Audio

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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 AC-3 decoder and encoder parameters, if needed.

Note
 The automatic audio fading of 1 frame duration is applied by default at playlist item switching. Automatic audio fade mode can be disabled by setting the "AutoAudioFade" to "0" in the Cinegy Playout instance configuration file. The configuration file is stored at the following location: C:\ProgramData\Cinegy\CinegyAir\Config\Instance-n.Config.xml, where n is the Cinegy Playout instance number.

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. Cinegy Playout engine outputs are fixed to 8 stereo audio pairs.

Important
 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.

Configure_engine_instance_audio

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:

audio_input_settings

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:

audio_tab_configured

AC-3 Decoding Settings

To use an AC-3 decoder in the input audio channel being configured, select the corresponding checkbox in the "Audio input" dialog; this will enable 4 more output channels:

Audio_input_ac3

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.

Select the "PCM passthrough" checkbox to pass PCM encoded audio to the output.

Use the "Metadata channel" drop-down list to define a virtual metadata channel to which the audio decoder will connect.

Having configured the AC-3 decoder 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 to the input channels.

Press the button of the corresponding channel in the "Output" column; the following dialog box appears:

audio_output_settings

Select the "2 Channels" encoding type from the drop-down list for stereo audio encoding:

Output_channels

Select the "Clean audio output" option to target specific audio output groups with clean refined audio.

The "Embed DTMF" option allows embedding of DTMF tones into the audio output audio signal. The DTMF tones configuration is performed on the "DTMF" tab.

Also, specify the input channels settings and press "OK" to apply changes.

Loudness Control

Selecting the "Loudness control" option enables the preset configurations provided by Minnetonka Audio Software.

Note
 To use the Loudness Control feature, a special license should be provided by Minnetonka Audio Software obtainable through Cinegy as a paid extra. For more details about purchasing licenses, please contact the Cinegy Sales Team.
Caution
 Selecting the "Loudness control" option without the proper license will prevent the Cinegy Playout engine from starting.

Press the "Settings" button located next to the "Loudness control" option. In the revealed window, specify the following loudness control settings:

loudness_control_settings

  • Profile – select the required preset profiles from the drop-down list of available profiles:

    available_profiles
    Note
    		 All profiles, depending on the implemented settings, achieve technical compliance in accordance with loudness recommendations based on ITU-R.BS1770-4.

  • Target Loudness Level – use the arrows_buttons buttons to define the Target Loudness Level at which the incoming average level normalization is aimed.

  • Maximum True Peak – define the threshold level of the True Peak Limiter applied at the output stream of the processing chain.

  • Adaptation – define the amount of loudness adaptation applied to the incoming signal.

  • Program Loudness – define the Program Loudness level of the source signal.

  • True Peak Limiter – select/deselect this option to enable/disable the True Peak Limiter.

  • Compliance Window – define the duration, in seconds, of the last part of the program being played.

  • Compliance Speed – define the amount of Loudness Units (LU) gain or attenuation allowed per second.

  • Average Maximum Gain – use the drop-down list define the maximum gain applicable to the average program level processed according to Compliance Window and Compliance Speed.

  • Average Maximum Attenuation – use the drop-down list define the maximum attenuation applicable to the average program level processed according to Compliance Window and Compliance Speed.

    Note
    		 It is not recommended to set the "Average Maximum Attenuation" value greater than 6 LU.

Watermarking

Important
 Cinegy Air uses the 4.1.2 Nielsen SDK version. This SDK version requires that the customer provides proof of certification, in the form of a license file, to be added to the Cinegy Playout engine installation folder. If you have not passed a formal certification and do not have this file, please do not install this release version and contact your Nielsen or Cinegy representatives to discuss the certification. A test license can be provided for evaluation which will insert standard test identifiers.

The "Watermarking" group provides parameters for Nielsen watermarking encoding/decoding configuration and Kantar watermarking. To enable watermarking functionality choose the required watermarking type by selecting the corresponding option:

nielsen_watermarking_options

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.

Note
 All output devices used in the same channel will have the same watermarking parameters applied (SID, watermarking type, etc.).

Nielsen Watermarking Type Configuration

Caution
 Please ensure that all parameters for Nielsen watermarking and CBET (if selected) options are filled in fully and correctly; otherwise, the engine will fail to start. Please deselect these options to restart engine correctly.

The following parameters are available for the NW type 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:

    • NAES II – for Legacy NAES II watermarking;

    • NW watermarking;

    • Both NAES II and NW 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 NW). 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.

Note
 Please note that legacy NAES II watermarks will be overwritten, and Nielsen watermarks NW 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.
Note
 Nielsen recommends skipping LFE channel, surround left channel and surround right channel from NW encoding to fix audibility issue.

CBET Type Configuration

The CBET type configuration is similar to the NW one. Once the CBET option is selected, the following parameters can be configured:

  • CSID – Nielsen CBET Source ID.

  • Check digits – corresponds to the CSID and assigned when the Nielsen Watermark SDK is delivered.

    Note
    		 If the CBET check-digit string does not match the CSID, the authenticator does not permit watermarking with the CSID.

  • Existing WMarks – select either "Preserve" or "Overwrite" option from the drop-down list.

Note
 If the combination of CBET and NAES II watermarks is set, the output will contain CBET, NAES II, and NW watermarks.

Kantar Watermarking

Kantar watermarking requires a dedicated license. To acquire this license, follow the steps:

  1. Download the Kantar Media Authorization Tool from either partner portal or user portal within the "Utilities and Addons" section.

  2. Unzip the archive and run the AuthorizationCodeCL.exe file to generate the authorization code. The text file with an authorization code is created in the same folder.

  3. In order to get a watermarking embedding license, please contact Kantar Media support with the following information:

    • Product name and version

    • Customer name

    • Country

    • If different, country of broadcast

    • Channel(s) to be watermarked

    • Customer internal name for the hardware platform

    • AuthorizationCode for each hardware or login contact for online solution

  4. You will receive two license files from Kantar: license.lic - the Kantar license and license.aud - the Audience license. The Audience license contains the information about channels and channel identifiers.

    Specify the paths to the corresponding license files in the "Kantar" section in the "Audio" tab in the Cinegy Playout configurator:

    playout_kantar_watermark
    Note
    		 The Kantar and Audience licenses expiration date is displayed in the corresponding field.

    In the "Channel name" drop-down list select the name of the broadcast channel or enter it via keyboard. This channel name is defined in the Audience license.

The Kantar Audio Watermarking Embedder SDK generates events with text messages recorded in the log files. The logging must be configured in the "Logging" tab and full logging must be enabled. The log file can be found in the folder specified in the "Debug log folder" field.

Note
 Kantar watermarking introduces fixed 2 frame delay at 25/29.97 fps and 4 frame delay at 50/60 fps.
Note
 To maintain the accuracy between the Kantar watermarking timestamp and the Cinegy Air server system time, a timecode resynchronize function is applied once every 10 hours, or each time the times differ by more than 10 seconds and this process is displayed in the Cinegy Air logs.
Note
 If maintenance is required to the Kantar system or settings, the Cinegy Playout engine needs to be restarted and thus the effected channel will need to be taken off air. There is no impact on the audio signal by selecting or deselecting the "Kantar" option in the configuration settings, delays are added or removed by selecting/deselecting the "Kantar" option correspondingly.

AC-3 Encoding Settings

To use the AC-3 Encoder in the output audio channel being configured, select the "AC-3 Encoder" option from the channels drop-down list; this will enable 4 more input channels:

Audio_output_ac3

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 the audio encoder will connect; metadata from items in the Cinegy Air playlist will be recorded to this channel.

AC-3 Encoder settings, preset by default, work in most scenarios.

If you want to change default values, press the "Settings…​" button; the following "AC-3 Encoder Settings" dialog appears:

ac3_encoder_settings

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.

Note
 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).

Surround Mode – when 2/0 (stereo) audio coding mode is used, this parameters defines whether the signal is coded as Surround.

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 Bitstream Information" checkbox to enable additional parameters for stereo downmixing.

If the "Extended Bitstream Information" option is not selected, the 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 the 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 the 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 the 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 the Lo/Ro downmix.

Surround EX Mode – define whether the material is to be encoded in 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.

Preprocessing Settings

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 the simple Lt/Rt downmix.

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.

defaults_button

Press the "Defaults" button to restore default AC-3 Encoder settings.

Press "OK" to apply your settings or "Cancel" to discard the changes and exit the dialog.

Having configured the AC-3 audio settings, press the "OK" button in the "Audio output" dialog to apply your settings.

The changes will be reflected on the graphic scheme:

Audio_tab_ac3_output