22 Layback Time (The File Delivery Revolution continued)
If there is going to be no tape to lay the finished audio back to, how do you marry the sound and picture? Generating WAV files from the dubbing suite and laying them back in the online suite has become commonplace and is the easiest solution for AS-11 mastering. It does however mean that the online editor rather than the dubbing mixer becomes the final arbiter of lip sync. Traditionally the mixer would get to see the on-lined
Work in progress
The DPP AS-11 file format disallows Dolby E, requiring surround sound to be placed in the file as six discreet tracks. Whilst this is a simpler approach, there is nowhere to put the Dolby metadata that is needed to control the viewers’ set-top box and determine how 5.1 is mixed down for stereo TVs. This is work in progress for the DPP and a new version of their metadata tool is being produced to allow the down-mix metadata to be added as a SMPTE ST436 track within the AS-11 file.
With all this change affecting deliveries to UK broadcasters, it’s easy to forget the DPP’s AS-11 file is just one deliverable for
projects that will probably have several international co-production partners, all with different requirements, possibly including tape. There’s some debate among post-production facilities about whether AS-11 will be used as the file from which everything else is derived, as there is better quality media available in the edit suite timeline. This is resulting in a variety of workflows depending on the size or facility and the scope of the project. And if you think that’s not enough, there’s the question of who keeps the master file secure for the long-term and how do they do it? Like I said, it’s a year of great change with more to come!
pictures played against the sound track during tape layback, so it is always a good idea to supply a file of the on-lined pictures for the dubbing mixer to check during their final review for substituted shots, duration changes and slippage. However it is possible to do a layback in the audio suite, by using Neyrinck Soundcode Exchange, a plug-in that allows tracks in a ProTools session to be substituted into an AS-11 file.
TC Electronic offers a comprehensive range of innovative software and hardware loudness solutions for seamless integration into professional workflows, including the class-leading Touchmonitor TM7 and TM9 Audio and Loudness meters, the DB6 one-step loudness management solution, the UpCon up-converter and downmix processor with true-peak correction, the new Loudness Pilot for hassle-free stereo loudness control and a new range of LM native loudness meter plug-ins.
click for more
click for more
Dolby offers several options to tackle loudness compliance for broadcast, packaged media, cinema trailers, VOD, games and more. Products like the DP580 Professional Reference Decoder, Media Meter II plug-in for measuring loudness in programming, and the VM600 software platform for file-based work flows provide objective and accurate measurements of all loudness parameters.
Wohler’s AMP2-16V-M is a modular 16-channel audio/video monitor that includes a full set of features to measure and analyse audio quality, level, loudness, metadata and more. This versatile unit will also decode Dolby E with an optional card. A wide range of connection options are available including analogue, AES, SDI and AVB.
click for more
NUGEN Audio’s loudness plug-in solutions for metering, monitoring, correction and file based batch processing are essential tools for every post and broadcast facility, including the visLM real time meter and logger, LM-Correct correction tool, ISL true peak limiter, MultiMonitor multi-channel loudness and true-peak monitoring system and the Loudness Management Batch processing plug-in with MXF option.
hhb.co.uk click for more
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40