EQ is one of the central tools of the audio production process and with a modest amount of knowledge and practice, a little can go a very long way to improving the subjective quality of a broadcast.
Working for the Royal Ocean Racing Club, UK, organisers of the Fastnet Race, streaming and broadcast production company Optical Media was tasked with providing eye-catching coverage of the start of the race in late July. The largest offshore contest in the world, the bi-annual event begins at Cowes on the Isle of Wight, and finishes in Cherbourg, France, having first ventured out into the Atlantic Ocean.
Sending out a crew to capture a real-world environment can be a more straightforward option than creating a virtual world, but there are some quite specific considerations affecting how the material is shot and prepared for use.
Keeping audio levels under control is the foundation of audio mixing, and Dynamics Processors give us tools to automate level control in various ways.
John Watkinson continues his exploration of the potential for a true motion tv system that requires the complete removal of frame sampling to make each pixel a continuous representation of the image thus removing motion artefacts.
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Our series exploring the basic technology and tools of audio in broadcast continues with a collection of four articles which discuss the purpose and features of the essential audio sweetening tools; Dynamics, EQ and Noise Control.
