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Atmos for indie films in small mixing stage
Old 1st July 2017
  #31
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Quote:
Originally Posted by dr.sound View Post
...
I see a huge amount of opportunities in Atmos for the home instead.
No licensing fees, less speakers, less cost, more value for the vast majority of people reading this post.
Remember, this is from a guy who has ALL 4 Immersive Formats at
The Dub Stage, Dolby Atmos, DTS X, IMAX 12.0/6.0 and Auro-3D 11.1.
Maybe, if you have time, what people like me need is like a level set on immersive audio. I am primarily on the finance side of things, and the numbers I see show huge oppertinities for head phone immersive audio and at the other extreme a bump in high end theatrical (i.e. full nice atmos & dolby rooms) ... but kind of a drop off in the middle. My approach for indie is doing the immersive audio for headphone distribution internally(i.e. in the indie shop), then for things like DCP distribution sending very clean protools pre-dubs to what I call "high end" shops(i.e. like yours).

It totally makes no sense financially for me to build a full "dub stage", yet I want to have a workflow that allow immersive "personal" distribution where I can send the sessions to a "real" dub stage if the finances warrent a theatrical distribution. I also really dislike people calling a non-calibrated room a dubstage, because that makes me think I have a output that is distributable but in reality I have close to nuthing (i.e. high quality stereo done in a small post shop is way better then some uncalibratable dolby 7.1.2 done in some guys smashed post room). Right now it's kind of confusing. I also btw like the new pro tools object stuff, but I don't want my sessions optimized for a purely dolby immersive renderer, so am floundering a bit on how to have a pre-dub that setups up the objects correctly when sent to a immersive audio dub stage so everything doesn't need to get reworked.
Old 1st July 2017
  #32
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Quote:
Originally Posted by brandoncross View Post
It took me 3 sec to find a Dell Precision Rack 7810. It's a 1400 dollar computer. Any idea what the components are that need to be installed? I heard somewhere you need a few RME Madi cards.
7910 - you probably mistype, and it could be a little more expansive.

The email I got state it is around U$3100 +

RME Audio and Timecode PCIe cards
The PCIe cards from RME that need to be ordered from a local RME distributor are the following:
2 x RME: HDSPe MADI
1 x RME: TCO


best
Old 1st July 2017
  #33
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Quote:
Originally Posted by rcutz View Post
7910 - you probably mistype, and it could be a little more expansive.

The email I got state it is around U$3100 +

RME Audio and Timecode PCIe cards
The PCIe cards from RME that need to be ordered from a local RME distributor are the following:
2 x RME: HDSPe MADI
1 x RME: TCO


best
Isn't the pic on the rspe site the 7810?? I think that's what the pic says.

No you are right. I couldnt see the numbers clearly
Old 1st July 2017
  #34
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Sorry it's a 800 dollar computer.
Old 1st July 2017
  #35
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Quote:
Originally Posted by brandoncross View Post
Sorry it's a 800 dollar computer.
Brandon in the picture at rspe is 7910. Nobody know the specs to detail. If you click in the picture you can zoom in.
http://www.dell.com/en-us/work/shop/...10-workstation
Old 1st July 2017
  #36
Quote:
Originally Posted by brandoncross View Post
Really?? What are the chances of someone working in a 1/4 of a million dollar mix stage and using reaper?
That would be a very cheap mix stage indeed...
Old 1st July 2017
  #37
Quote:
Originally Posted by dr.sound View Post
RSPE are selling RMU's?
WTF! I got mine directly from Dolby for Feature Films.
You have to have your site ( Dub Stage specd out by Dolby to make sure you meet
the criteria for speaker layout, brand, spl, coverage etc).

I think many of you need to carefully think this through...
How many "Atmos Theaters" are there near you in your country?
Are the clients willing to pay the licensing fees and the additional costs for DCP's?
Also look at the rest of your equipment and make sure it's the best for the job.
888's are door stops and have no use being in any chain period! Buy a used 192 instead. They are very cheap (see Ebay).
Update your monitoring including Speakers, room EQ and monitor controller.
If you can't afford that you can't afford making your room a Dolby Atmos Theatrical Approved Stage.

I see a huge amount of opportunities in Atmos for the home instead.
No licensing fees, less speakers, less cost, more value for the vast majority of people reading this post.
Remember, this is from a guy who has ALL 4 Immersive Formats at
The Dub Stage, Dolby Atmos, DTS X, IMAX 12.0/6.0 and Auro-3D 11.1.
Whats wrong with the Avid HD I/O? I thought its much better than 192.
I don't have Meyer speakers but my room has JBL3678 for the LCR and Atlantic Technology 4400 SR for LSs/RSs and LRs/RRs.
I use QSC DCA1644 amps and DCM 10D Crossover.
I also have a Dolby CP750 processor in my b chain.
The picture projected on 4m x 2.2m perforated screen. And my room is 9m x 6 m x 3 m.

Marti, I do believe that talented and good people work in great (best) rooms and you are a true example of such one.
You are among one of the most helpful pros here on Gearslutz.
But you are missing something... We are not the "chosen people". We are those who will never work on the same films you work on and will never work with the same productions you work. We will never threat your business or getting even close to your clients. In no way I can compete with your room by its size and acoustics along with your personality authority.

But why does it mean we can't benefit from the modern technology? Does it mean that we are less motivated and passioned people? Less artistic and technically handicapped?
There are hundreds of art house and indie films that are aimed to us even though they might have no commercial success. And many of us are putting literally their lives for what we are doing. I am personally work for 20 years in this area.
We have only one problem - we are not in a right place, Hollywood, CA. And its not because "the right people are always in a right place". Its because we have no "pass".
We are Indies but not the Indians.
Some of us are creating very complicated and artistic works that are breath taken and totally story telling / enjoyable by the audience when screening at Cannes, Venice, Berline and other "indie" festivals.
And we do feel that we can adopt Dolby Atmos ( or other immersive format) for our work even though these films don't have any meaningful revenue.
So far I still don't understand why I can't afford it if I could afford a 7.1 theatrical environment (again not like yours of course).
A 20 years ago I remember a local mixer who was the only Dolby Digital facility here. He was irritated by my interest about the DMU units and how Dolby Digital and SR work. His reaction was approximately if you can't afford it...just grow up and work on. Sadly he passed away few years ago (I liked him despite of all). The Dolby Digital is the matter of past. His Dolby certified studio is the matter of past. And I own a greater room now even though the Dolby folks have never been here.
So I ask for a little bit of cooperation from Dolby and other immersive vendors even though we are not a right strip in the business.

Last edited by mgoorevich; 1st July 2017 at 04:25 PM..
Old 1st July 2017
  #38
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Quote:
Originally Posted by mgoorevich View Post
There are hundreds of art house and indie films that are aimed to us even though they might have no commercial success. And many of us are putting literally their lives for what we are doing. I am personally work for 20 years in this area.
We have only one problem - we are not in a right place, Hollywood, CA. And its not because "the right people are always in a right place". Its because we have no "pass".
We are Indies but not the Indians.
Some of us are creating very complicated and artistic works that are breath taken and totally story telling / enjoyable by the audience when screening at Cannes, Venice, Berline and other "indie" festivals.
I think his point is "where are you going to show these ATMOS mixes?" If you invest in the infrastructure, who's going to pay for the mix to be done that way and when is anyone going to hear the mix in that format? The indie festival circuit is slow to adopt new music formats -- especially ones that will cost a lot of money to set up. The bigger festivals are barely great at getting 5.1 played out right. I live and work in Los Angeles in the film music side and of my friends, I'm the only one who demands to see (keeps an eye on the theater) ATMOS mixes (especially when other friends have done the mix.) And this is on blockbuster-budget movies.

The other thing is how many movies benefit from ATMOS (or any extreme immersive format)? I wouldn't want Casablanca in ATMOS any more than I'd want it with 3D picture. As for home delivery... I think this will have as much success as home 3D. It's rare I see a properly set up 5.1 home system. A proper ATMOS home setup.. I'm guessing they are going to be mostly soundbar types if any.

So spend the money to set up for a mix, very few people pay for such a mix, and even fewer get to hear that mix. I wouldn't be on the forefront of this unless you know you have clients lined up for it.

Last edited by pentagon; 1st July 2017 at 06:18 PM..
Old 1st July 2017
  #39
Michael, you can definitely benefit from new technologies, but you can't ignore some serious demands these new technologies impose on equipment. That's the reason Doc was suggesting home market, because you can work, practice and gain experience in new technology without spending too much money.
Dolby Atmos is extremely critical regarding the power capacity of every speaker in the room - you'll discover that when trying to get 105dBC peak out of your surround speakers. Clean power output comes at a price and in my studio I spent a lot of time together with Joules Newell (a.k.a. Nuissance on GS) truing to find an affordable solution.
Let's look at your surround speakers - Atlantic Technology 4400: their sensitivity is 90 dB/1W/m and their max power handling is 150W. At 6m distance, which is probably the case for front laterals and front top speakers in your future setup, that will yield only 96dBC - you need 9dB more! You should put 1200W into your speakers to get there, but that will nuke them in a second. So you need bigger and more sensitive speakers.
And that is going to cost a lot, believe me.
And if you don't have this power handling capacity, you can't get approval from Dolby.
And that is just the beginning.
Bigger power output will require bigger power supply to your studio. I have a 230V/60A supply rail for amplifiers. My room is just slightly bigger than yours.
And so on...
Take a look at ATMOS upgrade part of my studio construction thread, there's a lot of useful info there.
Old 1st July 2017
  #40
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And... I literally just looked up ATMOS theaters in Israel which shows a grand total of zero. Is that true? (Dolby's website has been late to update locations before)
If you look at Los Angeles, the percentage of theaters with ATMOS is ridiculously small (but we have a lot of screens; many of which will never be updated.)

From June 22, 2016 "To date, more than 1,800 screens worldwide have been installed or committed to be equipped with Dolby Atmos." I love the use of "committed" because that means they needed to bolster their numbers by adding in theaters not even built. It looks like Cineworld had promised exactly a year ago to have 50 ATMOS screens spread between UK, Europe, Israel. Also a ridiculously small number. And of these screens, how much of the time do you think cinema owners will be devoting to indie-sized ATMOS screenings vs large budget movies?
Old 1st July 2017
  #41
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If Dolby is cool with confining the use of Atmos to tent-pole etc feature films and the highest budget episodics then that's fine. If they want the people who work on a great majority of the rest of TV and web and etc content to get on board then the access to the tool needs to get democratized somewhat. And yes, that means Reaper, among other apps. I'm not talking about dubstages at all.
Old 1st July 2017
  #42
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Quote:
Originally Posted by brandoncross View Post
Really?? What are the chances of someone working in a 1/4 of a million dollar mix stage and using reaper?
Perhaps, if looking at price alone as a measure of a "professional tool" beyond its function. Perhaps, if you're also content with the current limitations and constraints imposed by Avid on ProTools HD.

Once requirements move beyond these constraints, where even ProTools HD 12.8's current maximum of 10 channel wide buses is a severe limitation, and 24 channel wide track configurations are required, for say, NHK22.2, the available options reduce to either Pyramix, Reaper or Fairlight. Fairlight isn't currently an option since Resolve beta 4 has barely integrated even the most basic Fairlight feature set, but that will come in time.

This is especially true once 64 channel wide busses or custom channel configurations are required, for say, Museum or live event immersive installations, where those options reduce to just Pyramix/Ovation or Reaper.

Once you require native (non-accelerator card based) track counts up to 512 channels, whether working at 48k or 384k, Reaper stands as the only option.

Once you build your entire IP-based media infrastructure around Linux with Linux-based metadata renderers, the options reduce to Reaper alone (although Resolve 14 is Linux native).

Marti is absolutely correct, that the opportunities for Dolby concerning Atmos adoption where Atmos could be much more widespread in the domestic market. Dolby is very much aware of this, hence their interest in supporting the more fully featured system options such as Reaper and focusing also on headphone delivery and immersive gaming, where the impact will be much more apparent than if they focused purely on cinema.

But, broadcasters view Atmos / Auro-3D / pick an immersive format as no different to legacy linear-media, no different to what current multichannel fixed configurations provide.

The domestic broadcast market is slowly transitioning toward object-based media (already a key part of the ATSC 3.0 specification in the US, and South Korea and MPEG-H as used in Europe and in Japan). In the cinema, "objects" are used for spatial accuracy, but in broadcasting and OTT media, objects provide customisation, say a different camera angle, different language stream, dialogue vs music or effects balance adjustment, or an on-the-fly binaural rendering versus the full NHK 22.2 mix.

Netflix already is pushing this idea further with their object-based animation productions (aka choose your own adventure) starting with "Puss in Book: Trapped in an Epic Tale" and to be followed by "Buddy Thunderstruck: The Maybe Pile".

I see more scope and opportunities for object-based media facilities than facilities focusing purely on Dolby Atmos productions destined for the Cinema. I couldn't agree with Marti more.
Old 1st July 2017
  #43
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Michael,
Pentagon and Branko understood what point I was making.
You have a fine set up. We have discussed it before.
Here is the point, let's talk financial return.
How many theaters will play your Atmos mix in Israel?
How much does it cost you to build your room to Dolby's specs
and approval? But if you build it to Atmos Home theater specs
then it becomes affordable, you get content on the air that everyone
can hear ( if they buy a Dolby Atmos capable Receiver).
You can't play Atmos Theatrical at Festivals. You're lucky to play 5.1
and have it remotely resemble what you mixed!

Home Atmos is the future, it doesn't cost a lot and one doesn't need to
change mixing platforms . Not only Atmos for the home but DTS X and
Auro.

If you need to mix an film in Atmos for the Israel Theatrical market call me.
It will be way cheaper for us to work together on it then for you to set up a Theatrical Atmos room at your place.
One needs to be smart with their choices. I am an Independent Post Sound Facility.
I am telling you from experience. There are nearly 100 mixing stages in Hollywood
(LA, The Valley, The West Side etc). There is strong competition from The Large Studio Lots and others. There is a huge amount of work has shifted to New York and England because of tax incentives. Hollywood is not quite what you think it is.
If there are 500 films released every year in the US ( a film that plays in the theaters in either LA or New York for at least 1 week) there are nearly a hundred mix stages that means in LA alone if each room does 5 films a year they have the whole market. Now count Skywalker, New York, Vancouver, Toronto, London, New Zealand, Europe, Asia, China... get my point? It is very tough. I'm just trying to tell you to be smart, find your market and exploit it! Improve your room with items that pay you dividends.
Old 1st July 2017
  #44
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Quote:
Originally Posted by mgoorevich View Post
Atlantic Technology 4400 SR for LSs/RSs and LRs/RRs
Just realized you have bipole/dipole surround speakers. I don't believe these are qualified for object based formats so you are looking at replacing these completely (almost definitely if you want Dolby certification.)
Old 1st July 2017
  #45
Quote:
Originally Posted by pentagon View Post
And... I literally just looked up ATMOS theaters in Israel which shows a grand total of zero. Is that true?
Well there are few theaters with DA installed.
And at least one with Auto 3D. Not bad for 7 million's population country.

The Atlantic Technology 4400 SR are THX Certified BTW. Having said that I am aware that they are my weakest point.
Attached Thumbnails
Atmos for indie films in small mixing stage-screen-shot-2017-07-01-21.54.50.jpg   Atmos for indie films in small mixing stage-screen-shot-2017-07-01-22.26.18.png   Atmos for indie films in small mixing stage-screen-shot-2017-07-01-22.36.12.jpg  
Old 1st July 2017
  #46
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Quote:
Originally Posted by mgoorevich View Post
Well there are few theaters with DA installed..
Don't know why they didn't come up from the other Dolby portal but now I see 7 theaters in Israel with Atmos.
Old 1st July 2017
  #47
Quote:
Originally Posted by dr.sound View Post
Michael,
Pentagon and Branko understood what point I was making.
....
Marti, thank you very much for clarifying.
It was from the beginning my point - technically to understand whether or not I can afford Atmos and if so in what configuration.
Believe me that I am aware very well about my limitations. And I have no illusion that I can easily convert my room into DA one.
Yours and Branko advices are very valuable to me as well as other folks participating in this thread. Its even more valuable if you take in account that the place I live / work in, by its nature is a bit isolated and I have no colleagues in Israel to discuss this topic with.
After all it seems that HT / Cable path is a way to go.
Back to the topic: I still need to buy a RMU computer + Production Suite in order to deliver HT deliverables?

BTW: I attended the Dolby consumer presentation at IBC where they came out with their Atmos bar. Not sure if it was just a early units, but it sounded awful to me comparing to a regular stereo I asked them to listen to. I realize that probably DA bars have nothing to do with the quality or immersiveness but is about the marketing. But still
Old 2nd July 2017
  #48
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Well, "bars" kind of suck in general, in my experience. No one who has ever heard audio from an actual 5.1 (let alone Atmos) system would ever mistake the sound from a "bar" for that experience!
Old 2nd July 2017
  #49
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Quote:
Originally Posted by philper View Post
Well, "bars" kind of suck in general, in my experience. No one who has ever heard audio from an actual 5.1 (let alone Atmos) system would ever mistake the sound from a "bar" for that experience!
I don't agree. I heard the Dolby prototype in a situation where they could switch between a normal Atmos home theater setup (7.4.1), one with upfiring speakers, and the prototype bar.
I was really blown away by what the bar could do. Of course you couldn't pin-point sources, but the sense of envelopment was astonishing.
That being said, I never heard one of the commercially available bars.

And IMO and YMMV, but these bars are the only way Atmos can get into the home market in a bigger way. No one besides some tech-nerds is going to install a proper Atmos setup at home.
The headphone virtualization I still find extremely underwhelming.

On another note, I was just three days ago at the local Dolby Entertainment Day and part of a panel discussion there.
It was a VERY interesting happening because a lot of manufacturers and consumer equipment dealers were present. Their feedback to us 'creatives' was that it is difficult for them to sell immersive systems because the content doesn't really live up to the hype. While one part of the blame was also put on the distributors (f.e. no label on the BluRays, strange format decisions like on the HDR-master only 7.1-sound and the Atmos soundtrack only on the SDR-master), I think we should listen to them. These are the guys in the trenches.
And I have to say that I often am underwhelmed by theatrical Atmos mixes as well. If all the sound is still coming from the screen with some bullet fly-bys almost the only thing that makes use of all the speakers, why should I as a consumer invest into one of these systems?
Theatrical mixing lacks envelopment for me. Almost always. Maybe that's just me, but that discussion showed me that it seems not to be only me. Perhaps we have to wait for a new generation of rerecording mixers who aren't as fixed on the screen. Who knows. And I of course know that there are good reasons to stick mainly to the front. But we should listen to the feedback of the customers and of the guys selling the systems in the shop.
Old 2nd July 2017
  #50
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Quote:
Originally Posted by kosmokrator View Post
Perhaps we have to wait for a new generation of rerecording mixers who aren't as fixed on the screen.
The fish stinks from the head.

Directors often don't want crazy overhead usage. Same with producers who worry about it playing on mostly (by a large amount) 5.1 screens even though there is the downmix matrix. Wouldn't lay this at the re-recording mixer's feet as most I've met are excited to mix in Atmos and use all its features.
Old 2nd July 2017
  #51
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With all due respect this is all way above our paygrade. We supply the technibility and the filmmakers decide what they want, what serves their story. Many if not most of the directors I work with are very wary of anything that takes the audience out of the story, and thus are very skeptical of overhead flybys and immersive in general. I'm not talking about "Transformers Part 10" etc but people/story driven projects, where less is very often more (than enough). It's silly to think that a new generation of mixers will somehow get more sound off the screen. For one, those new mixers will be doing what their clients want, and two the big issue in real immersive vs Atmos etc in a theatre is the screen itself! Like if you are going to go immersive, then I don't want the picture to be in ONE place (the theatrical movie screen or TV) and the SOUND all over--why isn't the picture all over too then? That's the problem for many directors--if they are telling a story that's on a screen then sounds that come from places other than the screen had better have a very good reason for being there, or they are a distraction. In 360 projects with 360 picture then, I think, the illusion of any sort of all-over audio works and is better integrated into the whole deal.
Old 2nd July 2017
  #52
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You have a point with the flat screen.
That being said I fully understand the constraints in place, be it because of storytelling or politics. However personally I find the lack of envelopment in most theatrical mixes, especially backgrounds, distracting and pulling me out of the story sometimes. I'm specifically not talking about putting sounds into distracting places, but creating a sense of true envelopment.
I really hope that having the surrounds full bandwidth will result in mixers (and directors) putting more content there.
As always, YMMV.
As this now gets very off-topic, let's leave it at that in this thread.
Old 2nd July 2017
  #53
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Quote:
Originally Posted by kosmokrator View Post
And I have to say that I often am underwhelmed by theatrical Atmos mixes as well. If all the sound is still coming from the screen with some bullet fly-bys almost the only thing that makes use of all the speakers, why should I as a consumer invest into one of these systems?
Theatrical mixing lacks envelopment for me. Almost always. Maybe that's just me, but that discussion showed me that it seems not to be only me. Perhaps we have to wait for a new generation of rerecording mixers who aren't as fixed on the screen. Who knows. And I of course know that there are good reasons to stick mainly to the front. But we should listen to the feedback of the customers and of the guys selling the systems in the shop.
I have the unique opportunity due to the fact I have all 4 Immersive Formats at "The Dub Stage" to listen to many huge Hollywood and World Tent Pole movies in the Immersive formats and I have to agree that many are nothing but a few objects in a 7.1 bed. On the other hand Mixes that have come from us at "TDS" have been very, very busy with the Immersive qualities and objects.
More and more Mixers are doing mixes with nearly everything as an object and it sounds quite impressive. The one thing one must realize is that a Home Theater object based mix will never sound as good as the Theatrical...never! The amount of objects that can be used at one time is limited due to the limitations of the medium in Blue Ray or Streaming. The pipeline is a compromise. That is not to say that Immersive mixes don't sound amazing when they arrive to the home, they are just different. Immersive Mixes need to compliment the story and also allow us mixers to be creative. When they both happen magical sonic stories can be told and appreciated. This is still early on as we Mixers learn to get the most sonically with the tools and the timeline that we are allotted to deliver content that can showcase what the medium can do.
Old 2nd July 2017
  #54
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Quote:
Originally Posted by dr.sound View Post
This is still early on as we Mixers learn to get the most sonically with the tools and the timeline that we are allotted to deliver content that can showcase what the medium can do.
Very well said Marti. I agree that this is early days on the learning curve. And of course the resources allotted to the creatives is a big point too.
On that note find the OP's decision to look into the immersive formats quite early on even though he is operating in a difficult market very laudable.
Old 2nd July 2017
  #55
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Quote:
Originally Posted by kosmokrator View Post
The headphone virtualization I still find extremely underwhelming.
Coming to think about it, this is somehow strange because they have the spatial localization on headphones really nailed with the binaural output of the Local Renderer when using the VR panning plugins.
Old 2nd July 2017
  #56
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I'm not a "more than occasional" feature film mixer: I do mostly TV, web and etc. For this to go forward for me I think we need two things: A: those Atmos etc "bars" (which in their widely available form really ARE wretched sounding) need to improve HUGELY, and they need to have some kind of auto-setup feature that DSP-izes them to the room and position they are in to maximize whatever they do. Consumers are in the main NOT going to do this--it has to be automatic, no more effort than watching a show on the built-in stereo speakers of a current flatscreen TV. And it has to unequivocally WORK--like DELIVER something the consumer can hear as a positive diff from stereo. B: we need the "Orson Welles" or "D.W. Griffith" of immersive/360/Atmos etc cinema to DRIVE the medium and what it can do with a story and a technique that it makes sense to use it in. To show the way for everyone else. Maybe this has already happened?
Old 5th July 2017
  #57
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In the RMU you define what your listening environment is - how many speakers and where they are placed. The RMU will play back the ATMOS metadata (panning, etc) based on this. In your case, you would be listening to a 7.1.2 (which will make discerning height based panning a bit difficult.

You can also monitor the fold downs via the RMU or the Dolby Monitor.

Randall


Quote:
Originally Posted by mgoorevich View Post
Yeah. Nice Yamaha commercial ;-) I understand that the RMU holds theses tasks. But what do you listen to in the studio? To a discrete 7.1.2 or some kind of decoded back DA? I still don't see where the actual rendering takes place? And I cant get this mysterious Dolby for consultation!
Old 5th July 2017
  #58
Quote:
Originally Posted by quadraphonics View Post
In the RMU you define what your listening environment is - how many speakers and where they are placed. The RMU will play back the ATMOS metadata (panning, etc) based on this. In your case, you would be listening to a 7.1.2 (which will make discerning height based panning a bit difficult.

You can also monitor the fold downs via the RMU or the Dolby Monitor.

Randall
This is interesting. So it means that there should be a decent amount of top speakers to monitor Atmos correctly and reproducing the objects elements. So how many top speakers is a practical minimum?
Old 5th July 2017
  #59
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The room in which I work has 4 overhead speakers (Front Left, Front Right, Back Left, Back Right). The room is on the smaller side. If push came to shove, we could get two more over head speakers in, but the translation has been fine.

It is no where as elaborate as say, Dr. Sound's Dub Stage, but it works for what we do.

Randall


Quote:
Originally Posted by mgoorevich View Post
This is interesting. So it means that there should be a decent amount of top speakers to monitor Atmos correctly and reproducing the objects elements. So how many top speakers is a practical minimum?
Old 5th July 2017
  #60
Quote:
Originally Posted by quadraphonics View Post
it works for what we do.

Randall
You don't deal with the theatrical Atmos? Only the HT/TV
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