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Atmos HT Renderer
Old 3rd April 2019
  #1
Atmos HT Renderer

Is there any advantage to the stand-alone atmos HT renderer box anymore?
With the new renderer software (3.0.1+) It says you can author in the box on your mix rig.

The only 2 scenarios I can think of are:
1. I don't have enough CPU power to run it on my mix system
2. I need a multiple Pro Tools system setup

Am I missing something?
(cross posted from the DUC to get more traffic... )
Old 3rd April 2019
  #2
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Quote:
Originally Posted by Sventeck View Post
Is there any advantage to the stand-alone atmos HT renderer box anymore?
With the new renderer software (3.0.1+) It says you can author in the box on your mix rig.

The only 2 scenarios I can think of are:
1. I don't have enough CPU power to run it on my mix system
2. I need a multiple Pro Tools system setup

Am I missing something?
(cross posted from the DUC to get more traffic... )
This has all been discussed in a thread here recently. A search will help.

The main issue still is the missing delay compensation.
It's certainly possible though. We use the renderer software and it's working well.
Old 3rd April 2019
  #3
Quote:
Originally Posted by kosmokrator View Post
This has all been discussed in a thread here recently. A search will help.

The main issue still is the missing delay compensation.
It's certainly possible though. We use the renderer software and it's working well.
yeah, my search didn't turn up anything about actually authoring, though I may have missed it... everything was all about premixing for authoring on a stage with an RMU.


...Delay comp would definitely be a hurdle.


so you are mixing and creating atmos deliverables and rerenders all in the box?
Old 3rd April 2019
  #4
Ohhh... I'm understanding the Delay comp issues with send/return plugins now as I'm messing with it... seems you can work around it, but not streamlined.

Dolby bridge is at least a consistent offset, but with channel limitations...

conclusion: HT RMU is not as useless as I first thought :-)
Old 4th April 2019
  #5
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NReichman's Avatar
 

Avid really needs to lift the 32 channel limit going into Dolby Audio Bridge. Nuendo is wide open, and can do all 128 channels.
Old 4th April 2019
  #6
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Quote:
Originally Posted by Sventeck View Post
yeah, my search didn't turn up anything about actually authoring, though I may have missed it... everything was all about premixing for authoring on a stage with an RMU.


...Delay comp would definitely be a hurdle.


so you are mixing and creating atmos deliverables and rerenders all in the box?
Well, you can create the master HT package that you then use to author the actual HT Atmos deliverables (TruHD / eac3) using The Dolby Media Producer Suite.
And all the rerenders, yes.

Laying that back to an H.264 (or HEVC for HDR10 picture) is working fine too.

You cannot create theatrical masters with it.
But the hardware HT RMU cannot do that either.
Old 4th April 2019
  #7
Quote:
Originally Posted by kosmokrator View Post
Well, you can create the master HT package that you then can create the actual HT Atmos deliverables from using The Dolby Media Producer Suite.
And all the rerenders, yes.

You cannot create theatrical masters with it.
But the hardware HT RMU cannot do that either.
Gotcha! Thanks!

Yeah... seems the specs I'm seeing are 5.1 theatrical and HT Atmos/5.1/St

Atmos is being driven by Netflix/HBO/Amazon/Apple/A24...
unless you're mixing a studio tentpole... nobody seems interested in theatrical Atmos.
Old 4th April 2019
  #8
Quote:
Originally Posted by Sventeck View Post
unless you're mixing a studio tentpole... nobody seems interested in theatrical Atmos.
Which is a pity IMO... It is a nice format, wrongfully used only for blockbuster action movies.
Old 5th April 2019
  #9
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Quote:
Originally Posted by Branko View Post
Which is a pity IMO... It is a nice format, wrongfully used only for blockbuster action movies.
I'd guess the main thing holding producers back is that the Atmos-euqipped theaters are booked playing the tentpole movies.

Also, Dolby and the industry in general should focus the marketing more on the object-based advantages than on 'hey there are sounds from above now'.
Old 5th April 2019
  #10
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Quote:
Originally Posted by Sventeck View Post
Atmos is being driven by Netflix/HBO/Amazon/Apple/A24...
unless you're mixing a studio tentpole... nobody seems interested in theatrical Atmos.
It's because the big money for Dolby is in selling/licensing consumer gear not in licensing theatrical films. The latter are just part of the marketing machinery.
Old 5th April 2019
  #11
Quote:
Originally Posted by kosmokrator View Post
I'd guess the main thing holding producers back is that the Atmos-euqipped theaters are booked playing the tentpole movies.
Agree... Still not that many Atmos theaters ... Each multiplex maybe has 1, if that... I don't enjoy super hero flix, and it's such a pain to find an Atmos theater... I've actually never heard it out in the wild...
Old 5th April 2019
  #12
Quote:
Originally Posted by Sventeck View Post
Ohhh... I'm understanding the Delay comp issues with send/return plugins now as I'm messing with it... seems you can work around it, but not streamlined.

Dolby bridge is at least a consistent offset, but with channel limitations...

conclusion: HT RMU is not as useless as I first thought :-)
Yes, the delay compensation of beds/objects is a problem if you’re running the Dolby renderer and Protools mix on one machine. I also doubt if you would be able to record 128 tracks of the dolby Atmos with all the sources of your mix that go to it on a single machine :-) But I’ve done it with 2 HDX2 systems connected together via 128 MADI channels, with the second machine recording the Dolby Atmos. Then the delay compensation isn’t an issue as all outputs of the first PT are sync.
Greetings,
Thierry
Old 8th April 2019
  #13
Quote:
Originally Posted by Sventeck View Post
Atmos is being driven by Netflix/HBO/Amazon/Apple/A24...
unless you're mixing a studio tentpole... nobody seems interested in theatrical Atmos.
That probably also has something to do with the 10,000$ license fee the producers need to cough up to use Atmos on their movie.
Old 9th April 2019
  #14
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Quote:
Originally Posted by Steven1145 View Post
That probably also has something to do with the 10,000$ license fee the producers need to cough up to use Atmos on their movie.
I doubt that Steven. 10k USD really isn’t that much in a feature budget.
IIRC that’s about what a Dolby SRD digital 35 mm release would cost back in the day wasn’t it?

However spending that, and paying for a more expensive dubstage, spending extra time creating a great Atmos mix and then NOT get it to actually show on Atmos screens... as a producer you are unlikely to do that more than once or perhaps twice if they are stubborn.

It’s to bad as the format is nice as is the quality increase of the cinemas sound reproduction chain that inevitably goes with a install.
Old 9th April 2019
  #15
Honestly, you'd be surprised at how easily producers of mid-sized movies will balk at this. A Dolby Digital license here in France was 7 000 €, which then fell to 1500€ during the last days of 35mm prints. They have gotten used to not having to spend that money for a few years, and now it goes back up to 10k.
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