Originally Posted by Selden Ball
Don't forget that most movies currently are being released for the home market using DTS compression (i.e. many mixing companies are more familiar with DTS's mixing software than with Dolby's), and hundreds of movies were remixed to produce 7.1 discrete soundtracks for the home environment, even though their theatrical releases were only 5.1 or less (i.e. redistributing the many audio tracks that were originally recorded among a different number of speaker channels [or objects] is not new.)
Many authoring companies still rely on Dolby's suite for all content not delivered via BR... which is almost exclusively every other format.
The speed of the lossless encoders was what drew much love from the authoring companies doing such work.. DTS's solution is much
faster, and maybe a little more user friendly (debatable subjective comment.)
That being said, I've heard the new Dolby Media Encoder to be used with Atmos is smoking
Upmixing from stems is a wholly different beast that taking a 5.1 mix and going to Atmos... it's not about access to individual units, those all exist... it's getting them out of the original stems to make them into objects, and even from a predub level, it's a large, complicated amount of work. It very well may be that they go and manipulate the stems into 7.1 and Atmos (I did it on "The Heat" and it was acceptable) but not a big enough difference that I could honestly sell to a client, and Dolby Surround might be really good to give us something similar, and similarly acceptable.
Regardless, as I've mentioned before, studios seem reluctant to redo the audio without creative input (from the director, editor, etc..)
I know some have mentioned they seem to do whatever they want with the picture... however, I attribute many of those example to be the result of overdone, or botched, compression of director approved masters
.. not saying it's right, but it is a different example.