete stream, in some instances a hybrid approach is desirable where the image data is used in the TTML presentation and the recovered text is made available computationally but not rendered.

3.1.16 Text Color InterpretationText color values encoded in the XML shall be interpreted as sRGB values [IEC 61966-2-1:1999].

3.1.17 Frame Rate and Timing The XML navigation file specifies the temporal resolution of the sub picture file. A Frame count, Time In, Time Out, Fade Up Time and Fade Down Time, which correspond to the image, shall be included. The sub picture frame rate shall be equal to the frame rate of the associated image Essence and shall be modified by the system to match whatever output is specified by the OPL.

3.1.18 SynchronizationThe equipment or system that encodes or decodes the sub picture file is required to ensure that temporal transitions within the sub picture file are correctly synchronized with associated output files.

3.1.19 Timed Text (Presentation of Text in Sync with Audio and Video)

3.1.20 DescriptionTimed Text is text information that is displayed at specified times during the playback of an image file.

3.1.21 File Format For the IMF, Timed Text data would, ideally, be encoded as a standardized, XML-based document that could then be input into an IMF system in an identical manner to Digital Cinema subtitle data. It is understood, however, that previously released content, as well as broadcast content, should have timed text available in a multitude of formats and at lower resolutions. Therefore, in addition to an XML-based document, it is the intent of the IMF to accept timed text data into the system in formats conforming to the CEA-608 and CEA-708 specifications. This would include many of the pre-existing closed caption file formats, the inclusion of caption data in an existing video signal from tape and/or capture of the caption data from an existing video signal. It is understood that this shall limit the available resolution of text ingested in this manner but shall provide flexibility for all downstream resolutions and output formats.

3.1.22 Default FontsFont files are required to be used to render Timed Text for subtitle applications. Font files should be used to render Timed Text for subtitle and/or caption applications. When used, font files are required to conform to [ISO/IEC 14496-22:2009 OpenType]. Timed Text files are required to be accompanied by all font files required for reproduction of the Timed Text. The Timed Text file format is required to

59

support a default character set. It is required that there be a default Unicode™ character set and a default font for that character set.

In the event that an external font file is missing or damaged, the subtitle rendering device is required to use a default font supplied by the manufacturer. The default character set is required to be a Unicode™ ISO Latin-1 character set. The default font is required to conform to [ISO/IEC 14496-22:2009 OpenType] and support the ISO Latin-1 character set.

3.1.23 Identification The Timed Text format requires the cardinal language of the text to be identified.

3.1.24 Searchability A pure text stream is encouraged to isolate content from rendering markup for searchability.

3.1.25 Multiple Captions The Timed Text format shall allow the display of multiple captions simultaneously. There shall be a maximum number of 3 lines of text allowed for simultaneous display.

Note: This allows for spatial representation for captions when two people are talking simultaneously.

3.1.26 Synchronization The equipment or system that encodes or decodes the Timed Text file is required to ensure that temporal transitions within the data stream are correctly synchronized with associated data streams. The timed text function is required to synchronize with the image at any point. It is required to establish correct location and synchronous playback while taking into account frame rate and editing decisions listed in the OPL.

3.1.27 Stereoscopic OffsetThe system shall support a method to provide Stereoscopic offset data for the rendering of stereoscopic subtitles and captions. This method should be clearly understood by all rendering engines supporting IMF content. One possible method of accomplishing this would be the use of Dynamic Metadata to contain the Stereoscopic offset data.

3.1.28 Data Essence SpecificationThe IMF shall be compliant with the Timed Text Format specified in SMPTE ST 2052-01:2010 and W3C Timed Text Markup Language (TTML) 1.0, W3C Recommendation 18 November 2010 for its Data Essence.

W3C Timed Text Markup Language (TTML)1.0: www.w3.org/TR/ttaf1-dfxp

60

4 Dynamic Metadata

4.1 Overview

4.1.1 IntroductionDynamic Metadata is metadata that changes on a periodic basis. In most of the cases described below, that are applicable to the IMF, this usually occurs on a frame basis. That is to say that there is the potential for metadata to change every frame. There are two envisioned uses, at this time, for Dynamic Metadata. One is Time Code and the other is Pan and Scan information. These are discussed in further detail below. Other types of Dynamic Metadata that can be conceived include Color Correction information and 3D-related information but will not be discussed here.

Dynamic Metadata shall be included in Extended Level IMF and should not be included in Basic Level IMF.

4.1.2 Dynamic Metadata System OverviewFor the purpose of documenting the specific requirements and specifications for Dynamic Metadata, it is helpful to divide the system into a set of components. The specifications and requirements for each of these components will be described in the following sections:

• Stored Time Code – The specification and file format for time code dynamic metadata, which is a separate Track File and outside of the Essence header metadata.

• Pan and Scan – The specification and file format for Image pan and scan dynamic metadata.

4.1.3 Major Dynamic Metadata ConceptsDynamic Metadata shall be used to provide a frame accurate reference to specific metadata. This metadata shall then be used to identify a frame or location and/or provide data to a device that would manipulate the essence.

Dynamic Metadata shall be designed in such a way that it should be wrapped into a Dynamic Metadata Track File.

4.1.4 Dynamic Metadata Fundamental Requirements

4.1.5 Common File FormatsThe dynamic metadata shall use a common standardized file format for each element. See also 2.2.1 Common Essence File Formats.

4.2 Stored Time Code RequirementsIn addition to the synthetic timecode signal that can be generated from the Composition Playlist timeline and metadata (see [CPL timecode sections]), the IMF shall support the carriage of timecode information as follows:

• As header metadata in essence (audio, image, etc.) Track Files - this method need not preserve users bits, binary groups or binary group flags.

• In separate Dynamic Metadata Timecode Track Files - this method shall preserve binary groups or binary group flags. This method shall also support timecode frame rates that are different from the frame rate of associated image essence. It shall also support multiple time code tracks, e.g. Keycode, Audio Time Code, Foot and Frames, Time of Day code, etc.

In all cases,

• Stored Timecode shall allow continuous time code across a complete Composition.

• Stored Timecode shall support “part for part” time code. (Ex. Hour 1 Part 1, Hour 2 Part 2)

61

The purpose of Stored Time Code in the IMF is manifold:

• It may be used to carry historic information from the source

• It allows synchronization and identification of essence frames with downstream processes and devices that are not aware of the Composition Playlist timeline.

4.3 Pan and Scan SpecificationThe pan and scan metadata track shall contain the information to allow for a “pan and scan” version of the image. Instead of storing multiple versions of the image to accommodate different aspect ratios of the feature (for example, 2.39:1, 1.78:1 and a 1.33:1), this feature allows for the IMF to contain one version of image and along with pan and scan metadata, create multiple aspect ratio versions of the image track.

4.3.1 Pan and Scan RequirementsThe pan and scan metadata track shall contain information derived from pan and scan composition equipment/software in a standardized format. There are two specific types of pan and scan information that will be discussed here:

• Pixel-for-Pixel Pan and Scan Metadata

• Spatial Pan and Scan Metadata

Pixel-for-Pixel Pan and Scan Metadata includes coordinate information for changing the composition of an image but does not include any resizing (zooming in or out) of the image. Instead, the total image area has a certain raster and the pan and scan information moves around this raster, leaving the size of each pixel the same or pixel-for-pixel. This data includes basic coordinate information that allows for simple movements in the picture without the need to factor in any filters for zooming or re-scaling of the image.

Spatial Pan and Scan Metadata includes both coordinate information and scaling information for changing the composition of an image. With spatial changes, the area depicted by the pan and scan information does not have to stay pixel-for-pixel to the original total image area. Instead, the pan and scan area could be smaller or larger than the final output size, causing a re-scaling of the image in the pan and scan area. Due to the re-scaling, filters need to be factored in, in order to properly create the re-size without causing too many image artifacts such as aliasing or “ringing.”

The format shall include the basic, common capabilities of pan and scan in an image for Pixel-for-Pixel pan and scan including:

• Displaying only certain areas of an image

• Tilt (up and down movement)

• Pan (left and right movement)

In addition to the above, the format should include basic Spatial pan and scan information including:

• Zoom in

• Zoom out/Scale

• Horizontal squeeze/stretch

• Vertical squeeze/stretch

SMPTE ST2016-2 defines how to handle all of the pan and scan types listed above. Rotate and Flip/Flop (horizontally/vertically) have been intentionally excluded from the dynamic pan and scan metadata. Letterboxing, side-matting and windowboxing may be covered by SMPTE ST2016-1 using AFD codes instead of Pan and Scan metadata and it should be discussed during the standardization process whether these types of image conversions should be handled via pan and scan metadata or AFD codes.

4.3.2 Time Code and Movement IdentificationThe pan and scan metadata track shall be used in conjunction with either the time code metadata track or synchronized in the CPL in order to create the proper movements from one area of the image to

62

another area of the image at specific time codes. Any movement from one area to another area of the image shall be depicted as Pan Scan Events that occur at specific frame counts. For simple cut changes, the pan-scan size and location shall be described at specific frame counts numbers. The movement could be either a constant, linear movement or a dynamically-changing, non-linear movement; however, movements shall not be defined – only the resulting changes in image size and location per frame count.

4.3.3 Source Image, Output Image and ViewportIn order to output the pan and scan image information properly, the source image area and the final output image area shall be defined. The source image shall hold the entire canvas that is to be panned and scanned over and the Pixel Aspect Ratio of the source image is taken into consideration for the proper pan and scan image output. Each set of pan and scan metadata shall contain a specific output image that defines the final destination image area and size for the pan and scan output.

In addition to the source image and the final output image, a specific Pan/Scan Image Area needs to be defined. This area, also known as the viewport, specifies the location of the actual pan and scan image information in regards to the source image. The viewport can move around, but the final output image area shall determine the final destination size and pixel aspect ratio that will be output. Other parameters in the pan and scan metadata could cause the viewport to be altered such as changing the overall aspect ratio or the size of the image to be displayed, but the output image shall always determine the final output size. The definitions of output image and viewport are similar to those found in SMPTE 2016-2. The definition of source image is slightly different because for IMF, the source image may be the full Image Container (not only the Output Image area).

If pan and scan metadata exists, the output image area for the pan and scan metadata shall supersede the global Output Image area set for the IMF for the particular output of the pan and scan version. This allows an IMF to contain more than one set of pan and scan metadata. Other types of metadata should be included such as fields that would define certain types of scaling/re-size filters and dithering that should be used during image re-sizing. At the time of this writing, more investigation is needed to determine if universal scaling and dithering filters should be included in the pan and scan metadata.

The output image settings and/or Output Profile List (OPL) shall determine the overall scaling of the images during the output stage of the IMF. The output image area created by the pan and scan metadata shall be scaled to fit the output resolution depending on the OPL parameters. For example, a 1.78 pan and scan could be output as a 4x3 letterboxed 1.78 if the OPL specified the settings to create the 4x3 letterbox from the 1.78 pan and scan metadata. If no OPL exists, then the output of the Pan and Scan Metadata Track shall be the output image size.

4.3.4 Pan and Scan Metadata Required FieldsIn order to define the areas of the image that should be shown and to create any pan and scan movements, specific metadata is required to accurately identify the pan and scan information. At the time of this writing, however, the actual metadata fields cannot be defined. Instead, the data elements shown Table 7 - Pan and Scan Metadata Data Elements shall be the minimum amount of information supported by the IMF for pan and scan metadata. These data elements shall be converted into specific metadata fields once the specification is complete. Some of these data elements have sub-element fields to help define the overall data element.

Note that SMPTE 2016-2 defines some of these fields in the Data Set Words, so redundant fields should be minimized during the standardization process where possible. Output Image Width and Height are described in this document (instead of using only an Output Image Aspect Ratio as used in SMPTE 2016-2) in order to allow for flexibility of various aspect ratios; however, if possible, Width and Height could be combined into the Aspect Ratio if Width and Height are determined not to be needed.

63

Table 7 - Pan and Scan Metadata Data Elements

Data Element Data Element Definition Examples

Output Image Aspect Ratio

The fixed aspect ratio for the final output

2.40, 2.39, 2.35, 2.20, 1.78, 1.33

Fill Color (Fill Image)

In cases where the Output Image is smaller than the output size, this field determines the color that should be used to fill.

Format could be R-G-B values dependent on bit depth of IMF

Output Image Width

Total number of horizontal pixels used for the final Output Image area

1920, 720

Output Image Height

Total number of vertical pixels used for the final Output Image area

1080, 576, 486, 480

Output Image Pixel Aspect Ratio

Shape of the pixel expressed in a ratio of width divided by height of the pixel, specifically for the final Output Image area

1:1, could be any ratio

Pan/Scan Event ID

Identifies the event within the list of pan and scan events.

Numeric, starting with 0

Frame count Sub-element of Pan/Scan Event ID, frame count of where event is located.

123456

Horizontal Viewport Offset

Sub-element of Pan/Scan Event ID, pan value that specifies the location of the center of the viewport with respect to the center of the source image, in source pixels

0 = no panSMPTE 2016-2 defines 2047 15/16 to -2048Positive values are to the right, negative values are to the left; IMF may need more values

Vertical Viewport Offset

Sub-element of Pan/Scan Event ID, tilt value that specifies the location of the center of the viewport with respect to the center of the source image, in source pixels

0 = no tiltSMPTE 2016-2 defines 2047 15/16 to -2048Positive values are to the right, negative values are to the left; IMF may need more values

64

Data Element Data Element Definition Examples

Zoom Horizontal Coefficient

Sub-element of Pan/Scan Event ID, specifies the width of the viewport, in pixels of the source image

1920, 1440

Zoom Vertical Coefficient

Sub-element of Pan/Scan Event ID, specifies the height of the viewport, in pixels of the source image.

1080, 576

Examples of how the metadata fields work together to create the pan and scan image areas and movements are shown below.

Figure 8 - Example 1: Simple cuts from one area to another

In the above example, two people are having a conversation. The Source Image/full aperture image is 4096x3112 (with a square PAR for simplicity), and the red boxes show the Output Image area that should be displayed to create a 1.33 version of the image. The image in Shot #1 would be displayed starting at a specific time code, while one person is talking and then cut to the image in Shot #2 when the other person starts talking. This is an example of pixel-for-pixel pan and scan metadata. The two new viewport centers are in reference to the source image center. A possible scenario of the pan and scan metadata is shown below:

Table 8 Metadata Fields common to Event 0000 and 0001

Metadata Field Value CommentsOutput Image AR 1.33Fill Color 64-64-64 Assumes 10-bit RGB contentOutput Image H 1440 Final output of PS meant for Output Image W 1080 1440x1080Output Image PAR 1:1 Square pixel

65

Table 9 - PS Event ID: 0000, Pan/Scan Event for Shot #1

Metadata Field Value CommentFrame Count 123456H Viewport -1328 Left of source centerV Viewport -389 Tilt up from source centerH Zoom n/a Do not use for this caseV Zoom n/a Do not use for this case

Table 10 - PS Event ID: 0001, Pan/Scan Event for Shot #2

Metadata Field Value CommentFrame Count 234567H Viewport 1328 Right of source centerV Viewport -389 Tilt up from source centerH Zoom n/a Do not use for this caseV Zoom n/a Do not use for this case

Figure 9 - Example 2: Pan from one area to another

In the above example, two people are having a conversation. The Source Image/full aperture image is 4096x3112 (with a square PAR), and the red boxes show the Output Image area that should be displayed to create a 1.33 version of the image. The image in Shot #1 would be displayed starting at a specific time code, while one person is talking and then pan and tilt over to the image in Shot #2 when the other person starts talking. The pan could either be linear or non-linear in speed.

Example 2 is similar to Example 1, but instead of only having two Pan/Scan events, there would be a separate Pan/Scan Event for each subsequent frame as the red box area changes along the pan. During each time code frame, the viewpoint center of the red box would change according to where the image should be based on whether the pan is a constant, linear speed or a dynamic, non-linear pan. This example is an example of Pixel-for-Pixel pan and scan metadata.

66

Figure 10 - Example 3: Change in Output Image size

In this example, Shot #1 starts out with a smaller Output Image area that slowly zooms out to show the entire area in Shot #2. The zoom out could be linear or non-linear in speed. Similar to example 2, there would be a separate Pan/Scan Event for each subsequent frame as the red box area changes along the zoom out. During each time code frame, the viewpoint center of the red box would change according to where the image should be based on whether the zoom out is a constant, linear speed or a dynamic, non-linear zoom out.

Because the image sizes are different for each shot’s Active Area, during the output of the IMP, the images would be scaled to the final output resolution. This could result in Shot #1 being scaled up to the final resolution or Shot #2 being scaled down to the final resolution. An OPL could be created to determine the parameters of how this re-scaling could be done. This example is an example of Spatial pan and scan metadata.

Figure 11 - Example 4: Squeezing or Scaling Shots

In this example, the original image is 1920x1080 and the shot contains a 1.78 main title that needs to be modified in order to display in a 1.33 version. However, after the main titles and credits, the rest of the feature will be full-frame 1.33. This example shows two ways to make widescreen credits fit into a 1.33 aspect ratio:

• Squeeze the credit horizontally to fit into the 4x3 area

• Letterbox the credit and keep the same aspect ratio

In either case, feature content could either cut back to a full-screen 4x3 image. In the letterbox case,

67

the letterboxing could slowly “scroll” outwards to reveal a full-screen 4x3 image by zooming in on the credit. All of these examples are examples of Spatial pan and scan metadata and shall be accommodated in the IMF standard. One possible solution for the “Squeeze” example would be to use pan and scan metadata with the Horizontal and Vertical Zoom Coefficients. For the “Letterbox” example, AFD might be a possible way to implement the top and bottom mattes along with a Fill Color of 64-64-64 (assuming the content is 10-bit RGB).

68

5 Wrapping

5.1 Overview

5.1.1 IntroductionThe IMF, as stated in the System Overview, is a collection of files, such as picture essence files and audio track files. These files, as they stand by themselves, do not represent a complete presentation.

Synchronization tools, asset management tools, metadata, content protection and other information are required for a complete presentation to be understood and played back as it was intended. This is especially important when the files become compressed and/or encrypted and are no longer recognizable as image essence or audio essence in this state. See 2.2.2 Frame Rates and Synchronization.

Wrapping is a way to organize and collect this material in such a way as to make it suitable for storage and movement to its destination. In seeking a common interchange standard for digital video between facilities and equipment, it is understood that there should be multiple sources of content. This shall require special consideration to achieve IMF interchange. Thus, an interchange wrapping structure is needed that operates across several domains.

This section identifies specific AS-DCP specifications for wrapping IMF data. At the time of this writing, the AS-DCP wrapping documents comprise the only complete set of essence wrappings of which the editors are aware that conform to the goals of IMF. It is intended however that IMF will use instead the emerging AS-02 wrapping. Because that wrapping is not yet published, the editors have elected to leave the AS-DCP references in place because they continue to represent the model envisioned for IMF. It is the intention of the editors that the AS-DCP standards will be replaced in IMF by AS-02 as soon as those documents are available.

Most of what is detailed in this section shall be included in Basic Level. Areas of Wrapping that shall be in Extended Level are explicitly stated as such in this section.

5.2 Wrapping Requirements

5.2.1 IntroductionThe Audio, Image and Text Track Files are the lowest-level components in the IMF system. The Material eXchange Format (MXF, SMPTE ST 377:2009) defines the common structure of the various types of files used in IMF to wrap audio, image and timed-text essence. MXF defines a variety of abstract essence container types for storing Essence, Data Essence or Dynamic Metadata information. An MXF file consists of three logical parts: the File Header, the File Body and the File Footer as shown in Figure 12, below.

Figure 12 - Example Track File Structure

The file structure is further broken down into logical data items as defined in [SMPTE 336M Data Encoding Protocol using Key-Length-Value]. The KLV Coding Protocol is composed of a Universal Label (UL) identification Key (UL Key), followed by a numeric Length (Value Length), and followed by the data Value as shown in Figure 13, below. One or more of these data items are combined to form the logical parts shown above.

69

Value UL Key Length

16 bytes BER Variable Length Octets

Length

Figure 13 - Example of KLV Coding

5.2.2 Format InformationEach Track File shall be a self-contained element, such that its Essence and Metadata can be understood and presented as it was packaged by a compliant decoder (i.e., no information outside the file is needed to fully decode the file). The information shall be located in the file as specified by the wrapping standard for the respective essence type.

5.2.3 MetadataIn addition to the metadata items defined by the MXF file specifications referenced below, it shall be necessary to develop descriptors (MXF Data Sets) that allow version and title information to be embedded in MXF files.

5.2.4 SynchronizationEach Track File shall contain Edit Rate and Index metadata. Synchronization of two or more track files is defined by the Composition Playlist (CPL). See 2.2.2 Frame Rates and Synchronization.

5.2.5 SplicingTrack Files, of the same Essence type, are required to allow for seamless splicing at frame boundaries to create a continuous data stream for a presentation. The playback system shall be able to perform sample accurate splicing at frame boundaries of audio track files.

5.2.6 SecurityIMF Track File formats shall support encryption and integrity checking.

5.2.7 ExtensibilityMXF inherently supports future extensions by allowing the decoder to ignore unrecognized KLV packets.

5.2.8 Simple EssenceA track file shall contain essence of a single Essence type (e.g., audio, image, subtitles). While a Track File should, for instance, contain all audio channels for a given soundfield, additional Soundfields are required to be stored in separate track file. The Composition PlayList shall select the correct Track Files to play a requested version of the composition.

5.3 MXF Track File Encryption (Extended Level)

5.3.1 IntroductionTrack File encryption provides additional security for files transported or stored in an un-secure environment. A symmetric-key cipher is employed for processing efficiency. A Key management scheme is required to provide a way to send symmetric keys securely to an intended recipient. Key management is not addressed in this document. Track file encryption shall be supported in Extended Level.

70

5.3.2 StandardsSMPTE ST 429-6:2006 defines a symmetric key encryption wrapper for KLV packets in an MXF file.

5.4 Image Track File

5.4.1 IntroductionAn Image Track File contains the image Essence data and its associated Metadata. Each Image Track File may be compressed and/or encrypted. The following are requirements for an Image Track File.

5.4.2 Frame BoundariesThe Image Track File shall contain all identifiers and parameters required for the decoder to recover the images from the file.

5.4.3 CompressionThe Track File shall support Constant Bit Rate (CBR) compression and Variable Bit Rate (VBR) compression, within the constraints of the specified code stream for the reference decoder.

5.4.4 StandardsSMPTE specifications ST 422:2006 and ST 429-4:2006 define an MXF wrapping for JPEG 2000 images. The MXF wrapper is compatible with Track File encryption defined by SMPTE ST 429-6:2006. Additional standards shall be developed to provide for using the color spaces required by IMF.

5.5 Audio Track File

5.5.1 IntroductionAn Audio Track File contains the audio Essence data and its associated Metadata. Audio Essence is stored in Audio Track Files as sample-interleaved 24-bit PCM. Each audio track file shall contain a single complete soundfield (i.e., all channels in the file shall be heard simultaneously by the listener).

5.5.2 StandardsSMPTE specification ST 382:2007 defines an MXF wrapping for sample-interleaved PCM audio data. The MXF wrapper is compatible with Track file encryption defined by SMPTE ST 429-6:2006.

Note: No standard exists at this time to address the channel labeling requirements of IMF. A multi-channel labeling framework is maturing in SMPTE TC 31FS, but additional work will be required to create the labeling structure required for IMF.

5.5.3 MetadataIn addition to the Metadata defined by the ST 382:2007 wrapping, the following Metadata items shall be supported by the Audio Track File:

• Unique ID of corresponding plaintext track encrypted

• Channel Mapping Labels

5.6 Timed Text Track File

5.6.1 IntroductionA Timed Text Track File contains text Essence data, such as subtitles or captions, for display on-screen (over the main image) or potentially by an auxiliary display. Text essence is encoded as Unicode character strings with associated font resources, to be rendered by the decoder, or as PNG images for direct display. Each Timed Text Track File should contain any combination of text, font

71

references, and image references.

5.6.2 StandardsSMPTE specifications ST 428-7:2007 and ST 428-10:2008 define XML file formats for timed text with fonts and PNG files. SMPTE ST 429-5:2009 defines an MXF wrapper for XML-based timed text and associated ancillary resources. The MXF wrapper is compatible with Track file encryption defined by SMPTE ST 429-6:2006.

Note: Support for stereoscopic positioning is being developed by SMPTE TC 21DC. That work is expected to result in revisions to ST 428-7 some time in 2011.

5.7 Time Code Track Files (Extended Level)

5.7.1 IntroductionA Time Code Track File contains a complete SMPTE 12M timecode stream. The following are requirements for a Time Code Track File. Time Code Track Files shall be supported in Extended Level.

6 Frame RateThe Time Code track file shall support frame accurate timecode for frame rates greater than 30 frames per second, e.g. stereoscopic source material.

7 Faithful CaptureThe Time Code track file shall record as accurately as possible the source timecode signal, including

• starting timecode time addresses and frame-accurate representation of timecode discontinuities

• frame-accurate representation of user-bits and binary group flags of SMPTE 12M

• multiple timecode streams, e.g. KeyCode streams

8 Flexible OutputThe Time Code track file shall allow output to LTC, VITC and ATC streams.

9 Frame BoundariesThe Time Code Track File is encouraged to begin and end with complete frames that are associated with its Image Track File to allow for a clean transition between reels.

10 MetadataThe following Metadata shall be furnished with the Time Code Track Files:

• Unique Identification

• Track Type (i.e., auxiliary)

• Frame Count Number

• Text Format (If Applicable)

• Cue Names (If Applicable)

72

7 The Composition

10.1 IntroductionThe Composition represents a complete self-contained digital media program. This Composition should be a feature, episode, trailer, advertisement or any other single piece of content. A Composition usually consists of at a minimum a Composition Playlist (CPL) and one or more Track Files, which contain the actual program essence.

The Composition and CPL information in this section shall be included in Basic Level IMF.

10.2 Overall Requirements

10.2.1 SynchronizationThe Composition Playlist format shall provide support for synchronization of the Essence and Metadata elements. See 2.2.2 Frame Rates and Synchronization.

10.2.2 Human Readable MetadataHuman readable metadata shall be in English (default) but can be provided in other languages as well.

10.2.3 Stereoscopic ContentThe Composition Playlist shall support mixed monoscopic and stereoscopic essence within a single Composition.

10.2.4 File FormatThe Composition shall be defined and represented using the Extensible Markup Language (XML) [XML 1.0], and specified using XML Schema [XML Schema Part 1: Structures] and [XML Schema Part 2: Datatypes].

This specification shall be associated with a unique XML namespace name [Namespaces in XML]. This namespace name conveys both structural and semantic version information, and serves the purpose of a traditional version number field.

Table 11: XML Namespaces, below, lists the XML namespace names used in this specification. Namespace names are represented as Uniform Resource Identifier (URI) values [RFC 2396]. These values shall be considered as simple strings, and applications should not attempt to resolve them as URLs.

Table 11: XML Namespaces

Qualifier URI

cpl http://www.tbd.org/date

xs http://www.w3.org/2001/XMLSchema

ds http://www.w3.org/2000/09/xmldsig

The namespace prefixes used in this document (cpl, xs, ds), are not normative values.

73

Implementations shall perform correctly with any XML compliant namespace prefix value that is associated with a URI from Table 11: XML Namespaces, above.

Datatypes from other schemas that are used in this document will be prefixed with the appropriate namespace qualifier (e.g. xs:dateTime). See [XML Schema Part 2: Datatypes] and [XML-Signature Syntax and Processing] for further information about these types.

A Composition Playlist document shall consist of XML document with single the CompositionPlaylist element of type CompositionPlaylistType at its root. It shall be encoded using the UTF-8 character encoding and its MIME type [IETF RFC 2046] shall be “text/xml”.

10.2.5 Audio

10.2.6 SynchronizationThe Composition Playlist shall

• accommodate audio elements that do not have the same duration as the associated image element

• accommodate audio elements whose start and end point do not coincide with that of the associated image elements.

• allow a sequence of multiple audio elements to be synchronized with a sequence of one or more image elements

This is to support the following audio partitions: continuous (full length), reels and parts. This also allows audio inserts of different length than the corresponding image insert to facilitate proper audio flow across edits.

10.2.7 Audio Editing Granularity• The audio editing granularity shall have frame accuracy.

• An IMF authoring tool shall have granularity to the sample, except as stated in 10.8.4 FractionalSample Editorial Granularity

10.2.8 Crossfades and Transitions• There shall be no automatic or automated audio crossfades in the IMF CPL at playout or

transcoding.

• Rendered audio shall be used to perform difficult crosses between content. Note: These would be created in the audio editing process and rendered in the authoring process.

• Audio fade up or fade outs shall not be supported.

• Only hard cuts (“butt splices”) shall be supported.

74

•

10.3 TerminologyThe following terms are used to describe the features of this specification. These terms and definitions are also in Table 22: Glossary of Terms, located in the Annex.

Table 12: Terms and Definitions

Term Definition

Composition A complete artistic or informational motion picture work, such as a feature, episode, trailer, or an advertisement, etc.

Edit Rate A number of Editable Units to be reproduced during a temporal interval having a duration of exactly one (1.0) second. Because Edit Rate values are not always integer values and sometimes require many digits of precision, Edit Rate values are expressed as a rational number (the ratio of two integers).

Editable Unit The smallest temporal increment of access to Essence, e.g. a frame or a sample.

Essence The audio, image and data resources that ultimately are intended for a viewing and/or listening experience.

Frame Rate The number of frames per second. Frame Rate values are expressed as a rational number (the ratio of two integers).

Intrinsic Duration

The total number of Editable Units in a Track File.

NativeEnd Point

The last Editable Unit of a Track File.

NativeStart Point

The first Editable Unit of a Track File. All Track Files are viewed by a Composition Playlist as a sequence of Editable Units numbered from 0 (zero). Consequently, the Editable Unit number of the Native Start Point of a Track File shall always be 0 (zero).

Playable Region

The set of Editable Units within a Track File that is intended to be reproduced. A Track File may contain Editable Units before and/or after the Playable Region.

Sample Rate The number of essence samples per second. Sample Rate values are expressed as a rational number (the ratio of two integers).

Sequence A collection of Segments intended to be reproduced in parallel.

75

Term Definition

Track File A file containing a single Essence, such as audio, image or subtitle essence.

Segment An ordered collection of Resources to be reproduced sequentially.

Resource Associates metadata or essence with a playable portion of the Composition Playlist timeline. A Resource may reference a Playable Region within a Track File.

10.4 SynchronizationThe Composition Playlist defines an idealized playback timeline for the complete Composition. As illustrated in Figure 14. Composition Playlist Timing., it consists of a list of Sequences that are reproduced sequentially and without gaps.

Figure 14. Composition Playlist Timing.

Each playable instance of the Composition is associated with a unique offset expressed in Edit Units, starting from 0 and extending to a value equal to the sum of durations of all sequences.

Figure 15. Sequence Timing.

As illustrated in Figure 16. Segment Timeline., each Sequence consists of a list of Segments that are played in parallel and have the same duration. In other words, all Segments within a Sequence start and end simultaneously.

76

Figure 16. Segment Timeline.

As illustrated in Figure 17. Resource Timeline, each Segment consists of a list of Resources of the kind of essence that are played sequentially. For instance, an ImageSegment may contain MonoResources that are meant to be ultimately rendered to monoscopic image (video) essence. Resources may reference external Track Files, which contain image, audio, data, etc., or may store all their data within the Composition Playlist structure, e.g. Marker Segments.

The duration of a Segment is the sum of the duration of its Resources. This does not mean that all underlying Track Files within a Sequence must have the same duration since Resources may reference only a portion of the underlying Track File and Segments may contain multiple Resources.

To enable a continuous playback of essence across Sequences, each Segment contains a Track ID that links Segments across Sequence boundaries. The sequential playback of all Segments with the same Track ID creates a virtual track across the entire Composition. A Track ID may be used only once in each Sequence and, if present in one Sequence, it must be present in all Sequences.

Figure 17. Resource Timeline

The Playable Region may be reproduced multiple times using the RepeatCount element.

As illustrated in Figure 17, a Resource identifies the portion of the underlying Track File to be reproduced. The Resource EntryPoint and SourceDuration parameters define the number of Edit Units within the Track File that is to be reproduced (the Playable Region).

77

Figure 18. Sample Monoscopic Composition Playlist. Only the first and last bytes of UUIDs are represented.

Figure 18 depicts a sample Composition Playlist composed of 2 Sequences, each containing one monoscopic Image Segment and two Audio Segments. It illustrates the following features of the Composition Playlist.

• A Resource can reference a portion of the underlying Track File, i.e. the Track File can have handles.

• The same Track File can be referenced by multiple Resources, within and outside a particular Track. Audio Track File ID=63..64 is referenced by Image Segments ID= 35..4C and ID=AF..5F. Image Track File ID=AB..72 is referenced twice within the first Image Segment.

• A Track File can be repeated multiple times within a single Resource. This allows, for instance, gaps in Audio Tracks to be filled by repeating a Track File containing a few samples of silence.

78

Figure 19. Sample Stereoscopic Composition Playlist. Only the first and last bytes of UUIDs are represented.

The Composition Playlist illustrated in Figure 19 contains stereoscopic image essence. A single StereoResource contains two references, one to an Image Track File containing left eye information and the other to an Image Track File containing right eye information.

79

10.5 Composition Playlist StructureThe Composition Playlist shall include the following elements unless stated as optional in which case they should be included. An example of a Composition Playlist is provided in Annex C.

As noted, some of the elements of the Composition Playlist replicate information present in the underlying resources to allow quick access to the information. This information is provided for information purposes only, therefore the metadata in the underlying Resource shall always take precedence in case of ambiguity.

Figure 20. Composition Playlist Element Structure.

80

10.5.1 IdThe Id element uniquely identifies the Composition Playlist for asset management purposes. It shall not uniquely identify the content represented by the composition. It shall be encoded as a urn:uuid per [RFC 4122].

10.5.2 Annotation [optional]The AnnotationText element shall be a free-form, human-readable annotation describing the composition. It is meant strictly as a display hint to the user. The optional language attribute is an xs:language language code and indicates the language used for the text. If the language attribute is not present, the default value en shall be used.

10.5.3 IssueDateThe IssueDate element shall be used to define the time and date at which the Composition Playlist was issued. It should be displayed to the user. It shall be encoded as an xs:dateTime.

10.5.4 Issuer [optional]The Issuer element shall be a free-form, human-readable annotation that shall identify the entity that created the Composition Playlist. It is meant strictly for display to the user. The Signer element defined in Section 10.5.28 shall be used to identify the entity that digitally signed the Composition Playlist. The optional language attribute is an xs:language language code and indicates the text language of the content of the element. If the language attribute is not present, the default value en shall be used.

10.5.5 Creator [optional]The Creator element shall be a free-form, human-readable annotation that shall identify; the application used to create the Composition Playlist, the Facility that created the CPL and the operator that created the CPL. It is meant strictly for display to the user. The optional language attribute is an xs:language language code and indicates the text language of the content of the element. If the language attribute is not present, the default value en shall be used.

10.5.6 ContentTitleTextThe ContentTitleText element shall contain a human-readable title for the composition, e.g. The Jazz Singer. It is strictly meant as a display hint to the user. The optional language attribute is an xs:language language code and indicates the language of the content of the element. If the language attribute is not present, the default value en shall be used.

10.5.7 ContentKind [optional]The ContentKind element defines the kind of material referred to by the Composition Playlist. It is meant to be both human and machine-readable. Table 13: Examples of Content Kind, below, shows examples of Content Kind.

Table 13: Examples of Content Kind

Kind Description

advertisement Content promoting a product or service other than an upcoming feature.

feature A theatrical feature.

psa Public service announcement.

81

rating Slate/still image indicating the recommended age group permitted to view the content to follow. This rating is generally unique per country.

short Non advertising/promotional content (3 to 15 minutes) typically before a theatrical feature.

teaser Very short (typically less than 1 minute) content promoting an upcoming theatrical feature.

test Content used to test, calibrate or setup equipment.

trailer Short (2 to 3 minutes) content promoting an upcoming theatrical feature.

transitional Extremely short content (1 to 15 seconds) separating unrelated compositions.

10.5.8 ContentVersionList [optional]The ContentVersionList element contains a list of ContentVersion elements. The ContentVersion elements are synonyms and uniquely identify the version of the content referred to by the composition, as opposed to the Id element, which uniquely identifies an instance of the Composition Playlist. In other words, two distinct compositions that refer to the same content shall have distinct CompositionPlaylist Id values but should have the same ContentVersion elements. This should occur, for example, if a composition is distributed to supersede a previous version. Similarly, while two compositions may share the same content title, they should refer to two different versions, such as French (dubbed) and French (original), and therefore have distinct ContentVersion elements.

The ContentVersionList element is meant to assist both users and software in scheduling and tracking content.

Each ContentVersion element shall contain the following elements.

10.5.9 IdThe Id element shall identify the content contained in the Composition Playlist. It shall be a valid URN, per [RFC 2141].

10.5.10 LabelTextThe LabelText element shall be a human readable label, e.g. “French (1.85 picture, 16.1 sound, dubbed)”, describing the content. The optional language attribute is an xs:language language code and indicates the text language of the content of the element. If the language attribute is not present, the default value en shall be used.

10.5.11 EssenceDescriptorList [optional]The EssenceDescriptorList element shall contain a list of EssenceDescriptor elements. Collectively these EssenceDescriptor elements describe the essence referred to by the composition. Specifically, when present, each EssenceDescriptor element shall match the descriptive information already present in one or more Resources, e.g. Track Files. This information is provided here in human readable form for informational purposes only. Machines should not rely on this information for transcoding or playout and in all cases the Track File metadata takes priority over information provided here. The EssenceDescriptor elements are meant to assist both users and

82

software in scheduling and tracking content.

Each EssenceDescriptor element is identified by a unique UUID value that shall be referenced by one or more Resources. For example, if a composition contains both stereo and 5.1 audio, there would be at least two audio EssenceDescriptor elements, and each of the stereo and 5.1 Resources would contain a single UUID (see SourceEncoding element below) that references the respective descriptor.

Each kind of Resource referenced by the Composition Playlist shall define the content of its corresponding EssenceDescriptor element and the process by which it is generated. For example, the EssenceDescriptor element for an MXF Image Track File may simply consist of an XML representation of its embedded MXF Essence Descriptor structures. Sample Essence Descriptors elements are provided as illustration in Section .

10.5.12 CompositionTimecode [optional]As described in Section 10.4, the Composition Playlist structure defines a unique timeline for the Composition and associates a unique offset expressed in Edit Units with every playable instant.

While this method allows precise synchronization of essence within the Composition Playlist, it is not always appropriate for the synchronization of downstream devices and processes. The Composition Playlist therefore provides the information necessary to generate a unique timecode output [SMPTE ST 0012] from its timeline.

The starting timecode output value shall be equal TimecodeStartAddress and shall correspond to time offset 0 within the Composition timeline. The timecode output shall increment by one frame for every Edit Unit played.

10.5.13 TimecodeDropFrameThe TimecodeDropFrame element shall determine if the synthetic timecode output is Drop Frame or not Non-Drop Frame.

10.5.14 TimecodeInterlaceThe TimecodeInterlace element shall determine if the synthetic timecode output signals an interlace or progressive image output.

10.5.15 TimecodeRateThe TimecodeRate element shall specify the nearest integer frames per second rate of the timecode output, e.g. 24, 30, 25…

10.5.16 TimecodeStartAddressThe TimecodeStartAddress shall specify the value of the timecode output at the beginning of the Composition.

10.5.17 EditRateThe EditRate element defines the Edit Rate of the Composition. It shall be in units of 1/seconds and represented as a Rational Number.

10.5.18 TotalRunningTime [optional]The TotalRunningTime element shall be used to define the complete running time of the Composition at the time when Composition Playlist was issued. It should be displayed to the user. It shall be encoded as an hours:minutes:seconds.

83

10.5.19 LocaleList [optional]The LocaleList element contains a list of one or more Locale elements. A Locale is a grouping of region or country code, rating, language and annotation elements that identifies the scope of the intended audience in terms of location, language and censorship authority.

Each Locale element shall contain either a CountryList or RegionList element, but not both.

Figure 21. Locale Element Structure.

10.5.20 Annotation [optional]

The AnnotationText element shall be a free-form, human-readable annotation describing the Locale. It is meant strictly as a display hint to the user. The optional language attribute is an xs:language language code and indicates the language used for the text. If the language attribute is not present, the default value en shall be used.

10.5.21 LanguageList [optional]

The LanguageList element shall contain a list of one or more Language elements and shall reflect the spoken or textual languages of the Locale. Each Language element shall be a RFC 5646 language code.

10.5.22 CountryList [optional]

The CountryList element shall reflect the countries making up the Locale. It shall contain an ordered list of one or more Country elements. Each Country element shall use the ISO standard three-letter acronym for it designation.

10.5.23 RegionList [optional]

The Region element shall reflect the Regions making up the Locale. It shall contain an ordered list of one or more Region elements. Each Region element shall be a human-readable string.

10.5.24 RatingList [optional]

The RatingList element shall contain an ordered list of zero or more Rating elements containing ratings associated with the Locale.

Each Rating element, shown in Table 14: Example Ratings (Informative), contains an Agency and a Label element. Each element is meant to be both human and machine-readable. There shall be only one Rating element per given Agency.

84

10.5.25 Agency

The Agency element shall contain a URI [RFC 2396] that uniquely identifies the agency issuing the rating.

10.5.26 Label

The Label element shall contain a textual representation of the rating, which should be displayed to the user. For each issuing agency, and hence unique URI, there are a number of permissible Label values. The specification of this mapping is beyond the scope of this document.

Table 14: Example Ratings (Informative)

Agency Labels

http://www.mpaa.org/2003-ratings R, PG, PG-13, G, NC-17

http://rcq.qc.ca/2003-ratings G, 13+, 16+, 18+

10.5.27 SequenceListThe SequenceList element shall contain an ordered list of Sequence elements that shall be reproduced in sequence, without gaps. The structure of the Sequence element shall be as defined in Section 10.6.

10.5.28 Signer [optional]The Signer element uniquely identifies the entity, and hence the public-private key pair, that digitally signed the Composition Playlist. It shall be an instance of the KeyInfoType type defined in [XML-Signature Syntax and Processing]. If the Signer element is present, then the Signature element shall also be present.

If X.509 certificates are used per [XML-Signature Syntax and Processing], then the Signer element shall contain one X509Data element containing one X509IssuerSerial element, which uniquely identifies the certificate used to sign the Composition Playlist.

10.5.29 Signature [optional]The Signature element shall contain a digital signature authenticating the Composition Playlist. If the Signature element is present, then the Signer element (10.5.28 above) shall also be present. The Signature element shall be an instance of the ds:Signature element defined in [XML-Signature Syntax and Processing]. The digital signature shall be enveloped and apply to the entire Composition Playlist. An enveloped signature is one that is attached to the document being signed. The signature is generated by the signer, as identified by the Signer element, using the signer’s private key.

10.6 Sequence StructureA Sequence specifies the playback in parallel of multiple Segments, each associated with a particular aspect of the presentation. While this specification defines a number of Segments, additional Segments may be added in the future. The structure is shown below in Figure 22.

85

Figure 22 - Sequence Structure

10.6.1 IdThe Id element uniquely identifies the Sequence for asset management purposes. It shall be encoded as a urn:uuid per [RFC 4122].

10.6.2 Annotation [optional]The AnnotationText element shall be a free-form, human-readable, text annotation associated with the Sequence. It is meant strictly as a display hint to the user. The optional language attribute is an xs:language language code and indicates the text language of the content of the element. If the language attribute is not present, the default value en shall be used.

10.6.3 SequenceIssueDate [optional]The SeqIssueDate element shall be used to define the time and date at which the Sequence was issued. It should be displayed to the user. It shall be encoded as an xs:dateTime.

10.6.4 SegmentListThe SegmentList element shall contain an ordered list of Segment elements derived from the datatype BaseSegmentType.

All Segments shall be reproduced in parallel.

Segments shall contain a TrackID element. Segments with equal TrackID belong to the same Track and shall be played sequentially and without gaps across Sequence boundaries. A TrackID shall be used only once in each Sequence and, if present in one Sequence, it shall be present in all Sequences.

Applications may use TrackID, for instance, to select a particular audio track for output.

Each Segment should be associated with a single aspect of the presentation and therefore a single kind of essence.

This specification defines a number of Segments. As additional Segments are defined, the SegmentList element shall be extended according to Section 10.6.15.

10.6.5 SegmentType

10.6.6 IdThe Id element contains a UUID per [RFC 4122] that uniquely identifies the Segment.

86

10.6.7 TrackId [optional]The TrackId contains a UUID that uniquely identifies the Track to which the Segment belongs.

10.6.8 ResourceListThe ResourceList element contains an ordered list of Resources to be reproduced sequentially.

10.6.9 ImageSegment [optional]The ImageSegment element defines image essence to be reproduced. The actual image essence is contained in an external Track File.

A given ImageSegment shall contain Resources of type StereoImageTrackFileResourceType, in the case of stereoscopic image, or Resources of type TrackFileResourceType, in the case of monoscopic image. An given ImageSegment shall not however contain a combination of both.

There shall be zero or one ImageSegment element per Sequence.

10.6.10 AudioSegment [optional]The AudioSegment element defines audio essence to be reproduced. The actual audio essence is contained in an external Track File.

The AudioSegment element shall contain Resources of type TrackFileResourceType.

There shall be zero or more AudioSegment elements present.

10.6.11 SubtitleSegment [optional]The SubtitleSegment element defines Subtitle essence to be reproduced in conjunction with the essence referenced by the ImageSegment. The actual Subtitle essence is contained in an external Track File.

The SubtitleSegment element shall contain Resources of type TrackFileResourceType.

There shall be zero or more SubtitleSegment elements present.

10.6.12 TimecodeSegment [optional]The TimecodeSegment element defines timecode essence associated with the Sequence. The actual timecode essence is contained in an external Track File.

The TimecodeSegment element shall contain Resources of type TrackFileResourceType.

There shall be zero or more TimecodeSegment elements present.

10.6.13 MarkerSegment [optional]The MarkerSegment element defines markers, e.g. FFOC, LFOC… Markers shall be referenced from the start of the Sequence they are associated with.

The MarkerSegment element shall contain Resources of type MarkerResourceType.

There shall be zero or one MarkerSegment element per Sequence.

The IntrinsicEditRate of all Resources within a MarkerSegment shall be equal to the EditRate of the Composition Playlist.

10.6.14 CaptionSegment [optional]The CaptionSegment element defines caption essence associated with the Sequence. The actual caption essence is contained in an external Track File.

87

The CaptionSegment element shall contain Resources of type TrackFileResourceType.

There shall be zero or more CaptionSegment elements present.

10.6.15 Extension (defining new kinds of Segments)

Extension elements shall be used to represent Segments types not defined in this document. Zero or more extension elements may be present in the SegmentList. When present, extension elements shall be located after any elements defined by this document. When present, extension elements shall have names that belong to a namespace different than the namespace declared by this document. Implementations may ignore extension elements belonging to an unknown namespace.

Extension elements shall directly or indirectly extend BaseSegmentType.

Informative note: Extension elements should have unique, descriptive names and should appear only once in a given Sequence. Extension specifications that allow multiple instances of an element in a Sequence should provide both a means of differentiating instances within a Sequence and a means of linking related instances in separate Sequences.

10.7 Resource StructureAll Resources elements share common attributes and are therefore specified as a set of types derived from a common structure, namely the BaseResourceType structure.

10.7.1 BaseResourceTypeThe BaseResourceType describes a generic resource intended to be reproduced as part of a Segment. Child elements are defined in the following subsections.

10.7.2 IdThe Id element uniquely identifies this particular Resource instance. It shall be encoded as a urn:uuid per [RFC 4122]. It does not identify the underlying essence, data or Track File.

10.7.3 AnnotationText [optional]The AnnotationText element shall be a free-form, human-readable text annotation associated with the Resource. It is meant strictly as a display hint to the user. The optional language attribute is an xs:language language code and indicates the text language of the content of the element. If the language attribute is not present, the default value en shall be used.

10.7.4 IntrinsicDuration The IntrinsicDuration element shall be the Native Duration of the Asset. It shall not take into account the values of the EntryPoint and SourceDuration elements. Unless the optional EntryPoint and Duration parameters are specified, playback of the asset shall start at the Native Start Point and terminate at the Native End Point of the Track File. IntrinsicDuration shall be expressed in units of 1/IntrinsicEditRate, i.e. as a count of Editable Units.

10.7.5 IntrinsicEditRate [optional]The IntrinsicEditRate element shall be the Edit Rate of the referenced resource. It provides the time base for the IntrinsicDuration, EntryPoint and SourceDuration of the Resource. If absent, it shall be assumed to be equal to the Edit Rate of Composition Playlist.

10.7.6 EntryPoint [optional]The EntryPoint element identifies the Edit Unit where playback shall start (the first editable unit of

88

the playable region). It shall be encoded as an integer number and shall be expressed in units of 1/ IntrinsicEditRate, i.e. as a count of Editable Units. This element shall be required if the desired Entry Point is greater than 0 (zero). If this element is not present, a value of 0 shall be assumed and Asset playback shall start at the Native Start Point of the resource.

10.7.7 RepeatCount [optional]The RepeatCount element defines number of times to repeat the section of edit units defined by EntryPoint and SourceDuration. It shall be equal to one if absent.

10.7.8 SourceDuration [optional]The SourceDuration element defines the duration of the Playable Region of the resource. It shall be encoded as an integer number and shall be expressed as an integer number in units of 1/ IntrinsicEditRate, i.e. as a count of Editable Units. If present, this value shall be an integer between 0 (zero) and IntrinsicDuration – EntryPoint (the number of edit units between the EntryPoint and the Native End Point the Track File). If this element is not present, Resource playback shall stop after (IntrinsicDuration – EntryPoint)/ IntrinsicEditRate seconds, i.e. at the Native End Point of the Asset.

10.7.9 TrackFileResourceTypeThe TrackFileAssetType shall be derived from BaseResourceType. It describes an asset based on an external Track File.

The defining specification for each Track File shall specify the location of the identifying UUID.

10.7.10 AssetIdThe AssetId shall be encoded as a urn:uuid per [RFC 4122]. It uniquely identifies the underlying Track File.

Note: Mapping of UUID values to actual Track File locations is beyond the scope of this document.

10.7.11 SourceEncodingThe SourceEncoding element shall be a UUID that shall reference an EssenceDescriptor element of the EssenceDescriptorList element defined above.

10.7.12 KeyId [optional]The KeyId element uniquely identifies the cryptographic key used to encrypt the underlying track file. This element shall contain a key identifier encoded as a urn:uuid value. KeyId shall be present if any portion of the underlying track file is encrypted. Note: The mapping of key identifiers to actual key values is beyond the scope of this document.

10.7.13 Hash [optional]The Hash element shall contain the hash (message digest) of the underlying track file computed using the SHA-1 message digest algorithm [RFC 3174]. When authenticated by the digital signature in the Composition Playlist (see 10.5.29), it should be used to verify the integrity and authenticity of the underlying track file. The resulting 160-bit integer shall be encoded using Base64 representation [RFC 2045].

10.7.14 StereoImageTrackFileResourceTypeThe StereoImageTrackFileResourceType shall be derived from the BaseResourceType.

The StereoImageTrackFileResourceType shall contain two elements, LeftEye and RightEye, each derived from TrackFileResourceType and each referencing a single Track File

89

containing monoscopic essence.

The IntrinsicEditRate and SourceDuration of an instance of StereoImageTrackFileResourceType shall be equal to the corresponding parameters contained in its LeftEye and RightEye elements.

10.7.15 MarkerResourceTypeThe MarkerResourceType shall be derived from the BaseResourceType. It contains content markers, e.g. FFOC.

Just as for image and audio assets, the marker asset has a timeline. The Offset of each Marker is the position from the start of the timeline and the IntrinsicDuration of the timeline shall correspond to the Offset of the last Marker.

10.7.16 MarkerListThe MarkerList element shall contain a list of Marker elements. Marker Labels should be repeated as there will likely be multiple instances of several types of content segments throughout a given program (i.e. production logos, commercial blacks, etc). The members of the Marker element are defined in the following subsections.

10.7.17 LabelThe Label element shall contain a textual representation of the marker. An optional scope attribute with default URI value of http://www.smpte-ra.org/schemas/TBD/CPL#standard-markers determines the permissible values of the element.

Table 15: Examples of Marker Labels

Marker Description

FFBT First Frame of Bars and Tone

FFCB First Frame of Commercial Blacks

FFCL First Fame of Company/Production Logo

FFDL First Frame of Distribution Logo

FFEC First Frame of End Credits. First displayable frame of content that contains any intensity of the End Credits (a non zero alpha value), which appear at the end of a feature.

FFHS First Frame of Head Slate

FFMC First displayable frame of content that contains any intensity of moving, rolling or scrolling credits (a non-zero alpha value), which appear at the end of the feature.

FFOB First Frame of Ratings Band. First displayable frame of content of the Rating Band, which is usually a slate at the beginning of a feature.

FFOC First Frame of Composition. The first frame of a composition that is intended for display.

FFOI First Frame of Intermission.

FFSP First Frame of Digital Sync Pop

90

FFTC First Frame of Title Credits. First displayable frame of content that contains any intensity of the Title Credits (a non zero alpha value), which appear at the beginning of a feature.

FFTS First Frame of Tail Slate

FTXC First Frame of Textless Title Credits

FTXE First Frame of Textless End Credits

FTXM First Frame of Textless Material Segment

LFBT Last Frame of Bars and Tone

LFCB Last Frame of Commercial Blacks

LFCL Last Frame of Company/Production Logo

LFDL Last Frame of Distribution Logo

LFEC Last Frame of End Credits. Last displayable frame of content that contains any intensity of the End Credits (a non zero alpha value), which appear at the end of a feature.

LFHS Last Frame of Head Slate

LFMC Last displayable frame of content that contains any intensity of moving, rolling or scrolling credits (a non-zero alpha value), which appear at the end of the feature.

LFOB Last Frame of Ratings Band. Last displayable frame of content of the Rating Band, which is usually a slate at the beginning of a feature.

LFOC Last Frame of Composition. The last frame of a composition that is intended for display.

LFOI Last Frame of Intermission.

LFSP Last Frame of Digital Sync Pop

LFTC Last Frame of Title Credits. Last displayable frame of content that contains any intensity of the Title Credits (a non zero alpha value), which appear at the beginning of a feature.

LFTS Last Frame of Tail Slate

LTXC Last frame of Textless Title Credits

LTXE Last Frame of Textless End Credits

LTXM Last frame of Textless Material Segment

10.7.18 AnnotationText [optional]The AnnotationText element shall be a free-form, human-readable annotation associated with the marker. It is meant strictly as a display hint to the user. The optional language attribute is a standard XML language code and indicates the text language of the content of the element. If the text language

91

attribute is not present, the default value en shall be used. The field does not require a size limit, but for practical purposes, the field shall allow at least 2048 characters.

10.7.19 OffsetThe Offset element defines the position of the marker from the start of the marker asset. It shall be represented as integer number of 1/IntrinsicEditRate units.

10.8 ConstraintsThe following is a list of items that are intended to be constrained within the Composition and therefore reflected in the CPL.

10.8.1 Constant Frame and Sample RateThe Composition shall only consist of a single, common edit rate. The Composition shall only consist of the same sample rate content in all of the audio track files; all essence referenced by the Composition shall have the same edit rate and sample rate.

10.8.2 Minimum Track File DurationThe duration of any asset contained within a Sequence, as indicated by the SourceDuration and IntrinsicDuration elements, shall be no less than one frame. In the case of fractional samples per frame that exists with certain frame rates (e.g., 29.97, and 59.94 @ 48kHz or 96kHz) the minimum audio track file duration shall be 5 frames beginning and ending with an integer sample number. Refer to Table 5: Allowable Samples/Frame for Specified Frame Rates*

10.8.3 Minimum Sequence DurationThe duration of any Sequence shall be the same as the minimum track file duration.

10.8.4 Fractional Sample Editorial GranularityFractional samples shall only allow audio editorial granularity of once every 5 frames.

10.8.5 Stereoscopic ContentStereoscopic content shall be stored in the Composition as separate track files for each eye in a Dual Track format. Each Track shall conform to the same parameters as a monoscopic Track.

10.9 EssenceDescriptor InformationThe essence descriptors presented below are used to carry the encoding parameters of the MXF track files in the CPL. They are exposed in a CPL using the EssenceDescriptorList element (defined in Sec. 10.5.11). The values presented represent the sum of all requests for metadata agreed to by the IMF participants.

Because they are largely duplicative of the metadata in the MXF files, it is hoped that instead of developing this parallel set of essence descriptors, the IMF project will instead develop additional metadata items as needed for MXF, and then provide a means for carrying the actual MXF metadata structure (transformed into XML) in the CPL's EssenceDescriptorList element.

This information is provided here in human readable form for informational purposes only. Machines should not rely on this information for transcoding or playout and in all cases the Track File metadata takes priority over information provided here.

92

10.9.1 Generic

10.9.2 SourceMediaDescription

The SourceMediaDescription element shall be human readable text, e.g. “HDCamSR (1.85 picture, 16.1 sound, dubbed)”, describing the content source. The optional language attribute is an xs:language language code and indicates the text language of the content of the element. If the language attribute is not present, the default value en shall be used..

10.9.3 StandardBadge

The StandardBadge element shall contain information of the encoding standard used. This is informative information to allow for humans and machine to read.

10.9.4 StandardsBodyThe StandardsBody element shall contain a URI [RFC 2396] that uniquely identifies the Standards Body issuing the Standard.

10.9.5 LabelThe Label element shall contain a textual representation of the Standards Body, which should be displayed to the user. For each issuing Standards Body, and hence unique URI, there are a number of permissible Label values. The specification of this mapping is beyond the scope of this document.

10.9.6 TimecodeTypeThe TimecodeType element shall contain information on the time code format used in the underlying asset.

10.9.7 Image

10.9.8 FrameRateThe FrameRate element shall contain the number of frames per second of the intended playback rate of the underlying essence (e.g., 24000/1001). It shall be encoded as a rational number of frames per second.

10.9.9 ContainerHeightThe ContainerHeight element shall contain the vertical pixel count of the underlying essence. It shall be encoded as an integer number of pixels.

10.9.10 ContainerWidthThe ContainerWidth element shall contain the horizontal pixel count of the underlying essence. It shall be encoded as an integer number of pixels.

10.9.11 ColorSamplingThe ColorSampling element shall contain the identification of the color sampling method of the underlying essence. It shall be encoded as a string that matches one of the following: 4:4:4, 4:4:4, 4:2:2.

10.9.12 ColorEncodingThe ColorEncoding element shall contain the identification of the color encoding method of the underlying image track file. It shall be encoded as a string that matches one of the following: RGB,

93

XYZ, YCbCr.

10.9.13 SampleTypeThe SampleType element shall contain the identification of the pixel encoding method of the underlying essence. It shall be encoded as a string that matches one of the following: uint, half, float.

10.9.14 ImageBitDepthThe ImageBitDepth element shall contain the number of bits assigned to each image component of the underlying essence. It shall be encoded as an integer number in the set {10, 12, 16}.

10.9.15 ImageAspectRatioThe ImageAspectRatio element shall define the aspect ratio of the image information contained in the underlying image track file. It is represented as a rational number, e.g. 16/9, and applications should convert the ratio to a decimal number to match current practice.

10.9.16 ActiveCoordinatesThe ActiveCoordinates element shall define the active image rectangle of the underlying image essence. It is represented by the coordinates to the top left and lower right vertex of the rectangle.

10.9.17 CodeValueBlackThe CodeValueBlack element shall define the pixel value of a black pixel in the underlying image essence.

10.9.18 CodeValueWhiteThe CodeValueWhite element shall define the pixel value of a white pixel in the underlying image essence.

10.9.19 Audio

10.9.20 SampleRateThe SampleRate element shall contain the sampling rate of the underlying audio essence (e.g., 48,000). It shall be encoded as a rational number of Hz.

10.9.21 AudioSamplesPerFrameThe AudioSamplesPerFrame element shall contain the integer of the samples per frame of the underlying audio essence (e.g., 2002).

10.9.22 SoundfieldConfigThe SoundfieldConfig element shall contain the Soundfield configuration of the underlying audio essence (e.g., LtRt, 5.1 etc.).

10.9.23 SampleBitDepthThe SampleBitDepth element shall contain the integer number of bits per sample word, which shall be 24 bits.

10.9.24 ChannelCountThe ChannelCount element shall contain the number of audio channels of the underlying audio track file.

94

10.9.25 Language [optional]The Language element shall reflect the primary spoken language of the sound material of the underlying sound essence. The element value is encoded as an xs:language language code and indicates the spoken language of the content. The absence of the element shall indicate that no spoken language is associated with the asset.

10.9.26 Subtitle and Caption Essence

10.9.27 Format [optional]The Format element defines the format of the underlying subtitle or caption essence.

10.9.28 Language [optional]The Language element shall reflect the primary text language used by the subtitle or caption essence. The absence of the element shall indicate that no primary text language is associated with the asset. It is represented as an xs:language value.

95

11 Output Profile List

11.1 Introduction

11.1.1 Output Profile List DefinitionThe Output Profile List (hereby called “OPL”) is an optional set of information that may be used in conjunction with a CPL to specify particular content provider output preferences. In a typical workflow, it would be specifically designed to read and point to a particular CPL within a particular IMF. It would then be able to facilitate the passage of the composition’s content to a downstream device. In doing so, it would also pass the content provider’s preferences (if included) through to a downstream device in order to facilitate the execution of these preferences in the downstream device (i.e. automation).

An OPL is not required for a CPL to function within an IMF; however, this is required for an Interoperable Master Package or IMP. In the absence of an OPL, a CPL is used as the default input to the playout engine and the IMF output would be an exact reflection of the content within that composition with no processing applied. (Note that the simple unwrapping and decoding of the IMF track files that occurs in the downstream IMF device is not considered processing).

An OPL shall be included in an IMP as a way to deliver these preferences along with the other components contained within the IMP. At a minimum, this should be a Simple OPL (see section 8.6.1). It should also be delivered separately from an IMP via another means, such as email, FTP, etc. The Basic Level IMF shall include the Simple OPL.

The Output Profile List can be viewed as a global post-processing step to the self contained digital media program specified by the Composition PlayList. The OPL provides a mechanism to take a fully functional and conformed program specified by the CPL and aides in generating multiple distribution files for the multiple distribution channels. OPLs with more complex instructions are known as Complex OPLs and shall be included in the Extended Level IMF.

The motivation for the OPL arose from the fact that in generating each of the downstream distribution files there needs to be a way of specifying the program independent of the mechanism of how to transform (Transcode) it. This way one program specification (Composition PlayList) should generate multiple files at the desired raster, bit rate and codec.

The OPL is viewed as transitory in the lifecycle of the components that make up the IMF. If the downstream devices change, or the process of generating the output file changes, then a change in the OPL would be necessary.

Most of what is included in this section shall be in the Extended Level. Basic Level shall include a Simple OPL (defined in sections 11.2.1 and 11.3) as well as any item specifically called out as Basic Level in the sections below.

11.2 Output Profile List Overview

11.2.1 Functional FrameworkThe OPL is viewed as an extensible set of instructions that operate on the referenced CPL within the OPL. These instructions should be at a minimum a simple pointer to a CPL (also known as a Simple OPL), which in turn points to the IMF track files needed to create the composition that the CPL has specified. In this minimum case, it would pass the content through with no processing. Basic Level IMF shall include Simple OPLs.

A further extension of the “simple” OPL would be to add preferences for the desired output for a particular CPL. This should be described in terms of the Image Output Parameters and Audio Output parameters, and the raster size, bit rate, compression codec, and frame rate.

The OPL’s extensibility should be further leveraged to add pre-processing steps that are needed to

96

carry out the transformation to the desired codec. These would include specific cropping, scaling and other transformations. The OPL shall not interpret the Track File(s) or the CPL to generate pre-processing instructions; rather, these operations should be specifically called out in the OPL.

In addition to pre-processing, the OPL should also contain content provider preferences on how a downstream device applies the pre-processing (e.g., specific scaling such as Lanczos).

If desired, the OPL should also contain Content Provider preferences for how a downstream device is to manipulate the data received from the IMP. These parameters could include specific calls to encoding parameters (e.g. quantization tables), or should reference specific manufacturer encoding parameters.

All extensions above the Simple OPL create the Complex OPL which shall be included in Extended Level. Most of what is detailed in this section shall be included in Extended Level. Simple OPL information that shall be in Basic Level is explicitly stated as such in this section.

11.2.2 OPL Relationship Overview

11.2.3 Functional FrameworkThe following diagram, Figure 23 - Output Profile List Relationship Overview, illustrates the relationship of the Output Profile List to its various components.

Figure 23 - Output Profile List Relationship Overview

An OPL references a Composition PlayList. The composition playlist provides the program information, and any transfromations that are required on the overall composition list are performed within the OPL.

A variety of transformations are envisioned today, and it is expected that the need to affect additional transformations will arise. Bearing this in mind, the OPL is broken into specific sections, permiting additional sections to be added if the need arises. Currently the main sections are as follows:

97

11.2.4 Output ParametersThe Output Parameter section is designated as the section wherein the properties of the Output Image and Audio should be specified. In this section it is only necessary to call out the Codec, the standard, the raster format, the bit rate, the sampling rate, etc. The specifics on how to encode the desired output is specified in later sections if necessary.

11.2.5 Pre-Process ParametersThe Pre-Process Parameters Section provides the capability to perform numerous (unlimited) groups of pre-processing on the video or audio segment. Each section is delinated with specific blocks, (e.g <process01> … </process01>). The objective here is to permit the content owner to specify the order in which specific processes should be carried out, and if necessary exactly how the process should be carried out. So in the case of a scaling operation, a block of instruction could specify that a Lancoz 3-lobe filter be used with specific coefficients. Each process block is processed in numerical order, therefore if a cropping is desired before scaling, then the cropping should be placed in process block N, and the scaling in block T, so that N is < T.

The PreProcessing Parameter Section provides for the capability of adding overlays/burnins across the entire program, and also the capability of generating Fade-Ups and Fade-Outs at the beginning/end of the program as deemed necessary by the output specification.

11.2.6 ColorSpace Conversion ParametersThe Colorspace Conversion Parameter section provides the capabilty to enforce a specific form of color space conversion from one color space to another, permitting the description of either Matrices or a fully specified Three dimensional color look-up-table.

11.2.7 Encoding/Transcoding ParametersThe Encoding/Transcoding Parameters Section provides the capability for the content owner to specify the specific process of encoding the material. This would include the ability to specify specific quantization tables, DCT or wavelet coeffecients etc. The preference would be to have manufacturers use a common language, however during initial implementations, in the absence of such a common language, these parameters should refer to vendor-specific tags. With these tags, this section would provide the capability of calling out a vendor specific transcode or profile, e.g., AR_MPEG2_PROFILE_43. This would provide a mechanism for “preferred” encoding when a specific device is present, and a fallback to a generic encoding when the specific device is not available.

Below is a pseudo-XML, highlighting the different sections of an OPL.

98

- <OutputProfilelist>

# Note the reference to the CPL, compositionPlaylistReference

<Id>urn:uuid:cde69c7b-a055-4373-84f5-e8ffea82f345</Id>

- <CompositionPlayListReference> <ID>urn:uuid:bbf69c7b-a055-4373-84f5-e8ffea123fa1</ID>

</CompositionPlayListReference> <OutputText>US English 2.35 50 Mbps Master</OutputText> <Language>EN</Language> <Country>US</Country>

# Below specifies desired Output Format for Video/Image <ImageOutputFormat />

# Below specifies desired Output Format for Audio <AudioOutputFormat />

# Below specifies the desired Encoding/Transcoding - <EncodingFormat> <StandardsBody /> <Label /> <PreferredEncoder /> <GenericEncoder />

</EncodingFormat>

# Below specifies the desired ColorSpaceTransformation - <ColorTransforms> <OutputColorSpace /> <PreferredConversion />

#; 3d Lut data ? <GenericConversion />

</ColorTransforms>

# Below specifies the desired Pre-Process Parameters - <PreProcessOps><process01> <OverlayParameters /> <HeadTransition /> <TailTransition />

</process01><process02/> </PreProcessOps>

</OutputProfilelist>

11.3 Output Profile List Fundamental Requirements (Basic Level)

11.3.1 Open StandardThe OPL standard shall be based upon an open worldwide standard. This format is encouraged to be a license-free technology. It shall be a complete standard that equipment receiving a compliant OPL should process and interpret unambiguously.

11.3.2 InteroperableThe OPL format shall have an open framework that is conducive to interoperability.

99

11.3.3 ScalableThe OPL format shall accommodate any number of Levels of instructional components. There is no limit on the number of processing steps or in the size of the file.

11.3.4 ExtensibleThe OPL format shall allow for new Digital Video and Digital Audio features to be addressable within the List.

11.3.5 SynchronizationNot Applicable.

11.3.6 Human Readable MetadataHuman readable Metadata shall be in English (default), but can be provided in other languages as well.

11.3.7 File FormatThe Output Profile List shall use the secure (digitally signed) text-based XML file format. More specifically, the structures defined in this document are represented using the Extensible Markup Language (XML) [XML 1.0], and specified using XML Schema [XML Schema Part 1: Structures] and [XML Schema Part 2: Datatypes]. This specification shall be associated with a unique XML namespace name [Namespaces in XML]. The namespace name shall be the string value “http://www.tbd.org“. This namespace name conveys both structural and semantic version information, and serves the purpose of a traditional version number field.

Table 11: XML Namespaces lists the XML namespace names used in this specification. Namespace names are represented as Uniform Resource Identifier (URI) values [RFC 2396]. These values shall be considered as simple strings, and applications should not attempt to resolve them as URLs.

Table 16: XML Namespaces

Qualifier URI

Cpl http://www.tbd.org/date

Xs http://www.w3.org/2001/XMLSchema

Ds http://www.w3.org/2000/09/xmldsig

The namespace qualifier values (namespace prefixes in XML jargon) used in this document (cpl, xs, ds), are not normative values. Implementations shall perform correctly with any XML compliant namespace prefix value that is associated with a URI from Table 11: XML Namespaces, above.

Datatypes from other schemas that are used in this document will be prefixed with the appropriate namespace qualifier (e.g. xs:dateTime). See [XML Schema Part 2: Datatypes] and [XML-Signature Syntax and Processing] for further information about these types.

The MIME type [IETF RFC 2046] for a document containing a single Output Profile List element as its root shall be “text/xml”.

11.4 Output Profile List ConstraintsThe following is a list of items that are intended to be constrained within the OPL.

100

11.4.1 Reference to a CPL (Basic Level)The OPL shall contain a reference to a CPL. An OPL without a CPL is an OPL that is not executable.

11.4.2 Precedence of Operations (Extended Level)As the OPL provides the capability of processing, the order of precedence shall be established by the order in which the process blocks are numerically ordered. Therefore, Process00 shall be executed and then Process01 and then Process02.

11.5 Output Profile List StructureOPL shall be represented by a unique XML element, the OutputProfilelist element. The OPL shall be encoded using the UTF-8 character encoding [XML 1.0]. The OPL shall include the following fields in Basic Level unless stated as optional, in which case they should be included in Extended Level.

Examples of different OPLs are given in Section 11.6.

The main sections are:

• Header

• ImageOutputFormat [optional]

• AudioOutputFormat [optional]

• ColorTransforms [optional]

• EncodingFormat [optional]

• PreProcessOps [optional]

11.5.1 General InformationThe OPL should provide the following general information to allow quick access to the information about the output desired. This should allow either humans or automated systems to source the general information. Below is the list of both the informative information and required information to complete the structure of the OPL. Some items are optional and therefore not required for a compliant OPL. Other sections are described in more detail in later sections.

• Unique ID

• Annotation Text [optional]

• Issue Date

• Issuer [optional]

• Creator [optional]

• Content Title Text [optional]

• Content Kind (e.g., Feature, Trailer, Logo, Advertisement, Episode) [optional]

• CompositionPlayListReference

• OutputText [optional]

Note: If an optional section or element is not provided, the source value shall be used.

11.5.2 Header [required]Listed below are the element requirements and descriptions.

11.5.3 Unique IdThe Id element uniquely identifies the OPL for tracking purposes. It shall uniquely identify the content represented by the OPL. It shall be encoded as a urn:uuid per [RFC 4122].

101

11.5.4 AnnotationText [optional]The AnnotationText element shall be a free-form, human-readable annotation describing the OPL. It is meant strictly as a display hint to the user.

11.5.5 IssueDateThe IssueDate element shall be used to define the time and date at which the OPL was issued. It should be displayed to the user. It shall be encoded as an xs:dateTime.

11.5.6 Issuer [optional]The Issuer element shall be a free-form, human-readable annotation that shall identify the entity that created the OPL. It is meant strictly for display to the user.

11.5.7 Creator [optional]The Creator element shall be a free-form, human-readable annotation that shall identify the application used to create the OPL, the Facility that created the OPL and the operator that created the OPL. It is meant strictly for display to the user.

11.5.8 ContentTitleTextThe ContentTitleText element shall contain a human-readable title for the OPL e.g. The Jazz Singer. It is strictly meant as a display hint to the user. The optional language attribute is an xs:language language code and indicates the language of the content of the element. If the language attribute is not present, the default value en shall be used.

11.5.9 ContentKind [optional]The ContentKind element defines the kind of material referred to by the OPL. It is meant to be both human and machine-readable. Table 13: Examples of Content Kind, shown in Section 7, shows examples of Content Kind.

11.5.10 CompositionPlayList ReferenceThe CompositionPlayListReference element defines the reference to the CPL(s) by calling out the Unique ID of the CPL(s). It shall uniquely identify the content that the OPL will access. It shall be encoded as a urn:uuid per [RFC 4122].

11.5.11 OutputText [optional]The OutputText element shall be a free-form, human-readable annotation that shall provide information on the desired output. It is meant strictly for display to the user.

11.5.12 ImageOutputFormat [optional]The ImageOutputFormat element defines the output format of the MainPicture of material referred to by the Composition PlayList. It is meant to be both human and machine-readable.

An example of the ImageOutputFormat is shown below:

102

<ImageOutputFormat>- <BitRate>- <ConstantBitRate> <Value>50</Value> <Label>Mbps</Label> </ConstantBitRate>

<AverageBitRate /> <MaxBitRate /> <MinBitRate /> </BitRate>

<BitDepth>8</BitDepth>

11.5.12.1 BitRate

The BitRate is a compound element that provides the desired output bit rate. The BitRate element provides for the capability of describing the ConstantBitRate, or the AverageBitRate, MaxBitRate and the MinBitRate. Each of these values is specified with a Value and Label pair.

An example is shown below:

<BitRate>- <ConstantBitRate> <Value>50</Value> <Label>Mbps</Label> </ConstantBitRate>

</BitRate>

or

103

<BitRate> <AverageBitRate > <Value>50</Value>

<Label>Mbps</Label>

</AverageBitRate > <MaxBitRate > <Value>75</Value> <Label>Mbps</Label> </MaxBitRate >

<MinBitRate > <Value>25</Value> <Label>Mbps</Label> </MinBitRate >

</BitRate>

11.5.13 ColorEncoding

The ColorEncoding element shall contain information of the color encoding parameters of the MainPicture element. This is informative information to allow for humans and machine to read and, if necessary, manipulate the MainPicture asset of the Composition to conform the color information to the OutputColorEncoding specification.

Additional elements that should optionally be specified here are:

11.5.13.1 StandardsBody [optional]

The StandardsBody element shall contain a textual representation of the different standards that specify colorspaces and should be displayed to the user. There are a number of permissible values, such as ITU, CIE etc.

11.5.13.2 ColorSpace [optional]

The ColorSpace element shall contain a textual representation of the different standards colorspaces and the associated gamut and should be displayed to the user. There are a number of permissible values, such as Rec-709, Rec-601, XYZ, etc.

11.5.13.3 ChromaFormat [optional]

The ChromaFormat element shall contain a textual representation of the chroma subsampling and should be displayed to the user. There are a number of permissible values, such as 4:4:4, 4:2:2, 4;2:0, etc.

11.5.13.4 ChromaEncoding [optional]

The ChromaEncoding element shall contain a textual representation of the arrangement of the color components and should be displayed to the user. There are a number of permissible values,

104

such as YCbCr, RGB, etc.

11.5.13.5 BitDepth [optional]

The BitDepth element shall contain a textual representation of the bit depth of each of the channels of the Image and should be displayed to the user. There are a number of permissible values, such as 8, 10, 12, 16, etc.

11.5.13.6 TransferFunction [optional]

The TransferFunction element shall contain a textual representation of the different ways to compand the data within the image, and should be displayed to the user. There are a number of permissible values, such as Linear, Log, Power, etc.

11.5.13.7 CodeRange [optional]

The CodeRange element shall contain a textual representation of the limitation applied on the dynamic range of the data and should be displayed to the user. There are a number of permissible values, such as Full, Head, limited, etc.

<ColorEncoding> <StandardsBody>ITU</StandardsBody> <ColorSpace>Rec-601</ColorSpace> <ChromaFormat>4:2:2</ChromaFormat> <ChromaEncoding>YCBCR</ChromaEncoding> <BitDepth>10</BitDepth>

<TransferFunction>Linear</TransferFunction>

<CodeRange>Limited</CodeRange> #64-940 </ColorEncoding>

11.5.14 Compression Standard

The CompressionStandard element is a compound element that contains information on the StandardsBody that provides the Codec, the type of Compression, and additional parameters that need to specify the PictureCoding, ProfileType and LevelType.

11.5.14.1 CompressionType [optional]

The CompressionType element shall contain a URI [RFC 2396] that uniquely identifies the CompressionType.

11.5.14.2 Label [optional]

The Label element shall contain a textual representation of the CompressionType, which should be displayed to the user. For each CompressionType, and hence unique URI, there are a number of permissible Label values. An example of such is shown below in Table 17: Examples of CompressionType Elements. Note: The specification of this mapping is beyond the scope of this document.

105

Table 17: Examples of CompressionType Elements

Label URI

MPEG2 Need Valid URI

MPEG4 Need Valid URI

JPEG2000 Need Valid URI

11.5.14.3 PictureCoding [optional]

The PictureCoding element shall contain a textual representation of the type of Picture encoding, which should be displayed to the user. For each type, there are a number of permissible Label values. An example of such is shown below in Table 18: Examples of PictureCoding Elements. Note: The specification of this mapping is beyond the scope of this document.

Table 18: Examples of PictureCoding Elements

Label URI

I-FRAME Need Valid URI

LGOP Need Valid URI

11.5.14.4 ProfileType [optional]

The ProfileType element shall contain a textual representation of the type of profiles, in the case of MPEG-2 encoding, which should be displayed to the user. For each type, there are a number of permissible Label values. An example of such is shown below in Table 19: Examples ofProfileType elements. Note: The specification of this mapping is beyond the scope of this document.

Table 19: Examples of ProfileType elements

Label URI

SIMPLE_PROFILE Need Valid URI

MAIN_PROFILE Need Valid URI

HIGH_PROFILE Need Valid URI

11.5.14.5 LevelType [optional]

The LevelType element shall contain a textual representation of the type of levels, in the case of MPEG-2 encoding, which should be displayed to the user. For each type, there are a number of permissible Label values. An example of such is shown below in Table 20: Examples of LevelType Elements. Note: The specification of this mapping is beyond the scope of this document.

106

Table 20: Examples of LevelType Elements

Label URI

SIMPLE_PROFILE Need Valid URI

MAIN_PROFILE Need Valid URI

HIGH_PROFILE Need Valid URI

11.5.14.6 StandardsBody [optional]

The StandardsBody element shall contain a URI [RFC 2396] that uniquely identifies the Standards Body issuing the Standard.

11.5.14.7 Label [optional]

The Label element shall contain a textual representation of the Standards Body, which should be displayed to the user. For each issuing Standards Body, and hence unique URI, there are a number of permissible Label values. An example of such is shown below in Table 21: Examples of Label Elements. Note: The specification of this mapping is beyond the scope of this document.

Table 21: Examples of Label Elements

Label URI

SMPTE STD xxx-y http://www.smpte.org/date

W3 http://www.w3.org/2001

ISO http://www.ISO.org/2009

11.5.15 FrameRate [optional]The FrameRate element shall specify the desired framerate of the final output, and is expressed in frames per second. This is informative information to allow for humans and machine to read and, if necessary, manipulate the MainPicture asset of the Composition to conform to the OutputPixelMatrix requirements.

11.5.16 Crop [optional]The Crop element shall contain the desired Region of Interest of the image. This shall specify the 2 points of the bounding box that defines the region of the image that should be utilized for downstream processing. This is expressed as the Top Left Corner, and the Bottom Right corner of ROI, and is expressed in horizontal and vertical pixel counts of the MainPicture element. This is informative information to allow for humans and machine to read and, if necessary, manipulate the MainPicture asset of the Composition to conform to the OutputPixelMatrix requirements.

107

<Crop>

<x1>0</x1>

<y1>0</y1>

<x2>1919</x2>

<y2>1079</y2>

</Crop>

11.5.17 CanvasCoordinates [optional]The CanvasCoordinates element shall contain the Region of Interest of the image. This shall specify the 2 points of the bounding box that defines the region of the image that should be utilized. This is expressed as the Top Left Corner, and the Bottom Right corner of ROI, and is expressed in horizontal and vertical pixel counts of the MainPicture element. This is informative information to allow for humans and machine to read and, if necessary, manipulate the MainPicture asset of the Composition to conform to the OutputPixelMatrix requirements.

<CanvasCoordinates>

<x1>0</x1>

<y1>0</y1>

<x2>1919</x2>

<y2>1079</y2>

</CanvasCoordinates>

108

11.5.18 AudioOutputFormat [optional]The AudioOutputFormat element defines the output format of the MainSound material referred to by the Composition PlayList. It is meant to be both human and machine-readable.

The example below shows some of the AudioOutputFormat elements:

<AudioOutputFormat> <SampleRate>48000</SampleRate> <BitDepth>24</BitDepth>

<SamplesPerFrame>800.8</SamplesPerFrame>

- <CompressionStandard>

<CompressionType>LPCM</CompressionType>

<Label>PCM</Label> </CompressionStandard>

- <PitchCorrection>No</PitchCorrection> </AudioOutputFormat>

11.5.18.1 SampleRate [optional]

The SampleRate element shall contain information about the processing and parameters to be applied to the MainSound element to obtain the desired sample rate for the output e.g the specific DSP alogrithm to be applied and recommended settings

11.5.18.2 BitDepth [optional]

The BitDepth element shall contain information about the processing and parameters to be applied to the MainSound element to obtain the desired BitDepth for the output e.g. truncation, dither values, etc.

11.5.18.3 SamplesPerFrame [optional]

The SamplesPerFrame element shall contain information about the processing and parameters to be applied to the MainSound element to obtain the desired samples per frame for the output e.g. a specific resampling process or algorithm.

11.5.18.4 SpeedChange [optional]

The SpeedChange element shall contain information about the processing and parameters to be applied to the MainSound element to obtain the desired speed (frame rate) of the output e.g. the specific processes to be applied, their order and recommended settings.

11.5.18.5 PitchCorrection [optional]

The PitchCorrection element shall contain information about the processing parameters to be applied to the MainSound element to correct for speed changes applied to the output using the SpeedChange item e.g. the specific processes to be applied, their order and recommended settings.

109

11.5.18.6 CompressionStandard [optional]

The CompressionStandard element shall contain information of the compression encoding parameters of the MainSound element. This is informative information to allow for humans and machine to read and, if necessary, manipulate the MainSound asset of the Composition to conform the sound information to the Compression specification .

11.5.18.7 BitRate [optional]

The BitRate element shall contain information about the processing parameters to be applied to the MainSound element to obtain the desired compression bit rate for the output, which may be comprised of several metadata items. For constant bit rate encoding such as AC3, this is the BitRateValue (e.g. 384) and the BitRateScale (Kbits/sec, Mbits/sec). For variable bit rate encoding such as DTS-MA, this is the maximum, minimum and average BitRateValues and their BitRateScales.

11.5.18.8 StandardsBody [optional]

The StandardsBody element shall contain a URI [RFC 2396] that uniquely identifies the Standards Body issuing the Standard.

11.5.18.9 Label [optional]

The Label element shall contain a textual representation of the Standards Body, which should be displayed to the user. For each issuing Standards Body, and hence unique URI, there are a number of permissible Label values.

11.5.19 AudioConfig [optional]The AudioConfig element shall provide the information on how the individual channels should be arranged in the output. This is informative information to allow for humans and machine to read and, if necessary, manipulate the Composition to conform to the desired configuration of the output format. This tag may change once the Multi-Channel Audio specification is approved.

11.5.19.1 ChannelNN [optional]

The ChannelNN element shall contain the specific Channel that is being described where NN is the channel number.

11.5.19.2 Language [optional]

The Language element shall contain an informative description of the language used for the specific ChannelNN.

11.5.19.3 Config [optional]

The Config element shall contain an informative description of the total number of channels used for the specific ChannelNN.

11.5.19.4 Channel [optional]

The Channel element shall contain an informative description of the specific channel. Examples include L for Left and R for Right.

11.5.19.5 Label [optional]

The Label element shall contain a textual representation of the AudioConfig, which should be displayed to the user.

110

<AudioConfig>- <Channel01>

<Language>English</Language>

<Config>2.0</Config> <Channel>L</Channel> </Channel01>

- <Channel02>

<Language>English</Language>

<Config>2.0</Config> <Channel>R</Channel> </Channel02>

- <Channel03> <Language>ME</Language> <Config>2.0</Config> <Channel>L</Channel> </Channel03>

- <Channel04> <Language>ME</Language> <Config>2.0</Config> <Channel>R</Channel> </Channel04> </AudioConfig>

11.5.20 OutputSpeedOffset [optional]The OutputSpeedOffset element shall contain the rational percentage offset intended to be applied to the Composition. This is informative information to allow for humans and machine to read and, if necessary, manipulate the Composition to conform to the desired running time of the output.

11.5.21 ColorTransforms [optional]Within the ColorTransforms section, the provision is provided for conversions from 1 color space to another, the ability to decimate the color signal in the desired fashion, apply look-up-tables, either 1D, 3D or matrices. An example is given below:

111

<ColorTransforms>- <ColorEncoding> <StandardsBody>ITU</StandardsBody> <ColorSpace>Rec-601</ColorSpace> <ChromaEncoding>YCBCR</ChromaEncoding> <BitDepth>10</BitDepth> <TransferFunction>Linear</TransferFunction> <CodeRange>Limited</CodeRange> #64-940 </ColorEncoding>

- <ColorSampling> <Filter>Mean</Filter> <ChromaFormat>4:2:2</ChromaFormat> </ColorSampling> </ColorTransforms>

11.5.22 EncodingFormat [optional]Within the EncodingFormat section, the objective is to provide the content provider with full control of the encoding/transcoding process. This should be accomplished via providing specific encoding instructions that are specific to a particular manufacturer, or should include a reference to a manufacturer’s pre-packaged profiles. Additionally, it should also provide a low level granularity to the order in which specific encoding parameters should be identified.

Note: The specification of the syntax here requires additional manufacturer input and is currently beyond the scope of this document.

11.5.23 PreProcessOps [optional]Maintained within process blocks, i.e., element named ProcessNN (where N >0), this set of operations enables a wide range of processing capabilities. Examples would include scaling, overlay addition, time code changes, color sub sampling, etc.

The processing block is sequenced in numerical order, with Process01 being the first one that is processed. The minimal requirement is that a Label element be provided so that informative information is available to the machine to read and, if necessary, manipulate the Composition to conform to the desired Output.

A few examples are shown below.

11.5.24 Scaling

<Process01> <Label>Resize</Label> - <Scale>

<Filter>Lanczos</Filter> <FilterSetting01>3-

Lobe</FilterSetting01> <HSize>720</HSize> <VSize>486</VSize> </Scale> </Process01>

112

11.5.25 TimeCodeChange

<Process03> <Label>Timecode Change</Label> - <TimecodeOutput> <TCRate>59.94</TCRate> <TCRaster>I</TCRaster> <TCType>DF</TCType> - <TCChange> <Pulldown>Yes</Pulldown> #Use 3:2 Pulldown

<AFrame>01:00:00:00</AFrame> #Location of A Frame </TCChange> </TimecodeOutput> </Process03>

11.5.26 OverlayType

<OverlayItem> <OverlayType>text</OverlayType> <OverlaySourceID />

<OverlaySourceColorSpace>graphic</OverlaySourceColorSpace>

- <TextItem> <Annotation>Property of Warner

Bros.</Annotation> <Color>white (or #FFFFFFF)</Color> <OutlineColor>black (or

#000000)</OutlineColor> <Font>arial</Font> <Justification>left</Justification> </TextItem>

11.6 OPL ExamplesThe following examples illustrate various types of OPL.

11.6.1 A Simple OPL (Basic Level)This is the minimal OPL that simply calls out a reference to a composition playlist. It is up to the facility to apply any of the transformations desired to generate any desired output.

113

- <OutputProfileList> # Below specifies Preamble, Note the reference to the

CPL, compositionPlaylistReference <Id>urn:uuid:cde69c7b-a055-4373-84f5-e8ffea82f345</Id> <AnnotationText>US English 2.35 Master</AnnotationText> <IssueDate>2008-05-30T03:21:28-07:00</IssueDate> <Issuer /> <Creator /> - <CompositionPlayListReference> <ID>urn:uuid:bbf69c7b-a055-4373-84f5-e8ffea123fa1</ID>

</CompositionPlayListReference> </OutputProfileList>

11.6.2 A Level-1 Complex OPL (Extended Level)This is the first level of Complex OPL. It calls out the desired Output format from an Image and Audio format. It is up to the “post” facility to determine the best way to deliver the desired output.

In this example, the desired output is a 1920x1080, 50 Mbps, MPEG-2, I-Frame only file encoded as HP-HL, with the Audio as a MPEG-1, Layer2 at 48 Khz.

Notice that the OPL only provides a reference to the Composition PlayList, and the desired output. It does not provide any direction on how the final file should be generated.

114

- <OutputProfileList> # Below specifies Preamble, Note the reference to the CPL,

compositionPlaylistReference <Id>urn:uuid:cde69c7b-a055-4373-84f5-e8ffea82f345</Id> <AnnotationText>Avatar_FTR_S_EN-

XX_US_PG13_51_2K_DI_20080529_PX</AnnotationText> <IssueDate>2008-05-30T03:21:28-07:00</IssueDate> <Issuer /> <Creator /> <ContentTitleText /> <ContentKind /> - <CompositionPlayListReference> <ID>urn:uuid:bbf69c7b-a055-4373-84f5-e8ffea123fa1</ID>

</CompositionPlayListReference> <OutputText>US English 1.78 50 Mbps Master</OutputText> <Country>US</Country> - <ImageOutputFormat>- <BitRate>- <ConstantBitRate> <Value>50</Value> <Label>Mbps</Label>

</ConstantBitRate> <AverageBitRate /> <MaxBitRate /> <MinBitRate />

</BitRate> <BitDepth>8</BitDepth> - <ColorEncoding> <ColorSpace>Rec-709</ColorSpace> <ChromaFormat>4:2:2</ChromaFormat>

</ColorEncoding>- <CompressionStandard> <StandardsBody>MPEG-LA</StandardsBody> - <CompressionType> <Label>MPEG2</Label> <PictureCoding>I-FRAME ONLY</PictureCoding> <ProfileType>HIGH_PROFILE</ProfileType> <LevelType>HIGH_LEVEL</LevelType>

</CompressionType> </CompressionStandard>

- <SpatialParameters><CanvasCoordinates> <x1>0</x1> <y1>0</y1> <x2>1919</x2> <y2>1079</y2>

</CanvasCoordinates>- <Scale> <xscale>1.0</xscale> <yscale>1.0</yscale>

</Scale>

+ <Crop> </SpatialParameters>

<FrameRate>24</FrameRate> </ImageOutputFormat> # Below specifies desired Output Format for Audio

- <AudioOutputFormat> <AudioConfig /> <SamplingFreq>48000</SamplingFreq> <BitDepth>16</BitDepth> - <CompressionStandard>

<StandardsBody>MPEG-LA</StandardsBody> - <CompressionType> <Label>MPEG1 Layer2</Label>

</CompressionStandard>

</AudioOutputFormat>

</OutputProfileList>

115

11.6.3 A Level-2 Complex OPL (Extended Level)This example illustrates another level of complexity for an OPL, creating an NTSC from an HD IMP.

In this example, the original IMP contains the following content:

• 4:4:4 10-bit RGB DPX frames at 24Hz in Rec.709

• Active picture at 1920x803

• 5.1 English, 5.1 M&E, 2.0 English, 2.0 M&E

The Output Profile List shall create the following content:

• 525 10-bit YCBCR at 59.94Hz in Rec.601 (uncompressed)

• 16x9 720x486 with letterbox mattes

• 2.0 English, 2.0 M&E

The process to create this 525 master is as follows:

1. Resize the image from 1920x803 to 720x362 using Lanczos 3-Lobe filter

2. Add black (RGB=000) mattes to above and below the image to fill to 720x486

3. Convert to 4:4:4 YCBCR using equations in SMPTE 293M

4. Sub-sample to 4:2:2 using Mean filtering

5. Change time code by adding 3:2 pulldown and changing rate to 59.94 fields/second

6. Resample audio to 2002 samples per frame

116

117

- <OutputProfilelist> # Below specifies Preamble, Note the reference to the CPL,

compositionPlaylistReference <Id>urn:uuid:abc69c7b-a055-4373-84f5-a8ffea82f345</Id> <AnnotationText>Ratatouille_TH_FEA_DPX-V_1080P23_ENG-

ENG_1234567</AnnotationText> <IssueDate>2007-08-15T03:21:28-07:00</IssueDate> <Issuer>Disney</Issuer> <Creator>Pixar</Creator> <ContentTitleText /> <ContentKind /> - <CompositionPlayListReference> <ID>urn:uuid:aaf69c7b-a055-4373-84f5-e8ffea123fa1</ID>

</CompositionPlayListReference> <OutputText>US English 2.39 DPX Master</OutputText> <TotalRunningTime>01:51:15:10</TotalRunningTime> <Language>EN</Language> <Country>US</Country>

# Below specifies desired Output Format for Video/Image, but not the steps to get there

- <ImageOutputFormat>- <ColorEncoding> <StandardsBody>ITU</StandardsBody> <ColorSpace>Rec-601</ColorSpace> <ChromaFormat>4:2:2</ChromaFormat> <ChromaEncoding>YCBCR</ChromaEncoding> <BitDepth>10</BitDepth> <TransferFunction>Linear</TransferFunction> <CodeRange>Limited</CodeRange>

#64-940 </ColorEncoding>

- <CompressionStandard> <CompressionType>Uncompressed</CompressionType> <Label>None</Label>

</CompressionStandard>

...continued on the next page

118

continuation of a Level 2 OPL:

<SpatialParameters>- <CanvasCoordinates> <x1>0</x1> <y1>0</y1> <x2>719</x2> <y2>485</y2>

</CanvasCoordinates>- <ActiveCoordinates>

#Not sure about the tag name <x1>0</x1> <y1>62</y1> <x2>719</x2> <y2>424</y2>

</ActiveCoordinates> <PixelAspectRatio>1.21</PixelAspectRatio>

</SpatialParameters>

- <FrameRate> <Rate>59.94</Rate> <Raster>I</Raster>

# Interlaced <TimecodeType>DF</TimecodeType>

# Drop-Frame </FrameRate> </ImageOutputFormat> # Below specifies desired Output Format for Audio

- <AudioOutputFormat> <SampleRate>48000</SampleRate> <BitDepth>24</BitDepth> <SamplesPerFrame>800.8</SamplesPerFrame> - <CompressionStandard> <CompressionType>LPCM</CompressionType> <Label>PCM</Label>

</CompressionStandard>- <AudioConfig>- <Channel01> <Language>English</Language> <Config>2.0</Config> <Channel>L</Channel>

</Channel01>- <Channel02> <Language>English</Language> <Config>2.0</Config> <Channel>R</Channel>

</Channel02>- <Channel03> <Language>ME</Language> <Config>2.0</Config> <Channel>L</Channel>

</Channel03>- <Channel04> <Language>ME</Language> <Config>2.0</Config> <Channel>R</Channel>

</Channel04> </AudioConfig>

<PitchCorrection>No</PitchCorrection> </AudioOutputFormat>

...continued on the next page

11.6.4 An Overlay Pre-Processing Block for an OPL (Extended Level)

This example illustrates how one should execute Overlay pre-processing in an OPL.

(Pre-processing section for an OPL)

- <Position> #note: assuming upper-left of image (or image sequence) is origin.

<x>960</x> <y>1050</y>

</Position>

119

continuation of a complex Level 2 OPL:

- <ColorTransforms>- <ColorEncoding> <StandardsBody>ITU</StandardsBody> <ColorSpace>Rec-601</ColorSpace> <ChromaEncoding>YCBCR</ChromaEncoding> <BitDepth>10</BitDepth> <TransferFunction>Linear</TransferFunction> <CodeRange>Limited</CodeRange>

#64-940 </ColorEncoding>

- <ColorSampling> <Filter>Mean</Filter> <ChromaFormat>4:2:2</ChromaFormat>

</ColorSampling> </ColorTransforms>

# Below specifies the desired Pre-Process Parameters

- <PreProcessOps>- <Process01> <Label>Resize</Label> - <Scale> <Filter>Lanczos</Filter> <FilterSetting01>3-Lobe</FilterSetting01> <HSize>720</HSize> <VSize>486</VSize>

</Scale> </Process01>

- - <Process02> <Label>Timecode Change</Label> - <TimecodeOutput> <TCRate>59.94</TCRate> <TCRaster>I</TCRaster> <TCType>DF</TCType> - <TCChange> <Pulldown>Yes</Pulldown>

#Use 3:2 Pulldown <AFrame>01:00:00:00</AFrame>

#Location of A Frame </TCChange> </TimecodeOutput> </Process02> </PreProcessOps> </OutputProfilelist>

<Opacity>100</Opacity> <CompositeMethod>over</CompositeMethod> <StartFrame>0</StartFrame> <EndFrame>10000</EndFrame>

</OverlayItem>- <OverlayItem> <OverlayType>text</OverlayType> <OverlaySourceID /> <OverlaySourceColorSpace>graphic</OverlaySourceColorSpace> - <TextItem> <Annotation>Property of Warner Bros.</Annotation> <Color>white (or #FFFFFFF)</Color> <OutlineColor>black (or #000000)</OutlineColor> <Font>arial</Font> <Justification>left</Justification>

</TextItem> <size>20</size> <scale>1.0</scale> - <Position>

#note: assuming upper-left of image (or image sequence) is origin. <x>160</x> <y>1000</y>

</Position> <Opacity>100</Opacity> <CompositeMethod>over</CompositeMethod> <StartFrame>20000</StartFrame> <EndFrame>30000</EndFrame>

</OverlayItem> </OverlayParameters>

- <Transitions>- <TransitionItem> <Type>fadeup</Type> <Duration>48</Duration> <StartFrame>11</StartFrame> <StartASideOpacity>0</StartASideOpacity> <StartBSideOpacity>0</StartBSideOpacity> <EndFrame>58</EndFrame> <EndASideOpacity>100</EndASideOpacity> <EndBSideOpacity>0</EndBSideOpacity>

</TransitionItem>- <TransitionItem> <Type>dissolve</Type> <Duration>48</Duration> <StartFrame>100</StartFrame> <StartASideOpacity>0</StartASideOpacity> <StartBSideOpacity>100</StartBSideOpacity> <EndFrame>100101</EndFrame> <EndASideOpacity>100</EndASideOpacity> <EndBSideOpacity>0</EndBSideOpacity>

</TransitionItem> </Transitions> </PreProcessOps>

120

12 Packaging

12.1 IntroductionPackaging is defined as the process of combing elements to prepare them for shipping or transfer. A package shall generally consist of one or more compositions (i.e., CPL and Track Files) along with two more elements, which are specified below.

12.2 Packaging System Overview

12.2.1 Functional FrameworkFor the purpose of documenting the specific requirements for an Interoperable Master Format Packaging system, it is helpful to divide the system into a set of components. The performance requirements for each of these components will be described in the following sections:

• Distribution Package – CPL and Track File files plus package metadata. The package metadata includes a Digital Signature, which allows the authenticity of the package to be tested (e.g., after delivery to a distribution channel).

• Packing List – A container for package metadata: list of files included in the Package.

• Asset Map – A container for package metadata: provides a map of UUID values to data storage locations (e.g. file system paths).

12.2.2 Packaging ConceptsIt is common practice to divide content into versions for distribution. These versions or parts of versions or multiple versions shall need to be transported between facilities. The mechanism to accomplish this is to create an Interoperable Master Package or IMP. This mechanism is described below in the following sections.

12.3 Distribution Package

12.3.1 IntroductionThe Distribution Package has three major components; the payload (CPL and Track File files), the Output Profile List and package metadata (contained in the Packing List and Asset Map). These are all of the elements required for a complete delivery of IMF to a recipient.

A Distribution Package can contain a complete feature film composition or a set of compositions. Alternatively, it can carry as little as a single file (e.g., to update one reel’s subtitle or soundtrack).

12.3.2 Distribution Package

12.3.3 GeneralA Distribution Package shall consist of a Packing List, an OPL and one or more IMF CPL’s and/or Track Files. The following requirements apply.

12.3.4 Packing for TransportThe distribution method shall allow an IMP to be transported via physical media or network.

121

12.3.5 Distribution Volume

12.3.5.1 General

A Distribution Volume shall consist of one or more Distribution Packages plus an Asset Map.

A Distribution Volume for physical delivery should consist of a single storage media item that contains a single filesystem partition, and should contain the Asset Map in the root directory of that filesystem.

A Distribution Volume for network delivery should be identified by the URI of the Asset Map.

12.3.6 StandardsSMPTE ST 429-8:2007 defines a Packing List with optional Digital Signature.

SMPTE ST 429-9:2007 defines an Asset Mapping document. Appendix A defines a profile for a Distribution Volume on a path-based filesystem.

122

Annex

A - Example WorkflowsThe following diagrams show examples of future state workflows using the concept of the IMF. This IMF and the file-based workflow shall enable Mastering & Distribution Servicing to service both existing and emerging distribution channels. It must be stressed that this is only an example workflow. As one becomes more familiar with the concepts of the IMF one can imagine many different workflows using the IMF. It is not the intention of this document to identify all of these possibilities.

Figure 24 - Future State - Mastering & Distribution Servicing

123

Figure 25 - Example IMF Workflow

124

B - Composition PlayList (CPL) ExampleComposition PlayLists (CPLs) are scripts that link the IMF Track Files together into synchronized pieces of content. CPLs are written in XML.

B1 – CPL Schema<?xml version="1.0" encoding="UTF-8"?>

<xs:schema

targetNamespace="http://www.smpte-ra.org/schemas/DRAFT-IMF-00/YYYY/CPL"

xmlns:cpl="http://www.smpte-ra.org/schemas/DRAFT-IMF-00/YYYY/CPL"

xmlns:dcml="http://www.smpte-ra.org/schemas/433/2008/dcmlTypes/"

xmlns:ds="http://www.w3.org/2000/09/xmldsig#"

xmlns:xs="http://www.w3.org/2001/XMLSchema"

elementFormDefault="qualified" attributeFormDefault="unqualified">

<xs:import namespace="http://www.smpte-ra.org/schemas/433/2008/dcmlTypes/" />

<xs:import namespace="http://www.w3.org/2000/09/xmldsig#" />

<!-- top level elements -->

<xs:element name="CompositionPlaylist" type="cpl:CompositionPlaylistType" />

<!-- CompositionPlaylist -->

<xs:complexType name="CompositionPlaylistType">

<xs:sequence>

<xs:element name="Id" type="dcml:UUIDType" />

<xs:element name="Annotation" type="dcml:UserTextType" minOccurs="0" />

<xs:element name="IssueDate" type="xs:dateTime" />

<xs:element name="Issuer" type="dcml:UserTextType" minOccurs="0" />

<xs:element name="Creator" type="dcml:UserTextType" minOccurs="0" />

<xs:element name="ContentTitle" type="dcml:UserTextType" />

<xs:element name="ContentVersionList" minOccurs="0">

<xs:complexType>

125

<xs:sequence>

<xs:element name="ContentVersion" type="cpl:ContentVersionType" maxOccurs="unbounded" />

</xs:sequence>

</xs:complexType>

</xs:element>

<xs:element name="ContentKind" type="cpl:ContentKindType" minOccurs="0" />

<!-- The structure that follows provides a list of essence descriptor elements that will be referenced

(by UUID) from the resources that make use of the respective encoding. For example, if a

composition contains both stereo and 5.1 sound, there would be two sound essence descriptors in

this section of the CPL, and each of the stereo and 5.1 resource elements would contain a single

UUID that references the respective descriptor (see SourceEncoding below).

At this time it there is not much consensus as to the contents of the descriptors and it is very

likely that there will be an evolving set of parameters. For this reason, the model presented

here simply provides the UUID needed for reference from the resource elements and an "any" element

that can contain an XML structure defined elsewhere. It is expected that this approach will allow

new essence descriptors to be introduced over time without the need for modifying the core CPL

rate standard.

A very likely source of essence descriptors is the MXF files that are referenced by a CPL document.

Since the MXF wrapping will require extensive documentation of essence encoding parameters (in

structures not coincidentaly named "Essence Descriptors), it may suffice to simply store an XML

transformation of the MXF essence descriptor in this place.

See interop-imf-essence.xsd for example essence descriptors (Based on IMF

126

1.0).

-->

<xs:element name="EssenceDescriptorList">

<xs:complexType>

<xs:sequence>

<xs:element name="EssenceDescriptor" type="cpl:EssenceDescriptorBaseType" maxOccurs="unbounded" />

</xs:sequence>

</xs:complexType>

</xs:element>

<!-- The CPL timeline consists of a sequence of edit units that is the concatenation of all of the edit

units in all of the Sequence elements. The individual edit units are addressed using an integer value

that extends from zero (0), the first edit unit, through n-1, where n is the number of edit units in

the CPL timeline (the composition's duration).

While exact and very useful, this method of timeline location (index by zero-based integer count) is

not widely used for interfacing timelines between devices. It is expected that SMPTE ST 0012 timecode

(or its successor) will continue to be used for that purpose. To facilitate predictable timecode output

from a CPL timeline, the parameters in this element provide the information necessary to initialize a

timecode generator. -->

<!-- Defines the SMPTE ST 0012 timecode timeline that corresponds to the entire composition timeline. -->

<xs:element name="CompositionTimecode" minOccurs="0">

<xs:complexType>

<xs:sequence>

<!-- true = drop frame, false = non-drop frame -->

<xs:element name="TimecodeDropFrame" type="xs:boolean" />

127

<!-- true = interlace, false = progressive (TODO: is this really needed?) -->

<xs:element name="TimecodeInterlace" type="xs:boolean" />

<!-- Number of timecode frames per second, i.e., the "frames" field of the time code will extend from 0

to TimecodeRate - 1. -->

<xs:element name="TimecodeRate" type="xs:positiveInteger" />

<!-- The time code at edit unit zero (0) shall be equal to the value presented in TimecodeStartAddress

and shall increment by one frame for each subsequent Edit Unit in the composition. -->

<xs:element name="TimecodeStartAddress" type="cpl:TimeCodeType" />

</xs:sequence>

</xs:complexType>

</xs:element>

<!-- The duration of the composition presented in a convenient notation for direct display, calculated by

summing the durations of all of the sequences. Intentionally limited to HH:MM:SS -->

<xs:element name="TotalRunningTime" minOccurs="0">

<xs:simpleType>

<xs:restriction base="xs:string">

<xs:pattern value="[0-9][0-9]:[0-5][0-9]:[0-5][0-9]" />

</xs:restriction>

</xs:simpleType>

</xs:element>

<!-- A Locale is a grouping of region or country codes, rating and optional comment elements that identifies

the scope of the intended audience in terms of location, language and censorship authority. A CPL may

contain zero or more Locales. -->

128

<xs:element name="LocaleList" minOccurs="0">

<xs:complexType>

<xs:sequence>

<xs:element name="Locale" type="cpl:LocaleType" />

</xs:sequence>

</xs:complexType>

</xs:element>

<!-- An Edit Unit is the smallest temporal increment of access to Essence, e.g. a frame or a sample.

A CPL has a temporal granularity of one Edit Unit. Note that sample-level granularity is available

in resource elements that access sound essence. -->

<!-- The number of Editable Units to be reproduced during a temporal interval having a duration of

exactly one (1.0) second. All essence referenced from this CPL shall have equal EditRate. -->

<xs:element name="EditRate" type="dcml:RationalType" />

<!-- The actual playlist begins here. Content is divided into temporal epochs called "Sequences".

Each sequence contains one or more segments that comprise the output of the timeline. Segments

with identical TrackId values form a "track", or timeline output. There shall be zero or one

picture segments in a Sequence. There shall be zero or more sound segments, subtitle segments,

caption segments and time code segments (upper limits to be added as a constraint). Sequences

are reproduced consecutively, in the order defined in the CPL. -->

<xs:element name="SequenceList">

<xs:complexType>

<xs:sequence>

<xs:element name="Sequence" type="cpl:SequenceType" />

</xs:sequence>

</xs:complexType>

</xs:element>

129

<!-- Digital signature may be used to support authenticity checking. -->

<xs:element name="Signer" type="ds:KeyInfoType" minOccurs="0" />

<xs:element ref="ds:Signature" minOccurs="0" />

</xs:sequence>

</xs:complexType>

<!-- A Sequence is a set of segments intended for simultaneous playout. -->

<xs:complexType name="SequenceType">

<xs:sequence>

<xs:element name="Id" type="dcml:UUIDType"/>

<xs:element name="Annotation" type="dcml:UserTextType" minOccurs="0" />

<xs:element name="SequenceIssueDate" type="xs:dateTime" minOccurs="0" /> <!-- TODO: really needed? -->

<!-- Each segment shall have equal duration, which shall be the sum of the durations of its child Resource

elements. The duration of a segment shall be no less than the quotient of the EditRate rounded up to

the nearest integer value (i.e., one second). -->

<xs:element name="SegmentList">

<xs:complexType>

<xs:sequence>

<!-- there shall be zero or one picture tracks -->

<xs:element name="ImageSegment" type="cpl:SegmentType" minOccurs="0" />

<!-- The TrackID element (see the definition of BaseSegmentType below) uniquely identifies a

track for those essence types that allow multiple segments (such an AudioSegment). When more

than one track of a type is used, the following shall hold true:

o No two Tracks in a Sequence shall have the same TrackID

o The TrackID shall be present in every segment that is expected

130

to be reproduced

on a particular output.

OPL discussion: how to select among tracks for output? The TrackID can be used by

the OPL to select a particular track when more than one track is present.

-->

<!-- there shall be zero or more sound tracks -->

<xs:element name="AudioSegment" type="cpl:SegmentType" minOccurs="0" maxOccurs="unbounded" />

<!-- there shall be zero or more subtitle tracks -->

<xs:element name="SubtitleSegment" type="cpl:SegmentType" minOccurs="0" maxOccurs="unbounded" />

<!-- there shall be zero or more caption tracks -->

<xs:element name="CaptionSegment" type="cpl:SegmentType" minOccurs="0" maxOccurs="unbounded" />

<!-- there shall be zero or more time code tracks -->

<xs:element name="TimeCodeSegment" type="cpl:SegmentType" minOccurs="0" maxOccurs="unbounded" />

<!-- there shall be zero or one marker tracks -->

<xs:element name="MarkerSegment" type="cpl:SegmentType" minOccurs="0" />

<!-- Additional sequence track elements may be introduced in other standards. The following

XML Schema declaration allows any element to be present past this point. The selection

of the "lax" value of the processContents attribute allows older implementations that do

not understand the extension to ignore it. Applications that expect a particular extension

should use a modified schema (using processContents="strict") or use means other than

schema validation to ensure proper syntax. -->

131

<xs:any namespace="##other" processContents="lax" minOccurs="0" maxOccurs="unbounded" />

</xs:sequence>

</xs:complexType>

</xs:element>

</xs:sequence>

</xs:complexType>

<!-- A segment is further divided into "clips", which are selections of external essence to be reproduced

in series. Each Resource element in a Track specifies an exact sequence of editable units (a "clip")

of external essence to be played. The segment's contents is the concatenation of the clips in the order

defined in the XML file. -->

<!-- Base class for segment types -->

<xs:complexType name="SegmentType">

<xs:sequence>

<xs:element name="Id" type="dcml:UUIDType"/>

<xs:element name="TrackId" type="dcml:UUIDType" minOccurs="0" />

<xs:element name="Resource" type="cpl:BaseResourceType" maxOccurs="unbounded" />

</xs:sequence>

</xs:complexType>

<xs:complexType name="BaseResourceType" abstract="1">

<xs:sequence>

<xs:element name="Id" type="dcml:UUIDType" />

<xs:element name="Annotation" type="dcml:UserTextType" minOccurs="0" />

<!-- Count of edit units (of the IntrinsicEditRate) to be skipped before start of playback. -->

<xs:element name="EntryPoint" type="xs:nonNegativeInteger" minOccurs="0" />

<!-- Count of edit units (of the CPL EditRate) to be played. -->

<xs:element name="SourceDuration" type="xs:positiveInteger" minOccurs="0" />

132

<!-- Number of times to repeat the section of edit units defined by EntryPoint and SourceDuration. -->

<xs:element name="RepeatCount" type="xs:positiveInteger" minOccurs="0" />

<!-- Count of edit units contained in external essence package. -->

<xs:element name="IntrinsicDuration" type="xs:positiveInteger" />

<!-- EditRate of the referenced resource. In the case where the referenced resource is a

MarkerResource, this value shall be equal to the CPL EditRate. -->

<xs:element name="IntrinsicEditRate" type="dcml:RationalType" minOccurs="0" />

</xs:sequence>

</xs:complexType>

<!-- A resource is a chunk of essence that can be played (reproduced). It is defined more precicely

as a sequence of editable units of essence, where the essence comprising the editable unit(s)

is contained in a track file external to the CPL. (The track file will be an AS-02 MXF file). -->

<xs:complexType name="TrackFileResourceType">

<xs:complexContent>

<xs:extension base="cpl:BaseResourceType">

<xs:sequence>

<xs:element name="SourceEncoding" type="dcml:UUIDType" />

<!-- Identifies external essence to be reproduced. The value shall be the PackageUID extracted

from the MXF file containing the essence to be reproduced. -->

<xs:element name="AssetId" type="dcml:UUIDType" />

<!-- If the MXF track file is encrypted, these elements provide additional information. -->

<xs:element name="KeyId" type="dcml:UUIDType" minOccurs="0" />

<xs:element name="Hash" type="xs:base64Binary" minOccurs="0" />

133

</xs:sequence>

</xs:extension>

</xs:complexContent>

</xs:complexType>

<xs:complexType name="StereoImageTrackFileResourceType">

<xs:complexContent>

<xs:extension base="cpl:BaseResourceType">

<xs:sequence>

<xs:element name="LeftEye" type="cpl:TrackFileResourceType" />

<xs:element name="RightEye" type="cpl:TrackFileResourceType" />

</xs:sequence>

</xs:extension>

</xs:complexContent>

</xs:complexType>

<xs:complexType name="MarkerResourceType">

<xs:complexContent>

<xs:extension base="cpl:BaseResourceType">

<xs:sequence>

<xs:element name="Marker" type="cpl:MarkerType" maxOccurs="unbounded" />

</xs:sequence>

</xs:extension>

</xs:complexContent>

</xs:complexType>

<!-- Marker (a'la ST 429-7) -->

134

<xs:complexType name="MarkerType">

<xs:sequence>

<xs:element name="Id" type="dcml:UUIDType" />

<xs:element name="Annotation" type="dcml:UserTextType" minOccurs="0" />

<xs:element name="Label">

<xs:complexType>

<xs:simpleContent>

<xs:extension base="xs:string">

<xs:attribute name="scope" type="xs:anyURI" use="optional"

default="http://www.smpte-ra.org/schemas/DRAFT-IMF-00/YYYY/CPL#standard-markers" />

</xs:extension>

</xs:simpleContent>

</xs:complexType>

</xs:element>

<xs:element name="Offset">

<xs:simpleType>

<xs:restriction base="xs:nonNegativeInteger">

<xs:minInclusive value="0" />

</xs:restriction>

</xs:simpleType>

</xs:element>

</xs:sequence>

</xs:complexType>

<!-- ContentVersion (a'la ST 429-7, with expansion option) -->

<xs:complexType name="ContentVersionType">

<xs:sequence>

<xs:element name="Id" type="xs:anyURI" />

<xs:element name="Label" type="dcml:UserTextType" />

135

<xs:any namespace="##other" processContents="lax" minOccurs="0" />

</xs:sequence>

</xs:complexType>

<!-- ContentKind (a'la ST 429-7) -->

<xs:complexType name="ContentKindType">

<xs:simpleContent>

<xs:extension base="xs:string">

<xs:attribute name="scope" type="xs:anyURI" use="optional"

default="http://www.smpte-ra.org/schemas/DRAFT-IMF-00/YYYY/CPL#content-kind" />

</xs:extension>

</xs:simpleContent>

</xs:complexType>

<!-- Essence Descriptor anchor type. See description of EssenceDescriptorList above. -->

<xs:complexType name="EssenceDescriptorBaseType">

<xs:sequence>

<xs:element name="Id" type="dcml:UUIDType" />

<xs:any namespace="##other" processContents="strict" minOccurs="0" />

</xs:sequence>

</xs:complexType>

<!-- SMPTE ST 0012 timecode type -->

<xs:simpleType name="TimeCodeType">

<xs:restriction base="xs:string">

<xs:pattern value="[0-2][0-9]:[0-5][0-9]:[0-5][0-9]:[0-5][0-9]" />

</xs:restriction>

</xs:simpleType>

<!-- A Locale is a grouping of region or country codes, rating and optional comment elements that identifies

the scope of the intended audience in terms of location, language and censorship authority. -->

136

<xs:complexType name="LocaleType">

<xs:sequence>

<xs:element name="Annotation" type="dcml:UserTextType" minOccurs="0" />

<xs:element name="RatingList" minOccurs="0">

<xs:complexType>

<xs:sequence>

<xs:element name="Rating" maxOccurs="unbounded">

<!-- Rating (a'la ST 429-7) -->

<xs:complexType>

<xs:sequence>

<xs:element name="Agency" type="xs:anyURI" />

<xs:element name="Label" type="xs:string" />

</xs:sequence>

</xs:complexType>

</xs:element>

</xs:sequence>

</xs:complexType>

</xs:element>

<xs:element name="LanguageList" minOccurs="0">

<xs:complexType>

<xs:sequence>

<xs:element name="Language" type="xs:string" maxOccurs="unbounded" /> <!-- RFC 5646 language code -->

</xs:sequence>

</xs:complexType>

</xs:element>

<xs:choice>

<xs:element name="CountryList" minOccurs="0">

<xs:complexType>

137

<xs:sequence>

<xs:element name="Country" type="xs:string" maxOccurs="unbounded" /> <!-- ISO 639 country code -->

</xs:sequence>

</xs:complexType>

</xs:element>

<xs:element name="RegionList" minOccurs="0">

<xs:complexType>

<xs:sequence>

<xs:element name="Region" type="xs:string" maxOccurs="unbounded" /> <!-- unconstrained -->

</xs:sequence>

</xs:complexType>

</xs:element>

</xs:choice>

</xs:sequence>

</xs:complexType>

</xs:schema>

<!-- the end -->

138

B2 – Composition PlayList (CPL) Example<?xml version="1.0" encoding="UTF-8"?>

<CompositionPlaylist

xmlns="http://www.smpte-ra.org/schemas/DRAFT-IMF-00/YYYY/CPL"

xmlns:ed="http://www.smpte-ra.org/schemas/DRAFT-IMF-00/YYYY/ED"

xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">

<Id>urn:uuid:e38e945b-8c59-4933-a020-c2c4a0c72da5</Id>

<Annotation>An Example CPL</Annotation>

<IssueDate>2011-02-16T21:35:13+00:00</IssueDate>

<Creator>jhurst+emacs</Creator>

<ContentTitle>Perfect Movie IMF</ContentTitle>

<EssenceDescriptorList>

<EssenceDescriptor>

<Id>urn:uuid:9a57649b-5f17-4403-825b-56f25a67a01b</Id>

<ed:ImageEssenceDescriptor>

<ed:ContainerHeight>1080</ed:ContainerHeight>

<ed:ContainerWidth>1920</ed:ContainerWidth>

<ed:ColorSampling>4:4:4</ed:ColorSampling>

<ed:ColorEncoding>RGB</ed:ColorEncoding>

<ed:PixelAspectRatio>1 1</ed:PixelAspectRatio>

</ed:ImageEssenceDescriptor>

</EssenceDescriptor>

<EssenceDescriptor>

<Id>urn:uuid:604b3683-e7dd-4c01-8a10-7f98163d6a99</Id>

<ed:AudioEssenceDescriptor>

<ed:SampleRate>48000 1</ed:SampleRate>

<ed:AudioSamplesPerFrame>2000</ed:AudioSamplesPerFrame> <!-- equals resource IntrinsicEditRate / EditRate -->

<ed:ChannelCount>2</ed:ChannelCount>

139

</ed:AudioEssenceDescriptor>

</EssenceDescriptor>

</EssenceDescriptorList>

<TotalRunningTime>00:01:00</TotalRunningTime>

<LocaleList>

<Locale>

<Annotation>US English, North America</Annotation>

<RatingList>

<Rating>

<Agency>http://www.mpaa.org/foo-fiz-biz</Agency>

<Label>PG-13</Label>

</Rating>

</RatingList>

<LanguageList>

<Language>en</Language>

</LanguageList>

<CountryList>

<Country>us</Country>

<Country>cn</Country>

</CountryList>

</Locale>

</LocaleList>

<!-- the playlist starts here -->

<EditRate>24 1</EditRate>

<SequenceList>

<Sequence>

<Id>urn:uuid:dfd1fab8-0eec-4414-bcc3-e2ecba48f962</Id>

<SegmentList>

140

<ImageSegment>

<Id>urn:uuid:bbac696d-f6c9-40de-bd56-e39e7fa5ed7e</Id>

<Resource xsi:type="TrackFileResourceType">

<Id>urn:uuid:2204b5a2-70c7-4c94-83f0-c2c78c1053a1</Id>

<IntrinsicDuration>2880</IntrinsicDuration>

<IntrinsicEditRate>24 1</IntrinsicEditRate>

<SourceEncoding>urn:uuid:9a57649b-5f17-4403-825b-56f25a67a01b</SourceEncoding> <!-- EssenceDescriptor reference -->

<AssetId>urn:uuid:fb45d31e-dcae-47ad-899b-2e5e1022f19c</AssetId> <!-- external MXF file reference -->

</Resource>

</ImageSegment>

<AudioSegment>

<Id>urn:uuid:6d603ae2-b8af-4709-a5f3-8720f96395e1</Id>

<Resource xsi:type="TrackFileResourceType">

<Id>urn:uuid:0b8e8fce-c7cc-4e22-a138-cdb31e3a37da</Id>

<IntrinsicDuration>2800</IntrinsicDuration>

<IntrinsicEditRate>48000 1</IntrinsicEditRate>

<SourceEncoding>urn:uuid:604b3683-e7dd-4c01-8a10-7f98163d6a99</SourceEncoding> <!-- EssenceDescriptor reference -->

<AssetId>urn:uuid:83de70a5-6c42-4272-8beb-113fdaaf3ae8</AssetId> <!-- external MXF file reference -->

</Resource>

</AudioSegment>

<MarkerSegment>

<Id>urn:uuid:1e66b1e4-f54c-40fe-8b51-f8210d17ade1</Id>

<Resource xsi:type="MarkerResourceType">

<Id>urn:uuid:a1be0e42-f551-4a05-a4fa-2c1c660c52b3</Id>

<IntrinsicDuration>2800</IntrinsicDuration>

<Marker>

<Id>urn:uuid:1b192cee-cc18-45fb-ab1e-c331b5cc940a</Id>

141

<Label>FFOA</Label>

<Offset>100</Offset>

</Marker>

<Marker>

<Id>urn:uuid:7dc65269-61a8-42b3-9ad1-0ce7c82e8851</Id>

<Label>LFOA</Label>

<Offset>2700</Offset>

</Marker>

</Resource>

</MarkerSegment>

</SegmentList>

</Sequence>

</SequenceList>

</CompositionPlaylist>

142

C - Output Profile List XML ExamplesThe following examples illustrate various types of OPL:

C1 - OPL Outline in pseudo-XML (Extended Level)The following is an outline of the OPL in pseudo-XML to illustrate some of the components:

#-------------------------------------------------------------- begin pseudo-XML ----------------------------#<OutputProfilelist># Below specifies Preamble, Note the reference to the CPL, compositionPlaylistReference<Id>urn:uuid:cde69c7b-a055-4373-84f5-e8ffea82f345</Id> <AnnotationText>Avatar_FTR_S_EN-XX_US_PG13_51_2K_DI_20080529_PX</AnnotationText> <IssueDate>2008-05-30T03:21:28-07:00</IssueDate> <Issuer></Issuer> <Creator></Creator> <ContentTitleText></ContentTitleText> <ContentKind></ContentKind> <CompositionPlayListReference> <ID>urn:uuid:bbf69c7b-a055-4373-84f5-e8ffea123fa1</ID> </CompositionPlayListReference> <OutputText>US English 2.35 50 Mbps Master</OutputText> <Language>EN</Language> <Country>US</Country>

# Below specifies desired Output Format for Video/Image<ImageOutputFormat/> # Below specifies desired Output Format for Audio<AudioOutputFormat/># Below specifies the desired Encoding/Transcoding<EncodingFormat> <StandardsBody /> <Label /> <Preferred Encoder/> <GenericEncoder/></ EncodingFormat ># Below specifies the desired ColorSpaceTransformation<ColorTransforms> <OutputColorSpace/> < Preferred Conversion/> #; 3d Lut data ? </PreferredConversion> <GenericConversion/></ ColorTransforms ># Below specifies the desired Pre-Process Parameters<PreProcessOps> <OverlayParameters/> <HeadTransition/> <TailTransition/> </PreProcessOps></ OutputProfilelist >#-------------------------------------------------------------- end of pseudo-XML --------------------------------------#

C2 - A Simple OPL (Basic Level)The following is the minimal OPL that simply calls out a reference to a composition playlist. It is up to the facility to apply any of the transformations desired to generate any desired output.

143

144

- <OutputProfileList> # Below specifies Preamble, Note the reference to the CPL, compositionPlaylistReference

<Id>urn:uuid:cde69c7b-a055-4373-84f5-e8ffea82f345</Id> <AnnotationText>Avatar_FTR_S_EN-XX_US_PG13_51_2K_DI_20080529_PX</AnnotationText> <IssueDate>2008-05-30T03:21:28-07:00</IssueDate> <Issuer /> <Creator /> <ContentTitleText /> <ContentKind /> - <CompositionPlayListReference> <ID>urn:uuid:bbf69c7b-a055-4373-84f5-e8ffea123fa1</ID>

C3 - A Complex (level1) OPL (Extended Level)The following is the first level of complexity for an OPL. It calls out the desired Output format from an Image and Audio format. It is up to the “post” facility to determine the best way to deliver the desired output.

145

- <OutputProfileList> # Below specifies Preamble, Note the reference to the CPL, compositionPlaylistReference

<Id>urn:uuid:cde69c7b-a055-4373-84f5-e8ffea82f345</Id> <AnnotationText>Avatar_FTR_S_EN-XX_US_PG13_51_2K_DI_20080529_PX</AnnotationText> <IssueDate>2008-05-30T03:21:28-07:00</IssueDate> <Issuer /> <Creator /> <ContentTitleText /> <ContentKind /> - <CompositionPlayListReference> <ID>urn:uuid:bbf69c7b-a055-4373-84f5-e8ffea123fa1</ID>

</CompositionPlayListReference> <OutputText>US English 1.78 50 Mbps Master</OutputText> <Country>US</Country> - <ImageOutputFormat>- <BitRate>- <ConstantBitRate> <Value>50</Value> <Label>Mbps</Label>

</ConstantBitRate> <AverageBitRate /> <MaxBitRate /> <MinBitRate />

</BitRate> <BitDepth>8</BitDepth> - <ColorEncoding> <ColorSpace>Rec-709</ColorSpace> <ChromaFormat>4:2:2</ChromaFormat>

</ColorEncoding>- <CompressionStandard> <StandardsBody>MPEG-LA</StandardsBody> - <CompressionType> <Label>MPEG2</Label> <PictureCoding>I-FRAME ONLY</PictureCoding> <ProfileType>HIGH_PROFILE</ProfileType> <LevelType>HIGH_LEVEL</LevelType>

</CompressionType> </CompressionStandard>

- <SpatialParameters> - <CanvasCoordinates> <x1>0</x1> <y1>0</y1> <x2>1919</x2> <y2>1079</y2>

</CanvasCoordinates>+ <Scale>- <Crop> <x1>10</x1> <y1>0</y1> <x2>1010</x2> <y2>1079</y2>

</Crop> </SpatialParameters>

<FrameRate>24</FrameRate> </ImageOutputFormat>

...continued on the next page

C4 - A Complex (level2) OPL (Extended Level)The following example illustrates another level of complexity for an OPL, creating an NTSC from an HD IMP:

146

- <OutputProfilelist> # Below specifies Preamble, Note the reference to the CPL, compositionPlaylistReference

<Id>urn:uuid:abc69c7b-a055-4373-84f5-a8ffea82f345</Id> <AnnotationText>Ratatouille_TH_FEA_DPX-V_1080P23_ENG-ENG_1234567</AnnotationText> <IssueDate>2007-08-15T03:21:28-07:00</IssueDate> <Issuer>Disney</Issuer> <Creator>Pixar</Creator> <ContentTitleText /> <ContentKind /> - <CompositionPlayListReference> <ID>urn:uuid:aaf69c7b-a055-4373-84f5-e8ffea123fa1</ID>

</CompositionPlayListReference> <OutputText>US English 2.39 DPX Master</OutputText> <TotalRunningTime>01:51:15:10</TotalRunningTime> <Language>EN</Language> <Country>US</Country>

# Below specifies desired Output Format for Video/Image, but not the steps to get there - <ImageOutputFormat>- <ColorEncoding> <StandardsBody>ITU</StandardsBody> <ColorSpace>Rec-601</ColorSpace> <ChromaFormat>4:2:2</ChromaFormat> <ChromaEncoding>YCBCR</ChromaEncoding> <BitDepth>10</BitDepth> <TransferFunction>Linear</TransferFunction> <CodeRange>Limited</CodeRange>

#64-940 </ColorEncoding>

- <CompressionStandard> <CompressionType>Uncompressed</CompressionType> <Label>None</Label>

</CompressionStandard>- <SpatialParameters>- <CanvasCoordinates> <x1>0</x1> <y1>0</y1> <x2>719</x2> <y2>485</y2>

</CanvasCoordinates>

A Complex (level1) OPL (continued from the previous page)

# Below specifies desired Output Format for Audio - <AudioOutputFormat> <AudioConfig /> <SamplingFreq>48000</SamplingFreq> <BitDepth>16</BitDepth> - <CompressionStandard> <StandardsBody /> <Label />

</CompressionStandard> </AudioOutputFormat> </OutputProfileList>

147

continuation of a Complex (Level 2) OPL:

+ <ActiveCoordinates> <PixelAspectRatio>1.21</PixelAspectRatio>

</SpatialParameters>- <FrameRate> <Rate>59.94</Rate> <Raster>I</Raster>

# Interlaced <TimecodeType>DF</TimecodeType>

# Drop-Frame </FrameRate> </ImageOutputFormat> # Below specifies desired Output Format for Audio

- <AudioOutputFormat> <SampleRate>48000</SampleRate> <BitDepth>24</BitDepth> <SamplesPerFrame>800.8</SamplesPerFrame> - <CompressionStandard> <CompressionType>LPCM</CompressionType> <Label>PCM</Label>

</CompressionStandard>- <ChannelLayout>- <Channel01> <Language>English</Language> <Config>2.0</Config> <Channel>L</Channel>

</Channel01>- <Channel02> <Language>English</Language> <Config>2.0</Config> <Channel>R</Channel>

</Channel02>- <Channel03> <Language>ME</Language> <Config>2.0</Config> <Channel>L</Channel>

</Channel03>- <Channel04> <Language>ME</Language> <Config>2.0</Config> <Channel>R</Channel>

</Channel04> </ChannelLayout>

<PitchCorrection>No</PitchCorrection> </AudioOutputFormat> # Below specifies the desired Pre-Process Parameters

- <PreProcessOps>- <Process01> <Label>Resize</Label> - <Scale>

<Filter>Lanczos</Filter> <FilterSetting01>3-Lobe</FilterSetting01> <HSize>720</HSize> <VSize>486</VSize>

</Scale> </Process01>

- <Process02>

148

continuation of a Complex (Level 2) OPL:

<Label>Color Space Conversion</Label> - <ColorTransforms>- <ColorEncoding> <StandardsBody>ITU</StandardsBody> <ColorSpace>Rec-601</ColorSpace> <ChromaFormat>4:4:4</ChromaFormat> <ChromaEncoding>YCBCR</ChromaEncoding> <BitDepth>10</BitDepth> <TransferFunction>Linear</TransferFunction> <CodeRange>Limited</CodeRange>

#64-940 </ColorEncoding>

- <ColorSampling> <Filter>Mean</Filter> <ChromaFormat>4:2:2</ChromaFormat>

</ColorSampling> </ColorTransforms> </Process02>

- <Process03> <Label>Timecode Change</Label> - <TimecodeOutput> <TCRate>59.94</TCRate> <TCRaster>I</TCRaster> <TCType>DF</TCType> - <TCChange> <Pulldown>Yes</Pulldown>

#Use 3:2 Pulldown <AFrame>01:00:00:00</AFrame>

#Location of A Frame </TCChange>

</TimecodeOutput>

C5 - A Pre-processing section for an OPL (Extended Level)The following example illustrates how one should include pre-processing parameters in an OPL:

<PreProcessOps> <OverlayParameters> <OverlayItem> <OverlayType>image-alpha</OverlayType> <OverlaySourceID>urn:uuid:ca209360-1107-11df-8a39-0800200c9a66</OverlaySourceID> #note: could be single image or an image sequence (must have alpha) <OverlaySourceColorSpace>rec709</OverlaySourceColorSpace> <TextColor></TextColor> <TextOutlineColor></TextOutlineColor> <size>500x300</size> <scale><xscale>1.0</xscale><yscale>1.0</yscale></scale>

<Position> #note: assuming upper-left of image (or image sequence) is origin. <x>1700</x> <y>550</y> </Position> <Opacity>50</Opacity> <CompositeMethod>blend</CompositeMethod> <StartFrame>0</StartFrame > <EndFrame>100101</EndFrame> </OverlayItem> <OverlayItem> <OverlayType>text</OverlayType> <OverlaySourceID></OverlaySourceID> <OverlaySourceColorSpace>rec709</OverlaySourceColorSpace> <TextItem> <Annotation>Property of Warner Bros.</Annotation> <Color>white (or #FFFFFFF)</Color> <OutlineColor>black (or #000000)</OutlineColor> <Font>arial</Font> <Justification>center</Justification> </TextItem> <size>20</size> <scale><xscale>1.0</xscale><yscale>1.0</yscale></scale> <Position> #note: assuming upper-left of image (or image sequence) is origin. <x>960</x> <y>1050</y> </Position> <Opacity>100</Opacity> <CompositeMethod>over</CompositeMethod> <StartFrame>0</StartFrame > <EndFrame>10000</EndFrame> <OverlayItem> <OverlayType>text</OverlayType> <OverlaySourceID></OverlaySourceID> <OverlaySourceColorSpace>graphic</OverlaySourceColorSpace> <TextItem> <Annotation>Property of Warner Bros.</Annotation> <Color>white (or #FFFFFFF)</Color> <OutlineColor>black (or #000000)</OutlineColor> <Font>arial</Font> <Justification>left</Justification> </TextItem> <size>20</size> <scale>1.0</scale> <Position> #note: assuming upper-left of image (or image sequence) is origin. <x>160</x> <y>1000</y>

149

</Position> <Opacity>100</Opacity> <CompositeMethod>over</CompositeMethod> <StartFrame>20000</StartFrame > <EndFrame>30000</EndFrame> </OverlayItem> </OverlayParameters> <Transitions> <TransitionItem> <Type>fadeup</Type > <Duration>48</Duration> <StartFrame>11</StartFrame > <StartASideOpacity>0</StartASideOpacity > <StartBSideOpacity>0</StartBSideOpacity > <EndFrame>58</EndFrame > <EndASideOpacity>100</EndASideOpacity > <EndBSideOpacity>0</EndBSideOpacity > </TransitionItem> <TransitionItem> <Type>dissolve</Type > <Duration>48</Duration> <StartFrame>100</StartFrame > <StartASideOpacity>0</StartASideOpacity > <StartBSideOpacity>100</StartBSideOpacity > <EndFrame>100101</EndFrame > <EndASideOpacity>100</EndASideOpacity > <EndBSideOpacity>0</EndBSideOpacity > </TransitionItem></Transitions></PreProcessOps>

150

GLOSSARY OF TERMS

Table 22: Glossary of Terms

Term Description

AES Acronym for Advanced Encryption Standard.

AES Acronym for Audio Engineering Society.

ANSI Acronym for American National Standards Institute.

API Acronym for Application Programming Interface.

Broadcast Wave

Digital Audio file format developed and standardized by the EBU; recommendation ITU-R BR.1352-3 (2007).

Burned-In Where visual data that is normally supplemental to a motion picture is irrevocably added to the motion-picture image by compositing the data with the underlying image.

Captions Text that is a representation, often in the same language, of dialog and audio events occurring during scenes of a motion picture. (Generally associated with a dialog and audio event translation for the deaf and hard of hearing.)

CBC Acronym for Cipher Block Chaining mode.

CBR Acronym for Constant Bit Rate for image compression.

CIE Acronym for International Commission on Illumination (Commission Internationale de l’Eclairage).

Closed Referring to visual data that is supplemental to a motion picture being displayed off-screen.

Composition A motion picture, or a trailer, or an advertisement, etc. Composition consists of a Metadata Composition PlayList along with the Essence and other Metadata track files that define the work. A complete artistic or informational motion picture work, such as a feature, episode, trailer, or an advertisement, etc.

CPL Acronym for Composition PlayList, the definitive PlayList for specifying how a Composition is played and what track files are required.

DCP Acronym for a Digital Cinema Package, the set of files that are the result of the encoding, encryption and packaging process.

Distribution Package

The collection of files delivered by the distributor to the exhibitor. A Distribution Package may contain pieces of a Composition or several compositions, a complete Composition, replacement/update files, etc.

DM Acronym for Descriptive Metadata.

DRM Acronym for Digital Rights Management.

151

Term Description

DSM Acronym for Digital Source Master, a digital master created in post-production from which different versions and duplication masters may be created.

DVD Acronym for Digital Versatile Disc.

e.g. Abbreviation for the Latin phrase exempli gratia, meaning “for example”.

EBU Acronym for European Broadcast Union (a standardization organization).

Edit Rate A number of Editable Units to be reproduced during a temporal interval having a duration of exactly one (1.0) second. Because Edit Rate values are not always integer values and sometimes require many digits of precision, Edit Rate values are expressed as a rational number (the ratio of two integers).

Editable Unit The smallest temporal increment of access to Essence, e.g. a frame or a sample.

Essence Image, audio, subtitles, or any content that is presented to a human being in a presentation. The audio, image and data resources that ultimately are intended for a viewing and/or listening experience.

ETC Acronym for Entertainment Technology Center.

FIPS Acronym for Federal Information Processing Standards.

FM Acronym for Forensic Marking.

Forensic Marking

Data embedded in essence to provide forensic tracking information in the event of content theft. Such marking can be visible or non-visible, audible or non-audible.

FPS Acronym for Frames per Second.

Frame Rate The number of frames per second. Frame Rate values are expressed as a rational number (the ratio of two integers).

HD Acronym for High Definition.

HI Acronym for Hearing Impaired.

HMAC Acronym for Hashing Message Authentication Codes.

Hz Abbreviation for Hertz, a unit of frequency expressed in cycles per second.

i.e. Abbreviation for the Latin phrase id est, meaning “that is”.

IEC Acronym for International Electrotechnical Commission.

IMF Acronym for Interoperable Master Format.

Intrinsic Duration

The total number of Editable Units in a Track File.

152

Term Description

IP Acronym for Intellectual Property.

ISO Acronym for International Organization for Standardization.

ITU Acronym for International Telecommunications Union.

JPEG Acronym for Joint Photographic Experts Group, the international body that developed the JPEG 2000 standard.

Key Electronic data used to allow data encryption and decryption.

Key Epoch The period of time during which a given decryption key is valid. The key epoch defines a minimum practical time period for use of encrypted track files.

kHz Acronym for kilo Hertz, one thousand cycles per second, a measure of frequency.

KLV Acronym for Key Length Value – used by the MXF to parse binary data.

Localizations Text on screen representing either non-source language dialog or information pertinent to the story such as time and place. This is specifically the text that is absent in text-less masters. This text is localized or translated for various markets either through subtitles or entire image replacement.

LTC Acronym for Linear Time Code.

LUT Acronym for Look Up Table.

Main Titles A credit sequence generally shown near the beginning of a motion picture.

Metadata Data about data or data describing other data. Information that is considered ancillary to or otherwise directly complementary to essence. Information that is useful or of value when associated with the essence being provided.

MTBF Acronym for Mean Time Between Failure.

MXF Acronym for Material eXchange Format.

NativeEnd Point

The last Editable Unit of a Track File.

NativeStart Point

The first Editable Unit of a Track File. All Track Files are viewed by a Composition Playlist as a sequence of Editable Units numbered from 0 (zero). Consequently, the Editable Unit number of the Native Start Point of a Track File shall always be 0 (zero).

NDF Acronym for Non Drop Frame (time code).

NTSC Acronym for National Television System Committee, which developed the NTSC television broadcasting standard.

Open Referring to visual data that is supplemental to a motion picture being displayed

153

Term Description

on-screen.

Operational Pattern

An MXF construct to define file structures.

Packing List A list describing the files and providing a means for authentication of the files as delivered in a package.

PAL Acronym for Phase Alternation by Line, a television broadcasting standard.

Playable Region

The set of Editable Units within a Track File that is intended to be reproduced. A Track File may contain Editable Units before and/or after the Playable Region.

PlayList Conceptually, the format and structure of the various lists used to define the playback of content.

PNG Acronym for Portable Network Graphics, an extensible file format for the lossless, portable, well-compressed storage of raster images defined by the PNG Development Group.

QC Acronym for Quality Control.

RAND Acronym for reasonable and non-discriminatory.

Reel A conceptual period of time having a specific duration of generally 10 to 20 minutes. Used primarily in feature film production.

Renewable A software component is renewable if it can be remotely, smoothly and possibly automatically upgraded or replaced without significantly disturbing system operations. A system shutdown and normal restart is acceptable, provided that after the restart, the system can be operated as before.

Replaceable A component is said to be replaceable if it can be upgraded or replaced without significantly disturbing system operations. A system shutdown and restart is acceptable, provided that after the replacement, the system can be operated as before.

Resource Associates metadata or essence with a playable portion of the Composition Playlist timeline. A Resource may reference a Playable Region within a Track File.

Sample Rate The number of essence samples per second. Sample Rate values are expressed as a rational number (the ratio of two integers).

SD Acronym for Standard Definition.

Segment An ordered collection of Resources to be reproduced sequentially.

Sequence A collection of Segments intended to be reproduced in parallel.

154

Term Description

SHA1 Acronym for Secure Hashing Algorithm 1.

SMPTE Acronym for Society of Motion Picture and Television Engineers.

Subpicture A multiple-image file format for the transport of visual data supplemental to a motion picture that is intended only for graphic overlay with the main image output of a digital projector.

Subtitle Text that is a representation, in a different language, of dialog occurring during scenes of a motion picture. Generally associated with dialog translation for localization of a motion picture in a particular territory.

TCP/IP Acronym for Transmission Control Protocol / Internet Protocol.

TDES or 3DES

Acronym for Triple Data Encryption Standard. TDES or 3DES was adopted as a federal standard in 1998 [FIPS (46-3) and ANSI standard X9.32].

Track File The smallest element of a package that can be managed or replaced as a distinct asset. A track file may contain Essence and/or Metadata, and its duration matches an associated Reel. A file containing a single Essence, such as audio, image or subtitle essence.

UDP Acronym for User Datagram Protocol.

UL Acronym for Universal Label used in MXF.

Unicode The Universal Multiple-Octet Coded Character set, the [ISO/IEC 10646:2003] standard that defines a single code for representation, interchange, processing, storage, entry and presentation of the written form of the world’s major languages.

urn Acronym for uniform resource name.

USB Acronym for Universal Serial Bus, standardized serial communications connection found on computers.

UTC Acronym for Universal Coordinated Time.

UUID Acronym for Universal Unique IDentifier.

VBR Acronym for Variable Bit Rate.

VFX Acronym for Visual Effects.

VI Acronym for Visually Impaired.

Visually Lossless

An image compression method is considered visually lossless when the processed image is indistinguishable from the unprocessed image under normal theatrical viewing conditions.

VOD Acronym for Video on Demand.

VPN Acronym for Virtual Private Network.

155

Term Description

W3C Acronym for The World Wide Web Consortium, the organization responsible for the development of Internet protocols.

XML Acronym for eXtensible Markup Language.

156