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In a genre which focuses on immediacy, the move to high definition with its requisite high datarates and processing loads is proving particularly challenging if picture quality is to be maintained. This paper presents research undertaken alongside BBC Journalism into the encoding, compositing and scaling processes required by the news production wo...
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... From figure 3, when AVC-Intra 50 is used as an acquisition codec, for best results AVC- Intra 50 must also be used as the edit format with direct file transfer. However, the other edit codecs perform almost as well. The degradation in objective video quality compared to HDCAM-SR using AVC-Intra 50 averages 0.73 dB over the range of interest. 2. From figure 4, the XDCAM-HD422 acquisition codec with an AVC-Intra 100 edit codec performs best with a degradation averaging 0.47 dB compared to the HDCAM-SR reference over the range of interest. This outperforms the worst combination of acquisition and edit codecs (AVC-Intra 50) by an average of 0.22 dB. XDCAM-HD422 outperforms the other acquisition codecs. 3. From figure 5, the XDCAM-EX35 acquisition codec with an AVC-Intra 100 edit codec performs best with a degradation averaging 0.77 dB compared to the HDCAM-SR reference over the range of interest. This outperforms the worst combination of acquisition and edit codecs (AVC-Intra 50) by an average of 0.13 dB. 4. The losses for all combinations of acquisition and edit codecs are greatest for the most easy to encode frames, where any loss is less significant. 5. The differences in PSNR performance of the base edit codecs are less marked when combined with acquisition codec than standalone, so other factors may influence the choice of base edit codec. ...
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This paper presents the results of subjective experiments undertaken by the BBC R&D to create a reversible solution for the display of conventional video content on a Hybrid Log-Gamma high dynamic range (HDR) television. This algorithm is simple to implement in both hardware and software and is designed to allow both the use of archive footage and conventional cameras in an HDR television service and the generation of a non-HDR service in such a way that the transmission-chain of the non-HDR service can reverse the algorithm. This ensures no quality reduction for the non-HDR viewer.
