Cinegy Playout contains internal mapping of audio inputs to audio outputs. The "Audio" tab allows you to set up sound processing schemes, including configuration of Dolby® Digital Decoder and Dolby® Digital Professional Encoder parameters, if needed. At present, Cinegy Air supports only Dolby® Digital audio technology (AC3).
A Sequence inserted into a Story and then used in a Rundown is processed as a media file with a certain number of audio tracks defined by the audio mapping inside the Sequence. These audio tracks are considered as audio inputs for the playout engine and are mapped according to defined rules to the output playout channels. Playout engine outputs are fixed to 8 stereo audio pairs.
|Refer to the Output Audio Channels and Mapping article in the Cinegy Desktop Manual for more information on audio mapping inside Cinegy Sequences.|
By default, four stereo audio channels are mapped to four stereo output channels.
The graphic relations represent the mapping rules inside playout engine that define how the input channels are connected to the output channels.
Audio Input Configuration
To set up a particular input channel, press its corresponding button in the "Input" column; the following dialog appears:
Here you can specify whether this channel will be used, by ticking off the "Used" checkbox, and define the output channels mapped to this input channel. Press the "OK" button to apply the channels settings.
The changes will be reflected on the graphic scheme:
Dolby® Digital Decoding Settings
To use Dolby® Digital Professional Decoder in the input audio channel being configured, select the "Dolby Digital Professional Decoder" checkbox in the "Audio Input" dialog; this will enable 4 more output channels:
Define the compression mode choosing the desired option (Line, RF, Custom or "No Compression") from the corresponding drop-down list.
Define the output channels mapped to this input audio channel by choosing the desired values (from 0 to 63) from the corresponding drop-down lists.
To use Dolby® E decoder in the input audio channel being configured, select the "Dolby E decoder" option.
Select the "PCM Passthrough" checkbox to pass PCM encoded audio to output.
Use the "Metadata channel" drop-down list to define a virtual metadata channel to which audio decoder will connect.
Having configured Dolby® Digital audio settings, press the "OK" button to apply your settings.
Audio Output Configuration
Settings for the output channels can be configured in a similar way as for the input channels.
Press the button of the corresponding channel in the "Output" column; the following dialog appears:
Select the encoding type from the drop-down list:
"2 Channels" is used for stereo audio encoding.
Also specify the input channels settings and press "OK" to apply changes.
R128 Loudness Limiter
Check the "R128 loudness limiter" option to enable automatic loudness limiter.
This option will inhibit loudness emission at values above -15 LKFS, which exceeds internationally permitted loudness values but still prevents it from getting noticeable. This is particularly useful when broadcasters as given targets for loudness measured over minutes / days / hours – this limiter will prevent the value going too far, and will make it easier to bring that average back on track (e.g. accidentally running at -15 for 10 seconds of live coverage means you just need to get the output to -24.6 for the next 50 seconds to hit a minute-average target of -23LKFS).
It works in the following way:
There is a soft limiter which prevents transient / instantaneous energy spikes over 70% maximum energy (general peak power measurement, nothing to do with R128 or perceptual loudness).
There is also an R128 standard loudness measuring component, which is connected to a fast reacting (few frames) simple gain control. When the measured LKFS value approaches or exceeds -15LKFS, the gain is reduced. Because of the implementation model described below (we do not want people pushing this to -23LKFS and trying to use this to normalise programs – they will not like the effect), this value is fixed at a level that should be starting to sound ‘bad’ anyway, so whatever we do cannot be worse.
The R128 auto-gain has a very fast reaction time to decrease / restore the gain, since it is assumed this is truly a mistake in broadcasting (accidental severely too-loud moment in program, live program sound gain is set too high).
Please note, this is more a "limiter of last resort" and a third party loudness processor is strongly recommended when proper multiband audio volume processing is required.
|This feature is currently in beta stage.|
The "Nielsen watermarking" group provides parameters for Nielsen Watermarking encoding/decoding configuration. Select this option to enable watermarking functionality.
The parameters can be configured for each channel separately. This means that in case of simulcast each version of the playlist may have its own watermarking parameters.
|All output devices used in the same channel will have the same watermarking parameters applied (SID, watermarking type, etc.).|
The following parameters will be available for the configuration:
SID – Nielsen source ID. One or more SIDs are assigned to each content provider or distribution source. Included as a component of each watermark, the SID uniquely identifies the distribution source.
Check digits – two upper-case alpha characters, corresponding to the SID that are assigned by Nielsen.
Distribution type – specifies the watermark type: Program Content or Final Distributor. Typically Program Content watermarks are assigned to syndication content or to content providers (i.e. broadcast networks etc.), while Final Distributor watermarks are assigned to local broadcast affiliates or to cable network content.
Watermarking type – defines the type of watermarking to activate this session. The following types are available for choosing:
Legacy NAES II watermarking;
NAES VI watermarking;
Both NAES II and NAES VI are activated.
Existing watermarks – determines the method of handling a second Final Distributor code if Final Distributor codes are already present in the stream (NAES II HF and NAES VI). The options are:
Overwrite. The original watermarks are replaced with the new ones.
Preserve. The pre-existing watermarks are left intact; new watermarks are inserted only in portions of the audio stream where there are no pre-existing watermarks.
|Please note that legacy NAES II watermarks will be overwritten, and Nielsen watermarks NAES VI will be appended. Unlike NAES II watermarking, Nielsen watermarks processing does not support the overwriting of audio codes that are present in the stream before watermarking process begins. Instead, the watermark engine leaves space for a second (and possibly a third) Final Distributor SID in the program band.|
|Nielsen recommends skipping LFE channel, surround left channel and surround right channel from NAES VI encoding to fix audibility issue.|
Special Note on the Use of Dolby Trademarks
Dolby Laboratories encourages use of Dolby trademarks to identify soundtracks that are encoded with Dolby technologies. This is an effective way to inform listeners of the soundtrack format, and the use of a standard logo promotes easy recognition in the marketplace. However, as with all trademarks, Dolby trademarks may not be used without permission. Dolby Laboratories therefore provides a trademark agreement for companies that wish to use Dolby trademarks.
This agreement should be signed by the company that owns the program material being produced. Recording studios or production facilities that provide only audio production or encoding services for outside clients generally do not require a trademark license. If you would like more information on obtaining a Dolby trademark license, please contact Dolby Laboratories, or visit www.dolby.com.
Dolby® Digital Encoding Settings
To use Dolby® Digital Professional Encoder in the output audio channel being configured, select the "Dolby Digital Pro Encoder" option from the channels drop-down list; this will enable 4 more input channels:
Define the input channels mapped to this output audio channel by choosing the desired values (from 0 to 63) from the corresponding drop-down lists. In this dialog you can also define a virtual metadata channel to which audio encoder will connect; metadata from items in the Cinegy Air playlist will be recorded to this channel.
Dolby® Digital Professional Encoder settings, preset by default, work in most scenarios.
If you want to change default values, press the "Settings…" button; the following "Dolby Digital Professional Encoder Settings" dialog appears:
In this dialog a number of audio and bitstream parameters can be defined.
Audio Service Settings
Audio Coding Mode – the number of audio channels of the encoded stream in the x/y format, where x is the number of front channels and y is the number of rear (surround) channels. To include LFE (Low Frequency Effects) channel in the encoded stream, select the "LFE On" option.
|Please note that the "LFE On" option is not available for 1/0 and 2/0 audio coding modes.|
Data Rate – the data rate for the encoded audio file. The higher the rate, the better the quality.
Bitstream Mode – the content type of the encoded material.
Dialog Normalization – the average dialog volume level that is used to match audio volume between program sources. The decoder attenuates the program volume based on this value to achieve the consistent volume level across the programs. This level is specified on an absolute scale ranging from -1 dBFS to -31 dBFS.
Bitstream Information Settings
Center Downmix Level – if the encoded audio contains three front channels (Left, Center and Right), but the receiver contains only two front speakers (left and right), this parameter defines the attenuation level for the Center channel.
Surround Downmix Level – if the encoded audio contains one or more surround channels and the receiver does not have surround speakers, this parameter defines the attenuation level for the surround channel(s).
Dolby Surround Mode – when 2/0 (stereo) audio coding mode is used, this parameters defines whether the signal is coded as Dolby® Surround. This information is used by Dolby® Pro Logic decoders.
Audio Production Information – select this option to make the room type and mixing level values valid.
Room Type – the type of the room where the mixing session took place.
Mixing Level – the peak sound pressure level (SPL) used during the mixing session.
Copyright Exists – select this checkbox to indicate that the encoded material is copyrighted.
Original – select this checkbox to indicate that the encoded material is original content.
Extended Bitstream Information Settings
Select the "Extended Bistream Information" checkbox to enable additional parameters for stereo downmixing. If the "Extended Bistream Information" option is not selected, the Dolby Digital Legacy stream is used.
Preferred Stereo Downmix Mode – this parameter allows you to select the preferred Lt/Rt or Lo/Ro downmix. This setting is available for 3/2, 3/0, 2/1, 3/1 and 2/2 audio coding modes.
Lt/Rt Center Mix Level – the nominal attenuation level of the center channel with respect to the left and right channels in a Lt/Rt downmix.
Lt/Rt Surround Mix Level – the nominal attenuation level of the surround channels with respect to the left and right channels in a Lt/Rt downmix.
Lo/Ro Center Mix Level – the nominal attenuation level of the center channel with respect to the left and right channels in a Lo/Ro downmix.
Lo/Ro Surround Mix Level – the nominal attenuation level of the surround channels with respect to the left and right channels in a Lo/Ro downmix.
Dolby Surround EX Mode – define whether the material is to be encoded in Dolby® Surround EX. This setting is available for 3/2 and 2/2 audio coding modes.
A/D Converter Type Indication (HDCD) – select this checkbox to indicate that audio has passed through a particular A/D conversion stage, so that a decoder may apply the complementary D/A process.
Line Mode DRC Profile – the profile for the line mode dynamic range compression.
RF Mode DRC Profile – the profile for the RF mode dynamic range compression.
Surround Channel 90-Degree Phase Shift – define whether the 90-degree phase shift should be applied to the surround channels for a simple Lt/Rt downmix to create a true Dolby® Surround compatible output.
Surround Channel 3 dB Attenuation – define whether the 3 dB attenuation has been applied before encoding, when encoding it for consumer home theater playback.
Bandwidth Lowpass Filter – define whether the lowpass filter is applied removing the high frequency signals that are not encoded.
LFE Lowpass Filter – define whether a 120 Hz lowpass filter is applied to the LFE (Low Frequency Effects) channel. This option is not available if the LFE channel is disabled.
DC Highpass Filter – define whether a DC-blocking highpass filter is applied to all input channels.
Press the "Defaults" button to restore default Dolby® Digital Encoder settings.
Press "OK" to apply your settings or "Cancel" to discard the changes and exit the dialog.
Having configured the Dolby® Digital audio settings, press the "OK" button in the "Audio output" dialog to apply your settings.
The changes will be reflected on the graphic scheme:
Dolby® E Encoding Settings
To use Dolby® E Encoder in the output audio channel being configured, select the "Dolby E Encoder" option from the channels drop-down list; this will enable 6 more input channels:
Define the input channels mapped to this output audio channel as described above.
If you want to change default values, press the "Settings…" button; the following "Dolby E Encoder Settings" dialog appears:
Define the following parameters:
Bit Depth – use the drop-down list to choose whether the 16- or 20-bit Dolby E bitstreams will be encoded.
Program configuration – use the drop-down list to choose to select the required program configuration preset.
Check the corresponding options to enable using bitstream keys and DolbyDigital metadata options.
The rest of parameters are split into tabs according to the bitstream type and can be configured as described above.