AUDIO-FOR-VIDEO WORKSHOP

Crowd and background noise bleed into a commentator feed, old assets missing their splits, and unlicensed music caught in the background of content filmed on the sidelines of a sports event. Hear how sound separation is opening up audio recordings for greater control, distribution, and monetization.

What if we could stream immersive virtual events in which audio objects coincide spatially with displayed visuals, or music and soundtracks amenable to artifact-free instrument or language substitution? We explore the evolution of object-based immersive audio technology toward the unification of broadcast content and embodied experience ecosystems. We introduce the notion of Acoustic Objects, providing a universal spatial audio scene representation model for the creation and distribution of personalizable and navigable music, multimedia, and virtual or extended reality sound, in entertainment and business applications.

Audiences are unforgiving when it comes to sound. And in high pressure, live productions, the A1 is often the unsung hero. Maintaining intelligible, impactful, high quality audio under unpredictable conditions is their stock and trade. And with entertainment now integrating more into “the mix” – from corporate to sports – juggling multiple sources and localized feeds in real time has only gotten more complex.

Glenn Stilwell will pull back the curtain on the ultra-fast load-in, to first pitch broadcast for MLB. Dealing with multiple camera feed frame delays, syncing pinnacle moments in sports is an artform. We get to hear all the details on how it happens for thousands of games from April to October.