Object-based audio applied to football broadcasts (original) (raw)
Related papers
Object-based audio for interactive football broadcast
Multimedia Tools and Applications, 2013
An end-to-end AV broadcast system providing an immersive, interactive experience for live events is the development aim for the EU FP7 funded project, FascinatE. The project has developed real time audio object event detection and localisation, scene modelling and processing methods for multimedia data including 3D audio, which will allow users to navigate the event by creating their own unique user-defined scene. As part of the first implementation of the system a test shoot was carried out capturing a live Premier League football game and methods have been developed to detect, analyse, extract and localise salient audio events from a range of sensors and represent them within an audio scene in order to allow free navigation within the scene.
Mixing the on-pitch audio for a live football event is a mentally challenging task requiring the experience of a skilled operator to capture all the important audio events. iBall is an intuitive interface coupled with an assistive mixing algorithm which aids the operator in achieving a comprehensive mix. This paper presents the results of subjective and empirical evaluation of the system. Using multiple stimulus comparison, event counting, fader tracking and cross-correlation of mixes using different systems, this paper shows that lesser skilled operators can produce more reliable, more dynamic, and more consistent mixes using iBall than when mixing using the traditional fader-based approach, reducing the level of skill required to create broadcast quality mixes.
VenueExplorer, Object-Based Interactive Audio for Live Events
2015
VenueExplorer is a new approach to broadcasting live events which gives more control to the audience than traditional viewing methods. Users can navigate around an ultra-high resolution video, zooming into the areas of the event which interest them and accessing extra content. VenueExplorer aims to be platform independent and runs in the browser. In this paper we describe the development of object-based audio rendering to create a more engaging and personalised experience than that of video alone. We use the Web Audio API (WAAPI) to process audio based on the users viewport. We also describe a library that has been developed as part of this project for the handling of location based audio objects.
The design of interactive audio soccer
Proceedings of the International Conference on Auditory Display (ICAD2007), 2007
The questions involved in the design of an interactive, audio only computer-based football game are explored. The game design process starts by exploring basic questions such as size of playing area, orientation, awareness of team mates and opponents and basic navigation. The project goes on to explore more advanced design issues, not addressed by previous audio only ball games, involving the provision of a multi-player perspective, requiring the provision of an intuitive means of supporting changes in ...
Soccer Sonification: Enhancing Viewer Experience
Proceedings of the 25th International Conference on Auditory Display (ICAD 2019), 2019
We present multiple approaches to soccer sonification, focusing on enhancing the experience for a general audience. For this work, we developed our own soccer data set through computer vision analysis of footage from a tactical overhead camera. This data-set included X, Y, coordinates for the ball and players throughout, as well as passes, steals and goals. After a divergent creation process, we developed four main methods of sports sonification for entertainment. For the Tempo Variation and Pitch Variation methods, tempo or pitch is operationalized to demonstrate ball and player movement data. The Key Moments method features only pass, steal and goal data, while the Musical Moments method takes existing music and attempts to align the track with important data points. Evaluation was done using a combination of qualitative focus groups and quantitative surveys, with 36 participants completing hour long sessions. Results indicated an overall preference for the Pitch Variation and Musical Moments methods, and revealed a robust trade-off between usability and enjoyability.
An Object-Based Audio System for Interactive Broadcasting
This paper describes audio recording, delivery and rendering for an end-to-end broadcast system allowing users free navigation of panoramic video content with matching interactive audio. The system is based on one developed as part of the EU FP7 funded project, FascinatE. The premise of the system was to allow users free navigation of an ultra-high denition 180 degree video panorama for a customisable viewing experience. From an audio perspective the complete audio scene is recorded and broadcast so the rendered sound scene at the user end may be customised to match the viewpoint. The approach described here uses and objectbased audio paradigm. This paper presents an overview of the system and describes how such an approach is useful for facilitating an interactive broadcast.
Object-Audio Capture System for Sports Broadcasting
SMPTE Motion Imaging Journal
Object-audio workflows for traditional flat broadcasts have recently appeared after the introduction of new audio formats such as MPEG-H and ATMOS. These formats allow for the creation of object-based mixes that can be dynamically rendered at the end user depending on their reproduction hardware. Until very recently, only post-produced content was being created for these formats but new broadcast standards in the US and Asia, as well as new hardware encoding engines for live production have made live sports in these formats more feasible. These formats allow for a fuller, more immersive sound design and allow for some possibilities of personalization. The issue then arises on how to capture live action from the field that would provide these object-audio workflows with the desired isolated sounds and accompanying metadata. Current field action capture systems provide a suboptimal amount of isolation from the crowd to highlight individual action sounds and dialog from the field. And in most cases, placing traditional microphones near the action is not possible. In this paper, we are presenting new microphone techniques and systems enabling better performance for sound capture that fulfill the needs of the future objectaudio broadcast formats. This includes beamforming techniques, automatic steering, and systems management of arrays of microphones.
Object-based radio : effects on production and audience experience
2016
for their roles in the creation of object-based radio drama "Breaking Out" in chapter 5. I would also like to thank, BBC R&D, BBC Radio Drama, BBC Radio 4, BBC Radio 5 Live for allowing me to experiment with their content and audiences. Finally, I would like to thank Samantha Chadwick and Dr Frank Melchior for their professional support which ultimately allowed this research to take place.
An Empirical Measurement Tool for Overall Listening Experience of Immersive Audio
2021
Even while immersive audio applications in consumer gadgets are flourishing, there are no empirical measurement tools available for measuring the Overall Listening Experience (OLE) of immersive audio. This work aims at developing a subjective method to evaluate immersive experience using questionnaire- Overall Immersive Audio eXperience (OIAX) and compare immersive spatial audio with stereo. The questionnaire measures six subscales of immersive audio attributes - Presence, Immersion, Emotion, Clarity, Depth and Readability. The tool provides the firsthand experience of immersive audio products with good reliability. It is handy for designers to create attractive virtual auditory scenes integral to consumer multimedia products.
Media Device Orchestration for Immersive Spatial Audio Reproduction
Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences, 2017
Whilst it is possible to create exciting, immersive listening experiences with current spatial audio technology, the required systems are generally difficult to install in a standard living room. However, in any living room there is likely to already be a range of loudspeakers (such as mobile phones, tablets, laptops, and so on). "Media device orchestration" (MDO) is the concept of utilising all available devices to augment the reproduction of a media experience. In this demonstration, MDO is used to augment low channel count renderings of various programme material, delivering immersive three-dimensional audio experiences.