Starting production in interactive and immersive sound

Transcription

1 Starting production in interactive and immersive sound Robert Bleidt and Dennis Baxter DTV Audio Group at SVG Summit - Dec Fraunhofer IIS

2 Starting production in interactive and immersive sound Mic ing Mixing Monitoring 2014 Fraunhofer IIS 2 12/14/ info@mpeghaa.com

3 Implementing MPEG-H in TV Broadcasting Testing MPEG-H in the field Winter extreme sports competition (skiing, snowboarding, snowmobile racing) carried on major cable network Summer extreme sports competition (skateboarding, motorcycle racing) carried on major cable network NASCAR race (with pit crew radios) using material from NASCAR DTM (European race series) auto race carried on major European sports channels Tonmiester Stenzel adjusting 3D microphone array at Aspen half-pipe Sound Designer Baxter adjusting spot mic at Austin skateboard ramp Post-production mixing at Technicolor/Paramount in Hollywood 2014 Fraunhofer IIS 3 12/14/ info@mpeghaa.com

4 MPEG-H Audio improves the listening experience Personalize the sound to what you want to hear Examples: 2014 Field Test with leading U.S. sports network at winter sports event Pick your announcer and language Want to hear more sound effects? More audience sounds? Demo content from NASCAR race Pick your announcer and language Mix in driver s radio Hear car sounds/transducers Real-time decoding and rendering User selects audio mix from on-screen display sliders or preset buttons 2014 Fraunhofer IIS 4 12/14/ info@mpeghaa.com

5 Starting with Interactive Sound Decide on what elements should be interactive: Commentary Alternate language commentary Athlete, Driver, Official radios Referees / Coaches Equipment Sounds Microphone Operators All over a bed of ambience/nat sound, music, etc Plan on 30 kb/s for each mono object or element 2014 Fraunhofer IIS 5 12/14/ info@mpeghaa.com

6 Interactive Sound Decide on what audio components should be controllable. Effects Ambiance Atmosphere Similar Workflow - Break these audio feeds out on Pre Fade Sends on your console Send all elements to Monitoring Unit and to NOC 2014 Fraunhofer IIS 6 12/14/ info@mpeghaa.com

7 Setting up a console for an interactive broadcast Announcer Obj. 1 Existing 5.1 Broadcast Console ANC MUS EFX PB 1.0 PCM Audio to NOC (fiber) Color Man Obj. 2 Player Obj. 3 Direct Outputs for objects HD SDI or MADI MPEG H Monitoring Unit MPEG H Contribution Encoder MPEG H Bitstream to NOC (PCM data or IP) Crowd Mic Master Fader Main Program Out 5.1 (for broadcast) Monitor Mode 5.1 Integrated Loudness Main Program for ATSC 1.0 Mix-Minus Program Out 5.1 (for MPEG-H trial) 5.1 Enco (Music) Group Faders EVS VTR 2014 Fraunhofer IIS 7 12/14/ info@mpeghaa.com

8 From the remote to the network op center or ACR Example: 5.1 bed: ambience/nat sound, music, effects Commentary Effects/field mikes 8 channels total If you have fiber with spare PCM channels: Put the individual elements and a mix-minus bed on the spare channels If you have satellite or fiber with no spares: Encode the audio with MPEG-H at contribution rates ( kb/s) and send as IP or in PCM data stream 2014 Fraunhofer IIS 8 12/14/ info@mpeghaa.com

9 Adding Immersive Sound Mic ing Need to capture signals for height channels Three (or more) options: Practical mike arrangments with existing mikes Formal mike trees HOA with Eigenmike Mixing Need to mix in 3D Use your existing console for now Monitoring Need to monitor immersive sound Three options 2014 Fraunhofer IIS 9 12/14/ info@mpeghaa.com

10 MPEG-H Audio improves the listening experience Making surround sound more realistic MPEG-H currently has defined speaker configurations from 1.0 (mono) to 22.2 Bitstream support for up to 128 channels and 128 objects Our recommendation for immersive sound: 7.1 Blu-ray surround configuration 4 Height Speakers above corner speakers as shown Other configurations are possible, for example: H Using front wide 7.1 configuration or Fraunhofer IIS 10 12/14/ info@mpeghaa.com

11 Different Approaches to 3D Microphones Widely de-correlated combinations of microphones. Spaced pairs of mono and stereo microphones Large Diaphragm AT4050ST Stereo Shotgun BP4029 Microphones Placed at various distances from the crowd to give Layers and texture of sound. Different samples with different sonic characteristics. Natural capture and reproduction of sonic space Combining slices Fraunhofer IIS 11 12/14/ info@mpeghaa.com

12 Different Approaches to 3D Microphones Closely spaced concentric layers of cardioid microphones. Precision machined mike rails, Schoeps cardoid capsules, Rycote windscreens. Eight XLRs to recorder or stage box. Closely Spaced Cardoid AT4050 Build 4.0 upper and lower layers Eigenmike from MH Acoustics. 32 (16) Capsule Capture and Reproduction One Ethernet cable to PC Fraunhofer IIS 12 12/14/ info@mpeghaa.com

13 3D Production Production Tools ning Mono Microphones Microphone and Production Guide Lines and Sound Designs for Television Entertainment and Sports 2014 Fraunhofer IIS 13 12/14/ info@mpeghaa.com

14 3D - Sound Design Experience Enhance Stadium Experience World Cup Enhance Point Of View Bobsleigh 3D - Sound Design Enhanced Story Possibilities 2014 Fraunhofer IIS 14 12/14/ info@mpeghaa.com

15 Setting up a console for an immersive broadcast Announcer Obj. 1 Existing 5.1 Broadcast Console ANC MUS EFX EFXh PB 1.0 PCM Audio to NOC (fiber) Color Man Obj. 2 Player Obj. 3 Direct Outputs for objects HD SDI or MADI MPEG H Monitoring Unit MPEG H Contribution Encoder MPEG H Bitstream to NOC (PCM data or IP) Crowd Mic Master Fader Main Program Out 5.1 (for broadcast) Monitor Mode 5.1 Integrated Loudness Main Program for ATSC 1.0 Crowd Mic - Height Mix-Minus Program Out 5.1 (for MPEG-H trial) 5.1 Enco (Music) Group Faders Height Out 5.1 (for MPEG-H trial) 4.0 EVS VTR 2014 Fraunhofer IIS 15 12/14/ info@mpeghaa.com

16 Monitoring Immersive Sound Add four height speakers to existing 5.1 or 7.1 speakers In remote trucks: Small speakers for height, wide power bandwidth not needed, no spaceship flyover Mix surround/immersive mix in remote studio (as for FIFA World Cup 2014) Use immersive headphones Real rendering with head tracking, individual HRTF For QC or confidence monitoring: MPEG-H binaural rendering on ordinary headphones 2014 Fraunhofer IIS 16 12/14/ info@mpeghaa.com