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Topic: 11.1 discrete audio Barco 'Auro-3D' debuts with 'Red Tails'
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David Graham Rose
Expert Film Handler
Posts: 187
From: Cambridge, UK
Registered: Sep 2002
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posted 03-23-2012 04:45 PM
Aah Greetings All
And how nice to be back on this esteemed forum. And what an exiting few years I have had with David Attenborough experimenting with high frame rates in the North Pole! Just what I needed after a prolongued stay at my daughters, having had a spastic colon for 2 years! And so to work.
I'm unconvinced with all this new technology and extra channicular audio. After all, as human beings, we have only two ears. As one of my former colleagues, who was a Service Engineer with the mighty Westrex Company once said "Your ears don't point (expletive deleted) backwards". However, I digress.
It is my firm and fundemental belief, that there is ample room for extra audio channels within a movie theatre. Heck! There is enough space in some of the barns over here in Blightly for them!
Indeed in the Empire Theatre, ("The Showplace of The Nation") one could have space for about 4 paralell channels of surrounds, banked upon one another, and the same applies to the Odeon Theatre in Leicester Square. But what of our run of the mill multiple theatres of which our American cousins are so proud?
Nay chance. We have ceilings that are barely 4m from the rear of the stadium in UK! We have beligerent techical people who are as difficult to shift as a proverbial stain on a "can" as you say in the States. What of the space au dessous to the sheet? Aha! There lies the ducting for the a/c main! Where do we put the speakers? You should be so lucky!
However, I digress. It is not the inflexibility and lameness of the exhibitors which I forsee as a major issue in this instance - although this will the ultimate stumbling block, but it is the whole process.
How many movies have been mixed by this BS pseudo x.y system? How many Oscar winning mixers are "behind" this system? As I live and breathe this is Kintek Stereo all over again. As an 83 year old former Professor, I do not get to travel to the heady climbs that you lot do, but I would imagine that inside this pseudo-quackery device is nothing more that a few old cinema processors, de-matrixing, re-matixing, stereo-fudging, phase-shifting and then re-matixing a bog standard 5.1 track. I guess the only thing they can't fudge with is the sub! This system in my opinion is Alchemy of the worst sort.
Maybe this year, my bowel will allow me to travel to the heady climbs of Las Vegas to see what new products are available. Who knows?
Nice to hear from you all again
From a Spring-like Cambridge, goodnight
David
Edit: I have just noticed the below link and was wondering if this is to do with a new server or a new type of processor? Dolby Labs
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Daniel Schulz
Master Film Handler
Posts: 387
From: Los Angeles, CA USA
Registered: Sep 2003
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posted 03-24-2012 12:53 PM
If I were Emperor Of The Universe, I would propose the following system digital cinema audio:
*5.1 mix allowed
*9.1 mix encouraged: 5 screen channels (like SDDS-8 or the old 70mm shows), 4 discrete surrounds just like today's 7.1 setups, LFE). This has the advantage of not requiring extra speakers for the surrounds, and no extra speakers or amps for people who set up for SDDS-8 or kept their equipment from the 70mm era. Also importantly, the larger dub stages are already set up to mix this way.
* DCI spec would require that the server be able to downmix 9.1 to 5.1 simply by taking the LS + LB and summing to a LS channel, and spitting the LE and RE to the Left Screen and Right Screen. Voila - no issues with multiple DCPs or KDMs. My home theater rig is smart enough to downmix a 7.1 Blu Ray to 5.1, it seems like a digital server should be able to do the same.
This would give the cinema experience something the the lions share of home theaters will never have, without the significant expense of mounting an extra array of high or overhead speakers. And as those of you who have heard the 5 screen channel mix for shows like Spider-Man 2 or West Side Story, it really does give the mixers some significant artistic advantage over 5.1 in large auditoriums.
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