In Broadcast - January 2014 - 76


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 27 - JANUARY 2014

N E W S

InSTUDIO
Pro Sound For TV - 2013 Highlights Cont.

Sony's PCM D100 Recorder

sound transducer with excellent
reproduction characteristics that
enable it to capture the original
sound without any coloration, thus
ensuring unlimited design freedom
in mixing and post-production.
76

Surround Sound

Beside loudness issues, 5.1 audio
television is still a key consideration
in the process. A new option for
surround sound processing is the TC
Electronic UpCon upconverter that
optimises broadcast transmissions
for 5.1 HD TV. Its up-conversion
and down-mix processor in a single,
high-density rack unit continuously
monitors the channel format of the

incoming audio. If the signal falls
back from true 5.1 to stereo, UpCon
seamlessly cross-fades into an
apparently convincing 5.1 surround
up conversion without adding any
interruptions or artefacts.
The new Esfera from Sennheiser
also aims to create broadcast
surround sound from two
channels. The manufacturer's aim
is to make complicated surround
microphone installations a thing of
the past. The system consists of
a high-quality stereo microphone,
designed with Sennheiser's RF
condenser technology, and a 19"
rack-mount processing unit that
converts the stereo signal into a
complete 5.1 signal. This can be
installed anywhere in the production
workflow, whether in real-time or
during post-production.
"Esfera is the ideal surround
microphone for any broadcast
format that requires 5.1 HD audio in a
fast and uncomplicated way. Sports
broadcasts in particular will benefit
from Esfera. These broadcasts are
almost entirely produced in 5.1 and
will profit from the quick microphone
installation, the user-friendliness
of the processing unit and the
freedom in workflow design that
the system offers," remarked Kai
Lange, Product Manager for wired
microphones at Sennheiser.
In fixed installations, Esfera
microphone can be positioned
pitchside. Its audio signal is fed
into the stadium's network via two
standard microphone cables, then
converted into an AES3 signal

and routed to the OB
truck. The two audio
channels can either
be converted into a
5.1 signal onsite - with
the settings defined
by the A1 of the host
broadcaster - and
transmitted to the
local broadcaster;
or, alternatively, the
stereo audio signal
is directly transmitted
to the broadcasters who do the
conversion into 5.1 with their own
preferred settings.
As an intriguing aside, Calrec's
Soccer Sidekick iPad app has
been launched as a tool for
sports producers. Balancing onpitch events and crowd noise is
a continuing issue. After defining
the position and direction of the
pitch microphones around an aerial
image of a pitch on the tablet display,
the operator simply touches the
corresponding area on the screen
to indicate one or more locations of
interest. The Soccer Sidekick then
calculates the optimal contribution
from each microphone to best
capture events at those locations
and moves the appropriate faders
on the desk. The operator can
take over control of the faders
manually at any time, maintaining
complete control.

Sound Desk Expansion

TC Electronic's UpCon optimises broadcasts for 5.1 sound

Wheatstone's Dimension Two was
manufactured to answer the need
for a compact console that can
expand to cover even the biggest
events. Dimension Two has 16 audio
groups - mono, stereo, or 5.1. There
are 16 stereo AUX sends and 16
dedicated mix-minus busses, plus
a bus-minus output for every input
channel (up to 128 in all). That's
on top of the two stereo and two
5.1 surround master busses. Full

The Sennheiser Esfera GUI

Calrec's Soccer Sidekick Audio App

The Tascam DR-60 aides DSLR
video production

digital audio processing is available
on every input channel and on all
major output busses.
Dimension Two can automatically
bring up the levels of only those
microphones in a group that are in
use and automatically crossfade
between inputs as the switcher
or automation system dissolves
between video sources. An LKFS
meter for loudness monitoring is
built into the display.
Avid's S6 is designed to give
sound mixers intuitive, tactile
control of editing and mixing, and
the ability to work with other artists,
engineers, and facilities. It takes
elements of the Icon and S5 series
and moves on from the concept of
the single monolithic mixing desk.
The S5 desk surface offers a new
level of modularity and scalability
and enables users to control
multiple Pro Tools and other DAWs
over Ethernet.
Users can build the desk that
meets their requirements both in
terms of inputs and ergonomics,
while a touch screen interface
makes interacting with the S6
exceptionally fluid.
The system can start as an eight
channel unit, with users able to add
modules and control surfaces as
their needs develop. S6 is expected
to be a big hit in post-production.


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Table of Contents for the Digital Edition of In Broadcast - January 2014

In Broadcast - January 2014
Contents
InNews: Full Sail Uni Selects Avid Systems
InNews: Luxembourg Charm Success
InForm: Guntermann & Drunck Intensify Security
InReply: Datavideo – Designed for Versatility
InStudio: Filmmaker Captures Wildlife With Vinten
InGear: Frezzi Skylight – Advanced Led Lighting
InTest: OTT Is a Hybrid: It’s How You Look at It
In Broadcast - January 2014 - Intro
In Broadcast - January 2014 - In Broadcast - January 2014
In Broadcast - January 2014 - Cover2
In Broadcast - January 2014 - Contents
In Broadcast - January 2014 - InNews: Full Sail Uni Selects Avid Systems
In Broadcast - January 2014 - 5
In Broadcast - January 2014 - InNews: Luxembourg Charm Success
In Broadcast - January 2014 - 7
In Broadcast - January 2014 - 8
In Broadcast - January 2014 - 9
In Broadcast - January 2014 - 10
In Broadcast - January 2014 - 11
In Broadcast - January 2014 - 12
In Broadcast - January 2014 - 13
In Broadcast - January 2014 - 14
In Broadcast - January 2014 - 15
In Broadcast - January 2014 - 16
In Broadcast - January 2014 - 17
In Broadcast - January 2014 - 18
In Broadcast - January 2014 - 19
In Broadcast - January 2014 - 20
In Broadcast - January 2014 - 21
In Broadcast - January 2014 - 22
In Broadcast - January 2014 - 23
In Broadcast - January 2014 - InForm: Guntermann & Drunck Intensify Security
In Broadcast - January 2014 - 25
In Broadcast - January 2014 - 26
In Broadcast - January 2014 - 27
In Broadcast - January 2014 - InReply: Datavideo – Designed for Versatility
In Broadcast - January 2014 - 29
In Broadcast - January 2014 - 30
In Broadcast - January 2014 - 31
In Broadcast - January 2014 - 32
In Broadcast - January 2014 - 33
In Broadcast - January 2014 - 34
In Broadcast - January 2014 - 35
In Broadcast - January 2014 - 36
In Broadcast - January 2014 - 37
In Broadcast - January 2014 - 38
In Broadcast - January 2014 - 39
In Broadcast - January 2014 - 40
In Broadcast - January 2014 - 41
In Broadcast - January 2014 - InStudio: Filmmaker Captures Wildlife With Vinten
In Broadcast - January 2014 - 43
In Broadcast - January 2014 - 44
In Broadcast - January 2014 - 45
In Broadcast - January 2014 - InGear: Frezzi Skylight – Advanced Led Lighting
In Broadcast - January 2014 - 47
In Broadcast - January 2014 - 48
In Broadcast - January 2014 - 49
In Broadcast - January 2014 - 50
In Broadcast - January 2014 - 51
In Broadcast - January 2014 - 52
In Broadcast - January 2014 - 53
In Broadcast - January 2014 - 54
In Broadcast - January 2014 - 55
In Broadcast - January 2014 - 56
In Broadcast - January 2014 - 57
In Broadcast - January 2014 - 58
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In Broadcast - January 2014 - 60
In Broadcast - January 2014 - 61
In Broadcast - January 2014 - 62
In Broadcast - January 2014 - 63
In Broadcast - January 2014 - 64
In Broadcast - January 2014 - 65
In Broadcast - January 2014 - 66
In Broadcast - January 2014 - 67
In Broadcast - January 2014 - 68
In Broadcast - January 2014 - 69
In Broadcast - January 2014 - InTest: OTT Is a Hybrid: It’s How You Look at It
In Broadcast - January 2014 - 71
In Broadcast - January 2014 - 72
In Broadcast - January 2014 - 73
In Broadcast - January 2014 - 74
In Broadcast - January 2014 - 75
In Broadcast - January 2014 - 76
In Broadcast - January 2014 - 77
In Broadcast - January 2014 - 78
In Broadcast - January 2014 - 79
In Broadcast - January 2014 - S1
In Broadcast - January 2014 - S2
In Broadcast - January 2014 - S3
In Broadcast - January 2014 - S4
In Broadcast - January 2014 - S5
In Broadcast - January 2014 - S6
In Broadcast - January 2014 - S7
In Broadcast - January 2014 - S8
In Broadcast - January 2014 - S9
In Broadcast - January 2014 - S10
In Broadcast - January 2014 - S11
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