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Topic: Dolby's new sound system
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Paul Rousseas
Film Handler
Posts: 7
From: Athens, Attiki, Greece
Registered: Jun 2012
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posted 07-20-2012 06:04 AM
Indeed movie attendance in Greece is marginal, especially in multiplexes, this time of year (open air cinemas seem to be doing better). I believe that multiplexes should reorganize their repertoire and project the same movies that open air cinemas are currently showing. I also believe that establishing a more cultural - artistic profile would benefit the attendance of multiplexes. People go to movie theaters when good movies are shown, which is not the case, with the average movies distributed in Greece this period (i.e. “What to Expect When You are Expecting”, “The Lucky One”, “American Pie”, “Rock of Ages”).
Christos I’ am curious to know to which movie theater you are working, if I am not indiscreet. I have always wanted to chat whit a projectionist from Greece! I would also love to work in a movie theater as a projectionist, but things seem to be a little rough... Thank you very much!
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Marc D Fishman
Film Handler
Posts: 26
From: Burbank CA. USA
Registered: Jun 2012
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posted 07-20-2012 01:59 PM
Bobby,,, the idea is that it will indeed be deliverable on a DCP...
There will be some sort of "lossless" or "near lossless" audio compression..
From the ATMOS Production White Paper..
"The Dolby Atmos audio files delivered to the packaging facility can be imported into an appropriate digital cinema packaging system, such as the Dolby Secure Content Creator (SCC2000), to create a DCP. The audio track files may be locked together to help prevent synchronization errors with the Dolby Atmos track file that has been signed off in the dubbing theater. The SCC2000 may also respond to data in the print master file, such as first frame and last frame of action, to ensure accurate synchronization of sound to picture as was signed off in the dubbing theater."
"Upon creation of the DCP, the main audio MXF file (with appropriate additional tracks appended) is encrypted using SMPTE specifications in accordance with existing practice. The Dolby Atmos MXF is packaged as an auxiliary track file, and is optionally encrypted using a symmetric content key per the SMPTE specification."
"This single DCP can then be delivered to any DCI-compliant server. Any installations that are not suitably equipped will simply ignore the additional track file containing the Dolby Atmos soundtrack and will use the existing main audio track file for standard playback. Those installations equipped with a Dolby Atmos cinema processor will be able to ingest and replay the Dolby Atmos soundtrack where applicable, reverting to the standard audio track as necessary."
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Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 07-20-2012 04:01 PM
Of course there's no problem including a Dolby Atmos MXF audio file package in with the other "assets" on a DCP as long as there is enough hard disc capacity to do so.
Nevertheless, the Atmos track absolutely would have to be a different, alternative track from the standard 5.1/7.1 LPCM track. With the way LPCM audio works there is no way one could embed all sorts of Atmos data into a standard LPCM audio track without ruining compatibility.
Here's a couple visual examples of how I think Atmos compares to a LPCM 5.1 track. Atmos is like a layered Photoshop file and the LPCM track is like a flattened, lossless compressed TIFF version of it no longer editable. Better yet, the Atmos track could be similar to an Adobe After Effects motion graphics project with separate layers of video and graphics elements from Photoshop, Illustrator, etc. all with their own effects parameters on the time line. By comparison the LPCM track would be like a flattened video file rendered from the After Effects project. To make any changes to that flat video file one would have to go back into After Effects, make adjustments and re-render the video.
You can't open a flattened, rendered video of motion graphics and select elements like type, graphics, etc. since it's all collapsed down to one layer. A final LPCM 5.1 mix is the same kind of thing. The dozens of audio elements used to create the mix are all destructively baked down into just one layer.
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