Dolby: Atmos Blu-ray Discs Due This Year

Discussion in 'Blu-ray and UHD' started by Ronald Epstein, Jun 25, 2014.

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  1. DanH1972

    DanH1972 Second Unit

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    Actually, not quite.

    It's lower level mains (fronts and surrounds) / sub / overheads.

    From the newest white paper:

    [​IMG]
     
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  2. Brian Dobbs

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    Received a Press Release yesterday indicating that Transformers: Age Of Extinction will be the first Dolby Atmos encoded Blu-Ray.

    Great sound, piece of trash movie though.

    Sigh. I'll buy it.
     
  3. DanH1972

    DanH1972 Second Unit

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  4. schan1269

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    Won't matter to those of us not buying a half-baked UHD support AVR.Until the BDA finally lets the cat run loose...the chip makers hands are tied.Hopefully as a side effect...these new chips can keep DVD-A and SACD "alive" during bass management.
     
  5. Brian Dobbs

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    Greg Russell, re-recording mixer for Transformers: Age of Extinction, discusses bringing Dolby Atmos to the home theater
     
  6. andySu

    andySu Cinematographer

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    I'm not going to say it. I'm cynical. I was kinder TAKEN by how Greg P. Russell was selling the format for home.

    If it only had Upper LCR and Below LCR channels with below discrete stereo surround for underneath the seating I might have uncontrollable drooling. [​IMG]

    I can't buy it yet, its way too expensive and might end up getting a make-over with upper/lower LCR and below surround in a few years or may not happen?
     
  7. Dave Moritz

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    How in the world could anyone really implement having floor channels? This would be far more insane that just having over head channels. People would ether have to have room that would be suited for the format or they would have to be able to mount the speakers in the floor. Something that a large percentage of people ether wouldn't do or can not do. Personally it sounds like a cool idea but I do not think it can be implemented so it would work very well. The best I think you might be able to do is speakers in the wall at floor level but again you would have to have the ideal configuration and many people do not. It will be hard enough getting people to buy into this format and if it became a system that used floor channels only a hand full would actually use it that way.
     
  8. schan1269

    schan1269 HTF Expert
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    In a properly designed theater room(which is the only way I do it), floor speakers is easy.It is only hard, if your seating is wrong.
     
  9. JoshZ

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    When I visited Dolby HQ a few years back (prior to Atmos), they told me that they'd experimented with a "puddle splash" channel in the floor, but that it was too impractical for most people to install, would hardly ever be used by sound mixers, and was ultimately not something they chose to pursue.
     
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  10. andySu

    andySu Cinematographer

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    Easy if you think about I have and its easy. It has some cleaning duties that would come with it but that is the discipline.

    There are number of ways of going about it.

    One way is simple real cinema seats where seat folds up. Place a small bookshelf underneath the seats, just like my home cinema. Didn't take no more than a few minutes to set up and bit longer to EQ with SPL db and RTA. Also easy to clean speakers in matter of minutes.

    The other way is to fit in-wall type just cos it says in-wall can be used in the ceiling or if have wooden floor can be cut out and fit the speakers flush underneath the cinema seats with metal grill over the top to protect it.

    Getting the idea?

    I listen a lot. There is below sound. I have £1.00 pound that bets if I dropped £10.000 grand on the floor :eek: you'd hear and look downwards, I rest my case. :P

    All this overhead has got a lot members thinking upwards but not three-dimensional its more like 2.5D.

    If you walked down the road around Autumn, lot of leafs about and you hear the rustling sound some 5.8 feet below your ear level on the ground not some 6 feet up in the air across matched LCR stage tweeter/horns makes no sound sense to me.

    So upper LCR and below LCR along with below surround will get the Atmos almost sounding realistic and would be cool on TOP GUN and lot of TOP GUN fans on this site. :)

    Also the speakers underneath the cinema seats reflects off the seat bucket and creates a defused sound, that's great that reduces the the number required. I only x4 for my x6 seats.

    Each are row front, back have them placed under the left/right seats no need for middle row as the middle row seats can hear it just as easily as the left and right seats. I can even hear the front row when sat at the back row. Even my cat can hear it and react to it. Now then.

    These AVR they'll selling while there is an AVP that has support 32 channels all this should be mandatory on all AVP or AVR.

    Fit them with D25 terminals along with standard RCA/XLR for the 7,4.2 and the 32 would be optional when ever one has enough amplifiers/speakers all needed is a lead with D-25 XLR 8channel lead times x4 on the ends or adapter plugs XLR to RCA.
     
  11. andySu

    andySu Cinematographer

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    Oh and the words in Transformers 4 spoken by Greg P. Russell and I was almost hearing the same words of selling the product like in Transformers 3.

    Oh and reducing the dynamic range. Lot of bass heads would grumble about that. Might as well call lossless audio "lossless and half" as I have no idea what films have been watered down from theatrical. Ever seen the same film twice or three times playing in large cinema to a medium size to small boothless of today. Yeah same film.

    This reducing dynamic range has got to stop its as worse as DNR EE.

    And when I worked at the cinema not all films was often played at "7" oh some was played at "6" its only few db less. One cinema where I saw TOTAL RECALL Odoen, 1990, the fader I was told was set at "4" that is some -10db below. Reason for it? I was told it cos it can be heard downstairs. (coughing BS) In recent years they have had it playing 1999 Bloody loud on The Matrix and Episode 1 and Batman Begins where it was too much on the stage horns at 100dbA on the SPL db metre, I was close to walking out.




    I still found Atmos at Empire to be the worst the sound system was pants! Its was far too toppy. No stage bass pressing on the body it was all sheer top end on STAR TREK INTO DEAFNESS. I couldn't enjoy the film not for 1 minute not without covering my ears, fearing HF hearing loss.

     
  12. DP 70

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    If you go into the Impact screen at the Empire now the bass on the Dolby Atmos Logo hits you from the front and you can feel the bass at the back as well coming from the back bass subs.

    The best sounding Cinema in Londons West End.
     
  13. Dave Moritz

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    So far what do we know about titles being released in Atmos?

    1. Transformers: Age Of Extinction
    2. ?
    3. ?
    4. ?
    5. ?

    So what other titles are getting the Atmos treatment?
    X Men: Days Of Future Past ???
    The Hobbit: Desolation Of Smaug ???
    Dawn Of The Planet Of The Apes ???
    Guardians Of The Galaxy ???


    Wonder if Saving Private Ryan will get released with a Dolby Atmos track?
     
  14. Wayne_j

    Wayne_j Screenwriter

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    Teenage Mutant Ninja Turtles, Step Up All In, and Hercules have been confirmed to be atmos.
     
  15. DP 70

    DP 70 Supporting Actor

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    And Expendables 3.
     
  16. Dave Moritz

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    Ok I now have my first Dolby Atmos title, Transformers: Age Of Extinction!

    Mmmm lets see what titles I add next.
     
  17. DanH1972

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    I'm still waiting for a title I would want to buy with an Atmos track. Congrats that you found something.
     
  18. Jari K

    Jari K Producer

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    What's the "quality/specs" in Atmos compared to DTS-HD Master, Dolby TrueHD and PCM? How is it different?
     
  19. DanH1972

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  20. DanH1972

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    Atmos is an extension to traditional channel-based audio beds. It adds discrete sound "object" positioning controlled by metadata instructions. It allows for on-the-fly scalability and customization of movie and music soundtracks that would otherwise be quite limited as with strictly channel based approaches of the past. It's like the final mix is created in the cinema or home in real-time based upon the instructions given to the beds and objects during the original engineering sessions and your particular theater layout.

    5.1 and 7.1 based soundtracks would "excite" the entire array of left/right side and left/right back wall speaker quadrants whenever music or sound effects or dialog were positioned there.

    With objects you can anchor or pan a sound to an individual speaker, not just an entire array, giving you pin point precision and 3D directionality.

    Along with that added benefit comes overhead stereo pairs of speakers, two more behind the screen speakers, and front side surrounds. This creates a more lifelike, 3D immersion with properly mixed Atmos soundtracks. Instead of purely two-dimensionial lateral panning, you get X-Y-Z panning and anchoring of sound.

    Dolby Atmos tracks for the home are capable of 24.1.10 outputs at 24 bit resolution contained within a Dolby TrueHD lossless container. That's 24 main layer speakers, one LFE sub channel (as before), and 10 overhead speakers. Due to its scalability, it can be folded to 7.1.4 and other smaller configurations. Ultra-high end products allow for most or all of consumer Atmos' capabilities, while the mainstream gets more paired down versions.

    Here's a short video about cinema Dolby Atmos (works the same way, but the home version's mastering process scales the 62.2 cinema version down to 34.1, so it can fit within the parameters of a Blu-ray):



    You just need a regular Blu-ray player, Dolby Atmos encoded disc, and a new receiver or pre-amp with an Atmos "renderer" on-board, plus the added overheads if you already have a 5.1 or 7.1 home theater.

    If you run the track through a regular Dolby TrueHD decoder, you'll end up with a standard 7.1 track because the Atmos extensions were ignored.
     

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