BSkyB 3D technical specification for

PlanoStereocopic (3D) program content

The prime objectives of the requirements detailed are to deliver content of both a high technical a
quality and of high production values.

On 15 February 2010, Sky informed broadcasters of proposals in relation to technical

requirements for 3D. Some of the detail of those proposals are set out below, though the
technical requirements are subject to change. Broadcasters are encouraged to review the 3D
Guidelines and to not solely rely upon what is set out below.

3D High Definition necessitates the highest quality to be captured at the point of creation and
initial storage together with the minimising of recode or transcode processes within the
production chain that have the potential to degrade the content when delivered to the end user in
HD via the BSkyB transmission facilities.

The technical criteria for 3D content acquisition and storage are detailed and differ in some
elements from the basic needs for HD categorisation (See Sky Technical Specifications for HD
Commissioned Programmes for fuller details). This is due to the additional image processing
necessary to deliver the dual images within the existing 1080i25 transmission format. Audio
requirements remain unchanged.

To enable the 3D program to retain the highest quality throughout, a minimum of 90% must be
native 3D footage. Where non HD footage is utilised, it should sit within the editorial context of
the program. The 2D originated footage must be HD, not exceed 10% of the total program, be of
segments not exceeding 1 minute, converted by in a suitable manner to fit the true 3D content
and be of shots where there is minimal benefit from a true dual camera 3D acquisition.

For the avoidance of doubt:

 Conversions of 2D, HD content to 3D is not acceptable and may only be proposed by

prior agreement with understanding of the editorial techniques and conversion process
involved. Automated systems may not be utilized at this time.

Stereoscopic Alignment
These guidelines are for the final Program content being displayed on screen sizes in the range of
46" to 70":

 Main subject point should nominally be the screen focus point or convergence point of
the two images
 Positive disparity or image separation at distant points (into the screen) should not exceed
2% for majority of shots
  Negative disparity Image separation at close points (Out of Screen) should be used with
care and not nominally exceed 1% for shots. Care should be taken for images breaking
the frame edges with floating windows utilized where appropriate

These are guidelines that aim to deliver managed and comfortable stereoscopic viewing. As such
these limits can be exceeded for specific editorial needs, (Such as Graphic Content or Short Term
visual impact), managed appropriately and in line with 3D production practice.

 Such instances should be constrained to 4% Positive (Into Screen) and 2.5% Negative
(Out of Screen)

Graphics within vision should be aligned to the base content - there should be no differential
exceeding 2% from the main viewpoint and main graphic image (ancillary graphic imagery may
be greater).

Post Production
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Image separations and convergence should be aligned as detailed above.

Post Production techniques and technologies should maintain the highest quality and where the
native acquisition format is not able to be utilised, the lowest possible compression ratio (Highest
possible bit rate) available by the post productions hardware's individual codec should be used.

Dual Video Stream Post production tools designed for discrete Stereoscopic image processing
should be utilised for finalizing and conform of stereoscopic images.

Image streams should be managed in a discrete manner throughout to maintain the quality
threshold.

Where delivered content is 3D encoded (Multiplexed) to the BSkyB required format, requires
only simple editorial cuts and can be manipulated in it's native format (with no codec change),
then non linear post tools may be used with prior agreement.

Stereoscopic Image Encoding (Image Multiplexing)

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This is the Broadcast Transmission Method of 3D Image Multiplexing.

Transmission finalized programming may be encoded in this method for direct playout.

 The Stereoscopic encode format is Side by Side compressed within a 1080i25 frame
 BSkyB utilises Linear or Horozontal Line based encoding (Not Quincunx based)
  As detailed in HDMI 1.4 Annex H – 3D Video Format Extensions (3D_structure = 1000,
3D_Ext_data = 0000)

Acceptable formats for content acquisition are in each case.

Content acquisition

Content acquisition where electronic should be by identical camera pairs utilizing a three ½" (or
greater) sensor array and:

 with a native resolution of 1920 by 1080 pixels and at a frame rate of 25 Frames
interlaced with 50 fields or
 with a native resolution of 1920 by 1080 pixels and at a frame rate of 25 Frames
Progressive or

Record Format

Record format should be at a bit rate no less than 100Mbit/s 4:2:2 for acquisition.

 uncompressed

Ideally:

 HDCamSR 4:2:2 X 2 dual link synchronous record (440MB/s)

 HDCamSR Individual Left Eye tape, Right Eye tape with synchonised identical
Timecode.
o Movie Master / Commissioned Master preferred format
 HDCam Individual Left Eye tape, Right Eye tape with synchonised identical Timecode
 DVCProHD / DVC Pro 100, AVC-Intra 100, HDD5 Left Eye tape, Right Eye tape with
synchonised identical Timecode
 MPEG2 100MB/s Intraframe per eye to server based Stereoscopic playback device

Final Master Delivery Format

 HDCamSR 4:2:2 X 2 dual link synchronous record (Program Playin prior to 3D encode)
 HDCam SR 3D encoded Finalised Master
 HDCam 3D encoded Finalised Master (By agreement)

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All Stereoscopic content must be High Definition. As such safe areas should be maintained to
16:9 guidelines only.

The audio levels should be related directly to the line-up level (-18dBFS) recorded at the head of
the tape.
Tracks 1 & 2 program quasi-peak sound levels must not exceed line-up level by more than +8
dBu (PPM6), nor exceed -10 dBFS. Audio tracks must be accurately matched, correctly
balanced, in phase and synchronisation (+/- 20mS) to video content throughout the programme.

A Dolby Digital 5.1 channel mix should be delivered as Dolby E on Audio Tracks 3 / 4, mixed to
a Dialogue Normalisation level of -22dB with associated metadata. Stereo should also be mixed
to Audio tracks 1 / 2.

Dolby E track allocation

 Audio track 1 Left

 Audio track 2 Right
 Audio track 2 Right
 Audio track 3 Centre
 Audio track 4 Low Frequency Effect
 Audio track 5 Left Surround
 Audio track 6 Right surround
 Audio track 7 Voiceover / commentary – If applicable
 Audio track 8 Voiceover / commentary – If applicable