Report ITU-R BS.2388-7
Policy on Intellectual Property Right (IPR)
1 Introduction 2
2 Use cases 2
3 Best practices for ADM
usage 5
4 Location of ADM metadata
36
5 Examples of ADM usage 38
6 Other audio-related
metadata that may accompany ADM 44
1 Introduction
2 Use cases
2.1 Generating BWF
audio files from scratch
2.1.1 UC1.1:
Common single group channel-based files
2.1.2 UC1.2:
Common multiple group channel-based files
2.1.3 UC1.3:
Non-common channel-based files
2.1.4 UC1.4:
Transformation/scene-based files
2.1.5 UC1.5:
Object-based files
2.1.6 UC1.6:
Mixed files
2.2 Reading BWF audio
files
2.2.1 UC2.1:
Common single-group channel-based files
2.2.2 UC2.2:
Common multiple group channel-based files
2.2.3 UC2.3:
Non-common channel-based files
2.2.4 UC2.4:
Transformation/scene-based files
2.2.5 UC2.5:
Object-based files
2.2.6 UC2.6:
Mixed files
2.3 Reading non-ADM
WAV files
2.3.1 UC3.1:
One-, two-, five- and six-channel files
2.3.2 UC3.2:
Other numbers of channels
2.3.3 UC3.3:
Multiple mono files
2.4 Generating BWF
Files without information
2.4.1 UC4.1:
Generating one-, two-, five- and six-channel files
2.4.2 UC4.2:
Generating other number of channels
3 Best practices for ADM
usage
3.1 Using Common
Definitions
3.1.1 Using
the Common Definitions when reading an audio file with an <axml> chunk
3.1.2 Using
the Common Definitions when writing an audio file with an <axml> chunk
3.2 Element IDs
3.2.1 ID
prefixes
3.2.2 Hexadecimal
codes
3.2.3 Recommended
ID Numbering for Related Elements
3.3 Audio types
3.3.1 Format
types
3.4 <chna> chunk
and IDs
3.4.1 Simple
PCM channel-based files
3.4.2 Simple
matrix files
3.4.3 PCM
object-based files
3.4.4 Coded
audio files
3.5 Defaults for
unknown audio inputs
3.5.1 Common
Definitions approach
3.5.2 Wave
Format Extensible approach
3.5.3 Generating
other metadata for unknown audio inputs
3.5.4 Naming
audio channels and loudspeaker labels for Cartesian coordinates
3.6 Times and
durations
3.6.1 Timing
attributes
3.6.2 Timing
for Nested audioObjects
3.6.3 Block
sizes for dynamic objects
3.6.4 Dealing
with preambles
3.7 File management
3.8 <fmt> Chunk
handling
3.9 Ensuring streaming
compatibility
3.10 Interactivity and
ensembles of audioObjects
3.10.1 Example
of interaction with an ensemble of audioObjects
3.10.2 Behaviour
of interaction with ensembles of audioObjects
3.11 Multiple
audioProgrammes
3.11.1 Using
multiple audioProgrammes versus audioContents and audioObjects
3.11.2 Default
audioProgramme
3.12 Using the
‘importance’ parameters
3.12.1 The
audioBlockFormat importance parameter
3.12.2 The
audioPackFormat importance parameter
3.12.3 The
audioObject importance parameter
3.12.4 Using
an importance threshold
3.13 Using tagList
sub-element
3.13.1 Using
tagList sub-element for audio format type
3.13.2 Using
tagList sub-element for presets (ARIB TR-B48)
4 Location of ADM metadata
4.1 BW64 file
specified in Recommendation ITU-R BS.2088
4.2 A serial
representation of the ADM (S-ADM) specified in Recommendation ITU‑R BS.2125
5 Examples of ADM usage
5.1 5.1 and Stereo
combination
5.2 Object-based with
a channel-based bed
5.3 Sharing tracks
from audioObjects to achieve different mixes
5.3.1 Basic
example
5.3.2 Using
time parameters in audioObjects for different mixes
6 Other audio-related
metadata that may accompany ADM
6.1 Introduction
6.2 RIFF/WAV-related
Metadata
6.2.1 Broadcast
Metadata
6.3 Audio Format
Custom Metadata
6.3.1 Sub-Elements
and Attributes
6.3.2 Types
of audioFormatCustomSet