Florian Camerer - Academia.edu (original) (raw)
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University of the Basque Country, Euskal Herriko Unibertsitatea
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Papers by Florian Camerer
De Gruyter eBooks, Dec 12, 2013
arXiv (Cornell University), Oct 12, 2020
The design of a 9-channel microphone system for location recording of mainly atmospheres will be ... more The design of a 9-channel microphone system for location recording of mainly atmospheres will be described. The key concept is matching the recording and reproduction angles of the individual sectors. The rig is designed for the AURO-3D 9-channel playback system (4 height speakers). An analysis of the reproduction layout will be included, as well as recording concepts like the Stereo Recording Angle (SRA), Williams curves, Scale Factors for different reproduction angles than 60° and diffuse field decorrelation. Finally, practical aspects like microphone mounts and windshields for such a system will be presented.
SMPTE Motion Imaging Journal, 1962
Handbuch der Tonstudiotechnik, 2013
This article describes one of the most fundamental changes in the history of audio in broadcastin... more This article describes one of the most fundamental changes in the history of audio in broadcasting: the change of the levelling paradigm from peak normalisation to loudness normalisation. This change is vital because of a problem that has become a major source of irritation for television and radio audiences around the world – that of the jump in audio levels at the breaks within programmes, between programmes and between channels. Loudness normalisation is the solution to counteract this problem. EBU Recommendation R 128 [1] establishes a predictable and well-defined method to measure the loudness1 level for news, sports, advertisements, drama, music, promotions, films etc., through-out the broadcast chain, and thereby helps professionals to create robust specifications for ingest, production, playout and distribution to a multitude of platforms. Four supporting documents have been created by the EBU to aid the audio industry to work with Rec. R 128. It is based entirely on open st...
The design of a 9-channel microphone system for location recording of mainly atmospheres will be ... more The design of a 9-channel microphone system for location recording of mainly atmospheres will be described. The key concept is matching the recording and reproduction angles of the individual sectors. The rig is designed for the AURO-3D 9-channel playback system (4 height speakers). An analysis of the reproduction layout will be included, as well as recording concepts like the Stereo Recording Angle (SRA), Williams curves, Scale Factors for different reproduction angles than 60 degrees and diffuse field decorrelation. Finally, practical aspects like microphone mounts and windshields for such a system will be presented.
This article describes one of the most fundamental changes in the history of audio in broadcastin... more This article describes one of the most fundamental changes in the history of audio in broadcasting: the change of the levelling paradigm from peak normalisation to loudness normalisation. This change is vital because of a problem that has become a major source of irritation for television and radio audiences around the world – that of the jump in audio levels at the breaks within programmes, between programmes and between channels. Loudness normalisation is the solution to counteract this problem.
De Gruyter eBooks, Dec 12, 2013
arXiv (Cornell University), Oct 12, 2020
The design of a 9-channel microphone system for location recording of mainly atmospheres will be ... more The design of a 9-channel microphone system for location recording of mainly atmospheres will be described. The key concept is matching the recording and reproduction angles of the individual sectors. The rig is designed for the AURO-3D 9-channel playback system (4 height speakers). An analysis of the reproduction layout will be included, as well as recording concepts like the Stereo Recording Angle (SRA), Williams curves, Scale Factors for different reproduction angles than 60° and diffuse field decorrelation. Finally, practical aspects like microphone mounts and windshields for such a system will be presented.
SMPTE Motion Imaging Journal, 1962
Handbuch der Tonstudiotechnik, 2013
This article describes one of the most fundamental changes in the history of audio in broadcastin... more This article describes one of the most fundamental changes in the history of audio in broadcasting: the change of the levelling paradigm from peak normalisation to loudness normalisation. This change is vital because of a problem that has become a major source of irritation for television and radio audiences around the world – that of the jump in audio levels at the breaks within programmes, between programmes and between channels. Loudness normalisation is the solution to counteract this problem. EBU Recommendation R 128 [1] establishes a predictable and well-defined method to measure the loudness1 level for news, sports, advertisements, drama, music, promotions, films etc., through-out the broadcast chain, and thereby helps professionals to create robust specifications for ingest, production, playout and distribution to a multitude of platforms. Four supporting documents have been created by the EBU to aid the audio industry to work with Rec. R 128. It is based entirely on open st...
The design of a 9-channel microphone system for location recording of mainly atmospheres will be ... more The design of a 9-channel microphone system for location recording of mainly atmospheres will be described. The key concept is matching the recording and reproduction angles of the individual sectors. The rig is designed for the AURO-3D 9-channel playback system (4 height speakers). An analysis of the reproduction layout will be included, as well as recording concepts like the Stereo Recording Angle (SRA), Williams curves, Scale Factors for different reproduction angles than 60 degrees and diffuse field decorrelation. Finally, practical aspects like microphone mounts and windshields for such a system will be presented.
This article describes one of the most fundamental changes in the history of audio in broadcastin... more This article describes one of the most fundamental changes in the history of audio in broadcasting: the change of the levelling paradigm from peak normalisation to loudness normalisation. This change is vital because of a problem that has become a major source of irritation for television and radio audiences around the world – that of the jump in audio levels at the breaks within programmes, between programmes and between channels. Loudness normalisation is the solution to counteract this problem.