Remote Audio Control Room AT VIDI IN Darmstadt
Audio is emotion, audio is information, audio is an essential part of every modern TV production. With 3D audio, the viewer experience can become even more intense, more emotional. The Remote Audio Control Room (RACR) is the ideal solution for a high-quality, immersive 3D surround production.
Our RACR service portfolio in detail:
- High-quality mixing environment with perfect acoustics
- Low latency mixing, low technical effort when connecting to existing OB van
- Full ST2110 IP-based connection between the venue and the audio control room
- Mixing engine at the venue and redundant unit at the Darmstadt VIDI RACR site
Read more under the report from LowBeats about this joint customer project "how Sky makes soccer even more exciting with Dolby Atmos!"
Below are some excerpts from the report.
Felix Krückels in his element (Photo R.Vogt)
Parallel: Sound production stereo, surround, Dolby Atmos and more.
VIDI mixes the audio signal not only in Dolby Atmos. Classic 5.1 and stereo in German are produced in parallel. In addition, there are versions for foreign countries without a German commentator in all formats, as well as a special version for public viewing, pubs and sports bars. The latter have their own audience and their own atmosphere, which is why the stadium atmosphere is diminished and the audio impression of the actual game is enhanced.
The latter is especially true for the noise caused by kicking the ball. This typical "pop" would almost be lost in normal, dynamically linear transmission. Therefore, Felix Krückels works at the mixing console with a special plugin: The "Transient Designer" allows exactly this typical kick to be amplified acoustically and thus to stand out from the mass of surrounding noise in a controlled way.
This is done discreetly for the audience at home, while the mix for the sports bars gets a richer portion of "pop", so that the kick remains easily perceptible even in the noise of the pub.
Complex: The sound engineer has to maintain communication with the control room at the stadium, mix Dolby Atmos, 5.1 and stereo, and constantly monitor.
(Photo: R. Vogt)
It's an ambitious task that requires having the entire event in view and under control. Ultimately, it only works because the huge number of sound channels can be premixed in several stages.
Thus, during the running game, only the acoustic perspectives have to follow those of the camera and be adapted to the different situations with the balance of atmosphere, events on the field, commentary.