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Author Topic: "To Die For" - Dolby A? Ron Lacheur Jedi Master Film Handler Posts: 650 From: British Columbia, Canada Registered: Feb 2002 posted 02-21-2003 09:21 PM                     The mid-90's seemed like a digital sound war. MGM and Universal were DTS only. ( The Bond films being the exception ) Steven Spielberg was a supporter behind DTS.  |  IP: Logged Gunter Oehme Film Handler Posts: 17 From: Frankfurt, Germany Registered: Jun 2000 posted 02-22-2003 04:00 PM                     Gordon, today almost all analogue print masters are Dolby SR encoded because almost all print are releasd as SR. You would not deliver a SR print master for doing a Dolby A release. The transfer to an optical negative is intended as a straighforward transfer without Dolby A or SR encoding and decoding. The sound mixer will deliver a printer master with the Doly noise reduction according to the print format required. If the Doly A and SR prints are required they will deliver two print masters ensuring that the maximum levels will fit into the limits of the according format. Doing a Dolby A negative from a SR print master would give a soft Dolby A track. Dolby SR print masters are recorded 3 dB softer than Dolby A print masters due to the 3 dB additional gain for Dolby format 05 in the processors. Michael Schaffer, in my experience there are no different Dolby license fees for Dolby A, Dolby SR and Dolby Digital. Although the postproduction facilities might charge differently for their work.  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 02-22-2003 05:08 PM                        I wasn`t sure either, but a lot of posts seem to confirm that there are (or were) different fees. Maybe it is different here.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-22-2003 05:48 PM                     At the two post houses here in toronto all print masters have there NR decoded and then re-encoded at the input to the camera Or in the case of a dat source the encoding is at the input to the camera  |  IP: Logged Gunter Oehme Film Handler Posts: 17 From: Frankfurt, Germany Registered: Jun 2000 posted 02-22-2003 06:29 PM                     Then this is a different processing to the one in Europa and different to the one outlined in the Dolby DS-4E encoder manual. When delivering the print master on a DAT it is SR (or A ) encoded over here. Actually I don't see an advantage of Dolby noise decoding and reencoding.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-22-2003 07:02 PM                     The only advantage is to correct for level error in the camera track width  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 02-22-2003 07:24 PM                        I can`t quite follow here. Why?  |  IP: Logged

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