ITU-R BT 1379-2-2007 Safe areas of wide-screen 16 9 and standard 4 3 aspect ratio productions to achieve a common format during a transition period to wide-screen 16 9 broadcasting.pdf

1、 Rec. ITU-R BT.1379-2 1 RECOMMENDATION ITU-R BT.1379-2 Safe areas of wide-screen 16:9 and standard 4:3 aspect ratio productions to achieve a common format during a transition period to wide-screen 16:9 broadcasting (1998-2001-2007) Scope This Recommendation provides guidelines on safe areas of 625-l

2、ine, 1 080-line and 720-line formats of wide-screen 16:9 and standard 4:3 aspect ratio production to achieve a common format during a transition period to wide-screen 16:9 broadcasting. The ITU Radiocommunication Assembly, considering a) that standard definition television will in time undergo a tra

3、nsition from the conventional 4:3 aspect ratio to the newer wide-screen 16:9 aspect ratio; b) that during a transition period wide-screen 16:9 aspect ratio images will need to be broadcast in a conventional 4:3 aspect ratio service; c) that similarly, conventional 4:3 aspect ratio images will need t

4、o be broadcast in a new wide-screen 16:9 aspect ratio service; d) that although pan-scan techniques can be used to obtain a 4:3 image from one of 16:9, the technique is expensive and is difficult with live programmes; e) that although a 16:9 image can be displayed as a compatible letter-box on 4:3 d

5、isplays, this technique is not universally accepted by all broadcasters and viewers; f) that although a 4:3 image can be displayed centrally within a 16:9 display, this technique may not be universally accepted by all broadcasters and viewers; g) that by framing for a 14:9 (shoot and protect) image,

6、 a 16:9 image can be extracted from the 4:3 source with minimal loss of important action, and similarly a 4:3 image can be extracted from a 16:9 source with minimal loss of important action; h) that there would be economic and practical benefits arising from the use of a single video chain capable o

7、f producing a programme suitable for transmission in either conventional 4:3 aspect ratio or enhanced 16:9 aspect ratio services; j) that the use of component digital 16:9 video chains will provide viewers watching 16:9 services with the optimum picture quality; k) that the ability to use a 16:9 cha

8、in for the transmission of a programme in 4:3 will encourage the introduction of new 16:9 equipment; l) that the ability to use a single master for simultaneous transmission to both digital 16:9 and analog 4:3 services would encourage the transition to 16:9 broadcasting; m) that wide-screen formats

9、may include 1 080-line and 720-line as well as lower resolution, 2 Rec. ITU-R BT.1379-2 recommends 1 that during a transition period where a standard definition electronic video chain may be required to be used for programmes intended to be suitable for simultaneous and non-simultaneous transmission

10、 in an aspect ratio of either 4:3 or 16:9, account should be taken of the need to protect the safe areas of the 14:9 central zone, either in image acquisition or post-production, according to the principles described in Annex 1; 2 that, in the case of programmes intended for 625-line transmission, a

11、ccount should be taken of the guidelines for safe areas described in Annex 2; 3 that, in the case of programmes intended for 1 080-line transmission, account should be taken of the guidelines for safe areas described in Annex 3; 4 that, in the case of programmes intended for 720-line transmission, a

12、ccount should be taken of the guidelines for safe areas described in Annex 4, further recommends 5 that in these circumstances it should be desirable that 14:9 graticules are optionally available for use on viewfinders in 4:3 and 16:9 electronic cameras, including HDTV cameras; 6 that in these circu

13、mstances captions should be kept within the graphics safe area of the 14:9 image; 7 that, where available, the use of a fully component electronic production chain in the 16:9 aspect ratio should be preferred. Annex 1 Safe areas to allow a common format for 16:9 and 4:3 television programmes during

14、a transition period to wide-screen 16:9 broadcasting Until such time as the 16:9 format is fully established as the norm for broadcasting, broadcasters will have to choose the aspect ratio to use for productions which have overseas potential and long shelf life, particularly drama, bearing in mind t

15、he usage of 16:9 and 4:3 television receivers and the penetration of wide-screen enhanced analog and digital services. For television production, the choice is either 4:3 (i.e. 12:9) or 16:9. The programme might be shot on video, or on Super 16 mm or 35 mm film. Video production aspect ratio is dete

16、rmined by the physical dimensions of camera sensors, and in practice is either 4:3 or 16:9. For film, the Super 16 mm format has an aspect ratio of 15:9, whereas the full image area of 35 mm film is standardized for the Academy format at approximately 4:3. Film, however, can subsequently be transfer

17、red to video at almost any aspect ratio in the telecine. A method of framing is proposed which enables producers of electronic video productions to enjoy similar flexibility to that of film producers. In the short term, this increases the amount of programme material potentially available for transm

18、ission in the 16:9 format; it also provides encouragement for programme makers to commission productions in the 16:9 format, and for existing 4:3 aspect ratio equipment to be replaced by new production chains operating in the 16:9 format. Rec. ITU-R BT.1379-2 3 It should be recognized that the optim

19、um picture quality for transmission by 16:9 aspect ratio enhanced analog or digital services is obtained when the complete production chain is itself in the 16:9 format. Nevertheless, to achieve flexibility and to obtain consistency, until such time as the dominant aspect ratio for both production a

20、nd transmission is 16:9, it is suggested that for electronic television production and post-production, the major action is framed for a mean aspect ratio of 14:9; that is, wholly contained within the source format, i.e. within 16:9 or 4:3. By this means, the production format within the television

21、studio will be in a chosen aspect ratio of either 16:9 or 4:3. For subsequent transmission, it is a relatively simple matter to extract either 16:9 or 4:3 with minimal loss or extension to the action area. Appendices 1 and 2 to Annex 1 illustrate how the framing can be achieved in the cases of 16:9

22、camera sources and 4:3 camera sources, respectively. The transfer to 14:9, if required, is part of the transmission pre-processing and the production formats within the studio will always be 16:9 or 4:3. In the case of a transfer from 16:9 to 14:9, the exact number of active lines may be chosen at t

23、he discretion of the producer. In some cases, it may be preferred to retain a full letter-box format for transmission of 16:9 programmes; producers can have the freedom to decide whether to transmit the material in 4:3 or in any compromise aspect ratio up to 16:9. 4 Rec. ITU-R BT.1379-2 Appendix 1 t

24、o Annex 1 Rec. ITU-R BT.1379-2 5 Appendix 2 to Annex 1 6 Rec. ITU-R BT.1379-2 Annex 2 Safe areas for television programmes intended for wide-screen 625-line transmission These guidelines are aimed at those involved in any stage of the programme-making process and at manufacturers of production equip

25、ment for programmes intended to be broadcast using 625-line transmission systems, particularly where simulcasting on 16:9 and 4:3 networks from a single programme master is involved. Depending on the type of programme, priority for 16:9 productions may be given to protecting the content of the overa

26、ll 16:9 wide-screen picture area or to protecting the 4:3 central zone. However, protection of the 14:9 central zone as a compromise option for programmes expected to be viewed on both 16:9 and 4:3 television displays has been found to work well in practice on most types of programme material. In ea

27、ch case, within the chosen priority zone, two safe areas are needed. All essential action is placed inside an action safe area, and all graphics inside a graphics safe area. For programmes made in the 16:9 wide-screen format protected for the compromise 14:9 central zone, these areas are specified i

28、n Appendix 1 to this Annex. For programmes made in the 16:9 wide-screen format protected for the 4:3 central zone, these areas are specified in Appendix 2 to this Annex. This type of protection is useful where it is required to ensure that protection of a 16:9 picture is acceptable to international

29、broadcasters who require a 4:3 version to have exactly the same protection as an original 4:3 production. This has been found to be particularly useful for some types of sport, and where certain types of international supply contracts exist. Where there is no requirement to provide compatibility wit

30、h a 4:3 display, the areas are specified in Appendix 3 to this Annex. Productions made in this way are currently in a minority, but their number could be expected to increase over a period of a number of years as the penetration of wide-screen television receivers grows, and as we move closer to the

31、 conclusion of the transition period to wide-screen broadcasting. For programmes made in the 4:3 format protected for the 14:9 central zone, these areas are specified in Appendix 4 to this Annex. All the safe areas have been specified on the premise that the overscan on modern domestic television re

32、ceiver displays will normally be in the range 3.5 1% of overall picture width or height, but for any one picture edge, the overscan should not exceed 4% of total picture width or height. No account is taken of the possibility that viewers might choose to make use of the manual zoom functions availab

33、le on many wide-screen receivers. Rec. ITU-R BT.1379-2 7 Appendix 1 to Annex 2 Safe areas for television programmes made in the 16:9 wide-screen format: Shoot-to-protect the compromise 14:9 central zone Clearly the aspect ratios of 16:9 images and 4:3 displays are mutually incompatible. However, a n

34、umber of broadcasters consider a 14:9 letter-box presentation provides a good compromise for many programme genres when a 16:9 wide-screen production is viewed on a 4:3 display. The wide-screen pictures must be framed to protect the 14:9 central zone. The action safe area is within the 14:9 zone. Ho

35、wever, for the time being, the graphics safe area should be constrained within the 4:3 central zone to ensure that graphics and captions are adequately protected when viewed under the least favourable conditions. Table 1 shows how the action and graphics areas are defined to protect the 14:9 central

36、 zone in a 16:9 wide-screen image. TABLE 1 Horizontal Vertical 16:9 image 14:9 zone 4:3 zone Action safe margin (14:9) (%)1, 23.5 10 4.2 Graphics safe margin (4:3) (%)3, 45 15.9 11 4.5 Figure 1 shows these areas in more detail. The definitions of the safe areas are given in numbers of lines and pixe

37、ls, which are more definitive than the percentages used previously. However, percentages are also included because they are the basis on which comparisons are made. The line numbering has been calculated on the basis that field 1 is paired with the field 2 line below it, and the line from field 1 wh

38、ich is just inside the percentage box is defined as the edge of active picture. Thus the drawings give the first and last lines and the first and last pixels which are inside the safe areas. 1The action safe margin is 3.5% at the top and bottom of the original 16:9 image. Since the height of the ima

39、ge does not change in 14:9 or 4:3 conversion, the vertical margin is the same in all three cases. 2The action safe margin is 10% at each side of the original 16:9 image. This is derived approximately from a 14:9 image reduced by 3.5% at each side. This is cropped to 4.2% at each side in 14:9 convers

40、ion as 1/16 of the image is lost at each side. Since the action safe area extends beyond the sides of the 4:3 converted image, there is no action safe margin for this image. 3The graphics safe margin is 5% at the top and bottom of the original 16:9 image. Since the height of the image does not chang

41、e in 14:9 or 4:3 conversion, the vertical margin is the same in all three cases. 4The graphics safe margin is 15.9% at each side of the original 16:9 image. This is derived approximately from a 14:9 image reduced by 5% at each side. This is cropped to 11% at each side in 14:9 conversion as 1/16 of t

42、he image is lost at each side. It is further cropped to 4.5% at each side in 4:3 conversion as a further 1/16 of the image is lost at each side. 8 Rec. ITU-R BT.1379-2 1379-0190904545FIGURE 116:9 shoot-to-protect 14:9 action and graphics safe areasLines38-295,351-608Lines33-300,346-613Lines23-310,33

43、6-6234.2% of 14:9 zone (27 pixels)11% of 14:9 zone (69 pixels)4.5% of 4:3 zone (24 pixels)14:9 central zone raster edge4:3 central zone raster edgeGraphics 5%Action 3.5%Appendix 2 to Annex 2 Safe areas for television programmes made in the 16:9 wide-screen format: Shoot-to-protect the 4:3 central zo

44、ne For certain programme genre there is a requirement to fully protect the 4:3 central zone for action and graphics. This may include sports productions, or where a fully compatible 4:3 image is required for international sales or on-passing to another broadcaster. If the policy of the programme mak

45、er and/or the commissioner is to present 16:9 images on 4:3 services in the full screen mode, the 4:3 central zone should be protected. This will ensure that 16:9 pictures are 4:3 compatible. That is, the extracted 4:3 pictures will: frame the main subject of the 16:9 picture; comply with the normal

46、 artistic practice of framing in 4:3. Table 2 shows how the action and graphics areas are defined to protect the 4:3 central zone in a 16:9 wide-screen image. Rec. ITU-R BT.1379-2 9 TABLE 2 Horizontal Vertical 16:9 image 4:3 zone Action safe margin (%)5, 63.5 15 3.3 Graphics safe margin (%)7, 85 17.

47、5 6.7 Figure 2 shows these areas in more detail. The definitions of the safe areas are given in numbers of lines and pixels, which are more definitive than the percentages used previously. However, percentages are also included because they are the basis on which comparisons are made. The line numbe

48、ring has been calculated on the basis that 5The action safe margin is 3.5% at the top and bottom of the original 16:9 image. Since the height of the image does not change in 4:3 conversion, the vertical margin is the same in both cases. 6The action safe margin is 15% at each side of the original 16:

49、9 image. This is derived approximately from a 4:3 image reduced by 3.5% at each side. This is cropped to 3.3% at each side in 4:3 conversion as 1/8 of the image is lost at each side. 7The graphics safe margin is 5% at the top and bottom of the original 16:9 image. Since the height of the image does not change in 4:3 conversion, the vertical margin is the same in both cases. 8The graphics safe margin is 17.5% at each side of the original 16:9 image. This is derived approximately from a 4:3 image reduced by 5% at each side. This is cropped to 6.7% at each side in 4:3 conversion as 1/8 o