Kapi-Mana News : January 17th 2012
14 KAPI-MANA NEWS, JANUARY 17, 2012 NEWS FEATURE All programmes and enrolments are subject to minimum class numbers and programme confirmation Every effort has been made to ensure that the content of this advert is correct at the time of print. www w n | 0800 I www w n S.TTT023 NO FEES! ENROL TODAY FOR 2012 FEES No fees DURATION 36 weeks DATE March 2012 4 O This programme will teach you skills around waka ama, including paddling, programme encourages lifelong learning and development and is taught D L Y MOD The programme is delivered via eight monthly weekend noho marae, a on the programme will experience waka ama paddling activities during FOR ENROLMENT INFORMATION Call 04 237 7166. C r ifi in WAKA AMA Phone 499 4444 Wellington.govt.nz Traditional Pacific food, crafts and performance Saturday 21 January Waitangi Park (postponment date Monday 23 January) facebook.com/summercitywellington WCE0712 10am-- 4pm "Summer Swimming" "Summer Swimming" Monday to Friday 5.30am to 9pm • Saturday and Sunday 8am to 7pm • Public Holidays 8am to 7pm • 17 Parumoana Street Ph 237 1521 www.terauparaha-arena.co.nz • Hydroslide • Spa Pools • Steam Room • Sauna • Authentic flashing lighthouse with fountains • Safe area for toddlers • New Sauna • Bubbles galore • Inflatables Hours Hours 4271978AA Why is it so loud? By MATTHEW DALLAS FROM Page 7 It's a reasonable assumption that TV broadcasters let commercials play louder than normal programming to increase the chances of us pay- ing attention. After all, many advertisers are in very competitive markets and pay big coin for a handful of precious prime-time seconds. They want bang for their buck. But the broadcasters have long provided a more diplo- matic explanation involving audio compression. It is common practice for soundtracks of commercials and promos to have their dynamic range compressed, so the difference between loud and quiet in audio waveforms is reduced. Compression is more pronounced on advertisements than programmes. ThinkTV -- formerly the Tele- vision Broadcasters Council -- tell us on their website that the objective of the compression is to give the ads a greater audio impact -- which, for mine, sounds like another way of say- ing the ads are made to sound louder. The broadcasters also tell us viewers perceive sound levels and frequencies differently, depending on our age and what we consider an enjoyable'' volume. Commercials can also sound louder if juxtaposed against a TV show that has gone to an ad break following a quiet scene or fade-out. Downton Abbey on Prime is a good example -- mov- ing from meaningful stares and cups of tea to commercial can sound like World War III breaking out. Media strategist Paul Feenstra says a lot of people get mad at advertisers, but he believes the buck stops at the broadcasters who should be imposing tighter quality con- trol, and rejecting material that isn't up to standard. Advertisers and production studios can't be blamed for wanting their 30 seconds of media to stand out and have impact.'' In respect to dynamic range compression, he believes the networks' argument is valid in some cases. If you have a dramatic TV show or film, there's a limit on how loud something can be otherwise it becomes distorted. You want to reduce the volume of the dialogue so the explosions, gunfire, etc., are bigger.'' The volume of the commercials will be matched to these impactful events, which are at the high end of the dynamic range, so the ads play much louder than the show's dialogue. But for a sitcom or reality show, Mr Feenstra says the loudness of the ads is set by the volume of dialogue. How many damn cooking shows are there? And still the ads are too loud. Their excuse doesn't pan out in this way.'' When I spoke to Hilary Souter at the Advertising Standards Authority, she suggested an increase in the number of retail-focused commercials -- which are lower budget and more direct than brand-focused commercials -- may have contributed to a perceived increase in the num- ber of noisy ads. TVNZ general manager of technology Peter Ennis agreed, saying over the past three years there has been an appar- ent move away from brand builders'' -- such as expensive car adverts, Guinness-style production levels -- to what he refers to as call to action'' advertising. These commercials are more direct, less subtle in their sales pitch -- think Briscoes, The Warehouse. Viewers can perceive it to be the audio that's blunt or loud, when in fact it's the directness of the message,'' says Mr Ennis.
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