Policy on Intellectual Property Right (IPR)
1 Introduction
2 5.1 multichannel sound system
3 Basic requirements of multichannel sound systems beyond the 5.1 sound system
3.1 Basic requirements of
the sound image
3.2 Basic requirement of sensation of a spatial
impression
3.3 Basic requirement of
listening area
3.4 Basic requirement of
compatibility with existing sound systems
3.5 Basic requirement of
live broadcasting
4 Multichannel sound systems beyond the 5.1 sound system under
development for broadcasting applications
4.1 22.2 multichannel
sound system
4.2 10.2 surround sound
system (Type A)
4.2.1 Background
4.2.2 Highlights
4.2.3 The
loudspeaker channel layout
4.2.4 Standardization
4.3 10.2 channel sound
system (Type B)
4.3.1 Background
4.3.2 The loudspeaker
channel layout
4.3.3 Recommended
arrangement of 10.2 channel
4.4 Wave-field-synthesis
4.4.1 Object-based
multichannel audio system
4.5 Object-based audio
formats
4.5.1 Rendering
and reproduction of object-based audio
4.6 Hybrid
channel/object-based system
4.6.1 Introduction
4.6.2 System
design in theatres and LSDI venues
5 Multichannel sound systems in use for home audio release media
5.1 DVD audio
5.2 SACD
5.3 BD
6 Multichannel sound programme production in studio for home audio
6.1 Production of 5.1, 6.1
and 7.1 channels
6.2 Production of 22.2
multichannel sound
6.2.1 Principles
of three-dimensional sound mixing
Top layer
Middle layer
Bottom layer
6.2.2 22.2 multichannel sound post-production system
6.2.3 Examples
of three-dimensional sound live mixing
6.3 Production of 10.2
multichannel sound (Type A)
6.4 Object-based
post-production system
6.5 Production of
cinematic hybrid content
6.6 3D Virtual Microphone Systems (VMS)
6.6.1 The
spherical microphonic probe
6.6.2 Typical
uses of the spherical microphonic probe
6.6.3 Typical
uses of the planar array probe
7 Quality performance of the
multichannel sound systems
7.1 22.2 multichannel
sound system
7.2 10.2 channel sound
system (Type B)
7.2.1 Evaluation
of directional audio quality
7.2.2 Evaluation of overall audio quality
7.3 Investigations into
optimal speaker configurations for the hybrid object/channel system
7.4 Further studies on
quality performance relevant to multichannel sound systems
7.4.1 Elevation
perception of phantom sound images in the frontal hemisphere
7.4.1.2
7.4.2 Elevation
perception of phantom images in the frontal side direction
7.4.3 Sensation of listener’s envelopment in an upper hemispherical sound field
7.4.4 Localization of phantom sound images in the
elevation direction in
an upper hemispherical sound field
7.4.5 Influence
of listening position on directional perception of frontal sound
images in the frontal hemi-sphere
7.4.6 Summary of
studies on loudspeaker configurations to meet the requirements
8 Relevant documents concerning
the multichannel sound systems developed by
organizations outside ITU
8.1 SMPTE
8.1.1 SMPTE 2036-2-2008,
“Ultra High Definition Television – Audio characteristics and audio channel
mapping for programme production”
8.2 IEC
8.2.1 IEC 62574
“Audio, video and multimedia systems – General channel assignment of multichannel
audio”
8.3 MPEG (ISO/IEC JTC 1/SC
29/WG 11)
8.3.1 MPEG-2 AAC
(ISO/IEC 13818-7)
8.4 EBU
8.4.1 EBU TECH
3306-2007, “RF64: An extended File Format for Audio”
8.5 Japan
8.5.1 Advancement of satellite digital broadcasting