Most companies use NAB to announce new products, features or new releases. We at Emotion work differently. We are very customer driven and we are geared to deliver new features and product releases based on our customer requirements and so, I thought we would present our work (from last NAB to now) based on what we have been doing with and for a number of customers.
1. Duration-based Loudness for file with PCM and Dolby E for MX1
When MX1 in Germany needed to add loudness compliance to their file-based workflow they had to look at the fact that their files contained a wide range of different Dolby E audio configurations. Their original approach had been to decode all of the Dolby E, carry out Loudness correction, then re-encode. Due to the number of different channel layouts, this was proving difficult to achieve with their existing loudness solution.
Engine takes a different approach though, and can take files with any combination of Dolby E encoding, and also with regular PCM stereo pairs, and provide full loudness compliance all from just one workflow, meaning the initial implementation was extremely quick and simple. Read more here…
2. QuickTime MOV files with two MOOV atoms at Premiere Digital Services
Loudness compliance to a wide range of standards was required for a mixture of international and online delivery platforms at Premiere Digital Services. Premiere had QuickTime (QT) MOV files that had two MOOV atoms – these define different durations. Such files cannot be correctly processed by many existing tools so it was necessary to modify the files to have only a single MOOV atom. Read more here…
3. Sky’s UHD/ATMOS workflow required guard band correction of MXF files containing Dolby ED2.
This is a simple function to automate within Engine. Come see it for yourself at NAB!
4. France TV were installing new channels and wanted automated loudness analysis and reporting tool for these channels.
Once the quality of Engine’s correction solution have been verified, and the realisation of the amount of effort required to manually correct the files, Engine was expanded to automatically correct all files as well, ensuring seamless compliance with R128, and with no operator intervention required. Try it at NAB or get a free trial here.
5. Canal+ have MXF files that contain Dolby E encoded audio descriptor (commentary) tracks, and these have to be replaced with different commentary to suit the target language.
Due to the time taken to extract the audio from the MXF, then decoding the Dolby E, then re-encoding using the new audio, and finally re-inserting into the MXF file, Canal were getting this process done in an edit suite. The entire process can now be 100% automated in Engine using a pre-defined workflow under API control from a Telestream Vantage, an Aspera Orchestrator, or from a bespoke MAM.
So what’s your story? We’d love to know more!
Contact us, call us, meet us at NAB at booth SL6024.