Harris Flexicoder Manual
Like many other television outlets transitioning to digital transmission, KENS-DT was facing the dilemma of keeping audio properly distributed in our transmission feed. The San Antonio, TX, CBS TV affiliate station had to integrate regular stereo content with 5.1 surround material that was being transmitted in the CBS network feed. The DTV station's technical configuration is fairly simple.
The station has a pair of Harris HD IRDs provided by CBS, a pair of Dolby DP-572 Dolby E decoders and a Dolby DP-569 digital audio encoder, all ahead of a Harris Flexicoder and an Evertz 12 × 2 router as a DTV master control switcher. All of the DTV switching is done under Sundance automation control. Doing metadata switching between network and local programming was not so difficult.
The problem was how to deal with 2.0 content that CBS itself would intersperse through the 5.1 surround audio in the program. The options In order to solve the dissonance in the transition between the stereo and Dolby content, the engineering staff initially attempted to extract external metadata from the incoming signal and apply it to the final audio encoder, a DP-569. We connected a cable from the “metadata out” port on the DP-572 and connected it to the “metadata in” port on the DP-569. That worked for a while, until CBS became more sophisticated in its switching methods.
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Manual, and may not refl ect the product at the current ti me or an unknown ti me in the future. June 2012 HARRIS CORPORATION VIDIEM ELEMENT MANAGEMENT SYSTEM Release 6.0.0 Page 3. Release Number Release Date NetVX Firmware FlexiCoder DVS Firmware 6.0.0 06-28-12 8.6.0 to 1.0 4.1.10 to 3.7.0.
After that update, if we persisted in using the metadata extraction method, the encoder would often fail to switch back to 5.1 surround from 2.0 stereo. That left us with nothing but the front surround channels on the air instead of the full 5.1 surround. Another alternative to automatic metadata switching left the encoder in 3/2L mode all the time, causing dramatic spatial and level shifts whenever the program content changed between 5.1 surround material and 2.0 stereo commercials and local content.
This was unacceptable. The team also fired a GPI closure during stereo programming, switching the audio encoder into its 2.0 mode. This at least was better than allowing the broadcast audio content to be all over the landscape, so to speak. Although, it introduced another manual operation to an operator's already busy workload. By mid-2005, the station's engineering team had no idea how to automatically transition between mixed audio formats. The thought of using mixers and surround audio detectors was not appealing and would have been a primitive solution at best.
Plus there was no solution to the problem of how to reliably record HD content with 5.1 surround audio for delayed broadcast. Then, Reed Wilson, an A. Belo technology manager, suggested a solution that was successful for WFAA-TV in Dallas. The Neural-THX Surround MultiMerge from Neural Audio is a way to automatically and seamlessly switch between 2.0 and 5.1 audio content. The install and setup My initial research on the MultiMerge suggested that it was a plug-and-play device. We would simply switch it on and place it in the digital audio stream between the multichannel output of our master control switcher and the input of the Dolby audio encoder. The unit would do the rest.
We set up a range of inputs and outputs on our audio patch panel and awaited delivery of the device. As with any digital device requiring synchronization between audio and video, it is important to provide AES reference to the Neural-THX. With a stable reference, you can be certain the lip-sync adjustments remain where you put them. The station team used a standard AES silence at 48KHz applied to the word clock input on the back of the unit. The setup illustration in Figure 1 above shows the MMC-100 (MasterPlus) AES audio outputs as they pass through one jack field onto the audio processor and finally to the DP-569. For EAS events, the DP-569 is switched to 2.0 stereo operation through a GPI closure to pass EAS audio from the TFT 999, and it is switched back to a Neural 5.1 preset (which we created) once the EAS event concludes.
Harris Manual
Now we switch multiple HD sources using a 12 × 2 router controlled by GPI from our automation system. And instead of audio from the MMC-100, we now have a final demultiplexer card that separates out three AES pairs for delivery to the unbalanced 75? Neural-THX inputs. The front panel is clean and uncluttered, with simple status indicators, an LED display showing the type of audio input and a separate audio bar graph for each audio channel. The meters can be switched to show input or output.
Since installation, we have upgraded to the new Neural-THX MultiMerge + Neural Loudness Control (NLC). It has all-unbalanced AES audio inputs and outputs, simplifying cabling to and from our final audio demux and the encoder. The initial on-air test When we tested the system for the first time, we were already broadcasting a CBS network show in Dolby 5.1 surround. When we inserted the device into the program stream at the end of a commercial break, the audio processor immediately recognized the Dolby 5.1 audio stream and passed it through without alteration. It doesn't add coloration or change the 5.1 audio. It was completely transparent to the stream.
Harris Flexicoder Manual
When we transitioned from network programming to local material, the transition was equally seamless. The local stereo audio remained as full and rich as the network surround content had been, and the spatial distribution of all audio channels likewise remained consistent, delivering a pleasing listening experience. The upgraded model with NLC has level control capabilities to deliver audio with consistent quality and at the correct level. With no particular adjustments to the final audio encoder, the first audio processor delivered an excellent performance just by virtue of its presence in the program stream.
But to make the audio sound its best, we created a preset for the audio processor in the Dolby encoder, which we named Neural 5.1. This preset guarantees that the metadata settings remain consistent, which in turn assures seamless, transparent operation at all times.
And since adding the version with NLC, the station team can create individual operating profiles based on a number of presets built into the unit. The user manual is helpful for getting the desired presets loaded and modified to suit local needs. KENS knew it wanted to retain the open sensation of 5.1 surround audio without too much processing. However, the station wanted control over the sometimes aggressive loudness in a few local commercials. Through experimentation, the team reached a compromise that keeps the commercial blasters reined in while holding on to the dynamic range of the surround audio. Once the target dialnorm was set to -22dBFS, most of the -23 preset was very close to where we wanted it. Conclusion The station has experienced only minor issues with the MultiMerge and the MultiMerge +NLC upgrade since installation.
(See Table 1.) Like most new equipment, it was necessary to upgrade the firmware to the latest version. With the MultiMerge + NLC, the station has the best-sounding audio of any DTV station in the San Antonio market. Other stations in the market are forced to switch their audio between 5.1 and 2.0 on a regular basis. The spatial shift when listening to them as they switch is exactly what we avoid by using the this system. It is truly a plug-and-play device, requiring little maintenance or adjustment once configured. Jerry Paonessa is assistant director of technology, broadcast media, for KENS-DT, a CBS affiliate in San Antonio, TX.
LAS VEGAS, Nevada - Harris Corporation today introduced three new digital television (DTV) encoders - expanding its family of ATSC MPEG-2 encoding systems. The company also released next-generation software that significantly upgrades the capabilities of its entire encoder line. Harris' newest DTV encoders include two entry-level models - the Unicoder™ SD (standard- definition), and the UniCoder™ HD (high-definition) units for single-channel applications - as well as the mid-range FlexiCoder™ VS5 platform. These systems extend the performance benefits of Harris' popular, top-capacity FlexiCoder™ VS21 system, which has been widely accepted in the marketplace since its introduction last year. Nearly half of all broadcasters offering locally encoded DTV service are using the FlexiCoder configuration. The FlexiCoder system is also among the first to pass interoperability tests with receivers from leading consumer electronics manufacturers including LG Electronics, Mitsubishi, Panasonic, Philips, Samsung, Sharp, Sony, Thomson and Zenith.
Now available in 24 configurations, Harris encoders allow broadcasters to select the model that most precisely matches their requirements - from basic, single-channel encoding to fully redundant multi-channel and high-definition encoding. The Harris line, which is based on a plug-in modular architecture, gives broadcasters a cost-effective migration path to DTV, allowing them to invest in what is needed today, and then easily expand in the future.
'Harris research shows that broadcasters' biggest concern during the DTV transition is 'getting it right,' which means investing in upgradable equipment that can evolve as the industry does,' said Jay Adrick, vice president - systems integration for Harris' Broadcast Communications Division. 'Our expanded encoder line meets the needs of all broadcasters - from stations that simply want to get on the air to meet the FCC mandate to major-market affiliates who need to switch seamlessly between multiple channels of standard-definition and prime-time high-definition - or even combined high-definition and standard-definition broadcasts.'
Single-Card High-Definition Encoding Along with the expanded range of encoding products, Harris has released a new encoder module - the HDP 100. Supporting the entire Harris encoder line, the HDP 100 enhances system versatility by allowing a single module HD solution in any system enclosure.
The Power of Choice Each Harris encoder is configured by combining modules that provide desired capabilities in a system enclosure. System capability, expandability and versatility are dictated by the size of the enclosure. The same set of modules is used throughout the Harris line - from entry-level up to the top-capacity system, ensuring consistent performance with maximum flexibility throughout the product line. Joining the 21-card FlexiCoder VS21 system are the:.
Harris UniCoder SD and UniCoder HD: An ideal and affordably-priced solution for broadcasters who need only a single channel of standard-definition or high-definition encoding when they first transition to DTV, UniCoder systems include either an SD or HD encoder module and a network management interface along with a power supply in a highly compact (2 Rack Unit) enclosure. While the UniCoder chassis cannot accommodate additional modules, Harris has established a trade-in program that allows broadcasters to start with a UniCoder and then upgrade to a FlexiCoder platform as their needs expand. Harris FlexiCoder VS5: The VS5 frame provides exceptional flexibility for broadcasters with medium-range encoding requirements, including redundant high-definition encoding or a combined high-definition/standard-definition system. The compact (five Rack Units) VS5 frame accommodates up to five modules and includes both a redundant power supply and cooling fans for maximum system reliability. Software Upgrades Support Enhanced Signal Quality, Closed Caption and PSIP Harris also has implemented an across-the-board software upgrade that enhances HD and SD signal quality and supports closed caption and PSIP (Program System Information Protocol) functions. All Harris FlexiCoder systems now feature High Definition Compression Management (HDCM), a state-of-the-art solution for managing the complex requirements of a HD encoder. This software feature is included in all new high-definition FlexiCoder products and is software upgradable for all existing FlexiCoder products.
The HDCM dramatically improves high-definition performance when operating with complex video content. For SD operation, the software upgrade includes Standard Definition Statistical Multiplexing (SDSM), which optimizes picture quality for individual program channels in a multi-channel DTV operation. Other enhancements include the integration of an external closed caption generator and a new PSIP solution. Harris recently announced a strategic alliance with ULTECH Corporation to integrate its DTV-708 Closed Caption Data Server with the FlexiCoder system. Harris currently has high-definition closed captioning units on the air at WCVB in Boston, KHOU in Houston, and WPVI in Philadelphia.
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The software upgrade also supports Harris' new solution for fully automated PSIP transmission, the Harris PSIPplus™ PSIP Manager, which allows broadcasters to easily gather, manage and disseminate PSIP data including program guide information. Harris' Broadcast Communications Division is the leading supplier of radio and television products, systems and services, serving broadcasters in more than 150 countries. The Broadcast Communications Division is part of Harris Corporation. Harris Corporation (NYSE-HRS) is an international communications equipment company focused on providing product, system, and service solutions that take its customers to the next level. The company provides a wide range of products and services for commercial and government communications markets such as wireless, broadcast, government systems, and network support. The company has sales and service facilities in nearly 90 countries.
# # # For additional information contact Harris Corporation.
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