BSkyB Technical Guidelines for Plano Stereoscopic (3D) Programme Content
The prime objectives of the requirements detailed are to deliver content of both a high technical quality and
of high production values.
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 & 3D 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 75% must be native 3D
footage. Where non HD or non 3D footage is utilised, it should sit within the editorial context of the program.
The 2D originated footage must be HD, not exceed 25% of the total program, be of segments not exceeding
5 minutes in any 15 minute period, 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
 Automated conversion of 2D HD programmes to 3D is not acceptable as “original 3D content”. Any
proposed 2D to 3D content conversions may only be by prior agreement with understanding of the
scene specific editorial decision process, techniques and conversion processes involved.
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 within a “depth budget” of 3% within the limits below
 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 prime vision 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 a
2% depth budget from the main viewpoint and main graphic image (ancillary graphic imagery may be
greater)
Post Production
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 and requires only simple
editorial cuts and can be manipulated in its native format (with no codec change), then non linear post tools
may be used with prior agreement.
Stereoscopic image encoding (Image Multiplexing).
This is the broadcast transmission method of 3D image multiplexing
Transmission finalised programming may be encoded in this method for direct playout
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The Stereoscopic encode format is Side by Side Left/Right compressed within a 1080i25 frame
BSkyB utilises linear or horizontal line based encoding (not quincunx based)
As detailed in HDMI 1.4a Annex H – 3D Video Format Extensions (3D_structure = 1000, 3D_Ext_data
= 0001 <indicating sampling of odd=left eye, even=right eye decimation>)
Live feeds should be multiplexed in this manner at final point of production for direct transmission
Video
Acceptable formats for content acquisition are in each case
Content acquisition where electronic should be by identical camera pairs utilising 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 Progressive or 25
Frames interlaced with 50 fields
 Small format, single chip or sub ½” sensor cameras may be utilised by prior agreement for editorial
needs and for content sections but not entire programs.
Record Format should be at a bit rate no less than 100Mbit/s 4:2:2 per source for acquisition
 uncompressed
 HDCamSR 4:2:2 X 2 dual link synchronous record (440MB/s): Channel 1(A) Left Eye, Channel 2(B)
Right Eye
 HDCamSR Individual Left Eye tape, Right Eye tape with synchonised identical Timecode.
 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
Programme Delivery Format
 Master: HDCamSR 4:2:2 X 2 dual stream synchronous record (440MB/s): Channel 1(A) Left
Eye, Channel 2(B) Right Eye
NOTE: If programme is longer than 60 mins and not in parts (e.g. a movie), programme can be supplied as
HDCamSR Individual Left Eye tape, Right Eye tape with synchronised identical Timecode.
Final TX Master Delivery Format – where content is a pre-encoded master for direct playout and where no
subsequent Post Production needs are required (see stereoscopic image encoding), in addition to above
Master, the following TX master can be supplied:
 HDCam 3D SbS encoded finalised master (by prior agreement only)
Safe Area
All Stereoscopic content must be high definition. As such safe areas should be maintained to 16:9 guidelines
only.
Audio
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 3 Centre

Audio track 4 Low Frequency Effect

Audio track 5 Left Surround

Audio track 6 Right surround
Where any uncertainty of 3D production techniques and workflows arise, these should be raised and
detailed prior to production commencing.
ChrisJohns3DRev5_Apr2011