ITU-R BS 2102-0-2017 Allocation and ordering of audio channels to formats containing 12- 16- and 32-tracks of audio《音频通道分配和排序包含12 16和32轨音频的格式》.pdf

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1、 Recommendation ITU-R BS.2102-0 (01/2017) Allocation and ordering of audio channels to formats containing 12-, 16- and 32-tracks of audio BS Series Broadcasting service (sound) ii Rec. ITU-R BS.2102-0 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient

2、and economical use of the radio-frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are perf

3、ormed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Annex 1 of Resolution ITU-R 1. Forms

4、to be used for the submission of patent statements and licensing declarations by patent holders are available from http:/www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be f

5、ound. Series of ITU-R Recommendations (Also available online at http:/www.itu.int/publ/R-REC/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, r

6、adiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum managemen

7、t SNG Satellite news gathering TF Time signals and frequency standards emissions V Vocabulary and related subjects Note: This ITU-R Recommendation was approved in English under the procedure detailed in Resolution ITU-R 1. Electronic Publication Geneva, 2017 ITU 2017 All rights reserved. No part of

8、this publication may be reproduced, by any means whatsoever, without written permission of ITU. Rec. ITU-R BS.2102-0 1 RECOMMENDATION ITU-R BS.2102-0 Allocation and ordering of audio channels to formats containing 12-, 16- and 32-tracks of audio (2017) Scope This Recommendation specifies the allocat

9、ion and ordering of multiple audio channels to media with 12, 16 and 32 tracks. These allocations are preferred for use on international contribution circuits, on interfaces, or in files. For streaming audio signals, Recommendation ITU-R BS.646 should be used. Keywords Channel ordering, multiple cha

10、nnel audio, channel allocation The ITU Radiocommunication Assembly, considering a) that the exchange of television programmes is very important and extensive; b) that there is a requirement to provide more than one sound signal including stereophony with a television picture; c) that within a televi

11、sion channel as used in present systems, several sound channels could be accommodated; d) that Recommendation ITU-R BS.1738 Identification and ordering of 4 and 8 track audio channels carried on international contribution circuits, recommends allocations of up to 8 multiple audio signals on internat

12、ional contribution circuits; e) that Recommendation ITU-R BS.1726 Signal level of digital audio accompanying television in international programme exchange, recommends reference level and permitted maximum level (PML) of digital audio signal for international programme exchange; f) that internationa

13、l identification of media content and of the format used for programme exchange offers both economical and operational advantages; g) that an alignment of operational practices used in connection with the identification of the content and format of sound programmes is highly desirable; h) that a tec

14、hnique is applied which ensures simultaneous availability of a line-up tone on the channels present in stereo and multi-channel modes so that the phase relationship between channels can be checked to mitigate phasing issues; i) that transmission systems with bit-rate reduced coding for multichannel

15、sound transmission are in use in several countries; j) that production scenarios increasingly involve 12 or more audio channels; k) that coding of multi-track sound into an audio multiplex for audio production in many programme genres is increasing as a requirement for international programme exchan

16、ge for sound and television broadcasting; 2 Rec. ITU-R BS.2102-0 l) that specifications for international exchange of programmes with multiple channel audio are subject to contractual and commercial arrangements among the broadcasters and programme rights holders; m) that many administrations are be

17、coming increasingly involved in the exchange of television programme material, recommends 1 that, if audio channel identification is required or in use, then the signaling should at least provide minimum information to ensure that downstream of the source any user can unambiguously determine the cha

18、nnel number and thus the content; 2 that the reference signal of each channel in a stereo signal should be a 1 000 Hz alignment tone at the reference level of either 18 dB FS or 20 dB FS in accordance with Recommendation ITU-R BS.1726, interrupted at least once every 30 s by a voice announcement ind

19、icating the channel number and optionally the source name; 3 that in stereo and multi-channel contribution circuits the reference tone should be applied simultaneously to all channels to aid in confirming correct phase relationship between channels at the destination end; 4 that the use of tracks to

20、 carry the various audio components of the programme should be mutually agreed in advance among the parties concerned; 5 that in the absence of such advance agreement, the use of tracks as indicated in Annex 1 should be preferred for the production scenarios described therein; 6 that Annex 1 should

21、be extended, when required, to reflect other production scenarios, and further considering a) that there is anecdotal evidence of small synchronisation errors occurring between audio signals embedded in separate “groups” of video signals using the SMPTE ST 272 and SMPTE ST 299 standards; b) that the

22、 mixing together of signals that are not properly synchronised can result in objectionable comb-filtering effects, further recommends that caution be exercised when using track allocations wherein a discrete multi-channel audio signal has the centre channel embedded in a video signal in a different

23、group from the front left and front right signals. Rec. ITU-R BS.2102-0 3 Annex 1 Allocation and ordering of audio channels to formats containing 12-, 16- and 32-tracks of audio This annex describes preferred identification of audio channels for production scenarios for a multichannel sound mix usin

24、g 12-, 16- or 32-track media in the absence of an advanced mutual agreement among the parties concerned. Name No. of Tracks Production Scenario Notes Origin (used by) AUDIO TRACK NUMBER 1 2 3 4 5 6 7 8 9 10 11 12 12a 12 Stereo with discrete 5.1 + encoded 5.1 + Monos/Stereo 1, 2 (Australia) Stereo L

25、Stereo R 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs Optional encoded 5.1 (for metadata) (Note 7) 12b 12 1, 3, 5 (SVT) 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs Stereo L Stereo R 12c 12 2x Stereo with 2x encoded 5.1 + extra Monos/Stereos 2, 4, 6 Stereo Mix L Stereo Mix R Stereo EFX L Stereo EFX R encoded

26、5.1 Mix encoded 5.1 EFX 12d 12 4, 6 Stereo Mix L Stereo Mix R Encoded 5.1 Mix Stereo EFX L Stereo EFX R encoded 5.1 EFX 12e 12 Discrete 5.1 + extra Monos/Stereo + encoded 5.1 + Stereo & encoded M&E 2, 3, 5 (SVT) 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs Stereo L or Mono Stereo R or Mono encoded 5.1 +

27、Stereo incl. audio from ch 1 8 & Dolby Metadata encoded 5.1 M&E sound & Dolby Metadata 12f 12 Stereo with encoded 5.1 and IT and discrete 5.1 (ARD, ZDF, ORF) Stereo Mix L Stereo Mix R encoded 5.1 Stereo IT L Stereo IT R 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs 12g 12 Stereo with IT + discrete 5.1 + e

28、ncoded 5.1 (ARD, ZDF, ORF) Stereo Mix L Stereo Mix R Stereo IT L Stereo IT R 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs encoded 5.1 12h 12 Triple Language: 3x Stereos + 3x encoded 5.1 (France TV) Stereo Mix L Lang 1 Stereo Mix R Lang 1 encoded 5.1 Language 1 Stereo Mix L Lang 2 Stereo Mix R Lang 2 enco

29、ded 5.1 Language 2 Stereo Mix L Lang 3 Stereo Mix R Lang 3 encoded 5.1 Language 3 12i 12 Discrete 5.1 (main service) with matching Stereo and Stereo EFX 1, 8 (Japan) 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs Stereo L Stereo R Stereo EFX L Stereo EFX R (Note 7) 12j 12 Stereo (main service) with matchin

30、g discrete 5.1 and Stereo EFX 9 (Japan) Stereo L Stereo R 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs Stereo EFX L Stereo EFX R (Note 7) 12k 12 Stereo and Stereo EFX, with discrete 5.1 10 (Australia) Stereo L Stereo R Stereo EFX L Stereo EFX R 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs (Note 7) 4 Rec. ITU-

31、R BS.2102-0 Name No. of Tracks Production Scenario Notes Origin (used by) AUDIO TRACK NUMBER 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 16a 16 2x Stereo with 2x discrete 5.1 2, 7, 12 (Japan) Stereo Mix L Stereo Mix R 5.1 Mix L 5.1 Mix R 5.1 Mix C 5.1 Mix LFE 5.1 Mix Ls 5.1 Mix Rs Stereo EFX L Stereo EFX

32、 R 5.1 EFX L 5.1 EFX R 5.1 EFX C 5.1 EFX LFE 5.1 EFX Ls 5.1 EFX Rs 16b 16 3, 7, 11 (Japan) 5.1 Mix L 5.1 Mix R 5.1 Mix C 5.1 Mix LFE 5.1 Mix Ls 5.1 Mix Rs Stereo Mix L Stereo Mix R 5.1 EFX L 5.1 EFX R 5.1 EFX C 5.1 EFX LFE 5.1 EFX Ls 5.1 EFX Rs Stereo EFX L Stereo EFX R 16c 16 2, 7, 13 (Australia, S

33、KY) Stereo Mix L Stereo Mix R Stereo EFX L Stereo EFX R 5.1 Mix L 5.1 Mix R 5.1 Mix C 5.1 Mix LFE 5.1 Mix Ls 5.1 Mix Rs 5.1 EFX L 5.1 EFX R 5.1 EFX C 5.1 EFX LFE 5.1 EFX Ls 5.1 EFX Rs 16d 16 Dual Language: 2x discrete 5.1 + 2x Mono/Stereo or AD (dual language) (France TV) Additional Mono or Stereo,

34、e.g. AD - Lang 1 Additional Mono or Stereo, e.g., AD - Lang 2 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs Language 1 Language 2 16e 16 (France TV) Additional Mono or Stereo, e.g., AD - Lang 1 Additional Mono or Stereo, e.g., AD - Lang 2 5.1 L 5.1 R 5.1 C 5.1 LFE 5

35、.1 Ls 5.1 Rs 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs Language 1 Language 2 16f 16 Triple Language: 3x Stereos + 3x encoded 5.1 +2x Mono/Stereo or AD (France TV) Stereo Mix L Lang 1 Stereo Mix R Lang 1 Encoded 5.1 Lang 1 Stereo Mix L Lang 2 Stereo Mix R Lang 2 Encoded 5.1 Lang 2 Stereo Mix L Lang 3 S

36、tereo Mix R Lang 3 Encoded 5.1 Lang 3 Additional Mono or Stereo, e.g., AD Additional Mono or Stereo, e.g., AD Rec. ITU-R BS.2102-0 5 Name No. of Tracks Production Scenario Notes Origin (used by) AUDIO TRACK NUMBER 1/17 2/18 3/19 4/20 5/21 6/22 7/23 8/24 9/25 10/26 11/27 12/28 13/29 14/30 15/31 16/32

37、 32a 1-16 22.2 + 5.1 + Stereo (Japan) 22.2 FL 22.2 FR 22.2 FC 22.2 LFE1 22.2 BL 22.2 BR 22.2 FLc 22.2 FRc 22.2 BC 22.2 LFE2 22.2 SiL 22.2 SiR 22.2 TpFL 22.2 TpFR 22.2 TpFC 22.2 TpC 17-32 22.2 TpBL 22.2 TpBR 22.2 TpSiL 22.2 TpSiR 22.2 TpBC 22.2 BtFC 22.2 BtFL 22.2 BtFR 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 L

38、s 5.1 Rs Stereo L Stereo R 32b 1-16 Stereo + 5.1 + 22.2 (Japan) Stereo L Stereo R 5.1 L 5.1 R 5.1 C 5.1 LFE 5.1 Ls 5.1 Rs 22.2 FL 22.2 FR 22.2 FC 22.2 LFE1 22.2 BL 22.2 BR 22.2 FLc 22.2 FRc 17-32 22.2 BC 22.2 LFE2 22.2 SiL 22.2 SiR 22.2 TpFL 22.2 TpFR 22.2 TpFC 22.2 TpC 22.2 TpBL 22.2 TpBR 22.2 TpSi

39、L 22.2 TpSiR 22.2 TpBC 22.2 BtFC 22.2 BtFL 22.2 BtFR Key to table abbreviations: Mono= 1/0 specified in Recommendation ITU-R BS.775. Stereo= 2/0 multichannel sound specified in Recommendation ITU-R BS.775. 5.1 = 3/2 multichannel sound specified in Recommendation BS.775 and System B (0+5+0) specified

40、 in Recommendation ITU-R BS.2051. 22.2 = System H (9+10+3) specified in Recommendation ITU-R BS.2051. Each channel label is specified in Recommendation ITU-R BS.2051. EFX = Effects, IT = International sound, AD = Audio description, FL = Foreign language, M&E = Music and effects (no dialogue). Note 1

41、 The stereo should be related to the multichannel mix and can be either a downmix from the multichannel sound or a separate stereo balance. Note 2 This format supports compatibility with legacy stereo environments by placing the stereo version(s) first. Note 3 The main use of this format is to suppo

42、rt compatibility with encoded transport streams (such as 20 bit Dolby E) audio track allocation for multi-track recordings, to that recommended for sound-only programmes, EBU Technical Recommendation R91-1998 where the first 6 channels are the multi channel mix and 7 and 8 are the stereo mix. Note 4

43、 Some forms of compression have different options for the audio coding (e.g. 16 versus 20 bit coding). It is essential that this choice be noted on the labels and recording report. Note 5 In some circumstances neither a specific stereo mix nor an automated downmix will exist during the early stages

44、of the production process. Under these circumstances, tracks 7 and 8 would be unused. Note 6 This track allocation provides a main mix and a clean effects version, and is based on common operating practice, particularly in sport. Note 7 Tracks 11 and 12 could be used for alternative commentary(s), d

45、ifferent language tracks or audio description, in mono or stereo. Note 8 Used when the host broadcaster can provide a 5.1 surround sound complete mix, a stereo complete mix and an additional stereo M&E. The main service of the host broadcaster is 5.1 surround sound. Devices based onthe 8-channel sys

46、tem (for instance, HD-SDI) are mainly used at the host facility. Note 9 Used when the host broadcaster can provide a stereo complete mix, a 5.1 surround sound complete mix and an additional stereo M&E. The main service of the host broadcaster is stereo. Devices based on the 8-channel system (for ins

47、tance, HD-SDI) are mainly used at the host facility. 6 Rec. ITU-R BS.2102-0 Note 10 Used when the host broadcaster can provide a stereo mix, stereo M&E plus a multichannel mix (typically 5.1) and this is required by the destination broadcaster. Note 11 Used when the host broadcaster can provide a 5.

48、1 surround sound complete mix, a stereo complete mix and additional M&E audio signals of both 5.1 surround sound and stereo. The main service of the host broadcaster is 5.1 surround sound. Devices based on the 8-channel system (for instance, HD-SDI) are mainly used at the host facility. Note 12 Used

49、 when the host broadcaster can provide a stereo complete mix, a 5.1 surround sound complete mix and additional M&E audio signals of both stereo and 5.1 surround sound. The main service of the host broadcaster is stereo. Devices based on the 8-channel system (for instance, HD-SDI) are mainly used at the host facility. Note 13 Used when the host broadcaster can provide a stereo mix, stereo M&E, a multichannel mix (typically 5.1) plus a 5.1 M&E mix, and this is required by the destination broadcaster. _