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Delivering Two Channels As Five
  06.15.2010      
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1 Posted by : Codaclub
Jun 30, 2010 5:35AMREPLY
It's important to note that content created for the ATSC broad often has a legacy that extends far beyond the original, tightly controlled 5.1 transmission path. Many of these ancillary distribution methods rely on stereo paths. These paths are greater and more numerous than simply "archive and protection purposes, just in case..." Unless every person involved in the distribution and trans-coding of original 5.1 material has the knowledge and equipment to do the precise mixdown that the ATSC specifies, the intentions of the original mixer won't reach the end listener in many cases. The initial broad should be created and QC'd in a "single-threaded" environment. That is, mixed while monitoring in 5.1 and QC'd for the ATSC specified automatic mixdown. If an engineer is receiving any legacy (mono or stereo) material, it should be their responsibility to handle the upmix at the point of mixing for the 5.1 broad. When time and equipment are available, a mixer or broader should remain concerned about a separate stereo mix on tracks 7&8 of masters. In the case of post-produced shows, that may be a separate Lo/Ro, or Lt/Rt matrix encode such as Pro Logic or Circle Surround. In the case of live produced shows, the stereo mix may simply be a routing of the stereo automated mixdown QC feed to tracks 7&8. Surround has matured a great deal with the ATSC spec and the automated mixdown process is very effective. There are; however, far too many viewers that will view content after its gone through a stereo path that is outside of the jurisdiction of the ATSC to not pay attention to what is being archived on the stereo tracks of the master archive. When content is distributed for online use over a stereo codec, many times, the content aggregator will simply take the tack 7&8 stereo mix, Lo/Ro, Lt/Rt, whatever it may be and send it on down the pipe. Do you as the mixer know what's on those tracks?
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Post a comment
1 Posted by : Codaclub
Jun 30, 2010 5:35AMREPLY
It's important to note that content created for the ATSC broad often has a legacy that extends far beyond the original, tightly controlled 5.1 transmission path. Many of these ancillary distribution methods rely on stereo paths. These paths are greater and more numerous than simply "archive and protection purposes, just in case..." Unless every person involved in the distribution and trans-coding of original 5.1 material has the knowledge and equipment to do the precise mixdown that the ATSC specifies, the intentions of the original mixer won't reach the end listener in many cases. The initial broad should be created and QC'd in a "single-threaded" environment. That is, mixed while monitoring in 5.1 and QC'd for the ATSC specified automatic mixdown. If an engineer is receiving any legacy (mono or stereo) material, it should be their responsibility to handle the upmix at the point of mixing for the 5.1 broad. When time and equipment are available, a mixer or broader should remain concerned about a separate stereo mix on tracks 7&8 of masters. In the case of post-produced shows, that may be a separate Lo/Ro, or Lt/Rt matrix encode such as Pro Logic or Circle Surround. In the case of live produced shows, the stereo mix may simply be a routing of the stereo automated mixdown QC feed to tracks 7&8. Surround has matured a great deal with the ATSC spec and the automated mixdown process is very effective. There are; however, far too many viewers that will view content after its gone through a stereo path that is outside of the jurisdiction of the ATSC to not pay attention to what is being archived on the stereo tracks of the master archive. When content is distributed for online use over a stereo codec, many times, the content aggregator will simply take the tack 7&8 stereo mix, Lo/Ro, Lt/Rt, whatever it may be and send it on down the pipe. Do you as the mixer know what's on those tracks?
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