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Dolby Atmos inquiry
I have a question about the Dolby hardware RMU and Dolby Atmos production and mastering suite.
We want to set up a small/mid-size mixing/editing room. The speaker set up will be 11.1 (7.1 + four overhead) and we will be using a Protools HD/Avid S6 rig + DAD and QSC Qsys for monitoring and room calibration. The room will also be equipped with a Christie projector and Doremi DCP server. I’m a bit confused whether we need to buy/license a hardware RMU or the Dolby Atmos production and mastering suite will do. Thanks Last edited by vudoo; 03-22-2018 at 06:01 AM. |
#2
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Re: Dolby Atmos inquiry
Hi Anthu,
I had a meeting with Dolby Germany last week, and they told me for a licensed Atmos Home Studio, you need the hardware RMU. Also keep in mind, Delay Compensation doesn`t really work with the Software Suite. Hope this helps, Nico |
#3
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Re: Dolby Atmos inquiry
A time ago I initiated a thread on Gearslutz forum.
All you should know about this subject is there: https://www.gearslutz.com/board/post...ing-stage.html
__________________
Michael Goorevich Sound Designer / mixer www.goorevich.com PT HD⎪N v2024.3 Ultimate ● macOS Ventura 13.6.3 MacPro 7.1 (2019) 3.2GHz Intel Xeon W 16-Core ● 96 GB RAM MTRX Studio + DADman 5.7.0.1 + MOM ● Sync HD ● AJA Kona LHi referenced by AJA GEN10 ● D-Command ES24 |
#4
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Re: Dolby Atmos inquiry
Anyone here has experience with the Home Theater RMU ?
Are the outputs connected directly to the monitors ? I guess most HT use the crappy sound bar, but how about discrete overhead monitors for home theatre ? |
#5
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Re: Dolby Atmos inquiry
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: Quote:
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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. |
#6
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Re: Dolby Atmos inquiry
Quote:
Finaly a full answer regarding this issue.
__________________
Michael Goorevich Sound Designer / mixer www.goorevich.com PT HD⎪N v2024.3 Ultimate ● macOS Ventura 13.6.3 MacPro 7.1 (2019) 3.2GHz Intel Xeon W 16-Core ● 96 GB RAM MTRX Studio + DADman 5.7.0.1 + MOM ● Sync HD ● AJA Kona LHi referenced by AJA GEN10 ● D-Command ES24 |
#7
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Re: Dolby Atmos inquiry
Ceri!
Thank you for giving a precise defining description of the capabilities of each Dolby Atmos tool. A couple of weeks ago when we were waiting for the valet to get our cars and you went over quickly each version and its's capabilities I am glad you spelled it out here in detail! For those of you who don't know Ceri, he is an amazingly talented Dolby engineer who speaks with a funny accent Thanks again for posting here!!
__________________
Marti D. Humphrey CAS aka dr.sound www.thedubstage.com IMDB http://www.imdb.com/name/nm0401937/ Like everything in life, there are no guarantees just opportunities. |
#8
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Re: Dolby Atmos inquiry
Quote:
I was talking to the HHB guys at BVE a couple of weeks ago, and they said the the Production Suite is capable of creating a .atmos master, just it can't be output to a delivery format. I wasn't entirely convinced of this being the case, can you shed some light? |
#9
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Re: Dolby Atmos inquiry
The official answer is the ones you received from HHB and the workaround for ACD actually increases the need for a hardware unit to print as it further increases the CPU load that could cause the issue.
Basically using Time Adjuster plugins on the Bed and Object channels you are able to retime the communication sufficiently to compensate for ADC not functioning. Send a pop via the Bed and record the output from the renderer, make note of sample value, then send a pop from an object and do the same. Insert TimeAdjusters in all Renderer send positions and set Bed's to the Bed value and Objects to the Object Value then perform the test again. All signals should be uniformly delayed and the pops line up appropriately. From there you have a consistent basis to cut from along with Video Delay etc but have added to the overhead of the system to the point that metadata and audio recording may be compromised. Production suite is still only supported for VR master creation all other masters need a hardware unit. Thanks |
#10
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Re: Dolby Atmos inquiry
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Cheers. |
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