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  #11  
Old 03-23-2018, 05:03 PM
C C is offline
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Default Re: Dolby Atmos inquiry

You know it didn't even register to me that the order was wrong…doh!

No, once the .atmos is printed it's baked. You could however take the Pro Tools session to a stage with the hardware and then print through their system and that would work.

C
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  #12  
Old 03-26-2018, 01:25 AM
tom_lowe tom_lowe is offline
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Default Re: Dolby Atmos inquiry

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Originally Posted by C View Post
You know it didn't even register to me that the order was wrong…doh!

No, once the .atmos is printed it's baked. You could however take the Pro Tools session to a stage with the hardware and then print through their system and that would work.

C
I made the same typo too. Excellent thanks for the clarification and info.
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  #13  
Old 03-26-2018, 04:40 AM
critictalk critictalk is offline
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Default Re: Dolby Atmos inquiry

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Originally Posted by C View Post
There are 3 flavors of Renderer.



1/ Theatrical - Available as a loan if your room is using an appropriate number of speakers for the space that you have, is of sufficient size to represent a theatrical environment and you are producing theatrical Atmos soundtracks. MPSA contract applies for titles produced in these rooms.



2/ Home Theatrical/Mastering Suite - Available to purchase from resellers. Requires a specific SKU of Dell workstation and MADI cards from RME. This is the model and configuration that was qualified for the software to run on as being capable of consistently mastering Home theatre content.



3/ Production Suite - Available for anyone with $299 and an Avid store account. The only supported master creation is for VR and has been pointed out in numerous places there is no Delay Compensation support for this software. While there are work arounds for this limitation it is one of the reasons why only VR workflows are supported as the deliverable requirements are so much lower than Home Theatre.



In the theatrical renderer you are able to have up to 64 speaker channels configured that feed out of the first MADI card in the Renderer into the B-chain processors (BSS, QSC etc) for EQ/Delay etc then from the processor to amps. The theatrical renderer also has a EQ/Delay section which can perform processing for room calibration on a per speaker and array basis.



In the home theatrical renderer and production suite you can configure up to 22 speakers, this maximum configuration would be 5 across the front, 2 pairs of walls, 5 pairs of overheads, 1 pair of rears and a sub. In reality most rooms with these renderers top out at a 9.1.6 configuration and more commonly 7.1.4.



The idea with Atmos is that it is a channel independent renderer that preserves the placement of sound sources in a space regardless of the number of speakers. So in a 64 channel room you might place a sound source in a particular speaker in one of the wall positions, each renderer will 'know' if there is a speaker at that location in the room in which the content is being played back and if there isn't a speaker in that location will use surrounding speakers to render the sound into that location, with a combination of many factors including pan law, power preservation, psychoacoustic processing etc.



These same principles are applied to soundbar reproduction and the upward firing speaker configurations available in home theater markets.



So to answer your questions directly:







Hopefully I've clarified this already







If you are creating masters for blu ray/ OTT delivery you will need the Mastering Suite, if you are purely doing editorial for later mix in a capable room then you can use the Production Suite for this editorial purpose







Awesome! Make sure to add another path in your processor to accept output from the DoReMi that can utilize the same tuning you establish for the output from your Atmos creation environment









If you are creating MXFs for DCP creation then you will need a Theatrical Renderer which is a loan item for a qualified room. If you are creating masters for blu ray/ OTT delivery you will need the Mastering Suite, if you are purely doing editorial for later mix in a capable room then you can use the Production Suite for this editorial purpose







Yes I have some experience. No they are connected to the DA'd output from the MADI cards of the Renderer which is more often than not output from the post-processor amplification.







Few installs in the home environment will have in-ceiling speakers, those that do will also tend to have 6 speakers built in. Upward firing speakers would be the next best thing but if you have vaulted ceilings then this is not your solution, nor is the sound bar. The soundbars are pretty good at reproducing the sound field as are the built in Atmos capable TVs. Some solutions also offer extra surround speakers to support the front sound bar which is worth investigating.



If you have a Samsung S9 then you have Atmos capable playback in your pocket via headphones and if you are a PC user or xBox gamer then you too can decode Atmos at home via a receiver or over headphones with the Dolby Access application.



Why is this important?



Playback is not just confined to properly set up home theaters, the mixes that are created are scalable from 64 speakers right down to 2 channel output via headphones.



Hope that helps,



Ceri

A Dolby Guy.


Hi Ceri, I am now using a 2 x HDX Protools system and Mc-pro for 7.1/5.1 mixing. I am told that if I want to upgrade to Atmos it is better to install one more HDX Protools as recorder. So what does this ‘recorder’ mean? Is it used for premixed music or BG etc.? And how can I control two Protools with Mc-pro at the same time?


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  #14  
Old 03-26-2018, 12:06 PM
C C is offline
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Default Re: Dolby Atmos inquiry

The recorder would used as a stem recorder like you'd do for 5.1/7.1 deliveries but due to the large number of channels and configurations that Atmos might create you're really better off with a second system rather than doing it in the box as you're able to do with most 7.1 'one-man' deliveries.

I am making an assumption that your source session will have a configuration of internal busses making Dialog, music and effects stems together with a Printmaster and possibly MNE derivatives. The trying to do this with Atmos you'd end up with quite a number of channels that might need to be recorded, rerouted and rerecorded so having the dedicated system would take the pressure off your source rig.

The Renderer can deal with 7.1 and 5.1 stem outputs from a printmaster and can often be used in offline mode once the master has been created to output stems.

Not familiar enough with the MC-Pro to specify how it might be configured to control multiple systems but Satellite link in PT will get them to run transport in sync with each other and any other playback devices you may have (video etc). As for mixing processes it might be one or the other unlike the System5/S6 which is capable of multiple systems being mixed on at once.
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  #15  
Old 03-26-2018, 06:06 PM
critictalk critictalk is offline
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Default Re: Dolby Atmos inquiry

Quote:
Originally Posted by C View Post
The recorder would used as a stem recorder like you'd do for 5.1/7.1 deliveries but due to the large number of channels and configurations that Atmos might create you're really better off with a second system rather than doing it in the box as you're able to do with most 7.1 'one-man' deliveries.

I am making an assumption that your source session will have a configuration of internal busses making Dialog, music and effects stems together with a Printmaster and possibly MNE derivatives. The trying to do this with Atmos you'd end up with quite a number of channels that might need to be recorded, rerouted and rerecorded so having the dedicated system would take the pressure off your source rig.

The Renderer can deal with 7.1 and 5.1 stem outputs from a printmaster and can often be used in offline mode once the master has been created to output stems.

Not familiar enough with the MC-Pro to specify how it might be configured to control multiple systems but Satellite link in PT will get them to run transport in sync with each other and any other playback devices you may have (video etc). As for mixing processes it might be one or the other unlike the System5/S6 which is capable of multiple systems being mixed on at once.


Thanks Ceri, you reply is very helpful. Your assumption is right, I usually do my 5.1/7.1 mix in one session only. I think I can do music or BG premix with the recorder session first, right? And I believe that my Mc-Pro can’t control two machines at the same time. I know Satellite can link up two machines but we now talking about mixing with two machines. We have to do at least automation within two machines.


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  #16  
Old 03-28-2018, 05:47 PM
C C is offline
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Default Re: Dolby Atmos inquiry

Quote:
I think I can do music or BG premix with the recorder session first, right?
Yes I think that would be fine.
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