In Part 1 of our series, we examined the impact of the CALM Act, addressed some lingering loudness issues, and reinforced the continued relevance of real-time processing. This time, in Part 2, we’ll take a closer look at the challenges content creators and broadcasters face when managing loudness in a file-based workflow. Are there different requirements? Are all loudness control techniques created equal?

It’s been nearly six years since the CALM Act – the bill passed to address the issue of loud television commercials – was put into effect in the U.S. We thought it a good time to re-examine the loudness issue in a series of blog posts. Here in Part 1 we’ll explore whether or not these legislative mandates have been effective and find out if content producers and broadcasters are still struggling with managing loudness in traditional OTA  and OTT distribution.

Much like the television industry at large, the requirements for TV audio continue to evolve and change, and keeping up can be a challenge. The number of content sources and file types are increasing; the number of formats, languages and edit variations is increasing; and the number of distribution channels is increasing. The only things not increasing are your resources and the amount of time allotted to get the job done!

How AoIP Helps Future-Proof Your Facility

Why is it so hard to let go? There are always those few that are eager to jump to their next relationship, the next fashion, and the newest technology. We might envy them when it works out well, and secretly congratulate ourselves for waiting when it doesn’t. Eventually, though, the good ideas do tend to win out, and almost all of us do finally let go of S-VHS and Windows XP when we are sure that the cost and risk are acceptable, and the benefits will be real. Today, it’s time for broadcast intercom to let go of the matrix.