“If you can’t stand the heat, get out of the kitchen,” U.S. president Harry S. Truman famously said. But when there’s a cooking show to produce, audio engineers have no alternative but to improvise.
With this year’s Super Bowl LVI telecast coming smack dab in the middle of the Winter Olympics, NBC Sports crews will have their hands full. Having to navigate both high profile events on the same day, NBC is calling it the “one of the greatest days in the history of television sports [production]” and a “Once In A Lifetime” event.
If you are going to try and convey the bone-rattling power of nitro-fueled cars drag racing down a quarter-mile track to viewers at home, what better way than to mix it in Dolby Atmos?
M-S techniques provide useful sound-field positioning and a convenient way to check mono compatibility. We explain the hard science behind this often misunderstood technique.
John Hunter holds a unique distinction among broadcast audio mixers: he was the A1 for the NBA Raptors vs. Pelicans basketball game in November 2018, one of the very first sports events to be produced in immersive Dolby Atmos sound with 4K HDR picture for live distribution to homes across North America.
Optimization gained from transitioning to the cloud isn’t just about saving money, it also embraces improving reliability, enhancing agility and responsiveness, and providing better visibility into overall operations.
If 2020 was considered a disruptive one for the television production community, 2021 was a year where trial and error and the lessons learned became real-world REMI deployments to keep live sports and entertainment content on the air. Production studios too learned to adapt with fewer crew allowed inside and social distancing becoming the new normal.
In looking back at the brief history of digital audio there are a few salient points that may help us to see where the technology may go in the future.