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Author Topic: VI Test File Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 05-16-2018 10:08 AM                        So, we are cabled up and the VI checks out with the SMPTE loop. Since then, I've had two features labeled VI, but nothing on the track. Is this common? We do mostly arthouse, so most films do not have VI. How common is it in commercial releases and does anyone check?  |  IP: Logged Harold Hallikainen Jedi Master Film Handler Posts: 906 From: Denver, CO, USA Registered: Aug 2009 posted 05-16-2018 05:31 PM                        You might check server routing. With Interop, servers generally do no routing. Track 1 goes to AES/EBU 1, track 2 to AES/EBU 2, etc. But, with SMPTE packages, the server may do routing based on the audio configuration of the composition. ISDCF is recommending use of audio configuration 4 (Wild Track Format) with the tracks in the same order as Interop. This SHOULD allow both SMPTE and Interop content to play properly. Test content and an explanation of that content is available at http://isdcf.com/t/SMPTE-DCP-Tests/ . Good luck! Harold  |  IP: Logged Carsten Kurz Film God Posts: 4340 From: Cologne, NRW, Germany Registered: Aug 2009 posted 05-17-2018 06:48 PM                     Martin - where these two features labelled with VI even SMPTE DCPs? I believe that every feature labelled 'VI' should have audio on that track. - Carsten  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 05-31-2018 11:02 AM                        Sorry, missed this when you posted a couple of weeks ago. I do not have the ones I referenced on my server anymore, but I don't believe they were SMPTE. The film I'm currently showing is IOP. It is labelled as having VI (US-1351-VI_2K) but nothing coming through on the headphones.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 05-31-2018 11:18 AM                        Is anyone using the channel 7 HI track for the HI system, or is everyone using the HI output from the processor? The latter makes more sense to me, since it would still work for alternative content, microphone feeds, movies on film, DCPs not encoded with an HI track, etc., but channel 7 presumably exists to provide an optimized mix for HI purposes...right?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 05-31-2018 12:31 PM                     It depends. The Dolby/Doremi system makes it more challenging to use anything but the HI track. It was set up as a quick/dirty install. They provide a box to breakout 7/8 and 15/16 from either a DB25 or RJ45 system (separate boxes, specify at time of order) and from that box, it is a pair of coax cables to the transmitter (all digital, never becomes analog until it hits the receivers). That said, most of the systems where we used the Doremi system, we did put in the extra equipment to decode the signal to analog (or used the CP750's ability to do so) and then put in an A/D converter to send it to the transmitter so that the HI signal could come from the Cinema processor as well as mix in other feeds in a live theatre)\.  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 05-31-2018 03:20 PM                     Question: In the CPL naming string: wouldn't HI be hearing impaired and VI for visual impaired along with CCAP for Closed Captions? We use the USL headsets and the USL Visual readers. thx-Monte  |  IP: Logged Harold Hallikainen Jedi Master Film Handler Posts: 906 From: Denver, CO, USA Registered: Aug 2009 posted 05-31-2018 04:27 PM                        Yes, HI, VI, and CCAP in the Digital Cinema Naming Convention mean Hearing Impaired, Visually Impaired, and Closed Captioning. See http://isdcf.com/dcnc/ . Harold  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 06-01-2018 07:09 PM                        So, is an HI track standard in big-studio-release DCPs now? Regardless, I suppose that the ideal situation would be to default to this, with a silence detector/relay box that will switch to the HI output from the processor after a specific amount of time. I wonder if anyone has actually done this in a normal cinema.  |  IP: Logged Harold Hallikainen Jedi Master Film Handler Posts: 906 From: Denver, CO, USA Registered: Aug 2009 posted 06-01-2018 09:14 PM                        The QSC JSD-100 does this. If you select the HI source as AES7, and LCR mix is substantially louder (20 dB I think), it will use the LCR mix. Harold  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 10-23-2018 10:01 AM                        Bumping this up because still having a problem. We get very few films with VI tracks, so testing has been erratic. Did get a SMPTE VI film and the VI worked as expected. Emailing back and forth with Christie, they suggested putting the VI-IOP in all the channels to see if it is indeed there and is coming out. Got a VI-IOP feature and tried it, and got VI everywhere but the VI channel. They the suggested putting the regular channels into the VI to see what happens. Tried it with LCR individually and got nothing. So, we know VI is there (for VI-IOP features). We know it works right with SMPTE VI, but we can't get it to map to the proper channel for IOP-VI. I didn't mention our setup earlier. Christie Solaria One. Dolby CP650 with Odyessy 650-OPTIO-AES board. QSC-28C hearing assistance transmitter. Because we do Blu/Ray screenings frequently, our Hearing Impaired signal is from the CP650 H/I output, not of the AES board. Can that be causing the problem with the VI? Should something be jumped that isn't or vice versa?  |  IP: Logged Harold Hallikainen Jedi Master Film Handler Posts: 906 From: Denver, CO, USA Registered: Aug 2009 posted 10-23-2018 11:24 AM                        What is the full model number of the OPTIO-AES? Looking at http://www.odyssey-products.com/products/circuit_boards/dolby_processors/cp650/option_i_o_boards.html , I don't see any with D/A converters. The IRC-28C audio inputs are analog. You should be able to hang a pair of headphones across the IRC-28C input to hear the VI audio (the CM-8E monitor includes HI and VI inputs making routine listening to these signals easier). Harold  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 10-23-2018 11:39 AM                        Harold: it's the 650-OPTIO-AES-RJ There is also a daughter board that sits between the main board AES and the AES cable. This has a split off that connects to an ODY D2A that feeds to Channel B in the emitter. Channel A gets the HI from the CP650.  |  IP: Logged Harold Hallikainen Jedi Master Film Handler Posts: 906 From: Denver, CO, USA Registered: Aug 2009 posted 10-23-2018 11:52 AM                        The ODY-D2A sounds like a D/A, but I do not find it on http://www.odyssey-products.com/ . You SHOULD be able to hear audio on the pair driving the IRC-28C with headphones. If not, the problem is before the IRC. If you can, the problem is with the IRC. You can check the IRC by swapping the channel A and B audio inputs at the IRC. That should put HI on channel B. If that works, the IRC is working properly. Could be issues with the D/A, wiring, routing in the server, etc. Good luck!!! Harold  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 10-23-2018 01:45 PM                        Tried switching the inputs. Got HI, no VI. Could it just be a jumper problem? I can't see the model# on the splitter board, and don't want to take everything apart right now. I'll ask the installer. What does SMPTE do different than IOP that let's me get the SMPTE VI?  |  IP: Logged

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