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DP600 Program Optimizer—Postproduction
DP600 Program Optimizer—Postproduction Note: This document assumes the DP600 includes the optional file-based audio coding package. Dolby DP600 and DP600-C Program Optimizer Overview for Postproduction Facilities The DP600-C version additionally offers faster-than-real-time file-based encoding and decoding of Dolby Digital, Dolby Digital Plus, and Dolby E content, and enables transcoding be- tween Dolby E and Dolby Digital or Dolby Digital Plus formats. Taking advantage of the features of Dolby Digital Plus, the DP600-C can perform high-quality, single-step transcoding Summary of Dolby Digital to Dolby Digital Plus without having to de- code and reencode. The Dolby® DP600 Program Optimizer is an innovative and flexible system offering intelligent file-based audio loudness To ensure the highest possible work-flow integration and ef- analysis and correction compatible with many of the broad- ficiency, the DP600 offers open access (via Web Services) to cast and video-on-demand (VOD) media file formats in use Dolby’s unique audio processing engines as well as coding today. Expanding upon the technology developed for the technologies traditionally found only in real-time hardware. award-winning Dolby LM100 Broadcast Loudness Meter with Dialogue Intelligence™, the Dolby DP600 enables cable and For example, the DP600 feature set complements several IPTV broadcasters to automatically normalize the loudness of types of third-party applications and products, including the all file-based programming and commercials without impact- following: ing the original dynamic range.1 • Archiving • Automation For compressed audio formats that include metadata (Dolby E, • Content conversion Dolby Digital, and Dolby Digital Plus, for example), the Dolby • Content transport DP600 can automatically set the dialnorm parameter and • Distribution automatically correct a previously set dialnorm parameter. -
Loudness and Dynamic Range in Broadcast Audio
AUDIO LEVELS Loudness and Dynamicin broadcast Range audio — the Dolby solution Tony Spath Dolby Laboratories, Inc. Digital delivery media offer a wider dynamic range for audio than their analogue predecessors. This entails adopting a larger difference between the average levels (and thus the implied loudness) and the signal peaks. Although it is possible to implement this larger difference in a TV station or media studio, problems will occur in the home – due to inconsistent loudness and electrical levels within the consumer receivers and audio equipment. The audio delivery system, Dolby Digital ™, includes specific tools to overcome these problems, while allowing the full dynamic range of digital audio to be delivered. These tools – Dialogue Normalization and Dynamic Range Control – are described here with particular reference to digital TV. Reference levels and loudness Audio levels (such as programme loudness, peak programme levels and reference levels) are typically meas- ured as a decibel ratio. Broadcast audio engineers are nearly always dealing with instantaneous or short-dura- tion signal levels in programmes; historically, the motive will have been to be aware of how much headroom the system has over the audio peaks, and how far from the system noise floor are the details in the audio signal. This has led to a well-known set of reference levels – e.g. 0 VU, 0 dBu, 20 kHz RF deviation – which are used to line up a signal path for unity gain, and a set of metering practices and standards against which the audio signal in question can be measured. For example: ! 0 dBm (where m is 1 mW into 600 Ω); ! 0 dBu (where u is 0.775 VRMS); ! PPM 4 on a BBC peak programme meter (the peak level produced by a 0.775 VRMS sine wave); ! 100% on a European peak meter (corresponds to +6 dBu). -
Research White Paper
Research White Paper WHP 175 March 2009 Managing a Real World Dolby E Broadcast Workflow Rowan de Pomerai BRITISH BROADCASTING CORPORATION BBC White Paper WHP175 © BBC 2009. All rights reserved. Managing a Real World Dolby E Broadcast Workflow Rowan de Pomerai Abstract BBC HD’s surround sound programming brings the viewer a more immersive audio experience than television has previously offered, while audio metadata allows greater control over audio reproduction in the home. However the technology required to produce and deliver 6 channels of audio with associated metadata gives broadcasters a new set of challenges. The Dolby E1 data stream format allows transport of the audio and metadata within the distribution infrastructure, but its use requires careful consideration of system timing, audio- video synchronisation, metadata control and monitoring. Additionally, the increasing popularity of LCD and plasma displays in the home can cause viewers problems with audio-video synchronisation due to processing delays found in such displays. The BBC set out to examine and resolve these problems, and the results are presented in this paper as a useful knowledge base for anyone handling Dolby E and/or Dolby Digital to deliver multichannel audio for television ________________________________________________________________________________________________ 1 “Dolby E” and “Dolby Digital” are registered trademarks of Dolby Laboratories Inc. White Papers are distributed freely on request. Authorisation of the Head of Research is required for publication. © BBC 2009. All rights reserved. Except as provided below, no part of this document may be reproduced in any material form (including photocopying or storing it in any medium by electronic means) without the prior written permission of BBC Future Media & Technology except in accordance with the provisions of the (UK) Copyright, Designs and Patents Act 1988. -
Files As Shown on Figures 6, 7 and 8
DIALNORM_TUTORIAL DATE: 28 MAR 2010 Disclaimer The opinions expressed are those of the author and do not represent those of the Society of Broadcast Engineers or my employer. This paper draws freely on information taken from the websites of Dolby, JBL and Linear Acoustic. All trademarks are owned by their respective corporations. DIALNORM A Tutorial from the Perspective of the Motion Picture Industry will be presented. Why the Motion Picture Industry? The audio standard for terrestrial digital TV was lifted from the multi-channel audio format used for the distribution of motion pictures to your local neighborhood theater and on commercially produced movie DVD’s. LET’S ALL C.AL.M. DOWN A bill to regulate the volume of TV commercials (apparently not radio commercials or movie trailers) is working its way through the House and Senate. Passage is expected and Congress is expected to recommend that the ATSC Recommended Practice: “Techniques for Establishing and Maintaining Audio Loudness for Digital Television” (soon to be released by the ATSC) is the basis for determining compliance. This document is basically a rewrite of the ATSC document A85 and includes several practical application examples. THE ANSWER Since Engineers like to skip to the end of the murder mystery book to find out who the killer is, I will jump to the end of the presentation and give you the answer first. When the Advanced Television Systems Committee wrote the technical specifications for over-the-air digital television broadcasting, they included as part of the audio specification, a mystical entity called “Dialnorm”. This mystical entity was intended to control the volume of the program audio at the consumer end of the broadcast chain. -
ATSC Standard: Digital Audio Compression (AC-3, E-AC-3)
ATSC A/52:2012 Digital Audio Compression Standard 17 December 2012 ATSC Standard: Digital Audio Compression (AC-3, E-AC-3) Doc. A/52:2012 17 December 2012 Advanced Television Systems Committee 1776 K Street, N.W. Washington, D.C. 20006 202-872-9160 1 ATSC A/52:2012 Digital Audio Compression Standard 17 December 2012 The Advanced Television Systems Committee, Inc., is an international, non-profit organization developing voluntary standards for digital television. The ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. Specifically, ATSC is working to coordinate television standards among different communications media focusing on digital television, interactive systems, and broadband multimedia communications. ATSC is also developing digital television implementation strategies and presenting educational seminars on the ATSC standards. ATSC was formed in 1982 by the member organizations of the Joint Committee on InterSociety Coordination (JCIC): the Electronic Industries Association (EIA), the Institute of Electrical and Electronic Engineers (IEEE), the National Association of Broadcasters (NAB), the National Cable & Telecommunications Association (NCTA), and the Society of Motion Picture and Television Engineers (SMPTE). Currently, there are approximately 140 members representing the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. ATSC Digital TV Standards include digital high definition television (HDTV), standard definition television (SDTV), data broadcasting, multichannel surround-sound audio, and satellite direct-to-home broadcasting. NOTE: The user's attention is called to the possibility that compliance with this standard may require use of an invention covered by patent rights. By publication of this standard, no position is taken with respect to the validity of this claim or of any patent rights in connection therewith. -
ATSC Recommended Practice: Techniques for Establishing and Maintaining Audio Loudness for Digital Television (A/85:2013)
www.atsc.org ATSC Recommended Practice: Techniques for Establishing and Maintaining Audio Loudness for Digital Television (A/85:2013) Doc. A/85:2013 12 March 2013 Advanced Television Systems Committee 1776 K Street, N.W. Washington, D.C. 20006 202-872-9160 ATSC A/85:2013 Establishing and Maintaining Audio Loudness 12 March 2013 The Advanced Television Systems Committee, Inc., is an international, non-profit organization developing voluntary standards for digital television. The ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. Specifically, ATSC is working to coordinate television standards among different communications media focusing on digital television, interactive systems, and broadband multimedia communications. ATSC is also developing digital television implementation strategies and presenting educational seminars on the ATSC standards. ATSC was formed in 1982 by the member organizations of the Joint Committee on InterSociety Coordination (JCIC): the Electronic Industries Association (EIA), the Institute of Electrical and Electronic Engineers (IEEE), the National Association of Broadcasters (NAB), the National Cable and Telecommunications Association (NCTA), and the Society of Motion Picture and Television Engineers (SMPTE). Currently, there are approximately 150 members representing the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. ATSC Digital TV Standards include digital high definition television (HDTV), standard definition television (SDTV), data broadcasting, multichannel surround-sound audio, and satellite direct-to-home broadcasting. Note: The user's attention is called to the possibility that compliance with this recommended practice may require use of an invention covered by patent rights. By publication of this document, no position is taken with respect to the validity of this claim or of any patent rights in connection therewith. -
Dolby Encoding Engine User's Guide
Dolby Encoding Engine User's Guide 2.3 4 February 2019 Copyright © 2019 Dolby Laboratories. All rights reserved. Dolby Laboratories, Inc. 1275 Market Street San Francisco, CA 94103-1410 USA Telephone 415-558-0200 Fax 415-645-4000 http://www.dolby.com Trademarks Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. The following are trademarks of Dolby Laboratories: Dialogue Intelligence™ Dolby Theatre® Dolby® Dolby Vision™ Dolby Advanced Audio™ Dolby Voice® Dolby Atmos® Feel Every Dimension™ Dolby Audio™ Feel Every Dimension in Dolby™ Dolby Cinema™ Feel Every Dimension in Dolby Atmos™ Dolby Digital Plus™ MLP Lossless™ Dolby Digital Plus Advanced Audio™ Pro Logic® Dolby Digital Plus Home Theater™ Surround EX™ Dolby Home Theater® All other trademarks remain the property of their respective owners. Confidential information Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited. Contents Contents 1 Introduction.................................................................................................. 6 1.1 Dolby Encoding Engine................................................................................... 6 1.2 Using this information....................................................................................6 1.3 Channel abbreviations.....................................................................................7 1.4 Resources.........................................................................................................7 -
Metadata Made Simple
Metadata Made Simple Metadata: data about the data Dolby® E metadata contains two parts, professional for the Dolby E signal and consumer for the eventual Dolby Digital encoding. Most important metadata parameters: Program Configuration Metadata for Dolby E (professional) sets the Dolby E coding configuration for best efficiency. 5.1+2 would be a 5.1-channel program and a stereo program. 5.1+2x1 would be a 5.1-channel program and two mono programs. Channel Mode and LFE Channel Enable This is usually represented as number of front channels/number of rear channels/LFE. So 3/2/L would be a typical 5.1 program and 2/0 would be typical stereo program. Setting a 5.1 program to the 2/0 mode will result in the loss of dialogue and other center channel information. For a given program, metadata for Dolby Digital (consumer) contains all of the parameters for that program. If the Dolby E stream contains more than one program, each program will have a separate consumer metadata set. Dialnorm Value The dialnorm value determines the output volume of the Dolby Digital decoder. It does not have any effect on the Dolby E signal levels. The dialnorm value also interacts with the dynamic range control and may cause unnecessary pumping of the dialogue if the dialnorm value is not set correctly. The correct setting of the dialnorm level is easily accomplished with the Dolby LM100 Broadcast Loudness Meter. Surround 3 dB Attenuation This flag is used when projects are mixed in a facility that normally presents feature films and is properly calibrated to film standards for sound reproduction levels. -
Dolby Metadata Guide
Dolby® Metadata Guide Issue 3 Dolby Laboratories, Inc Corporate Headquarters Dolby Laboratories, Inc. 100 Potrero Avenue San Francisco, CA 94103-4813 USA Telephone 415-558-0200 Fax 415-863-1373 www.dolby.com European Headquarters Dolby Laboratories, Inc. Wootton Bassett Wiltshire SN4 8QJ England Telephone (44) 1793-842100 Fax (44) 1793-842101 Dolby, Pro Logic, and the double-D symbol are registered trademarks of Dolby Laboratories. Surround EX is a trademark of Dolby Laboratories. Issue 3 © 2005 Dolby Laboratories, Inc. All rights reserved. S05/14660/16797 Dolby Laboratories, Inc. A Guide to Dolby Metadata Metadata provides unprecedented capability for content producers to deliver the highest quality audio to consumers in a range of listening environments. It also provides choices that allow consumers to adjust their settings to best suit their listening environments. In this document, we first discuss the concept of metadata: • Metadata overview We then discuss the three factors controlled by metadata that most directly affect the consumer’s experience: • Dialogue level • Dynamic range control (DRC) • Downmixing Finally, we define each of the adjustable parameters, and provide sample combinations: • Individual parameters • Metadata combinations 1 Metadata Overview Dolby® Digital and Dolby E are both data-rate reduction technologies that use metadata. Metadata is carried in the Dolby Digital or Dolby E bitstream, describing the encoded audio and conveying information that precisely controls downstream encoders and decoders. In normal operation, the encoded audio and metadata are carried together as a data stream on two regular digital audio channels (AES3, AES/EBU, or S/PDIF). Metadata can also be carried as a serial data stream between Dolby E and/or Dolby Digital equipment. -
Dolby Media Meter User's Manual
Dolby® Media Meter User’s Manual Issue 6 Part Number 9110860 Dolby Laboratories Licensing Corporation Corporate Headquarters Dolby Laboratories, Inc. Dolby Laboratories Licensing Corporation 100 Potrero Avenue San Francisco, CA 94103‐4813 USA Telephone 415‐558‐0200 Fax 415‐863‐1373 www.dolby.com European Licensing Liaison Office Dolby International AB Apollo Building, 3E Herikerbergweg 1‐35 1101 CN Amsterdam Zuidoost The Netherlands Telephone 31‐20‐651‐1800 Fax 31‐20‐651‐1801 Asia Dolby Japan K.K. NBF Higashi‐Ginza Square 3F 13–14 Tsukiji 1‐Chome, Chuo‐ku Tokyo 104‐0045 Japan Telephone 81‐3‐3524‐7300 Fax 81‐3‐3524‐7389 www.dolby.co.jp Dolby Laboratories Hong Kong Limited Unit 5407, Central Plaza 18 Harbour Road Wanchai, Hong Kong Telephone 852‐2519‐0888 Fax 852‐2519‐8988 Dolby Laboratories International Services (Shanghai) Co., Ltd. 05–07a, Floor 18 The Center 989 Chang Le Road Shanghai 200031 China Telephone 86‐21‐6113‐3456 Fax 86‐21‐6113‐3400 www.dolby.com.cn . Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited. Dolby and the double‐D symbol are registered trademarks of Dolby Laboratories. Dialogue Intelligence and Dolby Digital Plus are trademarks of Dolby Laboratories. All other trademarks remain the property of Part Number 9110860 their respective owners. Issue 6 © 2014 Dolby Laboratories. All rights reserved. S14/27180/28262 ii Dolby® Media Meter User’s Manual Confidential Information Table of Contents Chapter 1 Dolby Media Meter Overview Chapter 2 Installing Dolby -
ATSC A/85:2013 Establishing and Maintaining Audio Loudness 12 March 2013
ATSC A/85:2013 Establishing and Maintaining Audio Loudness 12 March 2013 ATSC Recommended Practice: Techniques for Establishing and Maintaining Audio Loudness for Digital Television (A/85:2013) Doc. A/85:2013 12 March 2013 Advanced Television Systems Committee 1776 K Street, N.W. Washington, D.C. 20006 202-872-9160 1 ATSC A/85:2013 Establishing and Maintaining Audio Loudness 12 March 2013 The Advanced Television Systems Committee, Inc., is an international, non-profit organization developing voluntary standards for digital television. The ATSC member organizations represent the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. Specifically, ATSC is working to coordinate television standards among different communications media focusing on digital television, interactive systems, and broadband multimedia communications. ATSC is also developing digital television implementation strategies and presenting educational seminars on the ATSC standards. ATSC was formed in 1982 by the member organizations of the Joint Committee on InterSociety Coordination (JCIC): the Electronic Industries Association (EIA), the Institute of Electrical and Electronic Engineers (IEEE), the National Association of Broadcasters (NAB), the National Cable and Telecommunications Association (NCTA), and the Society of Motion Picture and Television Engineers (SMPTE). Currently, there are approximately 150 members representing the broadcast, broadcast equipment, motion picture, consumer electronics, computer, cable, satellite, and semiconductor industries. ATSC Digital TV Standards include digital high definition television (HDTV), standard definition television (SDTV), data broadcasting, multichannel surround-sound audio, and satellite direct-to-home broadcasting. Note: The user's attention is called to the possibility that compliance with this recommended practice may require use of an invention covered by patent rights. -
Dolby® AC-4: Audio Delivery for Next-Generation Entertainment Services
Dolby® AC-4: Audio delivery for next-generation entertainment services February 2021 Dolby® AC-4: Audio delivery for next-generation entertainment services Contents 1 Introduction .......................................................................................................... 4 2 System overview .................................................................................................. 5 3 Decoder overview ............................................................................................... 7 3.1 Introduction ........................................................................................................................... 7 3.2 Dual-spectral frontend ......................................................................................................... 7 3.3 Stereo Audio Processing ..................................................................................................... 8 3.4 Advanced Spectral Extension .............................................................................................. 9 3.5 Advanced Coupling ........................................................................................................... 10 3.6 Advanced Joint Object Coding ........................................................................................ 11 3.7 Advanced Joint Channel Coding ...................................................................................... 12 3.8 Coding performance and coding tool use .....................................................................