In Broadcast - IBC 2015 - 79


79

www.inbroadcast.com | IBC2015 InShow Guide | 11-15 September

Authoring And Monitoring For
3D Immersive Broadcast Audio
The world of broadcast audio is on the verge of a major revolution, writes Anthony Wilkins,
International Sales & Marketing Manager, Jünger Audio...

N

umerous 3D immersive audio
formats are under development
and will find their way into the
mainstream of broadcast production
and distribution in the near future.
Unlike the world of relatively
constrained channel-based coding we
are accustomed to (most commonly
L+R for stereo and L+C+R+SL+SR+LFE
for surround), these new codecs will
support more channels and/or object
based coding. For the end consumer,
there will be two major benefits from
this new approach, a greater sense
of involvement or immersion, and a
degree of personalisation.
Greater involvement will come
from an increased channel count
typically by the addition of overhead
"height" channels. Proponents have
successfully demonstrated systems
based on 5.1+4 or 7.1+4 layouts
where four overhead speakers have
augmented the traditional six or eight

floor level speakers. This creates a
"3D" sound image where the viewer/
listener is immersed in audio in all
dimensions.
Object based audio will give the end
user the option to personalise their
experience by selecting from a number
of audio sources and controlling the
level and maybe even the position
in the mix. In object-based audio,
an "object" is essentially an audio
stream with accompanying descriptive
metadata. The metadata carries
information about where the engineer
placed the object in the mix and at
what level, and is used to re-create, or
render, the audio experience for the
end user. Objects may be static where
the user could select from options
such as commentary/crowd/team at
sporting events, or dynamic where
in addition, location and level in the
final mix could be varied according to
personal preference.

3D immersive audio is on the way

Does this mean multiple speakers
need to be installed? Not necessarily,
the final "renderer" will re-create the
mix as accurately as possible based
on the actual number and location of
speakers the end user has. What does
this mean for the broadcaster? Well,
if we get it right, minimal changes
to overall workflow and hardware,
but
inevitably
some
additions
to production and distribution
equipment.
In the case of object based audio,
the metadata appropriate for the
final codec needs to be created and

added to the audio for insertion into
a conventional SDI stream, and the
engineer needs to be able to monitor
this complex mix to ensure that
the distribution chain is fed with all
available objects correctly.
Loudness levels should also be
considered in respect of existing
standards and there should be
provision for local insertion of content
at any point in the chain.
For more information about how
Jünger Audio can help you transition
to this new era of immersive audio for
broadcast, visit us at stand 10.A49.


http://www.inbroadcast.com http://www.jungeraudio.com/

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