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Linear Acoustic LA-5180 Metadata Frame Sync/Generator Operation Manual
7.4
Typical Program Scenarios
The following section will describe a number of different program types and the process
used to successfully produce and deliver those programs to a network with proper audio
and metadata. Although actual programs and network requirements will vary, these basic
scenarios can be used to design an approach that fits any application.
One fundamental aspect of each of the following examples is that the audio monitoring
system must be accurately calibrated and have the ability to monitor the audio with meta-
data applied to it. If these requirements are met, the audio quality heard at the point of pro-
duction will make it all the way to the consumer.
It is very important to note that in every situation described, the metadata is modified to
match standard mixing practices, not the other way around. Metadata can be thought of as
a descriptive shell around the program, or like an accurate label on the tape box that is au-
tomatically read and applied.
7.4.1
Live Sporting Event
In a broadcast truck parked outside a stadium, the program mixer listens to the audio in a
calibrated environment and chooses the appropriate metadata for the audio programs be-
ing created. The appropriate dialnorm value depends on things such as the operating level
of the truck and where the audio mixer sets announcer levels. Using a loudness meter such
as a Dolby LM100, the dialnorm value can be measured and inserted using the LA-5180.
Once set, it is not necessary to change this value for the duration of the program as dial-
norm is now calibrated to the meters on the console. If an announcer were to suddenly
reduce in level, the mixer would use a fader to correct the level- not dialnorm. Suggested
values for the remaining metadata parameters are shown in the table at the end of this doc-
ument.
The resulting audio program, together with metadata, can be encoded and sent back to the
network via fiber, microwave, or other transmission link. At the receiving end of this trans-
mission, the stream is decoded back to baseband audio and metadata. The audio program
is monitored and the metadata is altered or re-created as other elements of the program are
added in preparation for broadcast. This new audio program/metadata pair can then be
kept as baseband with metadata being inserted into the VANC space. The audio then
leaves the postproduction studio in either baseband or compressed form and is passed
through the plant to Master Control. The audio program that is selected by master control
plus its associated SAP or Visual Descriptive audio (if present) can then be distributed to
affiliates using Linear Acoustic e-squared, Dolby E, or some other method.
At the local station, the stream is decoded back to baseband audio and metadata. The audio
program is monitored and the metadata is altered or re-created as other elements of the
program are added in preparation for broadcast. This new audio program/metadata pair
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Metadata
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