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post #811 of 1291 Old 03-25-2014, 10:05 AM
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Quote:
Originally Posted by markus767 View Post

Their diagram shows 31 Dolby Atmos mixes vs. 23 Dolby Digital 5.1 mixes. Makes me think what qualifies as "Dolby Atmos mix"? 7.1, beds-only would also count as "Dolby Atmos mix"?

Would we not call a 5.1 EX (as in, the center surround was thought out during the mix) an "EX track"?


That's actually an interesting question. Imho, when we are talking in the cinema world (cuz Atmos does not exist in consumer form...atm. *glare*), if the theatrical audio track is >7.1 PCM and includes object metadata, it IS an Atmos "mix". I don't want to say it was an "Atmos-optimized" mix but technically you could argue that they are. Is it only considered an "Atmos mix" if it were made fully from Atmos at the beginning? Is it only Atmos if there are objects? I figure if it's Dolby and mixers are using Atmos software then it's an Atmos mix. tongue.gif


But that is a good question. smile.gif

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post #812 of 1291 Old 03-25-2014, 10:36 AM
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Quote:
Originally Posted by sdurani View Post

I think that's an April release, not May.

I was referring to the articles list, not your comment about May. smile.gif

MDA did an ATMOS mix after the fact at Disney. smile.gif. (That abbreviation was for Roger wink.gif)
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post #813 of 1291 Old 03-25-2014, 10:50 AM
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Quote:
Originally Posted by Scott Simonian View Post

Would we not call a 5.1 EX (as in, the center surround was thought out during the mix) an "EX track"?


That's actually an interesting question. Imho, when we are talking in the cinema world (cuz Atmos does not exist in consumer form...atm. *glare*), if the theatrical audio track is >7.1 PCM and includes object metadata, it IS an Atmos "mix". I don't want to say it was an "Atmos-optimized" mix but technically you could argue that they are. Is it only considered an "Atmos mix" if it were made fully from Atmos at the beginning? Is it only Atmos if there are objects? I figure if it's Dolby and mixers are using Atmos software then it's an Atmos mix. tongue.gif


But that is a good question. smile.gif

In the end it's an easy answer....

The ATMOS master is unique in its packaging, regardless of how it was originally mixed (5.1 or 7.1 then Atmos later, or ATMOS all the way through.)

And IMO when in the process it is taking place us irrelevant at this point to the final subjective quality of the track.

I've heard great things about Noah (mixed by Skip Leavsay who did Gravity) and Transcendence. Both done after the initial final mix was competed.

Cap 2 was premixed in ATMOS, final mixed in 7.1 and then a good deal of time was spent doing the final ATMOS.

Most sound editorial is keen on doing it after the 6.1, simply because of the amount of picture changes taking place during most larger productions. Because the elements end up going through various editors, it makes sense to have channel based predubs... Of course there are more editorial rooms coming online with ATMOS capabilities, and as this matures i am sure the workflow will follow.
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post #814 of 1291 Old 03-25-2014, 10:51 AM
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Originally Posted by FilmMixer View PostI was referring to the articles list, not your comment about May. smile.gif  Million was a lower budget show mixed at a facility that doesn't have an ATMOS stage. Doesn't mean they didn't do it elsewhere.... I'll get confirmation on it and edit this post when I do.No Million on that list

No Million on that list but some good ones :)

 

2014 Dolby Atmos Movie Releases


- The Hobbit: There and Back Again (December 17, 2014)


- The Expendables 3 (August 15, 2014)
- Guardians of the Galaxy (August 1, 2014)


- Dawn of the Planet of the Apes (July 11, 2014)


- Transformers: Age of Extinction (June 27, 2014)
- How to Train Your Dragon 2 (June 13, 2014)
- Edge of Tomorrow (June 6, 2014)
- Enchanted Kindom (June 3, 2014)
- Open Windows (June 1, 2014)


- X-Men: Days of Future Past (May 23, 2014)
- Godzilla (May 16, 2014)
- Farewell To My Concubine (May 15, 2014)
- The Amazing Spider-Man 2 (May 2, 2014)


- Iceman 3D (April 25, 2014)
- Transcendence (April 17, 2014)
- Rio 2 (April 11, 2014)
- Captain America: The Winter Soldier (April 4, 2014)
- Noah (March 28, 2014)
 

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post #815 of 1291 Old 03-25-2014, 11:01 AM
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Quote:
Originally Posted by markus767 View Post

7.1, beds-only would also count as "Dolby Atmos mix"?
7.1 channels only (no objects) describes their "Dolby Surround 7.1" format.

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post #816 of 1291 Old 03-25-2014, 11:03 AM
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Quote:
Originally Posted by FilmMixer View Post

In the end it's an easy answer....

The ATMOS master is unique in its packaging, regardless of how it was originally mixed (5.1 or 7.1 then Atmos later, or ATMOS all the way through.)

And IMO when in the process it is taking place us irrelevant at this point to the final subjective quality of the track.

I've heard great things about Noah (mixed by Skip Leavsay who did Gravity) and Transcendence. Both done after the initial final mix was competed.

Cap 2 was premixed in ATMOS, final mixed in 7.1 and then a good deal of time was spent doing the final ATMOS.

Most sound editorial is keen on doing it after the 6.1, simply because of the amount of picture changes taking place during most larger productions. Because the elements end up going through various editors, it makes sense to have channel based predubs... Of course there are more editorial rooms coming online with ATMOS capabilities, and as this matures i am sure the workflow will follow.

Let's hope for the best. Otherwise it would somewhat defeat the purpose of having an object based system like Atmos when it is used for nothing more than the same old channel-based mix workflow that has been used for decades.

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post #817 of 1291 Old 03-25-2014, 11:04 AM
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Quote:
Originally Posted by sdurani View Post

7.1 channels only (no objects) describes their "Dolby Surround 7.1" format.

Why is it omitted in the infographic?

Markus

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post #818 of 1291 Old 03-25-2014, 11:05 AM
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Quote:
Originally Posted by FilmMixer View Post

In the end it's an easy answer....

The ATMOS master is unique in its packaging, regardless of how it was originally mixed (5.1 or 7.1 then Atmos later, or ATMOS all the way through.)

And IMO when in the process it is taking place us irrelevant at this point to the final subjective quality of the track.

I've heard great things about Noah (mixed by Skip Leavsay who did Gravity) and Transcendence. Both done after the initial final mix was competed.

Cap 2 was premixed in ATMOS, final mixed in 7.1 and then a good deal of time was spent doing the final ATMOS.

Most sound editorial is keen on doing it after the 6.1, simply because of the amount of picture changes taking place during most larger productions. Because the elements end up going through various editors, it makes sense to have channel based predubs... Of course there are more editorial rooms coming online with ATMOS capabilities, and as this matures i am sure the workflow will follow.

Excellent. That's exactly how I thought of it.

Thanks, Marc!

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post #819 of 1291 Old 03-25-2014, 11:23 AM
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Quote:
Originally Posted by markus767 View Post

Why is it omitted in the infographic?
Because the infographic is not about the Dolby Surround 7.1 format. Instead, the point of the graphic is to show that Dolby Atmos is being adopted faster than Dolby Digital was. To demonstrate that, the graphic gives numbers from the first 12 months:

During the first year that Dolby Digital was available, there were 23 movies released in the format and over 120 theatres equipped to play back those soundtracks. By comparison, during the first year of Dolby Atmos, there were 31 movies released in the format and over 200 theatres equipped for playback.



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post #820 of 1291 Old 03-25-2014, 11:40 AM
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Quote:
Originally Posted by sdurani View Post

Because the infographic is not about the Dolby Surround 7.1 format. Instead, the point of the graphic is to show that Dolby Atmos is being adopted faster than Dolby Digital was. To demonstrate that, the graphic gives numbers from the first 12 months:

During the first year that Dolby Digital was available, there were 23 movies released in the format and over 120 theatres equipped to play back those soundtracks. By comparison, during the first year of Dolby Atmos, there were 31 movies released in the format and over 200 theatres equipped for playback.



Fantastic I want more biggrin.gif bring it home now please
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post #821 of 1291 Old 03-25-2014, 11:42 AM
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^^^^^^^

Yes. This x infinity.

This belongs in that other thread but I really hope our first Atmos home AVR's aren't all arbitrarily handicapped like all new tech seems to be when it first comes out.

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post #822 of 1291 Old 03-25-2014, 02:21 PM
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Quote:
Originally Posted by wse View Post

Fantastic I want more biggrin.gif bring it home now please

And watch the next Dolby adoption line climb steeper than that!

Quote:
Originally Posted by Scott Simonian View Post

^^^^^^^

Yes. This x infinity.

This belongs in that other thread but I really hope our first Atmos home AVR's aren't all arbitrarily handicapped like all new tech seems to be when it first comes out.

+1
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post #823 of 1291 Old 03-25-2014, 02:24 PM
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Quote:
Originally Posted by sdurani View Post

Because the infographic is not about the Dolby Surround 7.1 format. Instead, the point of the graphic is to show that Dolby Atmos is being adopted faster than Dolby Digital was. To demonstrate that, the graphic gives numbers from the first 12 months:

During the first year that Dolby Digital was available, there were 23 movies released in the format and over 120 theatres equipped to play back those soundtracks. By comparison, during the first year of Dolby Atmos, there were 31 movies released in the format and over 200 theatres equipped for playback.

You're right but it's apples and oranges.

Markus

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post #824 of 1291 Old 03-25-2014, 02:38 PM
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post #825 of 1291 Old 03-25-2014, 04:55 PM
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I am thinking one great way to build a great ATMOS room would be to use powered speakers!

 

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focalheader_l.jpg focal_twin6_be_2.jpg
 
and nine Focal Solo 6Be
 
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Originally Posted by wse View Post

http://www.auro-3d.com/consumer/movies/

That first film listed looks like a copy of platoon...

No subwoofer I've heard has been able to produce the bass I've experienced in the Corps!

Must..stop...buying...every bluray release...
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Quote:
Originally Posted by markus767 View Post

You're right but it's apples and oranges.
I won't pretend to understand what you're complaining about. Dolby simply wanted to show that Atmos is being adopted at a faster rate than one of their most popular/successful technologies (Dolby Digital). Nothing more complicated than that.

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post #828 of 1291 Old 03-27-2014, 12:47 AM
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It seems Dolby is doing what IMAX does, allowing only a week or two between some films released in that that format.

Or I imagine some theaters might just skip a certain release if it doesn't fit their local market demographic.

This will probably become a mute point as this moves beyond a premium experience and more theaters retrofit more auditoriums for it.

I believe AMC Aventura already has 2, if not 3 auditoriums with ATMOS installed.

Why they don't do more advertising to promote it is beyond me.
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post #829 of 1291 Old 03-27-2014, 10:26 AM
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It seems Dolby is doing what IMAX does, allowing only a week or two between some films released in that that format.
I think movie studios and theatre owners make those decisions, not the audio technology provider (Dolby Labs).

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post #830 of 1291 Old 03-27-2014, 10:29 AM
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Quote:
Originally Posted by markus767 View Post


You're right but it's apples and oranges.

Hi Marcus

 

You make the point to say apples and oranges. Please elaborate- as I'm interested in your opinion.  

 

Most thread comments are about Atoms in USA and I understand you are in Europe?  From your view,  how is Atmos is going in Europe?  Do you have Atmos nearby?  Have you been able to experience it?  

 

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post #831 of 1291 Old 03-28-2014, 12:19 PM
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Noah Launches Deluxe Atmos Stage
http://www.bydeluxe.com

New York, NY (March 28, 2014)—Re-recording mixers Skip Lievsay and Craig Henighan mixed director Darren Aronofsky's new epic, Noah, at Deluxe New York’s new Dolby Atmos-equipped mixing stage at 435 Hudson Street.

The theater is among the largest Dolby Atmos-capable sound stages in New York. "[The stage] is a welcome addition to the city," says New York-based Lievsay, who mixed dialogue and music for the film and is a recent recipient of an Oscar for Gravity. "It's nice to have another relatively large stage in the city and this is the largest with Dolby Atmos capability, which was vital for Noah. It was a great place to work."

"Obviously, there is a lot of rain in the story of Noah," says Henighan, "and Dolby Atmos allowed me to take the rain to the back of the theater and overhead. I had recorded a lot of real rain from outside and inside wooden barns and I was able to spread all these sounds throughout the theater to give the audience an incredible sense of really being inside the ark."

"Dolby Atmos gives you more options for moving energy around the room and ceiling," Lievsay elaborates. "If a character is speaking off-screen—say they would be to the rear left of the theater—we can accurately place that character in that space. If you're a director who is open to that idea as Darren is, then Dolby Atmos is really the only way to do it."

“The crew at Deluxe and Dolby started in late December and burned the midnight oil to get everything completed so by the start of 2014, we were able to do all the sound work with the entire team based in New York," adds Henighan.

"To have Darren Aronofsky and his talented team do the first mix on the stage is something I never could have imagined,” enthuses Domenic Rom, Deluxe New York's general manager.
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post #832 of 1291 Old 03-29-2014, 10:32 AM
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Noah was actually mix in Atmos, then converted to other sound formats:

http://www.hollywoodreporter.com/behind-screen/noah-sound-editor-mixer-creating-691274
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"On Noah we mixed in Atmos and then converted to 7.1. Dolby has tried to make that as seamless as possible. … But there are still differences where you have to bounce back and forth. The delivery is a big thing."
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post #833 of 1291 Old 03-29-2014, 04:00 PM
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^^^ from a delivery standpoint this is one of the reasons it might be preferable to start in 7.1 if you're up against a deadline.

You know what you have and can expand in that... Going from ATMOS to 7.1, then 5.1 and LtRt can be a lot of work...
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post #834 of 1291 Old 03-31-2014, 09:57 AM
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Movies available to the consumer encoded with Atmos would not hurt either. :P
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Lol

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post #837 of 1291 Old 03-31-2014, 01:50 PM
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Quote:
Originally Posted by thxman View PostMovies available to the consumer encoded with Atmos would not hurt either. :P

Yes that would be nice as well!

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post #838 of 1291 Old 04-01-2014, 07:26 PM
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Movies available to the consumer encoded with Atmos would not hurt either. :P
See the first two titles being shown at this industry demo last week:

https://www.editorsguild.com/Events.cfm?EventID=B90F3FFA-D5BF-08EB-5242BBD5C2E8AA4C&View=month&linkDate=3%2F1%2F2014

Anyone here believe that those movies (and maybe other catalogue titles) got an Atmos mix for theatrical re-release?

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post #839 of 1291 Old 04-01-2014, 10:05 PM
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The recently re-release BD of Chicago has a new 7.1 that was made when they were dong the Armos up mix.
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post #840 of 1291 Old 04-01-2014, 10:22 PM
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The recently re-release BD of Chicago has a new 7.1 that was made when they were dong the Armos up mix.

Oh really? Interesting.

Somehow I can't imagine yet another copy of Die Hard coming out but.... wink.gif

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