Issue link: https://digital.copcomm.com/i/17668
Surround for Spots also spill over into the mixing studio.“The LFE and a subwoofer are two different things,” reports Goldblatt.“From a mixing standpoint,we never know how a consumer sets up things at home. I am always con- scious of the LFE track and how someone at home may be diverting additional informa- tion or frequencies to the subwoofer.That means they could have a double build up, so to speak, of low-end material.That’s why for commercial work, I use the LFE sparingly and just to fill things out. “The exception would be something spe- AudioEngine’s Tom Goldblatt starts with a stereo mix and uses the approved version as a blueprint for the 5.1 mix. or ambient or broad effects to widen the sweet spot. Again, I am always thinking of the fold down, so when I have reason to anchor down something in the rear speak- ers, I know it is going to translate well in the fold down.” One of the most common variations be- tween the studio and the home environ- ment is the how the LFE or subwoofer is set-up. Most audio professionals would agree that a common problem with many consumers home theater systems is the subwoofer is set too loud.The confusion can cific like the Motorola spot I did for the Super Bowl where there were explosions,” he con- tinues.“At that point, I wanted to take full ad- vantage of the LFE. I made sure that I was not feeding the LFE information to the left and right channels in the same amount. I was making full use of the LFE channel, but I was conscious of anyone at home that may not have had their systems set up properly so they would not get any addition information sent to the LFE other than what I intended.” Deliverables and specs for commercials have always been subject to variation, changes and, in some cases, unknown alto- gether. Even so, there are some common practices that Goldblatt has experienced. “We are producing a true stereo and the discrete 5.1 mix for the master tapes.The tape format I see most often is D-5, but we often use HDCAM SR as well. The most common track layout for the audio tracks on the master videotape depends on the tape format. On a D-5, the channels 1 through 8 are usually L, R,C, LFE, Ls, Rs, and then stereo or an Lt/Rt if it was produced.The Lt/Rt mix is normally not done for commercials, it more often used for cinema work. And for an HDCAM SR tape, it is often requested to have the 2-channel mix be on 9 and10, rather than 7and 8 like on the D-5. Now only one mix will be broadcast, the 5.1, so the stereo mix on the other tracks can be used for different medium like the Internet. ” What makes this topic even more com- plicated, continues Goldblatt, “is that if I don’t produce a 5.1 mix, then the stations could possibly upmix the stereo mix to a 5.1 mix that could be then downmixed back to stereo again! That is very concerning to me. So, stereo is gone truly gone from broad- cast. Single-thread delivery is the rule so if you are not producing a 5.1 mix, then they might broadcast one anyway.” » 48TB with 8 x 8Gbit FC host connections per 24 bay enclosure » Up to 2300MB/sec per 24 bay enclosure » Aggregate multiple enclosures to increase both storage capacity and performance with the HyperDrive file system » Unify SAN, NAS and Archive under a single global namespace » Efficiently allocate block or file level storage with the proper performance to all users including graphics, editing, rendering, DI, color correction and archive » Application Tested: Assimilate, Autodesk, DaVinci, Digital Vision, Iridas as well as NLE Systems Galaxy Aurora ® Get your facility into HyperDrive Integrated storage solutions for Media & Entertainment © Rorke Data. All rights reserved. Rorke Data and the Rorke Data logo are registered tradmarks of Rorke Data Inc. All other trademarks and logos are the property of their respective owners. www.rorke.com