PT Atmos Offline Bounce vs Rerender From DAMF

[tomaspal]

Has anyone seen discrepancies between offline bouncing rerenders from PT vs printing a DAMF and then exporting rerenders from the renderer? I usually create a master file and then export rerenders from the renderer for deliverables. For bouncing out WIPs, I’ll sometimes export directly from PT. I’ve never noticed an audible change between the two when listening down but have never directly A/B’d. Today I had a project where I noticed bouncing a stereo full mix rerender from PT resulted in a file that was about .7 LFKS louder than printing the DAMF and exporting the stereo rerender. Is this a known thing? Any insight on what’s happening under the hood differently between the two methods? I know there are some offline bounce issues with 2023.12, but I haven’t found anyone talking about any issues before that.

Running PT Ultimate 2022.7 and Dolby Atmos Renderer 5.2.0 on macOS 10.14.6. Renderer is running on a separate Mac Mini with audio running over Dante.

[Tone_Mechanic]

In the Renderer 5.2 release documents it mentions that there are changes to how Rerender are generated, having removed the spatial emulation algorithm. It specifically mentions that this may change the loudness measurement on 5.1 Rerenders. The latest version of Pro Tools (2023.12) should be updated to reflect these changes.

[tomaspal]

Ah that makes sense. Though I would have thought that bouncing from PT would still be using the external renderer (5.2 in the case) to encode rather than something built into PT. I'll test it out with 2023.12 to see if they are a 1:1 match.

Thanks for the response!