EBU Technology & Innovation Workplan
Every two years, the EBU develops a roadmap for technology and innovation activities based on the requirements and inputs given by EBU Members. The result of this roadmap is our bi-annual EBU Technology & Innovation Workplan. Strategic programmes and project groups are set up to focus on specific areas of interest. To access the latest Workplan, click here.
EBU Strategic Programme on Audio Systems
- Helps Members to maximise the quality and availability of sound production technology.
- Provides guidance and working documents to help you make the move to new audio systems: audio production and broadcasting are being transformed by new technologies. The next generation of audio experiences will be more immersive than ever before and interactive. It is important that broadcasters look at new file formats to deliver and produce audio in these advanced systems.
- We take into consideration your feedback when making contributions to ITU and ETSI standards and organize seminars and trainings to enable you to use new technologies and share best practice.
If you are interested in Audio Systems, join our group on this topic and participate in the discussions. Some restrictions may apply.
The EBU Strategic Programme on Audio Systems (formerly FAR) provides guidance to help broadcasters make the move to new (IP-based) audio systems, provides input to ITU and ETSI standardization, and organize seminars and workshops to enable sharing of best practices in new audio production technology.
Audio systems target the development of the missing ecosystem that links content creators with the sound rendering function in end-users devices.
These objectives are driven by the object-based audio (OBA) approach developed in the Audio Definition Model (ADM) of EBUCore.
The PLOUD group falls within Audio Systems' remit and it will continue with work on audio loudness.
EBU Audio Systems consists of two parts:
- AS which is restricted to EBU Members (public service media organizations)
- AS-ALL, which includes the EBU members and all industry professionals (including equipment manufacturers, research organizations, etc.)
When you join EBU Audio Systems, you are automatically added to the appropriate e-mail reflector(s) and given access to the relevant workspaces and other tools.
How we work
The actual work is performed via the e-mail reflector(s) and webexes to coordinate the work and keep all in-sync regarding the latest activitities.
The best place to start for an overview of what is going on is AS Workspace.
If you have any questions/need help, please contact the coordinator: Paola Sunna (EBU)
Roland Garros (2018)
France Télévisions and the French Tennis Federation, in collaboration with TDF and FRANSAT, a subsidiary of Eutelsat, successfully tested the transmission and reception of MPEG-H Audio immersive sound over DVB-T2 and satellite during the Roland Garros tennis tournament ... read more.
Eurovision Song Contest (2018)
EBU and Frauhnofer IIS conducted a successful live MPEG-H audio production trial during the ESC 2018 ... read more.
Overview of the DVB TS 101 154 (2018)
Overview of the DVB UHD specification TS 101 154 ... read more.
ORPHEUS - Object - Based Audio Experience (December 2015-May 2018)
ORPEHUS is a completed European Commission HORIZON 2020 research project that pioneered the development of an end-to-end object-based media chain for audio content ... read more.
4EVER-2 Project (2017)
World premiere ! 4EVER-2 is proud to deliver an Ultra HD-TV phase 2 live production, with HD-TV « HFR » 100 frames per second and Dolby AC-4 audio... read more.
The document presents practical guidelines to relevant settings and processing in the signal chain from the studio to consumer equipment. It aims to achieve consistent loudness levels throughout the complete chain from broadcaster to consumer. This is version 2.1, July 2016; editorial changes only (pagination, typos and fonts).
This supplement to EBU R 128 specifies a special set of loudness parameters for short-form content. This version 2.0 puts emphasis on the permitted Maximum Short-term loudness and does no longer include the use of the Max. Momentary Loudness limit.
In this document the properties of a loudness meter in the so-called ‘EBU Mode’ are introduced and explained in detail. This version 3.0 includes new minimum requirement test signals, clarifications and a new requirement on LRA stability signalling. This set of test signals complements the document.
The ‘Loudness Range’ (LRA) measure and the algorithm for its computation is introduced and explained in detail. Loudness Range is supplementary to the main audio Programme Loudness described in EBU R 128. This is version 3.0.
EBU Recommendation 128 is a milestone in the history of audio broadcasting. It started a loudness revolution by specifying normalized loudness levels in production, in play-out systems and, potentially, in many other applications. This article explains how distributors could support the good broadcasters while improving consumer satisfaction at the same time.
This article describes the success of the implemention of loudness normalization on DAB broadcasts in Norway with a few words on other radio platforms. Thus far, loudness awareness has been almost exclusive to television. Could loudness normalization also be employed in radio? And if yes, what radio platforms could benefit from it? Find out by reading this article.
The March 2012 issue of tech-i covers TV White Spaces, LED lights, colorimetry and storage. You'll also find three radio-related articles, from FM swtich-off plans in Norway, to Loudness considerations and a strategic view from Lieven Vermaele. Finally, RTR's Igor Orlov is "in the spotlight" and David Wood asks how much R&D should be done by broadcasters.
The EBU R 128 logo is the symbol of the EBU Recommendation R 128 on Loudness normalisation and permitted maximum level of audio signals. Use of the logo by third parties is allowed subject to the rules in this document.
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