System M/NTSC composite video, bit-parallel digital interface — predates SDI's serial transport.

→ ST 244

Three-channel parallel analog component RGB video interface.

→ ST 253

Bit-parallel digital interface for 4:2:2 component video, 16:9 aspect ratio.

→ ST 267

4:4:4:4 component video signal digital interface — single link (174) and dual link (175) variants.

→ RP 174 · → RP 175

SDTV component video signal coding, 4:4:4 and 4:2:2, the sampling basis ST 259 carries.

→ ST 125

Error detection checkwords for bit-serial interfaces (165); SDI checkfield for 10-bit 4:2:2/4fsc signals (178).

→ RP 165 · → RP 178

Jitter specification (184), jitter measurement procedures (192), and HD checkfield (198) across bit-serial digital systems.

→ RP 184 · → RP 192 · → RP 198

Formatting AES/EBU audio into the ANC data space (272); AES-EBU digital audio transmission over coax (276) — the SDI-era predecessors of embedded audio.

→ ST 272 · → ST 276

Ancillary data packet and space formatting (291-1) — the carriage mechanism underlying captions, AFD, and embedded metadata across every SDI generation. RP 291 assigns the identification codes; RP 291-2 extends to SDTV/HDTV and 2048×1080 formats.

→ ST 291-1 · → RP 291 · → RP 291-2

Standardised colour reference pattern for television.

→ ST 303

Status monitoring and diagnostics protocol (273); camera positioning information conveyed by ancillary data packets (315).

→ ST 273 · → ST 315

Mapping of AES3 audio data into an MPEG-2 transport stream.

→ ST 302

Bitstream syntax for carriage of HD-SDI ancillary data in an MPEG-2 transport system (11); the hybrid electrical/fiber-optic Ball-Lock connector Type-OPS for broadcast cameras (16) — a registered alternative to ST 304.

→ RDD 11 · → RDD 16

Four-circuit fiber optic connector — an SDI-era connector standard alongside ST 304's hybrid electrical/fiber camera connector.

→ ST 358

Pathological conditions in serial digital video systems — test signals that stress worst-case SDI receiver behaviour (34); inspection/cleaning procedures for the ST 304M hybrid connector (2039).

→ EG 34 · → EG 2039

Roadmap for the 292 document suite; ST 292-2 extends ST 292-1 to dual-stream stereoscopic image transport.

→ OV 292-0 · → ST 292-2

720×483 active-line 59.94 Hz progressive scan — digital representation (293) and bit-serial interface mapping (294); the SDTV progressive precursor alongside HD source formats.

→ ST 293 · → ST 294

1920×1080 50 Hz scanning and interface — the 50 Hz-region companion to ST 274's multi-rate 1080 structure.

→ ST 295

Dual-link 1.5 Gb/s digital interface for 1920×1080 and 2048×1080 picture formats — the precursor pairing technique later echoed in 3G-SDI's dual-link variants.

→ ST 372

Link encryption for the 1.5 Gb/s serial digital interface.

→ ST 427

24-bit embedded digital audio for the 292M bit-serial interface (299-1), extended to 32 channels for 3 Gb/s interfaces (299-2).

→ OV 299-0 · → ST 299-1 · → ST 299-2

Serial Data Transport Interface (305) — a parallel SDI-rate transport for compressed/file-based content; High Data Rate SDTI (348) extends it for HD-era throughput.

→ ST 305 · → ST 348

MPEG-2 4:2:2 Profile at High Level (308); synchronous serial interface for MPEG-2 transport streams (310).

→ ST 308 · → ST 310

DV-based audio/data/compressed-video data structure (314) and its SDTI exchange formats (321, 322).

→ ST 314 · → ST 321 · → ST 322

Serial interface for multiplexing eight AES digital audio streams.

→ ST 324

Opportunistic data flow control (325) and the SDTI Content Package Format ecosystem — element/metadata definitions (331) and packet stream encapsulation (332).

→ ST 325 · → ST 326 · → ST 331 · → ST 332

The MPEG-2 video recoding data set family — metadata carried alongside compressed video so it can be re-encoded losslessly later, transported as ancillary data (353) or through 4:2:2 (319) and HD (351) digital interfaces.

→ ST 327 · → ST 328 · → ST 329 · → ST 351 · → ST 353 · → ST 319

DTV closed-caption server-to-encoder interface.

→ ST 333

Non-PCM audio/data in an AES3 serial digital audio interface (337); HD-D5 compressed video for 1080i/720p systems (342).

→ ST 337 · → ST 342

540 Mb/s serial digital interface — a higher-rate SD-era format (344), with its own source image format mapping (347).

→ ST 344 · → ST 347

Mapping SYNC stream blocks (345) and packetized audio/video/data (354) into ATM Common Layer/AAL Type 1 — an early-2000s broadcast-over-ATM transport approach.

→ ST 345 · → ST 354

Time-division multiplexing of video and generic data over HD interfaces (346); transport of alternate source image formats through ST 292M (349).

→ ST 346 · → ST 349

HD-D5 compressed video/audio transmission over a 360 Mb/s serial digital interface.

→ RP 209

Roadmap for the 425 document suite tying the parts below together.

→ OV 425-0

Source image and ancillary-data mapping for single-link (425-1), dual-link (425-3), and quad-link (425-5) 3 Gb/s SDI — the standard-content path.

→ ST 425-1 · → ST 425-3 · → ST 425-5

Stereoscopic image transport at 3 Gb/s: single-link source/ancillary mapping (425-2), dual-link physical interface (425-4), and quad-link physical interface (425-6).

→ ST 425-2 · → ST 425-4 · → ST 425-6

Carriage of VC-2 compressed video over HD-SDI (2047-2) and over SDTV SDI at VC-2 Level 65 (2047-4) — codec-over-SDI mapping documents.

→ ST 2047-2 · → ST 2047-4

Roadmap, basic stream derivation, stream data mapping, and the 10.6921 Gb/s optical fiber interface — the multi-stream 10G-SDI suite used for early UHDTV1/2K production before 6G/12G-SDI arrived.

→ OV 435-0 · → ST 435-1 · → ST 435-2 · → ST 435-3

SD-SDI — the foundation standard, 1989. 10-bit serial digital interface at 143/270/360 Mb/s, the original digital replacement for analogue composite video.

→ ST 259

1080-line HD video sample structure, digital representation and timing reference sequences — including 1080p25 and 1080p30, at 1.5 Gb/s.

→ ST 274-1

HD-SDI — 1.485 Gb/s and 1.485/1.001 Gb/s signal/data serial interface for 1080i and 720p HD, published 1998.

→ ST 292-1

1280×720 progressive image sample structure — the 720-line HD video format mapping at 1.5 Gb/s, the progressive counterpart to ST 274-1.

→ ST 296

Ancillary data packet and space formatting — the VANC/HANC structure underlying captions, AFD, and embedded metadata, applicable across all SDI rates.

→ ST 291-1

Hybrid Electrical and Fiber-Optic Connector — the LEMO Hybrid Fiber connector (3K.93C) standard used for camera/CCU connections in ENG and studio camera chains.

→ ST 304

Hybrid Electrical and Fiber Optical Camera Cable — the camera-to-CCU cable specification, connecting directly to the ST 304 connector standard.

→ ST 311

Synchronization of 59.94- or 50-Hz Related Video and Audio Systems (Ten-Field ID), 1999 — disambiguates which of several repeating field/frame patterns a facility is in, needed for safe source cuts and 23.98p film-to-video pulldown per ST 12-1 Annex B.

→ ST 318

Payload Identification Codes — the "Payload ID" embedded in every SDI stream, telling downstream equipment what's inside the signal (resolution, frame rate, colour sampling) without manual configuration. Directly reused by ST 2110-40.

→ ST 352

Serial Digital Fiber Transmission System (297-1) covering every SDI rate from ST 259 through the UHD-era 6G/12G mappings; Multi-Link and Multi-Channel SDI Using CWDM (297-2) for carrying multiple independent SDI signals over a single fibre pair.

→ ST 297-1 · → ST 297-2

6G-SDI single-link Electrical specification for UHDTV1 at 50/60p, published 2014, revised 2020.

→ ST 2081-1

12G-SDI single-link Electrical specification for UHDTV1 at 50/60p (2082-1); the quad-link mapping (2082-12) required for UHDTV2's higher resolution, since single-link 12G-SDI cannot carry it alone.

→ ST 2082-1 · → ST 2082-12

6G-SDI Bit-Serial Interfaces Roadmap for the SMPTE ST 2081 Document Suite — the official roadmap tying together the parts below.

→ OV 2081-0

2160-line and 1080-line Source Image and Ancillary Data Mapping for 6G-SDI — the single-link source-format mapping for 6G-SDI.

→ ST 2081-10

2160-line Source Image and Ancillary Data Mapping for Dual-link 6G-SDI — covers only 2160-line formats (unlike -10, which covers both 2160-line and 1080-line); extends to dual-link transport.

→ ST 2081-11

4320-line and 2160-line Source Image and Ancillary Data Mapping for Quad-link 6G-SDI — the quad-link mapping, the only -12 variant that reaches 4320-line (8K) resolution within the 6G-SDI suite.

→ ST 2081-12

Goal: defines two multiplexing modes for packing lower-rate signals into a single 6G-SDI link: Mode 1 carries two ST 425-1 3G-SDI signals; Mode 2 carries four ST 292-1 HD-SDI signals — a bandwidth-sharing technique, not a new image format.

→ ST 2081-30

Overview for the SMPTE ST 2082 Document Suite — the official roadmap for the 12G-SDI series.

→ OV 2082-0

2160-line and 1080-line Source Image and Ancillary Data Mapping for 12G-SDI — the single-link source-format mapping. Quad-link mapping (ST 2082-12) is covered above in this section.

→ ST 2082-10

4320-line and 2160-line Source Image and Ancillary Data Mapping for Dual-link 12G-SDI — extends -10's mapping to dual-link transport, reaching 4320-line (8K) resolution.

→ ST 2082-11

Goal: defines three multiplexing modes for packing lower-rate signals into a single 12G-SDI link: Mode 1 carries two ST 2081-10 6G-SDI signals; Mode 2 carries four ST 425-1 3G-SDI signals; Mode 3 carries eight ST 292-1 HD-SDI signals.

→ ST 2082-30

Ruggedized fiber-optic connectors for HDTV/UHDTV SDI field use (2091-1); mapping of ST 2036-4 data for that connector ecosystem (2091-2).

→ ST 2091-1 · → RP 2091-2

Roadmap for the 297 document suite, tying ST 297-1 and ST 297-2 together; TICO lightweight codec for IP-networked or SDI infrastructures, used as a low-latency compression option alongside uncompressed SDI.

→ OV 297-0 · → RDD 35

SMPTE's own official SDI standards roadmaps: SD-SDI/HD-SDI (2111-1), 3/6/12/24 Gbit/s SDI (2111-2), and 10G-SDI (2111-3) — together tracing every source-format standard through to its corresponding serial interface mapping at each bit rate.

→ EG 2111-1 · → EG 2111-2 · → EG 2111-3

MXF Core File Format — a vendor-neutral container wrapping essence plus structural/descriptive metadata for file-based interchange. First published 2004; latest edition 2019.

→ ST 377-1

Operational Patterns constraining general MXF into specific structures: OP-1a (ST 378, single interleaved container, most deployed) and OP-Atom (ST 390, mono-essence, editing-friendly).

→ ST 378 · → ST 390

The base Generic Container (379-1, first published 2009) and its constrained variant (379-2) that most operational patterns actually use.

→ ST 379-1 · → ST 379-2

ST 395, "Metadata Groups Register," defines how related metadata elements are grouped; ST 400, "SMPTE Labels Structure," defines label structures more broadly. Both referenced by RDD 18 and other higher-level metadata-set documents.

→ ST 395 · → ST 400

Unique Material Identifier (UMID) — the globally-unique identifier MXF mandates for every file: a 32-byte Basic UMID, optionally extended to 64 bytes with a Source Pack recording when/where/who. First standardised 2000; current edition 2022.

→ ST 330

Essence Element Key Register Structure — the fourth structural pillar of ST 2123, defining the register of essence element keys used by essence-container specifications like ST 379-1/-2 and their mapping documents.

→ ST 2088

Goal: SMPTE Core Metadata (2017) — defines a core set of descriptive-only metadata elements as a common reference across professional broadcast and feature motion picture workflows, designed to interoperate with Ad-ID, AES60, Dublin Core, EBUCore, EIDR, EN 15907, MovieLabs Common Metadata, PBCore, XMP, and the W3C Media Ontology. Out of scope: full technical specification of element datatypes, since the elements are meant to be adapted to various implementation frameworks.

→ ST 2102

SMPTE Metadata Registers — the registry of every metadata element MXF (and other SMPTE file formats) may carry. The legacy RP 210 dictionary was formally withdrawn 26 February 2021; SMPTE explicitly directs implementers to ST 2123 instead.

→ ST 2123

JPEG XS Mapping to MXF — defines how JPEG XS codestreams (ISO/IEC 21122) wrap inside MXF, extending file-based interchange to a low-latency codec without a new container.

→ ST 2124

OP-1b (single item, ganged packages), OP-2a (play-list items, single package), OP-2b (play-list items, ganged packages) — extending OP-1a's single-item model to multi-clip and multi-source structures.

→ ST 391 · → ST 392 · → ST 393

Operational Patterns 3a/3b (edit-rate-independent play-lists) and 1c/2c/3c — the less-common OP variants completing the matrix alongside 378/390-393.

→ ST 407 · → ST 408

Low Latency Streaming MXF OP-1a — a streaming-optimised constraint of OP-1a for live/low-delay file-based workflows.

→ ST 2049

Stereoscopic 3D in MXF for Operations — Common Provisions — the base document the other two parts build on, defining shared metadata and index structure for stereoscopic 3D video in MXF.

→ ST 2070-1

OP1a Mapping — defines a standard way to wrap an interleaved stereoscopic 3D video stream in MXF using OP1a per ST 378.

→ ST 2070-2

OP-Atom or Single Track OP-1a Mapping — specifies wrapping a stereoscopic 3D video stream using separated MXF files (left/right-eye essence), via either OP-Atom or single-track OP-1a.

→ ST 2070-3

Mapping MPEG Streams into the MXF Generic Container — the base MPEG essence-mapping document for unconstrained MXF.

→ ST 381-1

Mapping MPEG Streams into the MXF Constrained Generic Container — covers MPEG-1/2/4 video and audio elementary streams specifically (ISO/IEC 11172, 13818, 14496-2/-3, but not 14496-10/AVC, which has its own part -3), built on ST 379-2's constrained container.

→ ST 381-2

Mapping AVC Streams into the MXF Generic Container — RP 2008 was an earlier, separately-published AVC mapping document later folded into this formal part; revised and republished March 2025.

→ ST 381-3

Mapping AAC Compressed Audio into the MXF Generic Container — the AAC-specific audio essence mapping within the 381 series.

→ ST 381-4

Mapping HEVC Streams into the MXF Generic Container — published 2023, extending the same MPEG-family mapping pattern to HEVC/H.265. (ST 381-3 received a newer 2025 revision, so -5 is not the most recently updated part of the 381 series.)

→ ST 381-5

Mapping DV-DIF data (383, 2008) and uncompressed pictures (384, 2005 — actually the earlier of the two) into the Generic Container.

→ ST 383 · → ST 384

Mapping JPEG 2000 codestreams into the MXF Generic Container — the digital-cinema-era image codec mapping (2006), predating JPEG XS's ST 2124.

→ ST 422

The complete SMPTE-codec-to-MXF mapping set: VC-3 (2019-4), VC-1 (2037), VC-2 (2042-4), VC-5 (2073-10), VC-6 (2117-10) — one mapping document per codec generation.

→ ST 2019-4 · → ST 2037 · → ST 2042-4 · → ST 2073-10 · → ST 2117-10

Mapping AES3/Broadcast Wave audio (382) and A-law coded audio (388) into the Generic Container.

→ ST 382 · → ST 388

Mapping SDTI-CP essence and metadata (385); the Generic Container's reverse-play system element (389) — for trick-play/scrubbing support.

→ ST 385 · → ST 389

Dynamic HDR metadata's KLV/MXF mapping (2094-2); ADM/RIFF audio metadata into MXF (2131).

→ ST 2094-2 · → ST 2131

Mapping Metadata-Guided Audio (MGA) signals into the MXF Constrained Generic Container — deliberately agnostic of specific audio metadata formats (per SMPTE's own description), with -10 providing the S-ADM-specific specialization on top.

→ ST 2127-1

Mapping MGA Audio Metadata to ST 2110-41 — bridges the Metadata-Guided Audio metadata model directly into ST 2110-41's Fast Metadata Framework, the IP-live counterpart to -1's file-based MXF mapping.

→ ST 2127-2

Mapping Metadata-Guided Audio (MGA) signals with S-ADM Metadata into the MXF Constrained Generic Container — extends -1's base MGA mapping to include Serial ADM metadata specifically.

→ ST 2127-10

DV-based data stream timing over IEEE 1394 (396); Extended Content Control Information packets (401); XML encoding for metadata/file structure (434); VANC/ancillary mapping into MXF (436-1).

→ ST 396 · → ST 401 · → ST 434 · → ST 436-1

Mapping EBU TECH 3264 subtitle files (STL) into the MXF generic stream container (2075); carriage of EIDR identifiers in MXF files (2089).

→ ST 2075 · → RP 2089

MXF Descriptive Metadata Scheme for Compatible Time Labels (DMS-TLC) — a specific descriptive-metadata scheme registered against the ST 380 framework below.

→ ST 2134

Descriptive Metadata Scheme-1, the original standard/dynamic metadata framework (380), with its companion engineering guidelines for the MXF format generally (41) and descriptive metadata specifically (42).

→ ST 380 · → EG 41 · → EG 42

System Scheme 1 for the Generic Container (394) and its individual data item elements (405) — a metadata scheme for system-level timing/control data.

→ ST 394 · → ST 405

Declarative Data Essence — Transitional (397), bridging MXF to the broader Declarative Data Essence family; Generic Stream Partition (410), a structural mechanism for carrying non-essence data streams.

→ ST 397 · → ST 410

KLV-Encoded Extension Syntax (377-2) and its informative engineering guideline companion (377-3).

→ ST 377-2 · → EG 377-3

MXF Multichannel Audio Labeling Framework — the structural framework for describing channel/soundfield-group layouts in multichannel audio essence, with the actual controlled-vocabulary values registered separately in -41 and -42.

→ ST 377-4

MXF Multichannel Audio Controlled Vocabulary: Content Property Values — the registered vocabulary of content-property values used within the -4 labeling framework.

→ ST 377-41

MCA Label Controlled Vocabulary — creates the controlled vocabulary of MCA Label values specifically for Channels, Soundfield Groups, and Groups of Soundfield Groups, based on the -4 labeling framework.

→ ST 377-42

XML representation of SMPTE registered data — mapping rules (2001-1) and the specific AAF/MXF data representation (2001-2).

→ ST 2001-1 · → ST 2001-2

Text-based metadata carriage in MXF — a lighter-weight alternative to full KLV-encoded descriptive metadata schemes.

→ RP 2057

e-VTR MXF interoperability (3) and Sony MPEG Long GOP MXF interoperability (9) — two of the earliest vendor-submitted MXF compatibility specs.

→ RDD 3 · → RDD 9

AVC MXF Proxies (25); MXF OP-1b for AVC with chunk audio (26); MXF OP-1a interoperability for AVC-ULTRA (39) — Panasonic camera-format registrations.

→ RDD 25 · → RDD 26 · → RDD 39

XAVC MXF mapping and operating points (32, Sony); mapping and application of Apple ProRes into MXF (44) — the most widely deployed vendor-codec MXF registration in post-production.

→ RDD 32 · → RDD 44

MXF Archive and Preservation Format (48); Avid DNxUncompressed packing and MXF mapping (50).

→ RDD 48 · → RDD 50

Mapping ARRIRAW bitstreams (54) and carriage of ARRI camera system metadata (55) into MXF; mapping ARRICORE bitstreams (61) — the ARRI digital-cinema camera registrations.

→ RDD 54 · → RDD 55 · → RDD 61

Mapping Immersive Audio Bitstream into the MXF Generic Container for repository file formats.

→ RDD 60

Goal: a generic FEC scheme (row/column parity) protecting any RTP-carried media against packet loss on best-effort IP networks — the loss-protection layer Branch A's compressed streams rely on.

→ ST 2022-1

Goal: defines how a constant-bit-rate MPEG-2 Transport Stream (the format every legacy contribution encoder already produced) is packetised for one-way IP delivery — the simplest, first use case for IP contribution.

→ ST 2022-2

Goal: extends -2 to variable-bit-rate streams (statistical multiplexing, multiple programmes sharing a circuit) — needed once IP contribution moved beyond fixed-rate single-programme feeds.

→ ST 2022-3

Goal: handles VBR streams whose rate changes are not simple step functions — covers real-world statmux output where bitrate varies continuously rather than in clean blocks.

→ ST 2022-4

Goal: applies the ST 2022-1 FEC concept to the much higher bit rates of uncompressed SDI-over-IP, where packet loss tolerance is far stricter than for compressed contribution feeds.

→ ST 2022-5

Goal: the actual SDI-over-IP encapsulation — wraps an entire SDI signal (video+audio+ANC together, undivided) as RTP payload. Superseded in production by ST 2110's split-essence model, but still found in legacy/hybrid plants.

→ ST 2022-6

Goal: sends two identical copies of an RTP stream over physically diverse network paths; the receiver seamlessly selects whichever copy currently has no loss — zero-glitch failover with no switching transient. This exact mechanism reappears unchanged in ST 2110 deployments.

→ ST 2022-7

Goal: defines how a legacy ST 2022-6 stream's timing relates to an ST 2110-10 PTP timing domain — letting a single facility run both simultaneously during a phased SDI-to-IP migration without a timing discontinuity.

→ ST 2022-8 · → ST 2110-10

Goal: the absolute time reference (1 Jan 1970 TAI) and the mathematics for deriving any frame boundary from it. The network-timebase equivalent of ST 318's field-identification role.

→ ST 2059-1

Goal: profiles generic IEEE 1588-2008 PTP for broadcast — replacing the blackburst/tri-level distribution cable with a network protocol carrying the same genlock function. The single most load-bearing timing standard in ST 2110.

→ ST 2059-2

Goal: a 2023 tutorial guideline (no conformance language) explaining how ST 2059 actually works in practice — written because ST 2059-1/-2's own normative prose assumes PTP familiarity that many broadcast engineers transitioning from blackburst genlock don't yet have.

→ EG 2059-10

Goal: standardises how PTP devices report monitoring data (lock status, offset, path delay) so one management tool can diagnose timing issues across a multi-vendor facility — solving the same "single pane of glass" problem that sync-generator status outputs solved for analogue genlock.

→ RP 2059-15

Goal: the suite's foundation document — defines how every other part references a common PTP timebase (ST 2059), how RTP timestamps are calculated, and general SDP signalling rules every ST 2110 stream must follow. Revised 2023.

→ ST 2110-10

Goal: the video essence format itself (RFC 4175 payload) — active image only, no blanking, up to 32K×32K, Y'CbCr/RGB/XYZ/ICtCp, 4:1:1 through 4:4:4 at 8–16 bit. Extended colorimetry (PQ/HLG/Rec.2020) added 2023.

→ ST 2110-20

Goal: defines exactly how evenly a sender must space its packets — three profiles (N: rasterized/narrow, NL: narrow linear, W: wide/software) balancing network buffer requirements against sender implementation simplicity.

→ ST 2110-21

Goal: carries CBR-compressed video (JPEG XS, TICO) inside the same timing/SDP framework as uncompressed -20 — enables low-bandwidth IP video links without abandoning ST 2110's discovery and connection model.

→ ST 2110-22

Goal: the audio essence format, built directly on AES67 — Levels A/B/C span 1–64 channels at 1 ms or 125 µs packet times. The published ST 2110-30:2017 document still normatively cites AES67-2015 — the only core part not yet revised in the 2023 wave of updates to the other parts; a revision is in progress.

→ ST 2110-30

Goal: based on RDD 53 — defines the low-latency RTP transport mechanism for timed metadata, carried independently of -40's ANC model. What actually rides inside this transport is defined separately, part by part: ST 2127-1/-2 for audio metadata (see next card), ST 2110-43 for captions, and ST 2110-42 (formatting) which has effectively stalled.

→ ST 2110-41

Goal: a Recommended Practice (not a Standard) — splits one video essence across several parallel -20 streams, the mechanism that makes UHDTV2 (7680×4320) practical when it exceeds a single link's capacity. Published 2019, predating most of the -22/-24/-25 wave.

→ RP 2110-23

Goal: a Recommended Practice closing a gap in the original -20 design, which assumed HD/UHD rasters — adds the parameters needed for legacy SD format compatibility inside an otherwise IP-native facility.

→ RP 2110-24 · → ST 2110-20

Goal: a Recommended Practice standardising how to test ST 2110 stream conformance — timing accuracy, traffic shaping compliance, common nomenclature and formulas — so test-and-measurement vendors and broadcasters validate equipment against the same criteria. Split out from ST 2110-21 after its one-year review.

→ RP 2110-25

Goal: SMPTE's own official roadmap diagram tying every ST 2110 part together — the same navigational role EG 2111-1/-2/-3 play for the SDI family.

→ OV 2110-0

Goal: a standardised status-reporting and logging framework for media microservices, originated by the Open Services Alliance with IETF/EBU input and brought to SMPTE in 2020 — aims to standardise status/logging interoperability across vendors, who previously each used their own incompatible job-status formats. Built around a job/log-entry/transaction-tracker model. ST 2125 (IMF Registration API) is its sibling document from the same OSA collaboration, not covered in this catalog excerpt.

→ ST 2126

Goal: as facilities migrate their final broadcast composite handoff from unidirectional SDI/ASI to bidirectional IP (often ST 2022/2110), new security and address-space risks emerge. RP 2129 (2023) defines a "Trust Boundary" — a media-specific firewall function at an entity's network edge with explicit trusted/untrusted interfaces, dropping all traffic by default except permitted flows. Net Insight has shipped commercial products built directly on this standard since 2023 (Trust Boundary Appliance) and announced "Facility Protect" at NAB 2025, citing RP 2129 by name in its own marketing materials — independent trade-press confirmation of real deployment, not merely a standards description.

→ RP 2129

VC-2 Core Coding (Dirac Pro) — standardises BBC R&D's open, royalty-free wavelet codec, an alternative to licensed codecs for public-service and royalty-sensitive broadcasters.

→ ST 2042-1

VC-2 Level Definitions (-2) define conformance levels so decoders declare exactly which bitstream variants they support; the Conformance Specification (RP -3) provides the test specification.

→ ST 2042-2 · → RP 2042-3

VC-5 Compression, Part 1: Elementary Bitstream — standardises GoPro's CineForm codec (announced June 2015), an open, variable-bit-rate, wavelet-based intra-frame codec for acquisition/post.

→ ST 2073-1

VC-5 Part 3: Image Formats — defines the image-format tags VC-5 elementary bitstreams declare: sample structure, colour sampling, and similar image-format metadata.

→ ST 2073-3

VC-5 Part 7: Metadata — defines metadata carriage within a VC-5 elementary bitstream itself, distinct from the file-level/container metadata carried by MXF once VC-5 is wrapped via ST 2073-10.

→ ST 2073-7

VC-5 Conformance Specification — the reference encoder/decoder and bitstream test vectors verifying any VC-5 implementation against the standard.

→ RP 2073-2

VC-1 compressed video bitstream format and decoding process — Microsoft's WMV9, standardised by SMPTE after a three-year approval process. Three profiles: Simple, Main, Advanced.

→ ST 421

VC-1 bitstream transport encodings (227) and decoder/bitstream conformance (228) — the transport and conformance-testing companions to ST 421.

→ RP 227 · → RP 228

VC-1 bitstream storage in the ISO Base Media File Format — the MP4-family file-storage mapping, later referenced directly by VC-4's own storage document (RP 2058-4).

→ RP 2025

VC-2 mezzanine-level compression recommendations: 1080p HD sources (2047-1), Level 65 compression for HD-over-SD-infrastructure use (2047-3), and Level 66 compression for UHD-over-HD-infrastructure use (2047-5) — practical compression-ratio guidance distinct from the SDI carriage mappings (ST 2047-2/-4, covered in F01 SDI).

→ RP 2047-1 · → RP 2047-3 · → RP 2047-5

VC-3 picture compression and data stream format — the SMPTE-standardised version of Avid's DNxHD intra-frame mezzanine codec.

→ ST 2019-1

VC-3 decoder and bitstream conformance (2019-2); VC-3 data stream mapping over SDTI (2019-3) — note the MXF mapping (ST 2019-4) is covered in F02 MXF.

→ RP 2019-2 · → ST 2019-3

Goal: the SMPTE Layered Video Extension (LVE) — not a standalone codec. VC-4 defines enhancement layers that improve a base-layer picture decoded by another standard codec (VC-1, MPEG-2/H.262, MPEG-4 Part 2, or AVC/H.264), with the base and enhancement streams synchronised at the system layer. Outputs 8-16 bit samples in 4:2:0/4:2:2/4:4:4.

→ ST 2058-1

VC-4 decoder and bitstream conformance (2058-2); VC-4 bitstream transport encodings (2058-3).

→ RP 2058-2 · → RP 2058-3

VC-4 bitstream storage in the ISO Base Media File Format — explicitly extends whichever base-layer file format VC-4 is layered on top of (e.g. the AVC/HEVC NAL-unit storage format, ISO/IEC 14496-15), referencing VC-1's own RP 2025 storage document directly.

→ RP 2058-4

Document suite overview — the roadmap tying together all ten VC-5 parts.

→ OV 2073-0

Subsampled colour-difference components (4), layers (5), and sections (6) — the structural parts completing the VC-5 bitstream alongside Parts 1, 3, and 7 above.

→ ST 2073-4 · → ST 2073-5 · → ST 2073-6

VC-6 Part 1: Elementary Bitstream — first standardised 2020, developed with V-Nova; uses an AI-influenced hierarchical S-Tree structure rather than DCT or wavelet transforms, giving intrinsic full-resolution proxy access and region-of-interest decoding. Current edition 2023. Its MXF mapping (ST 2117-10) is covered in F02 MXF; an IMF application profile for VC-6 (ST 2067-71) exists but is outside this catalog excerpt's scope.

→ ST 2117-1

D-Cinema Distribution Master (DCDM) — image, audio, and caption characteristics for the uncompressed digital cinema master, the source from which the compressed DCP is generated. First documented 2006.

→ ST 428-1

D-Cinema Packaging: DCP Operational Constraints (429-2) — the top-level document defining how a finished theatrical package is physically structured for delivery to a cinema server; Sound and Picture Track File (429-3) defines one of the individual track-file types within that structure.

→ ST 429-2 · → ST 429-3

The Ethernet-based, license-free CSP/RPL closed-caption protocol connecting external caption systems to cinema servers (430-10), and its companion Auxiliary Resource Presentation List (430-11) defining the playlist format for available auxiliary content.

→ ST 430-10 · → ST 430-11

Screen luminance level, chromaticity, and uniformity requirements (431-1) — the measurable quality floor every theatrical presentation must meet, paired with the Reference Projector and Environment specification (RP 431-2).

→ ST 431-1 · → RP 431-2

Digital Source Processing: Color Processing for D-Cinema — a tutorial guideline for calibrating digital cinema projectors against the D-Cinema Distribution Master colour space.

→ EG 432-1

Academy Color Encoding Specification (ACES) — jointly developed with AMPAS, a device-independent, scene-linear colour space for digital cinema production and archival.

→ ST 2065-1

Academy Printing Density (APD, -2) defines spectral responsivities and a reference measurement device for scanning film printing density; Academy Density Exchange (ADX, -3) defines how those density values are encoded for interchange — together the film-scanning input path into the ACES pipeline.

→ ST 2065-2 · → ST 2065-3

ACES Image Container File Layout — frame- and clip-based mappings of ACES-coded images into the MXF generic container.

→ ST 2065-4

Mapping ACES Image Sequences into the MXF Generic Container — frame- and clip-based mappings of a sequence of ACES-coded images, as distinct from -4's single-image container.

→ ST 2065-5

Interoperable Master Format (IMF) — versioned, large-scale archival/interchange of finished masters across territorial/language variants, sharing DCP's MXF/JPEG2000 foundation but optimised for storage efficiency via shared elements. Core Constraints (2067-2) published 2013; dominant application is App #2E.

→ OV 2067-0 · → ST 2067-2

IMF Composition Playlist — the XML "edit decision list" of an IMF package, defining playback timing and which essence components are assembled into the final presentation.

→ ST 2067-3

DCDM audio characteristics (428-2) and audio channel mapping/labeling (428-3) — the uncompressed-master audio companions to 428-1's image specification.

→ ST 428-2 · → ST 428-3

DCDM audio file format and delivery constraints (4); mapping images into the Constrained Tag Image File format (5); the DCDM digital leader specification (6).

→ RP 428-4 · → RP 428-5 · → RP 428-6

DCDM Serial Digital Interface signal formatting (9), extended for the additional frame rate levels AFR2/AFR4 (19) — the SDI carriage layer for uncompressed digital cinema masters.

→ ST 428-9 · → ST 428-19

DCDM closed caption and closed subtitle (10); common audio channels and soundfield groups for the DCDM (12).

→ ST 428-10 · → ST 428-12

Additional frame rates for D-Cinema (11) and the specific archive frame rates extension (21) — high-frame-rate and archival exhibition support.

→ ST 428-11 · → ST 428-21

Minimal Timed Text XML requirements for a "blank" subtitle file (22); the mastering guideline specifically for Japanese timed text (23).

→ RP 428-22 · → EG 428-23

Packed Image — a DCDM extension for packed-pixel image representations.

→ ST 428-24

MXF JPEG 2000 application (4) — the DCP-specific constraint of ST 422's general JPEG 2000 mapping; MXF track file essence encryption (6).

→ ST 429-4 · → ST 429-6

Timed Text track file (5); caption and closed subtitle track file (12) — the two subtitle/caption carriage formats within a DCP.

→ ST 429-5 · → ST 429-12

Composition Playlist (7) — the DCP's own edit-decision document, distinct from IMF's CPL; Packing List (8); Asset Mapping and File Segmentation (9) — the three structural XML documents defining a DCP's contents.

→ ST 429-7 · → ST 429-8 · → ST 429-9

Stereoscopic Picture Track File — 3D digital cinema picture essence.

→ ST 429-10

DCP operational constraints for additional frame rates (13); additional composition metadata and guidelines (16); XML constraints (17); MXF constraints (20) — the constraint documents tightening the general DCP spec for interoperability.

→ ST 429-13 · → ST 429-16 · → ST 429-17 · → ST 429-20

Aux Data track file (14); Immersive Audio track file (18) and its DCP operational constraints (19) — the carriage layer for ST 2098's Immersive Audio Bitstream within a DCP.

→ ST 429-14 · → ST 429-18 · → ST 429-19

Key Delivery Message (KDM) — the encrypted-content decryption-key format (1, with an Immersive Audio amendment), and the Digital Certificate format used to authenticate cinema equipment (2).

→ ST 430-1 · → ST 430-2

Log Record Format Specification (4) and Security Log Event Class and Constraints (5) — the auditable security-logging layer every D-Cinema server maintains.

→ ST 430-4 · → ST 430-5

Facility List Message (7) and Key Delivery Bundle (9) — facility/device registration and bulk KDM packaging.

→ ST 430-7 · → ST 430-9

FSK Synchronization Signal (12) and Digital Sync Signal and Aux Data Transfer Protocol (14) — the auxiliary-system synchronisation layer (captions, immersive audio) alongside the main picture/sound playback.

→ ST 430-12 · → ST 430-14

Facility List Message Exchange Protocol (15); Extended Facility List Message (16); SMS-OMB Communications Protocol Specification (17) — theatre management system interconnection protocols.

→ ST 430-15 · → ST 430-16 · → ST 430-17

D-Cinema Low Frequency Effects (LFE) channel audio characteristics — the subwoofer-channel companion to EG 432-1's colour processing guideline.

→ EG 432-2

D-Cinema XML Data Types — shared XML schema primitives used across the ST 428/429/430 document suites.

→ ST 433

2048×1080 and 4096×2160 Digital Cinematography Production Image Formats, FS/709 (1) and its SDI formatting (2) — the digital-cinematography acquisition formats feeding into DCDM/DCP mastering.

→ ST 2048-1 · → ST 2048-2

Goal: Immersive Audio Metadata (1) and the Immersive Audio Bitstream — IAB (2), the vendor-neutral object-based audio format Dolby Atmos content actually conforms to (Atmos is the brand/system; IAB is the SMPTE format it's built on). The bitstream uses TLV-wrapped preamble and IAFrame segments, one frame per image edit unit.

→ ST 2098-1 · → ST 2098-2

D-Cinema Immersive Audio Channels and Soundfield Groups (5) — the bed/object channel layout definitions; Immersive Audio Renderer Expectations and Testing Recommendations (EG 2098-3) — interoperability test guidance.

→ ST 2098-5 · → EG 2098-3

Calibration Reference Wideband Digital Pink Noise Signal — a cinema sound-system calibration reference signal, in the same family as the RP 2096 baseline/maintenance calibration documents.

→ ST 2095-1

Essence Component (5), Common Audio Labels (8), Sidecar Composition Map (9) — structural elements supporting the Core Constraints/Composition Playlist above.

→ ST 2067-5 · → ST 2067-8 · → ST 2067-9

Application #2 — IMF's original general-purpose delivery application. Officially withdrawn per SMPTE's own published status; its provisions were folded into Application #2E below in the 2020 revision.

→ ST 2067-20

Application #2E — IMF's most widely deployed application profile. The 2020 (ST 2067-21:2020) revision explicitly incorporated the provisions of both the withdrawn ST 2067-20 and the prior -21, consolidating SD-through-UHD JPEG 2000 mastering into one profile without breaking backward compatibility.

→ ST 2067-21

Application #3 — a further IMF application profile in the same Application-number sequence as #2/#2E, #4, #5, and #6.

→ ST 2067-30

Application #4, Cinema Mezzanine — an IMF application profile aimed at cinema mezzanine-quality mastering.

→ ST 2067-40

Application #5, ACES — IMF's ACES-encoded mastering application, the IMF-side counterpart to the ACES family covered in F05's D-Cinema/ACES section.

→ ST 2067-50

Application #6, UHDTV Program Workflow (AVC) — an IMF application profile targeting UHDTV program production workflows using AVC-encoded essence.

→ ST 2067-60

The codec-specific IMF applications: VC-3/ST 2019-1 (70) and VC-6/ST 2117-1 (71) — confirms IMF tracks each new SMPTE-standardised codec with its own dedicated application profile.

→ ST 2067-70

Output Profile List — a shared building block referenced across multiple IMF Application profiles, defining the output transform/rendering profile a package targets.

→ ST 2067-100

Common Image Definitions and Macros — shared image-format definitions and reusable XML macros referenced across multiple Application profiles.

→ ST 2067-101

Common Image Pixel Colour Schemes — shared colour-space/pixel-format definitions used by the Common Image definitions above.

→ ST 2067-102

Common Audio Definition and Macros — the audio-side counterpart to ST 2067-101, shared across multiple Application profiles.

→ ST 2067-103

Dynamic Metadata for Colour Volume Transform (DMCVT) Plug-in — brings HDR dynamic-metadata support into IMF, the IMF-side counterpart to the ST 2094 family (see F13 HDR & Colour Volume).

→ ST 2067-200

Immersive Audio Bitstream Level 0 Plug-in — brings IAB (ST 2098-2, covered in F05) support into IMF packages.

→ ST 2067-201

Isochronous Stream of XML Documents (ISXD) Plug-in — supports carrying a timed sequence of XML documents within an IMF package, the same ISXD concept seen in RDD 47's earlier registration.

→ ST 2067-202

Audio with Frame-based S-ADM Metadata Plug-in — brings frame-based Serial Audio Definition Model metadata support into IMF.

→ ST 2067-203

Audio with ADM Metadata Plug-in — brings standard (non-serial) Audio Definition Model metadata support into IMF, alongside -203's frame-based/serial variant.

→ ST 2067-204

The MDA (Media Distribution Application) suite — a pre-IMF/pre-DCP era specification: the overall D-Cinema application (41), program specification (42), and bitstream specification (43).

→ RDD 41 · → RDD 42 · → RDD 43

D-Cinema Packaging — SMPTE DCP Bv2.1 Application Profile, a widely-adopted real-world interoperability profile constraining the general ST 429 DCP specification for practical exhibition use.

→ RDD 52

Metadata Element Dictionary Structure — the formal structure rules for how a metadata dictionary itself must be organised, the "dictionary of dictionaries" that ST 2123 and other metadata registries are built to comply with.

→ ST 335

SMPTE Labels Register — the actual register of labels structured per ST 400, the searchable list of registered label values, the practical companion to ST 400's abstract structure rules.

→ RP 224

Data Encoding Protocol Using Key-Length-Value (KLV) — the foundational metadata encoding protocol underlying nearly every SMPTE metadata standard since. The KLV triplet (Key/Length/Value) lets any application interpret embedded metadata without knowing its internal structure in advance. First published as 336M in 2001; current edition 2017.

→ ST 336

Acquisition Metadata Sets for Video Camera Parameters — a concrete, real-world application of the KLV stack: defines per-frame camera acquisition metadata (lens, exposure, white balance), coded as KLV packets per ST 336, with elements drawn from ST 2123 (formerly RP 210).

→ RDD Document Index

Types Dictionary Structure — one of the four structural documents (alongside ST 335, ST 395, ST 400) that ST 2123's online Metadata Registers actually implement, defining the structure of a dictionary of data types usable across production workflow, exchange, and archival applications.

→ ST 2003

The legacy Metadata Element Dictionary (RP 210) was formally withdrawn 26 February 2021; SMPTE explicitly directs implementers to ST 2123 (SMPTE Metadata Registers) instead — the current, actual searchable registry of metadata element definitions. ST 2123 is detailed in full in F02 MXF above.

→ RP 210 · → ST 2123

Mastering Display Colour Volume — static metadata describing the mastering display's colour volume so consumer displays with different capability can tone-map appropriately. The "static metadata" in HDR10. (Initially misfiled into this family by keyword matching on "metadata" — its full technical context belongs with the HDR family in F13.)

→ ST 2086

Goal: Open Binding of Content Identifiers (OBID) — defines text/binary representations for DOI names and EIDR identifiers, and how to bind them into content using Kantar Media's audio watermarking technology. RP 2112-11 provides the conformance test materials. Published 2018; called by CIMM's CEO "the media industry's equivalent of the Universal Product Code" in SMPTE's own announcement — a third-party characterization of intent, not a guarantee of market-wide adoption.

→ ST 2112-10 · → RP 2112-11

Goal: Open Binding of Distribution Channel IDs and Timestamps (OBID-TLC) — the companion standard binding distribution-channel and timestamp data, enabling cross-platform ad/content measurement. RP 2112-21 provides conformance test materials.

→ ST 2112-20 · → RP 2112-21

Roadmap for the 2112 document suite (OV 2112-0), tying ST 2112-10/-20 and their conformance documents together; the Audience Measurement Ecosystem engineering guideline (EG 2112-2), explaining how these identifiers fit into the broader measurement industry.

→ OV 2112-0 · → EG 2112-2

Advertising Digital Identifier (Ad-ID) representations (RP 2092-1) — the current standard; RDD 17 is the earlier, pre-standardisation Registered Disclosure Document for Ad-ID.

→ RP 2092-1 · → RDD 17

Digital Object Identifier (DOI) Name and Entertainment ID Registry (EIDR) Identifier Representations — defines how these two identifier systems are textually/binarily represented before ST 2112-10 defines how to bind them into content.

→ RP 2079

Using Ad-ID and EIDR as alternate identifiers in SMPTE BXF and ATSC PMCP — bridges the identifier systems above into the Broadcast Exchange Format covered in F15.

→ RP 2021-5

Unique Digital Media Identifier (C4 ID) — a generic content-hash-based identifier using a Base58 character set, applicable to a single file or a non-contiguous collection of files/blocks. Referenced directly by ST 330's UMID specification.

→ ST 2114

Application of Unique Material Identifiers (UMIDs, per ST 330) in production and broadcast environments — practical usage guidance, currently under SMPTE study group review for a possible update.

→ RP 205

Node structure for the SMPTE Metadata Dictionary (37) and the current SMPTE Metadata Naming Guidelines (2074) — naming-convention guidance bracketing the dictionary's history.

→ EG 37 · → EG 2074

Uniform Resource Names for SMPTE Resources (2029) — a urn: scheme for SMPTE's own registered items; Register Interchange Format (2045) — for exchanging register data between systems.

→ ST 2029 · → ST 2045

Declarative Data Essence — Local Identifier (lid:) URI Scheme, part of the broader Declarative Data Essence family covered in F15.

→ ST 343

Nonsynchronized mapping of KLV packets into MPEG-2 systems streams (217); registered private information in KLV (225) — KLV-encoding extension mechanisms alongside ST 336's base encoding protocol.

→ RP 217 · → RP 225

Format of Audio Metadata and Description of the Asynchronous Serial Bitstream Transport — a metadata transport format predating the KLV/MXF-centric approaches used elsewhere in this catalog.

→ ST 2020-1

Professional Metadata (PMD) Specification (49); track file for JPEG 2000 codestreams with time-synchronous metadata (56); carriage of live production metadata (58) — vendor-registered metadata carriage specifications.

→ RDD 49 · → RDD 56 · → RDD 58

Ancillary data packet and space formatting — the carriage mechanism underlying captions, AFD, and embedded metadata across every SDI generation. Detailed in full in F01 SDI above.

→ ST 291-1

Maps CEA-608/708 closed-caption data into 10-bit VANC ancillary space (334-1) — letting captions ride alongside picture and audio in the same SDI cable; the Caption Distribution Packet (334-2) defines the actual structure carried, bundling time code, caption data, and ATSC A/65 service information into a single variable-length packet.

→ ST 334-1 · → ST 334-2

Active Format Description signalling (2016-1) — tells downstream equipment what aspect ratio and protected picture area a 16:9-coded signal contains, plus Bar Data; the actual ancillary-data packet structure (2016-3) carrying this over SDI.

→ ST 2016-1 · → ST 2016-3

Vertical Interval Switching Point — defines exactly where in the genlocked frame a clean switch may occur, the document that makes blackburst/tri-level genlock useful for routing and production switching, not just clock alignment.

→ RP 168

Timecode carried as ANC packets inside an SDI signal rather than a dedicated LTC/VITC line (12-2) — the IP-era-friendly successor to RP 188, formally superseding it in 2008; extends the ST 12 timecode model to frame rates above the original design envelope (12-3, e.g. 100/120 fps).

→ ST 12-2 · → ST 12-3

Format for Pan-Scan Information — defines the viewport/output-aspect-ratio data that ST 2016-4 then maps into VANC, alongside ST 2016-1's AFD/Bar Data above.

→ ST 2016-2

Vertical Ancillary Data Mapping of Pan-Scan Information — the ANC carriage for ST 2016-2's Pan-Scan data, the counterpart to ST 2016-3's AFD/Bar Data mapping.

→ ST 2016-4

KLV Coding for AFD, Bar Data and Pan-Scan Information — a KLV-encoded alternative carriage method alongside the direct VANC mappings of -3 and -4.

→ ST 2016-5

Goal: HDR/WCG Metadata Packing and Signaling in the Vertical Ancillary Data Space — defines a Type 2 ANC packet (per ST 291-1) carrying HDR/WCG metadata, including formats like ITU-T H.265 SEI messages, suited for distribution-side signaling. Published 2018.

→ ST 2108-1

Goal: Vertical Ancillary Data Mapping of KLV Formatted HDR/WCG Metadata — narrower in scope than 2108-1, limited specifically to KLV-encoded metadata (per ST 336), better suited to production environments. Published 2019, one year after 2108-1.

→ ST 2108-2

System Implementation of CEA-708-B and CEA-608-B Closed Captioning — practical implementation guidance bridging the consumer CEA caption standards into SMPTE's VANC carriage.

→ EG 43

SMPTE Timed Text (SMPTE-TT) — an XML-based, IP/file-friendly successor to VANC-carried captions for internet video. Declared an FCC "safe harbor" interchange format for CVAA compliance.

→ ST 2052-1

Roadmap for the 2052 Document Suite — the official roadmap for SMPTE-TT (ST 2052-1) and its conversion companions.

→ OV 2052-0

Conversion from CEA-708 Caption Data to SMPTE-TT — bridges legacy ANC-carried captions into the XML Timed Text world.

→ RP 2052-11

Closed-Caption CDP and "Grand Alliance" Serial Interfaces for DTV — an early implementation document predating ST 334-2's formal CDP definition.

→ RP 2007

Storage and Distribution of Teletext Subtitles and VBI Data for High-Definition Television — a registered specification for the analogue-era teletext subtitle carryover into HD.

→ RDD 8

Video Index Information coding for 525/625-line systems (186); encoding film transfer information using Vertical Interval Time Code (201) — pre-digital, vertical-interval-encoded production metadata.

→ RP 186 · → RP 201

Transport of program description data (207) and VBI packet data (208) in ancillary data packets — early ANC-based metadata carriage predating ST 291-1's formalisation.

→ RP 207 · → RP 208

PAL/SECAM (220) and NTSC (361) IP-and-trigger binding to VBI — region-specific vertical-blanking-interval signaling standards.

→ RP 220 · → ST 361

Ancillary data mapping over MPEG-2 elementary stream editing information (212); packing KLV-encoded metadata (214) and UMID/program ID data (223) into ST 291-1 ANC packets; VANC mapping of film transfer/production info (215).

→ RP 212 · → RP 214 · → RP 215 · → RP 223

SD Digital Component Systems — Digital Vertical Interval Time Code, the SD-era digital VITC carriage standard.

→ ST 266

VANC mapping of ANSI/SCTE 104 ad-insertion trigger messages (2010); carriage of DVB/SCTE VBI data in VANC (2031) — bridging cable/satellite triggering standards into SDI ancillary data.

→ ST 2010 · → ST 2031

Carriage of arbitrary ancillary data packets in an MPEG-2 transport stream (2038) — widely implemented (see the libklvanc open-source VANC processing library); MPEG TS packets carried directly in VANC (2056), the reverse direction.

→ ST 2038 · → ST 2056

Mapping VANC data packets into DV-based DIF stream formats: 50 Mb/s (374), 100 Mb/s (375), and 25/50 Mb/s (376) — the DV-tape-era equivalent of SDI's ANC carriage.

→ ST 374 · → ST 375 · → ST 376

Apple ProRes Bitstream Syntax and Decoding Process — a Registered Disclosure Document specifying the ProRes bitstream syntax and decoding process, an intra-frame codec at 12-bit Y'CbCr or RGB, widely used in post-production. RDD 44 (MXF mapping) and RDD 45 (IMF application) build on this base document.

→ RDD 36

Low Latency Video Codec for network transfer — part of Sony's NMI (Networked Media Interface) suite, a visually-lossless ~6:1 compression codec designed for IP-live production switching.

→ RDD 34

Networked Device Control Protocol — designed as the IP-era successor to VDCP (Video Disk Control Protocol) for real-time device control across IP networks, including the public internet.

→ RDD 38

Essence-independent IP Live Networked Media Transport — the transport layer completing the NMI suite alongside RDD 34's codec and RDD 38's device control, paired with Sony's own contributions to ST 2059 PTP.

→ RDD 40

Goal: the Color Transformation Language — a small programming language and reference interpreter for describing pixel-based colour transforms as unambiguous software programs rather than prose. CTL is the actual language ACES colour transforms (ST 2065 family) are authored in.

→ RDD 15

ARRIRAW image file structure and interpretation (30); deferred demosaicing of an ARRIRAW file to a wide-gamut logarithmic encoding (31); high-density image encoding for ARRIRAW files (51) — the camera-sensor-level documents underlying the ARRI MXF mappings already covered in F02.

→ RDD 30 · → RDD 31 · → RDD 51

Use of Logarithmic Non-Linear Transfer Characteristic for Transmission of Linear Signals through Limited-Bit-Depth Image Representations and Interfaces — an early log-encoding specification in the Cineon/DPX tradition, predating the more recent HDR transfer-function standards (ST 2084, etc.).

→ RDD 2

DDRMON-MIB-1 — a Digital Disk Recorder SNMP Management Information Base (1); Pro-AV MIB-1 — the same concept for professional audio/visual products generally (4).

→ RDD 1 · → RDD 4

Film Grain Technology — specifications for H.264/MPEG-4 AVC bitstreams, a registered technique for re-introducing realistic film grain after compression has removed it.

→ RDD 5

An Open Transport and Navigational Specification, optionally supporting multiple conditional access systems — an early DVB/broadcast-transport-adjacent specification.

→ RDD 10

General Exchange Format-2 (14) — an early generic interchange format predating MXF's dominance; Film Transfer 2048×1556 Image Container and Signal Interface (22) — a digital film-scanning format.

→ RDD 14 · → RDD 22

Cinelink 2 Specification — Texas Instruments' link-encryption implementation for D-Cinema projector connections, alongside ST 427's SDI link encryption.

→ RDD 20

Specification of the FIMS Media SOA Framework — Framework for Interoperable Media Services, a service-oriented-architecture approach to media workflow orchestration predating today's microservices standards (ST 2125/2126).

→ RDD 24

Uncompressed Video Transport Over MPEG-2 Transport Stream — a registered method for carrying uncompressed video within an MPEG-2 TS container, outside the standard MPEG-2 compressed-video use case.

→ RDD 37

Interoperable Master Format Application ProRes (45) — an IMF application profile for ProRes-encoded content; IMF ISXD Plugin (47) — Isochronous Stream of XML Documents support within IMF.

→ RDD 45 · → RDD 47

SMPTE Timecode Extensions — relationships to higher frame rates and date-time representations, extending the core ST 12 timecode family (see F14 Time Code & Sync).

→ RDD 46

SMPTE ST 2098-2 Immersive Audio Bitstream and Packaging Constraints: IAB Application Profile 1 — codifies the practical feature subset actually supported by deployed IAB renderers as of 2020, and defines legacy Dolby Atmos content as conforming to this profile. See F05 for the underlying ST 2098-2 standard.

→ RDD 57

Application DPP (ProRes) — a Digital Production Partnership delivery-specification application profile for ProRes-based file delivery, part of the broader DPP/AS-11 family of UK broadcast delivery specs.

→ RDD 59-1

Goal: Format for Non-PCM Audio and Data in an AES3 Serial Digital Audio Interface — modifies AES3's standard frame/subframe time-slot usage to carry non-PCM data instead of linear PCM, using a burst_preamble (describing the burst) followed by burst_payload. Operates in frame mode (data shared across both AES3 channels) or subframe mode (independent per channel). Current edition 2015.

→ ST 337

Defines the data_type field itself — the registry describing which data types ST 337 streams may declare. Points to the format-specific standards (below) for the actual payload structure of each registered type.

→ ST 338

Generic Data Types — the data-type-specific formatting for null data, timestamp data, user-defined data, pause data, and utility data (including video-frame synchronisation information).

→ ST 339

Requirements for Equipment Compatibility with Non-PCM AES3 Streams — practical interoperability guidance for devices that must pass non-PCM AES3 streams through without misinterpreting them as PCM audio.

→ RP 2005

ATSC A/52 — AC-3 and Enhanced AC-3 (E-AC-3) data types — Dolby's core broadcast surround-sound codec family, the same AC-3 used throughout ATSC terrestrial television.

→ ST 340

AC-4 Data Type — Dolby's newer, more efficient successor codec to AC-3/E-AC-3, registered as its own AES3 data type.

→ ST 2101

Format for Non-PCM Audio in AES3 — MPEG Layer I, II, and III Audio — the base MPEG audio data type registration within ST 337's AES3 carrier mechanism.

→ ST 2041-1

MPEG-2 AAC and HE-AAC Audio in ADTS — registers MPEG-2's AAC and HE-AAC formats, wrapped in ADTS, as a distinct AES3 data type from -1's MPEG Layer I/II/III.

→ ST 2041-2

MPEG-4 AAC and HE-AAC Compressed Digital Audio in ADTS and LATM/LOAS Wrappers — extends the AAC data-type registration to MPEG-4's AAC/HE-AAC, supporting two distinct wrapper formats.

→ ST 2041-3

Type17 Compressed Audio — carries data-rate-reduced audio streams conforming to ETSI TS 102 114 (MPEG-H 3D Audio) within an AES3 stream, per the IEC 61937-2 burst-info convention.

→ ST 2106

Dolby-E Data Type — the registered (not fully standardised) specification for packing Dolby E data-rate-reduced audio into an AES3 stream per ST 337's methods; RDD 6 and RDD 19 (below) are the companion guides to the Dolby E format itself.

→ RDD 33

Captioning Data Type — carries closed-caption data within an AES3 non-PCM stream, an audio-channel alternative to the VANC-based caption carriage covered in F07.

→ ST 341

KLV Data Type — carries Key-Length-Value encoded data (per ST 336) within an AES3 stream.

→ ST 355

Audio Metadata — a general-purpose audio metadata data type for AES3, distinct from the codec-specific bitstream data types above.

→ ST 2109

Carriage of Metadata of Serial ADM (Audio Definition Model) — carries serial ADM object-based-audio metadata within an AES3 stream, the AES3-level counterpart to ST 2127-10's MXF-level serial ADM/MGA carriage covered in F02.

→ ST 2116

Description and guide to the Dolby E audio metadata serial bitstream (6); guidelines on using Dolby E with video signals at frame rates greater than 30 Hz (19) — the format documentation underlying RDD 33's AES3 data-type registration.

→ RDD 6 · → RDD 19

Dolby Atmos Print Master File Specification (28) and Dolby Atmos Bitstream Specification (29) — the format documents for the underlying Atmos system, distinct from ST 2098-2's vendor-neutral IAB format covered in F05.

→ RDD 28 · → RDD 29

Goal: overview of Declarative Data Essence (DDE) — SMPTE's interactive-television data/trigger framework, developed by Technical Committee D27 and explicitly compared by NIST to ATSC's DASE (Digital Application Software Environment).

→ EG 39

Declarative Data Essence — Content Level 1 — defines the actual DDE trigger content: encoding (ISO/IEC 8859-1), checksum format, and structure. Directly cited by ST 361's NTSC carriage mechanism.

→ ST 363-2

Declarative Data Essence — Internet Protocol Multicast Encapsulation — defines how DDE content is encapsulated for IP multicast delivery, the sibling carriage method to ST 361's VBI-based approach.

→ ST 357

Dynamic Documents — the "Television and Motion-Pictures" framework for documents whose content changes based on triggers/events, the conceptual basis the rest of the DDE suite builds carriage and content definitions on top of.

→ ST 359

Declarative Data Essence — Unidirectional Hypertext Transport Protocol (364), a one-way HTTP-like carriage method; Document Object Model Level 0 and Related Object Environment (366) — the DOM-based content model DDE documents conform to.

→ ST 364 · → ST 366

Goal: the core Broadcast Exchange Format protocol — an XML-based interchange format for traffic, scheduling, and automation systems to exchange program/break/log data between otherwise-incompatible station systems.

→ ST 2021-2

Roadmap for the entire 2021 document suite (OV 2021-0); Requirements and Informative Notes, published as both an ST and an RP edition — the foundational scope/requirements document the rest of the BXF suite builds on.

→ OV 2021-0 · → ST 2021-1 · → RP 2021-1

BXF Schema Documentation — the formal XML schema reference (published as both an ST and an EG edition).

→ ST 2021-4 · → EG 2021-4

SMPTE Engineering Guideline — BXF Use Cases — practical scenarios illustrating how stations actually deploy BXF for traffic/automation interchange.

→ EG 2021-3

BXF SDK Documentation (6) and Implementing Broadcast Exchange Format (9) — developer-facing implementation guidance for building BXF-compliant systems.

→ RP 2021-6 · → RP 2021-9

MDP/XML/HTTP Mapping Specification — defines how the Media Dispatch Protocol (a media-transfer job/status protocol) maps onto XML over HTTP transport.

→ ST 2032-2

Goal: Archive eXchange Format (AXF) — an open, self-describing object-container format for file-based assets and metadata, designed for long-term digital archive interoperability independent of any specific storage or file-system technology. Jointly adopted by ISO/IEC as 12034-1. Real-world adoption includes Oracle's DIVArchive system.

→ ST 2034-1

General Exchange Format — an early, generic file/metadata interchange format predating MXF's eventual dominance of that role.

→ ST 360

Background on NTSC Colour Standards — a tutorial guideline (no conformance language) supplementing ST 170 with the historical and technical reasoning behind NTSC's colour-subcarrier choices, explaining why where ST 170 only specifies what.

→ EG 27

Derivation of Basic Television Colour Equations — the formal mathematical method for deriving Y'/Pb/Pr coefficients from any RGB primaries and white point, the foundational colour-science document every later standard cites rather than re-deriving.

→ RP 177

Alignment Color Bar Test Signal for Television Picture Monitors — first published 1990 as a revision of the earlier ECR 1-1978; lists first in the catalog by document number, not by publication date (ST 12-1's 1975 adoption predates it). Establishes the basic colour-bar test pattern concept that RP 219-1/-2 later extend to HD/UHD.

→ EG 1

Alignment of NTSC Color Picture Monitors — practical monitor-calibration procedure using the EG 1-style test signal.

→ RP 167

SMPTE C Color Monitor Colorimetry — defines the "SMPTE C" phosphor primaries used as the reference colorimetry for NTSC-era broadcast monitors.

→ RP 145

HD/SD-compatible colour bar signal (219-1); the UHD-compatible colour bar signal for 2048×1080 and 4096×2160 (219-2) — extending EG 1's original concept through every subsequent resolution generation.

→ RP 219-1 · → RP 219-2

Safe Action and Safe Title Areas for Television Systems — RP 218 is the legacy document; ST 2046-1 is the current edition defining the same protected picture/graphics regions for modern production.

→ RP 218 · → ST 2046-1

Safe Areas for Protection of Alternate Aspect Ratios (2046-2) — extends ST 2046-1's safe-area concept to handle content mastered for one aspect ratio but distributed in another; Safe Areas for Television, the companion engineering guideline (2046-3).

→ RP 2046-2 · → EG 2046-3

Reference white luminance level and chromaticity for HDTV (2080-1) — the display reference point everything else in HDTV colour calibration is measured against; the corresponding measurement and calibration procedure (2080-2).

→ ST 2080-1 · → RP 2080-2

Reference Viewing Environment for Evaluation of HDTV Images — completes the ST 2080 suite by defining the surrounding viewing-room conditions (ambient light, surround luminance) under which ST 2080-1's reference white is meant to be assessed.

→ ST 2080-3

Goal: the Television Lighting Consistency Index (TLCI) — developed because the generic lighting Color Rendering Index (CRI) was never designed for television camera/white-balance behaviour. TLCI mimics a complete television camera and display rather than the human eye, scored 0-100, and is mathematically identical to EBU Tech 3355. Optimised for ITU-R BT.709 but also useful for BT.2020/BT.1886 assessment.

→ RP 2093

Goal: the electrical and mechanical characteristics of the DCI communication channel and interface devices — the physical layer everything else in this family rides on top of. Intended for both fixed plant and field operational environments.

→ ST 207

Supervisory Protocol for Digital Control Interface — the higher-layer protocol governing how supervisory/master devices manage the DCI bus.

→ RP 113

Control Message Architecture for DCI (138) — the structural format every message on the bus follows; Tributary Interconnection for DCI (139) — how secondary/tributary devices attach to the main control channel.

→ RP 138 · → RP 139

Common Messages for Digital Control Interface — the device-agnostic message set every DCI device must support, before any device-type-specific extensions apply.

→ RP 172

Video Tape Recorder Type-Specific Messages for Digital Control Interface, Annex A — the VTR-specific extension to RP 172's common message set.

→ RP 170

Type-Specific Messages for Digital Control Interface of Analog Audio Tape Recorders — the analog-audio-recorder equivalent to RP 170's VTR messages.

→ RP 171

Routing Switcher Type-Specific Messages for Remote Control of Broadcast Equipment — extends the DCI message-set pattern to routing switchers specifically.

→ RP 191

Remote Control of Television Equipment — the conceptual overview explaining how DCI's electrical layer, protocol, and type-specific message sets fit together as a whole system.

→ EG 29

Television and Audio Equipment — ESlan-1 Remote Control System — a distinct equipment-control standard from DCI, built on a LAN-style bus rather than DCI's point-to-point/tributary model.

→ ST 275

Implementation of ESlan Standards — practical implementation guidance for ST 275-conformant systems.

→ EG 30

List of Virtual Machine Numbers for ESbus and ESlan Systems — the shared device-class registry spanning both the legacy ESbus and the newer ESlan-1 systems.

→ RP 182

Perceptual Quantizer (PQ) — an EOTF mapping code values to absolute luminance up to 10,000 cd/m², solving the problem that gamma curves derived for ~100 nit CRT displays couldn't represent HDR's wider range. The foundation transfer function for HDR10 and Dolby Vision.

→ ST 2084

Dynamic HDR Metadata, Core Components (-1) and the common KLV/MXF carriage mechanism (-2) — the shared structural foundation the four vendor application parts below all build on. Published 2016.

→ ST 2094-1 · → ST 2094-2

Application #1 — Dolby's vendor-specific colour-volume transform (Dolby Vision), one of the four application parts built on ST 2094-1/-2's shared core.

→ ST 2094-10

Application #2 — Philips' vendor-specific colour-volume transform (SL-HDR1), jointly developed with STMicroelectronics and Technicolor R&D France for backward-compatible single-layer HDR.

→ ST 2094-20

Application #3 — Technicolor's vendor-specific colour-volume transform, part of the same SL-HDR1 collaboration as -20, used for reference-based colour volume remapping with dual HDR/SDR mastering grades.

→ ST 2094-30

Application #4 — Samsung's vendor-specific colour-volume transform, the dynamic-metadata layer in HDR10+: open and royalty-free, backed by 174+ companies, ships on every Samsung TV.

→ ST 2094-40

Overview for the SMPTE ST 2094 Document Suite — the official roadmap tying together ST 2094-1/-2 (core/carriage) and the five vendor application parts (-10/-20/-30/-40/-60), all detailed above.

→ OV 2094-0

Goal: Y′D′zD′x Colour-Difference Computations for High Dynamic Range X′Y′Z′ Signals — colour-difference math optimised specifically for ST 2084's PQ EOTF, explicitly aimed primarily at non-broadcast content. Directly cited by ST 2094-30 (Application #3, Reference-based Colour Volume Remapping), which uses dual HDR+SDR mastering grades — exactly the scenario this colour-difference encoding supports.

→ ST 2085

Application #6 — a sixth vendor-specific application of the Dynamic Metadata for Colour Volume Transform framework, alongside the four application parts (-10/-20/-30/-40) detailed above.

→ ST 2094-60

Goal: Binary Groups of Time and Control Codes — defines a self-identifying page-line directory index, located in binary groups 7 and 8, that classifies what data the remaining user-bit groups carry. Applies to both linear and vertical-interval timecode.

→ ST 262

Goal: Transmission of Date and Time Zone Information in Binary Groups of Time and Control Code — an alternative way of using the same 32 user bits, carrying date, UTC time-zone offset, and DST flag directly rather than through ST 262's directory system. The two approaches are alternatives, not companions: a given timecode stream uses one or the other.

→ ST 309

Auxiliary Time Address Data in Binary Groups — Dialect Specification of Directory Index Locations — a dialect built on ST 262's directory system that provides a second time address with the same order/format as the primary one.

→ RP 169

Dialect Specification of Page-Line Directory Index for Video-Assisted Film Editing — another ST 262-based dialect, this one purpose-built for the directory-index needs of film editing workflows that reference video transfers.

→ RP 179

Use of Binary User Groups in Motion-Picture Time and Control Codes — film-specific guidance for the same binary-group concept used in video timecode.

→ RP 135

Time and Control Codes for 24, 25, or 30 Frame-Per-Second Motion-Picture Systems — frame-rate-specific timecode guidance for film production, predating ST 12-3's later video-centric high-frame-rate extension.

→ RP 136

Time and Control Code: Time Address Clock Precision — engineering guidance on the precision requirements for the underlying clock generating timecode.

→ EG 35

Conversion of Time Values between SMPTE ST 12-1 Time Code, MPEG-2 PCR Time Base, and Absolute Time — bridges legacy frame-based timecode into the MPEG-2 transport-stream timing domain (PCR), relevant wherever ST 12-1-timed content is delivered over MPEG-2 TS.

→ EG 40

2048×1080 and 4096×2160 Digital Cinematography Production Image Formats FS/709 — defines progressive sample structures for D-Cinema content creation, including R'G'B' and Y'CbCr colour encoding plus the Free Scale-Gamut (FS-Gamut) and Free Scale-Log (FS-Log) curve later generalised for broadcast cameras by ST 2115. First published 2011; Amendment 1 (2016) added 96/100/120 fps frame rates.

→ ST 2048-1

2048×1080 Digital Cinematography Production Image FS/709 Formatting for Serial Digital Interface — maps ST 2048-1's source image data onto dual-link 1.5 Gb/s HD-SDI (per ST 292-1/ST 372) for digital cinematography production.

→ ST 2048-2

Ultra High Definition Television — the official roadmap for the ST 2036 document suite, defining the 3840×2160 and 7680×4320 progressive image families collectively branded UHDTV.

→ OV 2036-0

Image Parameter Values for Program Production — the core image-format specification defining UHDTV's resolution, frame-rate, and sampling parameters for production use.

→ ST 2036-1

Audio Characteristics and Audio Channel Mapping for Program Production — the audio companion to ST 2036-1's image specification.

→ ST 2036-2

Mapping into Single-link or Multi-link 10 Gb/s Serial Signal/Data Interface — an SDI/UHD serial carriage solution for UHDTV production signals, predating the later 6G/12G-SDI standards. Despite the "10 Gb/s" figure, this is unrelated to 10GbE Ethernet/IP transport — it is coaxial/fiber serial-digital, not packetised IP.

→ ST 2036-3

Multi-link 10 Gb/s Signal/Data Interface Using 12-Bit Width Container — extends ST 2036-3's mapping to a 12-bit container width; also directly referenced by RP 2091-2's connector mapping in the SDI family (F01).

→ ST 2036-4

Roadmap for the 2048 Document Suite — ties together ST 2048-1/-2 (detailed above) with ST 2048-3 below.

→ OV 2048-0

Mapping into Multi-link 10 Gb/s Serial Signal/Data Interface — the 10G-SDI carriage layer for the FS/709 digital cinematography image formats, the direct counterpart to ST 2036-3's UHDTV mapping.

→ ST 2048-3

Goal: Colorimetry of P3 Colour Spaces — defines P3 RGB primaries and white points, plus SMPTE Universal Labels identifying each P3 colorimetry variant for use in file/encoding metadata. Cited directly by IMF's Application #2E (ST 2067-21, detailed in F05).

→ ST 2113

Goal: Free Scale Gamut and Free Scale Log Characteristics of Camera Signals — directly generalises FS-Gamut and FS-Log, originally defined in ST 2048-1 for digital cinematography acquisition, into a broader specification usable for describing broadcast-camera parameters generally.

→ ST 2115

Goal: defines a 3D Frame Compatible (3DFC) ancillary data packet, carried in VANC, that enumerates the frame-packing method (side-by-side, top-bottom, line-by-line, checkerboard, etc.) used for a sub-sampled stereoscopic image pair — compatible with the ITU-T H.264/MPEG-4 AVC Frame Packing Arrangement SEI message. Depends directly on ST 291-1 (VANC carriage), ST 424/292-2/425-2/-4/-6 (the dual/quad-link stereoscopic SDI transports, all in F01).

→ ST 2068

Disparity Map Representation for Stereoscopic 3D — a data representation standard for disparity maps exchanged between stereoscopic 3D production and mastering systems, particularly suited to live production.

→ ST 2066

Depth Map Representation — a more general depth-data standard directly referencing ST 2066's disparity-map work, also referencing ST 2036-1 (UHDTV), ST 2048-1 (digital cinematography), ST 274 and ST 296 (HD source formats), and EG 2061's glossary below.

→ ST 2087

Stereoscopic 3D Full Resolution Contribution Link Based on MPEG-2 TS — a contribution-link standard independent of ST 2068's frame-compatible packing approach, carrying full-resolution left/right streams over MPEG-2 transport.

→ ST 2063

Stereoscopic Distribution Master Glossary — a centralised glossary of terms related to the distribution and display of stereoscopic content for the home, supporting consistent terminology across the rest of this family.

→ EG 2061

Production Timing and Synchronization for Stereoscopic (S3D) or Multi-Camera Array — synchronisation guidance generalised beyond two-camera stereoscopic rigs to multi-camera arrays.

→ RP 2076-1

Image Identification, Alignment, Transport and System Guidance for Stereoscopic (S3D) or Multi-Camera Array — the companion guideline to RP 2076-1, covering the SDI-transport-level identification and alignment concerns, referencing ST 292-2/425-2/-4/-6/297-2 directly.

→ EG 2076-2

Motion-Picture Film (35-mm) — Stereoscopic Prints with Vertically Positioned Subframes — projectable image areas for film-era stereoscopic prints, a much older standard with no technical relationship to the digital-era cluster above.

→ ST 257

Media Device Control Framework — defines media (not the device that holds it) as the first-class object to be controlled, a deliberate inversion of traditional device-control thinking. Devices and services are modelled as sets of independently identified "capabilities" that can be combined and changed dynamically at runtime, intended to address the same heterogeneous-device control problem that Catena/ST 2138 addresses a decade later.

→ ST 2071-1

Media Device Control Discovery — the discovery mechanism letting a controller find ST 2071-compliant devices on a network automatically, the same category of problem NMOS IS-04 solves for media endpoints, but for the device-control plane specifically.

→ ST 2071-3

Motion-Picture Film - 16- and 8-mm Reversal Color Camera Films - Determination of Speed

→ ST 146

Motion-Picture Film (8-mm Type S) - Magnetic Audio Record - Position, Dimensions and Reproducing Speed

→ ST 164

Motion-Picture Film (8-mm Type S) - Exposure Control and Stock Identification

→ ST 166

Motion-Picture Film (8-mm Type S) - 50-Ft Model 1 Sound Camera Cartridge

→ ST 197

Motion-Picture Film (8-mm Type S) - 50-Ft Model 1 Sound Camera Cartridge - Aperture

→ ST 198

Motion-Picture Film (8-mm Type S) - 50-Ft Model 1 Sound Camera Cartridge - Pressure Pad Flatness

→ ST 199

Motion-Picture Equipment (8-mm Type S) - Model 1 Camera Cartridge

→ ST 200

Motion-Picture Equipment (8-mm Type S) - Model 1 Camera Cartridge - Interface and Take-Up Core Drive

→ ST 205

Motion-Picture Equipment (8-mm Type S) - Model 1 Sound Camera Cartridge

→ ST 206

Motion-Picture Film (8-mm Type S) - Magnetic Audio Records - Recorded Characteristic

→ ST 209

Transfer of Two-Channel Stereo Audio from Audio Magnetic Film or Tape to Video Tape

→ EG 23

Motion-Picture Film - Magnetic Audio Records

→ ST 86

Motion-Picture Film (16-mm) - 200-Mil Edge Position - Magnetic Audio Record

→ ST 97

Motion-Picture Film (16-mm) - 100-Mil Magnetic Audio Record

→ ST 112

Channel Assignments and Test Leader for Magnetic Film Masters

→ RP 150

Motion-Picture Film - 35- and 16-mm Magnetic Audio Records - Recorded Characteristics

→ ST 208

Motion-Picture Film (16-mm) - Magnetic Audio Records

→ ST 210

Motion-Picture Film (16-mm) - 200-Mil Center-Position Magnetic Audio Record

→ ST 218

Gain Determination of Front Projection Screens

→ RP 94

Insertion Pivot for Studio Lighting Units

→ RP 124

Storage of Edit Decision Lists on 8-in Flexible Diskette Media

→ RP 132

Storage of Edit Decision Lists on 3-1/2 in Disks

→ RP 162

Television - Transfer of Edit Decision Lists

→ ST 258

Three-Channel Parallel Analog Component High-Definition Video Interface

→ RP 160

Television - Composite Analog Video Signal - NTSC for Studio Applications

→ ST 170

Television - 1125-Line High-Definition Production Systems - Signal Parameters

→ ST 240

Television - 1125/60 High-Definition Production System

→ ST 260

MPEG-2 Operating Range Applications

→ EG 38

Real-Time Opportunistic Data Flow Control in an MPEG-2 Transport Emission Multiplex

→ RP 203

SDTI-CP MPEG Decoder Templates

→ RP 204

Opportunistic Data Flow Control Using Ethernet as a Control Channel

→ RP 206

MPEG-2 Operating Ranges

→ RP 213

Television Digital Recording - 19-mm Tape Cassettes

→ ST 226

Television - Object Data Format for DV-Based Audio over ATM Common Layer

→ ST 362

Data Structure for DV-Based Audio, Data and Compressed Video at 100 Mb/s

→ ST 370

Content Specification on Solid State Media Card for DV/DV-Based Essence

→ RP 2002

Solid State Media (SSM) Card Specification

→ RP 2006

AVC Intra-Frame Coding Specification for SSM Card Applications

→ RP 2027

Projection for Technical Conferences

→ EG 3

Television Analog Recording - Frequency Response and Operating Level of Recorders and Reproducers - Audio 1 Record on 2-in Tape Operating at 15 and 7.5 in/s

→ ST 3

Dimensions of Double-Frame 35-mm 2x2 Slides for Precise Applications in Television

→ RP 9

B-Chain Electroacoustical Response for Preparing Magnetic Masters

→ EG 17

Annotated Glossary of Essential Terms for Electronic Production

→ EG 28

Emphasis of AES/EBU Audio in Television Systems and Preferred Audio Sampling Rate

→ EG 32

Transformations Between Television Component Color Signals

→ EG 36

Audio Motion-Picture Film (16-mm) - Prints - Photographic Analog Audio Records

→ ST 41

Electronic Method of Dropout Detection and Counting

→ RP 47

Television - 35- and 16-mm Motion-Picture Film - Scanned Image Area

→ ST 96

Care, Storage, Operation, Handling and Shipping of Magnetic Tape for Television

→ RP 103

Method for Determining the Degree of Jump and Weave in Motion-Picture Projected Images

→ RP 105

Motion-Picture Film (35-mm) - Prints Made on Continuous Contact Printers

→ ST 111

Dimensions of Photographic Control and Data Record on 16-mm Motion-Picture Film

→ RP 114

Measurement of Intermodulation Distortion in Motion-Picture Audio Systems

→ RP 120

Storage of Motion-Picture Films

→ RP 131

Polarity for Analog Audio Magnetic Recording and Reproduction

→ RP 134

Stereo Audio Track Allocations and Identification of Noise Reduction for Video Tape Recording

→ RP 142

Relative Polarity of Stereo Audio Signals

→ RP 148

Motion-Picture Film - 35- and 16-mm Prints for Television Transmission

→ ST 148

Reference Levels for Analog and Digital Audio Systems

→ RP 155

Key and Alpha Signals

→ RP 157

Cartridge-Camera Interface and Take-Up Core Drive

→ ST 159-1

Aperture, Profile, Film Position, Pressure Pad and Flatness

→ ST 159-2

Television System Service Messages

→ RP 163

Critical Viewing Conditions for Evaluation of Color Television Pictures

→ RP 166

Loudspeaker Placements for Audio Monitoring in High-Definition Electronic Production

→ RP 173

Derivation of Reference Signals for Television Camera Color Evaluation

→ RP 176

Spectral Conditions Defining Printing Density in Motion-Picture Negative and Intermediate Films

→ RP 180

Monitoring and Diagnostics Processors

→ RP 183

Center, Aspect Ratio and Blanking of Video Images

→ RP 187

Organization of DPX Files on TAR Tapes

→ RP 189

Care and Preservation of Audio Magnetic Recordings

→ RP 190

Film Negative Cutter's Conform List

→ RP 194

Motion-Picture Film (35-mm) - Projector Usage

→ ST 194

Film-to-Video Transfer List

→ RP 197

Mapping of Pictures in Wide-Screen (16:9) Scanning Structure

→ RP 199

Video Alignment for Compression Coding

→ RP 202

Motion-Picture Film (35-mm) Prints Two-Track Photographic Analog Audio Records

→ ST 203

Implementation of 24P, 25P and 30P Segmented Frames for 1920 x 1080 Production Format

→ RP 211

Specifications for 3-Perforation Test and Alignment Film for 35-mm Motion Pictures

→ RP 216

Specifications for Extraction of 4x3 Areas from Digital 16x9 Images for Television Systems

→ RP 221

Standard Definition Evaluation Masters for Digital Television

→ RP 222

Television - Fault Reporting in Television Systems

→ ST 269

Motion-Picture Film - Channel Assignments and Levels on Multichannel 5.1 Audio Media

→ ST 323

Method A

→ ST 2020-2

Method B

→ ST 2020-3

Protocol Specification

→ ST 2032-1

Basic Target Pull Profile Specification

→ ST 2032-3

Engineering Guideline (Informative)

→ EG 2032-4

Audio Channel Assignments for Digital Television Recorders (DTRs)

→ ST 2035

Filtering

→ RP 2050-1

Application

→ EG 2050-2

Two-Frame Marker for Progressive Digital Video Signals on 1.5 Gb/s and 3 Gb/s Interfaces

→ ST 2051

Media Package for Storage, Distribution and Playback of Multimedia File Sets and Internet Resources

→ ST 2053

Method of Measurement of Perceived Loudness of Short Duration Motion Picture Audio Material

→ RP 2054

Fingerprint Generation

→ ST 2064-1

Fingerprint Transport

→ ST 2064-2

Emphasis and Preferred Sampling Rate for AES/EBU Digital Audio in Television

→ RP 2072

Full-Range Image Mapping

→ RP 2077

Definition and Representation of Haptic-Tactile Essence for Broadcast Production Applications

→ ST 2100-1

Conformance Test Materials

→ RP 2112-11

Conformance Test Materials

→ RP 2112-21

Structure

→ ST 2120-1

Spectral Similarity Index (SSI)

→ ST 2122

Core Specification

→ ST 2136-1

Signal Sync Alternate Mode

→ ST 2139

Video Recording - 2-in Magnetic Recording Tape

→ ST 1

Television Analog Recording - 2-in Magnetic Tape for Quadruplex Recording - Speed

→ ST 4

Recorded Carrier Frequencies and Preemphasis Characteristics for 2-in Quadruplex Video Magnetic Tape Recording for 525-Line/60-Field Television Systems

→ RP 6

Video Recording - 2-in Quadruplex Tape - Video, Audio and Tracking-Control Records

→ ST 6

Video Recording - Quadruplex Recorders Operating at 15 in/s - Audio Level and Multifrequency Test Tape

→ ST 8

Tape Vacuum Guide Configuration and Position for Quadruplex Video Magnetic Tape Recording

→ RP 11

Video Recording - Quadruplex Recorders Operating at 7.5 in/s - Audio Level and Multifrequency Test Tape

→ ST 11

Specifications of Tracking Control Record for 2-in Quadruplex Video Magnetic Tape Recordings

→ RP 16

Positioning the Headwheel and Adjacent Tape Guides for 2-in Quadruplex Video Magnetic Tape Recorders

→ RP 36

Television Analog Recording - 1-in Type B Helical Scan - Basic System Parameters

→ ST 15

Television Analog Recording - 1-in Type B Helical Scan - Records

→ ST 16

Television Analog Recording - 1-in Type B Helical Scan - Frequency Response and Operating Level

→ ST 17

Television Analog Recording - 1-in Type C - Basic System and Transport Geometry Parameters

→ ST 18

Television Analog Recording - 1-in Type C - Records

→ ST 19

Television Analog Recording - 1-in Type C Recorders and Reproducers - Longitudinal Audio Characteristics

→ ST 20

Video and Audio Alignment Tapes and Procedures for 1-in Type C Helical-Scan Television Analog Recorders

→ EG 24

Television Analog Recording - 1-in Type B Reference Recorders - Basic System and Transport Geometry

→ ST 29

Television Analog Recording - 1-in Type B Reference Recorders - Records on Reference Tapes

→ ST 30

Specifications of Tracking-Control Record for 1-in Type B Helical-Scan Television Analog Recording

→ RP 83

Reference Carrier Frequencies and Preemphasis Characteristics for 1-in Type B Helical-Scan TV Analog Recording

→ RP 84

Tracking-Control Record for 1-in Type C Helical-Scan Television Tape Recording

→ RP 85

Video Record Parameters for 1-in Type C Helical-Scan Television Tape Recording

→ RP 86

Requirements for Recording Time and Control Code for 1-in Type B Helical-Scan Video Tape Recorders

→ RP 93

Video and Audio Reference Tape for 1-in Type B Helical-Scan Format

→ RP 107

Video Recording - 3/4-in Type E Helical Scan - Records

→ ST 21

Video Recording - 3/4-in Type E Helical Scan - Cassette

→ ST 22

Television Analog Recording - 3/4-in Type E - Small Video Cassette

→ ST 31

Reference Carrier Frequencies, Preemphasis Characteristic and Audio/Control Signals for 3/4-in Type E

→ RP 87

Video Recording - 1/2-in Type H - Cassette, Tape and Records

→ ST 32

Television Analog Recording - 1/2-in Type G - Cassette and Tape

→ ST 35

Basic System and Transport Geometry Parameters for 1/2-in Type L Format

→ RP 144

Basic System and Transport Geometry Parameters for 1/2-in Type M-2 Format

→ RP 158

Television Analog Recording - 1/2-in Type L - Records

→ ST 229

Television Analog Recording - 1/2-in Type L - Electrical Parameters

→ ST 230

Television Analog Recording - 1/2-in Type L - Tapes and Cassettes

→ ST 238

Television Analog Recording - 1/2-in Type M-2 - Records

→ ST 249

Television Analog Recording - 1/2-in Type M-2 - Tapes and Cassettes

→ ST 250

Television Analog Recording - 1/2-in Type M-2 - Electrical Parameters

→ ST 251

Television Analog Recording - 1/2-in Type M-2 - Pulse Code Modulation Audio

→ ST 252

Digital Video Recording - 1/2-in Type D-5 SD Component and Type HD-D5 HD Compressed Data

→ ST 279

Tape Transport Geometry Parameters for 19-mm Type D-1 Television Digital Component Recording

→ EG 10

Tape Transport Geometry Parameters for 19-mm Type D-2 Composite Format

→ EG 20

Nomenclature for Television Digital Recording of 19-mm Type D-1 Component and Type D-2 Composite Formats

→ EG 21

Description and Index of Documents for 19-mm Type D-2 Composite Television Digital Recording

→ EG 22

Bar Code Labeling for Type D-1 Component and Type D-2 Composite Cassette Identification

→ RP 156

Audio Sector Time Code and Equipment-Type Information for 19-mm Type D-1 Digital Component

→ RP 181

Television Digital Component Recording - 19-mm Type D-1 - Tape Record

→ ST 224

Television Digital Component Recording - 19-mm Type D-1 - Magnetic Tape

→ ST 225

Television Digital Component Recording - 19-mm Type D-1 - Helical Data and Control Records

→ ST 227

Television Digital Component Recording - 19-mm Type D-1 - Time and Control Code and Cue Records

→ ST 228

Television Digital Recording - 19-mm Type D-2 Composite Format - Tape Record

→ ST 245

Television Digital Recording - 19-mm Type D-2 Composite Format - Magnetic Tape

→ ST 246

Television Digital Recording - 19-mm Type D-2 Composite Format - Helical Data and Control Records

→ ST 247

Television Digital Recording - 19-mm Type D-2 Composite Format - Cue Record and Time and Control Code Record

→ ST 248

Television Digital Recording - 1/2-in Type D-3 Composite and Type D-5 Component Format

→ ST 263

Television Digital Recording - 1/2-in Type D-3 Composite Format - 525/60

→ ST 264

Television Digital Recording - 1/2-in Type D-3 Composite Format - 625/50

→ ST 265

Television Digital Recording - 19-mm Type D-6 - Helical Data

→ ST 277

Television Digital Recording - 19-mm Type D-6 - Content of Helical Data

→ ST 278

Television - Type D-10 Stream Specifications - MPEG-2 4:2:2P @ ML for 525/60 and 625/50

→ ST 356

Digital Television Tape Recording - 12.65-mm Type D-10 Format for MPEG-2 Compressed Video

→ ST 365

Television - Type D-11 Picture Compression and Data Stream Format

→ ST 367

Digital Television Tape Recording - 12.65-mm Type D-11 Format

→ ST 368

Television - Type D-11 Data Stream and AES3 Data Mapping over SDTI

→ ST 369

Television - 6.35-mm Type D-12 Component Format

→ ST 371

Material Exchange Format (MXF) - Mapping Type D-10 Essence Data to the MXF Generic Container

→ ST 386

Material Exchange Format (MXF) - Mapping Type D-11 Essence Data to the MXF Generic Container

→ ST 387

Digital Video Recording - 1/2-in Type D-14 Component Format

→ ST 398

Digital Television Recording - 1/2-in Type D-15 High-Definition Compressed Video Data Format

→ ST 399

Digital Television Recording - 12.65-mm Type D-16 Format

→ ST 409

Television Digital Recording - 6.35-mm Type D-7 Component Format

→ ST 306

Television Digital Recording - 6.35-mm Type D-7 Component Format - Tape Cassette

→ ST 307

Television Digital Recording - 12.65-mm Type D-9 Component Format

→ ST 316

Television Digital Recording - 12.65-mm Type D-9 Component Format - Tape Cassette

→ ST 317

Telecine Scanning for Film Transfer to Television

→ EG 25

Video Recording - 1-in Magnetic Recording Tape

→ ST 25

Audio Channel Assignments for Digital Television Tape Recorders with AES/EBU Digital Audio Input

→ EG 26

Care, Storage, Operation, Handling and Shipping of Magnetic Recording Tape for Television

→ EG 44

Specifications for Subjective Reference Tapes for Helical-Scan Video Tape Reproducers

→ RP 96

Tape Dropout Specifications for 1-in Types B and C Video Tape Recorders

→ RP 121

Logic Design for Decoding Digital Audio Control Words in D-1 Helical Data and Control Records

→ RP 161

Television - Specifications for Video Tape Leader

→ ST 256

Television - A Data Reduction Method for the MPEG-2 Video Recording Data Set

→ ST 402

Motion-Picture Film (32-mm) - 35-mm Film Perforated 32-mm, 2R

→ ST 73

Motion-Picture Film (35-mm) - Perforated BH

→ ST 93

Motion-Picture Film (16-mm) - Perforated 2R-3000 - Magnetic Striping

→ ST 101

Motion-Picture Film (35-mm) - Perforated CS-1870

→ ST 102

Motion-Picture Film (16-mm) - Perforated 1R and 2R

→ ST 109

Motion Picture Film (70-mm) Perforated 65-mm, KS-1870

→ ST 119

Motion-Picture Film (35-mm) - Perforated KS

→ ST 139

Motion-Picture Film (65-mm) - Perforated KS

→ ST 145

Motion-Picture Film (8-mm Type S) - Perforated 1R

→ ST 149

Motion-Picture Film (8-mm Type S) - 16-mm Film Perforated 8-mm Type S, (1-3)

→ ST 151

Motion-Picture Film (8-mm Type S) - 16-mm Film Perforated 8-mm Type S (1-4) - Printed Areas

→ ST 153

Motion-Picture Film (8-mm Type S) - 16-mm Film Perforated 8-mm Type S, (1-4) - Magnetic Striping

→ ST 162

Motion-Picture Film (8-mm Type S) - 35-mm Film Perforated 8-mm Type S, 5R - Magnetic Striping

→ ST 163

Motion-Picture Film (35-mm) - Perforated 8-mm Type S, 5R (1-3-5-7-0)

→ ST 165

Motion-Picture Film (16-mm) - Perforated 8-mm Type S, (1-4)

→ ST 168

Motion-Picture Film (35-mm) - Perforated 8-mm Type S, 2R-1664 (1-0)

→ ST 169

Motion-Picture Film (35-mm) - Perforated 16-mm, 3R (1-3-0)

→ ST 171

Motion-Picture Film (8-mm Type S) - 16-mm Film Perforated 2R-1667 (1-3) - Magnetic Striping

→ ST 176

Motion-Picture Film (8-mm Type S) - 16-mm Film Perforated 8-mm Type S (1-3) - Printed Areas

→ ST 181

Motion-Picture Film (35-mm) - Perforated DH-1870

→ ST 237

Motion-Picture Film (16-mm) - Perforated 8-mm Type R, 2R

→ ST 239

Television Analog Recording - 2-in Reels

→ ST 5

Television Recording - 1-in Reels

→ ST 24

Specifications for 8-mm Type S Test Film for Projectors and Printers Reel Spindles

→ RP 32

Dimensions for 16-mm Motion-Picture Projector Reel Spindles

→ RP 34

Dimensions for 8-mm Type S Motion-Picture Projector Reel Spindles

→ RP 50

8-mm Type S Sprocket Design

→ RP 55

8-mm Type R Sprocket Design

→ RP 73

16-mm Sprocket Design

→ RP 74

Motion-Picture Film (8-mm Type R) - Length of Film on Camera Spools

→ ST 143

Motion-Picture Equipment (8-mm Type S) Projection Reels - 100- to 312-mm Diameter

→ ST 160

Motion-Picture Equipment (8-mm Type R) - Double 8-mm Camera Spools

→ ST 173

Motion-Picture Equipment (16-mm) - Camera Spools - 50- to 400-Ft Capacity

→ ST 174

Motion-Picture Equipment (35-mm) - Shipping Reels for Prints

→ ST 192

Motion-Picture Equipment (8-mm Type S) - Projection Reels - 75-mm Diameter

→ ST 212

Motion-Picture Equipment (16-mm) - Projection Reels

→ ST 235

Motion-Picture Equipment (8-mm Type R) - Projection Reels

→ ST 236

Motion-Picture Equipment 35-mm and 70-mm Projection Reels

→ ST 241

Motion-Picture Equipment (35-mm) - Universal Intermittent Sprockets

→ ST 242

Motion-Picture Film (16-mm) - Camera Aperture Image and Usage

→ ST 7

Motion-Picture Film (35-mm) - Camera Aperture Images and Usage

→ ST 59

Motion-Picture Film (8-mm Type S) - Camera Aperture Image and Usage

→ ST 157

Motion-Picture Film (16-mm) - Type W Camera Aperture Image

→ ST 201

Motion-Picture Film (65-mm) - Camera Aperture Image

→ ST 215

Motion-Picture Film (8-mm Type R) - Camera Aperture Image and Usage

→ ST 231

Motion-Picture Film (65-mm) - Camera Aperture Image and Usage, 15/70 Format

→ ST 417

Motion-Picture Film (65-mm) - Camera Aperture Image and Usage, 8/70 Format

→ ST 418

Dimensions for 70-, 65- and 35-mm Motion-Picture Film Splices

→ RP 111

Dimensions of Cemented Splices on 8-mm Type S Motion-Picture Film, Projection Type

→ RP 122

Dimensions of Tape Splices on 8-mm Type S Motion-Picture Film, Projection Type

→ RP 123

Requirements for Tape Splices on Magnetic Audio Recording Motion-Picture Film

→ RP 129

Dimensions of Tape Splices on 16-mm and 8-mm Type R Motion-Picture Film

→ RP 130

Dimensions of Transverse Cemented Splices on 16-mm and 8-mm Type R Motion-Picture Film

→ RP 149

Television - Splice Points for MPEG-2 Transport Streams

→ ST 312

Edge Numbering on 16-mm Release Prints

→ RP 54

Motion-Picture Film (16-mm) - Edge Numbers - Location and Spacing

→ ST 83

Use of the Reference Mark in Manufacturer-Printed Latent Image Key Numbers

→ RP 195

Motion-Picture Film (35-mm) - Manufacturer-Printed Latent Image Identification Information

→ ST 254

Motion-Picture Film (65-mm) - Manufacturer-Printed Latent Image Identification Information

→ ST 270

Motion-Picture Film (16-mm) - Manufacturer-Printed Latent Image Identification Information

→ ST 271

Motion-Picture Color Print Film (35-mm) - Manufacturer-Printed Latent Image Identification Information

→ ST 300

Motion-Picture Film (65-mm) - Manufacturer-Printed Latent Image Identification Information

→ ST 313

Edge Identification of Motion-Picture Raw Stock Containers

→ EG 2

Video Recording - 1-in Helical-Scan Recorders - Raw Stock for Reference Tapes

→ ST 26

Motion-Picture Equipment - Raw Stock Cores

→ ST 37

Motion-Picture Film - Raw Stock - Designation of A and B Windings

→ ST 75

Motion-Picture Film - Raw Stock Identification and Labeling

→ ST 184

Motion-Picture Film - Safety Film

→ ST 223

Audio and Picture Synchronization in Motion-Picture Film Relative to Leaders

→ RP 25

Specifications for Maintaining an Emulsion-In Orientation on Theatrical Release Prints

→ RP 39

Audio Motion-Picture Film (35-mm) - Release Prints - Photographic Analog Audio Records

→ ST 40

Leaders for 8-mm Type R and S Motion-Picture Release Prints

→ RP 49

35- and 16-mm Television Release Prints Leaders and Cue Marks

→ ST 55

Safe Action and Safe Title Areas for 8-mm Release Prints

→ RP 56

Specifications for Flutter Test Film for 35-mm Four-Track Striped Release Print Audio Reproducers

→ RP 79

Dimensions of Photographic Control and Data Record on 35-mm Motion-Picture Release Prints

→ RP 115

Specifications for Audio Level and Multifrequency Test Film for 70-mm Striped Six-Track Release Print Audio Reproducers

→ RP 128

Motion-Picture Film (35-mm) - Release Prints - Four Magnetic Audio Records

→ ST 137

Specifications for Type U Audio Level and Multifrequency Test Film for 35-mm Striped Four-Track Release Print Audio Reproducers

→ RP 143

Edge Identification of Leader and Picture for 35-mm Release Prints

→ RP 152

Motion-Picture Film (35-mm) - Four-Track Magnetic Audio Release Prints

→ ST 177

Motion-Picture Film (70-mm) Six Magnetic Records on Release Prints

→ ST 185

Motion-Picture Film (35-mm) - Four-Track Striped Release Prints

→ ST 216

Motion-Picture Film (70-mm) Striped Release Prints

→ ST 217

Audio Motion-Picture Film (70-mm) - Six-Track Audio Release Prints

→ ST 221

Motion-Picture Film - Theater Projection Leader, Trailer and Cue Marks

→ ST 301

Motion-Picture Film (70-mm) - Projectable Image Area

→ ST 152

Motion-Picture Film (8-mm Type S) - Projectable Image Area and Projector Usage

→ ST 154

Motion-Picture Film (35-mm) - Motion-Picture Prints - Projectable Image Area

→ ST 195

Motion-Picture Film (16-mm) - Projectable Image Area and Projector Usage

→ ST 233

Motion-Picture Film (8-mm Type R) - Projectable Image Area and Projector Usage

→ ST 234

Motion-Picture Film (70-mm) - Projectable Image Area, 15/70 Format

→ ST 419

Motion-Picture Film (70-mm) - Projectable Image Area, 8/70 Format

→ ST 420

Plotting Data from Sensitometric Strips Exposed on Type Ib Sensitometers

→ RP 14

Calibration of Densitometers Used for Black-and-White Photographic Density Measurement

→ RP 15

Motion-Picture Film (16-mm) - Picture and Sound Contact Printing - Printed Areas

→ ST 48

Scene-Change Methods for Printing 35-mm, 16-mm and 8-mm Type S Motion-Picture Film

→ RP 53

Specifications for Motion-Picture Camera Equipment Used in Space Environment

→ EG 8

Measurement Methods for Film and Digital Motion-Picture Camera Acoustical Noise Field Method

→ EG 16

Photographic Recording Technique for Measuring High-Speed Camera Image Unsteadiness

→ RP 17

Design of Effective Cine Theaters

→ EG 18

Dimensions of 35-mm and 70-mm Motion-Picture Rewind Spindles

→ RP 21

Dimensions for 16-mm Motion-Picture Camera

→ RP 24

Considerations for Cassette Bar Code Readers

→ EG 31

Specifications for 35-mm Projector Alignment and Screen Image Quality Test Film

→ RP 40

Lubrication of 16- and 8-mm Motion-Picture Prints

→ RP 48

Motion-Picture Film - Nomenclature for Studios and Processing Laboratories

→ ST 56

Nomenclature for Devices Enclosing 8-mm Motion-Picture Film for Projection

→ RP 58

Motion-Picture Enlargement/Reduction Ratios

→ RP 65

Motion-Picture Cameras (16- and 8-mm) - Zero Point for Focusing Scales

→ ST 74

Motion-Picture Cameras - 16-mm and 8-mm Threaded Lens Mounts

→ ST 76

Specifications for 16-mm Projector Alignment and Screen Image Quality Test Film

→ RP 82

Motion-Picture Film (16-mm) - 100-Mil Magnetic Striping

→ ST 87

Specifications for 70-mm Projector Alignment and Screen Image Quality Test Film

→ RP 91

Film Tension in 35-mm Motion-Picture Systems

→ RP 106

Dimensions of Photographic Control and Data Record on 35-mm Motion-Picture Camera Negatives

→ RP 116

Lubrication of 35-mm Motion-Picture Prints for Projection

→ RP 151

Method for Measuring 35- and 70-mm Shutter Efficiency

→ RP 153

Motion-Picture Film (8-mm Type S) - Magnetic Striping

→ ST 161

Classification of Projection Depth of Focus

→ RP 185

Motion-Picture and Television Equipment - Camera Mounting Connections

→ ST 220

Motion-Picture Equipment - 35- and 70-mm Projection Lenses and Mounts

→ ST 243

Specifications for Buzz-Track Test Film for 16-mm Motion-Picture Audio Reproducers

→ RP 67

Specifications for Buzz-Track Test Film for 35-mm Motion-Picture Photographic Audio Reproducers

→ RP 68

Specifications for Scanning-Beam Uniformity Test Film for 35-mm Motion-Picture Audio Reproducers

→ RP 69

Specifications for Flutter Test Film for 16-mm Audio Reproducers, Photographic Type

→ RP 70

Specifications for Flutter Test Film for 35-mm Studio Audio Reproducers

→ RP 75

Specifications for Flutter Test Film for 16-mm Audio Reproducers, Magnetic Type

→ RP 76

Specifications for Azimuth Test Film for 35-mm Studio Audio Reproducers

→ RP 77

Specifications for Azimuth Test Film for 16-mm Audio Projectors

→ RP 78

Specifications for Scanning-Beam Uniformity Test Film for 16-mm Motion-Picture Photographic Audio Reproducers

→ RP 81

Specifications for Flutter Test Film for 35-mm Audio Reproducers, Photographic Type

→ RP 97

Specifications for Type U Audio Level and Multi-frequency Test Film for 16-mm Audio Reproducers

→ RP 90

Specifications for Audio Level and Multifrequency Test Films for 8-mm Type S Audio Reproducers

→ RP 92

Specifications for Type U Audio Level and Multifrequency Analog Test Film for 35-mm Studio Audio Reproducers

→ RP 127

Motion-Picture Film - Photographic Audio Level Test Films

→ ST 183

Screen Luminance for Drive-In Theaters

→ RP 12

Acoustical Background Noise Levels in Dubbing Stages

→ EG 14

Screen Luminance and Viewing Conditions for 8-mm Review Rooms

→ RP 51

Color and Luminance of Review Room Screens

→ RP 59

Measurement of Screen Luminance in Theaters

→ RP 98

Background Acoustic Noise Levels in Theaters and Review Rooms

→ RP 141

Motion-Picture Film - Indoor Theater and Review Room Projection

→ ST 196

Motion-Pictures - Dubbing Theaters, Review Rooms and Indoor Theaters

→ ST 202

Television - Control and Review Rooms - Monitor System Electroacoustic Response

→ ST 222

Generic Extra-Theater Message Format

→ ST 430-3

Auditorium Security Messages for Intra-Theater Communications

→ ST 430-6

Projected Image Quality of 70-, 35- and 16-mm Motion-Picture Projection Systems

→ EG 5

Installation of Gain Screens

→ RP 95

Screen Luminance Level, Chromaticity and Uniformity

→ ST 431-1

Audio Sync Pulse for 8-mm Type S Cameras, Magnetic Audio Recorders and Rerecording Projectors

→ EG 7

Audio Recording Reference Level for Post-Production of Motion-Picture Related Materials

→ EG 9

Level for Analog Recording of Dialog in Motion-Picture Production

→ EG 15

Control of Basic Parameters in the Manufacture of SMPTE Photographic and Magnetic Audio Test Films

→ EG 12

Use of Audio Magnetic Test Films

→ EG 13

Specifications for Test Film for Subjective Checking of 16-mm Motion-Picture Audio Projectors

→ RP 18

Specifications for 8-mm Type R Registration Test Film

→ RP 19

Specifications for 16-mm Registration Test Film

→ RP 20

Specifications for Operational Alignment Test Pattern for Television

→ RP 27-1

Specifications for Operational Registration Test Pattern for Multiple-Channel Television Cameras

→ RP 27-2

Specifications for Safe Action and Safe Title Areas Test Pattern for Television Systems

→ RP 27-3

Specifications for an Operational Test Pattern for Checking Jitter, Weave and Travel Ghost in Television Projectors

→ RP 27-4

Specifications for Mid-Frequency Response Test Pattern for Television

→ RP 27-5

Jitter Characteristics and Measurements

→ EG 33

Specifications for Deflection Linearity Test Pattern for Television

→ RP 38

Use and Care of Sound Test Films

→ RP 45

Specifications for Sound-Focusing Test Film for 16-mm Audio Reproducers

→ RP 63

Specifications for Audio-Focusing Test Film for 35-mm Audio Reproducers

→ RP 64

Cross-Modulation Tests for Variable-Area Photographic Audio Tracks

→ RP 104

Spectral Response of Photographic Audio Reproducers for 8-mm Type S Motion-Picture Film

→ RP 109

Specifications for an Alignment Test Film for Anamorphic Attachments to 35-mm Motion-Picture Projectors

→ RP 110

Motion-Picture Film - Photographic Audio Record - Spectral Diffuse Density

→ ST 117

Motion-Picture Film (16-mm) - Magnetic-Photographic Audio Records

→ ST 127

Specifications for Medical Diagnostic Imaging Test Pattern for Television Monitors

→ RP 133

Position of Analog Photographic Audio Record for Routine One-Frame Crossmodulation Test Signals

→ RP 140

Relative and Absolute Sound Pressure Levels for Motion-Picture Multichannel Sound Systems

→ RP 200

Motion-Picture Film - 16- and 35-mm Variable-Area Photographic Audio Records

→ ST 211

Motion-Picture Film (35-mm) - Analog Photographic Audio Reproduction Characteristics

→ ST 214

Motion-Picture Film - Cinematography - Spectral Response of Photographic Audio Reproducers for Analog Dye Sound Tracks

→ ST 411

Cinema Sound System Baseline Setup and Calibration

→ RP 2096-1

Cinema Sound System Maintenance Calibration

→ RP 2096-2

Roadmap for the 2138 Document Suite — the official overview tying every Catena part together. Listed by SMPTE as "Document pending" / availability pending at time of writing.

→ ST 2138 Standards Page

Goal: Catena Model — specifies the schema for plug-and-play communication and control of media services and devices across cloud, on-premises, and hybrid cloud/on-premises platforms. Also defines a number of Access Scopes reflecting how media production equipment is used across different use cases. Currently a Public Committee Draft.

→ GitHub PCD

Goal: gRPC Connection Type — defines the use of a gRPC connection manager with Catena: Protobuf serialisation over HTTP/2, for high-performance, schema-strict control. Currently a Public Committee Draft.

→ GitHub PCD

Goal: REST Connection Type — specifies the use of a REST connection manager with Catena: Protobuf or JSON over HTTP/1.1, for simpler HTTP-based integration. Currently a Public Committee Draft. Note: the Catena Model also documents a WSS (WebSocket Secure) connection option using the same Protobuf-or-JSON/HTTP/1.1 pairing as REST, but WSS does not yet have its own dedicated ST 2138 part.

→ GitHub PCD

Goal: Protocol Objects — defines the objects that are exchanged between participants using the ST 2138 protocol, independent of which connection type (gRPC/REST/WSS) carries them. Currently a Public Committee Draft.

→ GitHub PCD

Goal: Authenticity, Integrity, Access Control, Confidentiality and Availability — specifies how to securely use the Catena control protocol, addressing security-by-design for the control plane (a gap NMOS BCP-003 leaves for discovery but no prior SMPTE document addressed for device control specifically). Covers client/device mutual verification, OAuth2 access-token flows and revocation, Policy Enforcement Point responsibilities (optionally split between devices and gateways), transit confidentiality, and using JWS (rather than opaque tokens) so devices avoid round-trips to an Authorization server for introspection. Currently a Public Committee Draft.

→ GitHub PCD

Elements Repository for SMPTE ST 2138 Catena API Implementation — an API implementation applicable to all parts of the ST 2138 document suite. A separate, vendor-built reference implementation (the Ross Video Catena SDK) is also publicly available, unaffiliated with this repository.

→ GitHub Repository