The official Dolby Atmos thread (home theater version) - Page 31 - AVS Forum
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post #901 of 5154 Old 07-12-2014, 10:38 AM
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True, the biggest problem with 3D movies, unless it was filmed in 3D it pretty much sucked. IMAX 3D titles are good along with animated titles. The problem was remaking movies into 3D. Where most the movie is standard with a few 3D scenes added. That soured quite a few people. I hope Atmos does NOT follow in those footsteps.
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post #902 of 5154 Old 07-12-2014, 10:56 AM
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I'm hoping for (at least) 5.1.6 in the first AVR's released.

3D needs more attention not less. There must be millions of people who would purchase it if they could afford it, I'd say its short sighted to suggest its done when so many haven't bought into it.

You'd be correct in saying 3D needs more love from all sides of the equation. Myself I feel with good filming, using intentional cues and good screens, some/good depth is already present. We need to find the happy middle ground where its unobtrusive and a feature you can't live with out.

I'm not sure if Atmos will win my money or DTS. Now that a DTS equivellent has been suggested for consumer release I'm leaning and waiting for it to be officially anounced from a AVR manufacturer.

The RX-A3040 had my attention, I might have to wait.
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post #903 of 5154 Old 07-12-2014, 11:00 AM
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Originally Posted by brwsaw View Post
I'm hoping for (at least) 5.1.6 in the first AVR's released.

3D needs more attention not less. There must be millions of people who would purchase it if they could afford it, I'd say its short sighted to suggest its done when so many haven't bought into it.

You'd be correct in saying 3D needs more love from all sides of the equation. Myself I feel with good filming, using intentional cues and good screens, some/good depth is already present. We need to find the happy middle ground where its unobtrusive and a feature you can't live with out.

I'm not sure if Atmos will win my money or DTS. Now that a DTS equivellent has been suggested for consumer release I'm leaning and waiting for it to be officially anounced from a AVR manufacturer.

The RX-A3040 had my attention, I might have to wait.
The lowest configuration of Atmos is 5.1.2. Then you can move to 5.1.4, then 7.1.2, then 9.1.2, then 7.1.4. It's all fixed speaker positions right now since these mainstream consumer products don't use the full Atmos remapping feature yet.

Listen up, studios! Just say "NO" to DNR and EE!!
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post #904 of 5154 Old 07-12-2014, 12:30 PM
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Originally Posted by KidHorn
I'm glad I'm not the only one. The reflection speakers are a no go for me. Not only will you almost certainly get inferior sound, you also have to run an extra set of wires to the speakers and you need to replace your existing speakers from a limited selection.
It's not even the need to run new wires, buy new speakers, or redo the theater - that doesn't bother me and I would do all of that. But shooting sound out of the top of the speaker to attempt to reflect it off the ceiling and have it come to the listening position just seems like such a bad solution. Only the high frequencies are going to reflect very well if at all, and trying to line that up to achieve a coherent surround effect just seems like a mess. There will be stray frequencies that don't reflect well or directionally, and all that is doing is adding noise to the room. With 11.2, 9.2, or even 7.2, the surrounds can place sounds in a very particular position. GF wanted to watch Little Mermaid blu ray the other day - scene near the beginning where the crab is chasing Ariel and he very clearly scuttles from behind us on the left, overhead, across the ceiling. That is a very specific sound effect that I don't see how could be pulled off as clearly with diffuse surrounds.

In a few years when things standardize, I'm sure I will go with in ceiling speakers to take advantage of this, if only because I like as many surrounds as possible, but I'd be very suspect of this ceiling bouncing concept.

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post #905 of 5154 Old 07-12-2014, 01:04 PM
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Originally Posted by Dan Hitchman View Post
All I can say is that Dolby must have concrete Atmos titles announced during the hardware debut or everyone will cry "vaporware!!" and the technology will die before it even makes its way out of the starting gate.

If there's a good selection of releases from various studios at a fair price to start this format off right then it might be smoother sailing. Disney re-releasing Frozen with a deluxe edition including an amazing Atmos track, would be a boon.

I would also hope that Dolby and other "partners" will have demos at CEDIA with actual retail Blu-ray Atmos discs using both "Atmos speakers" and optimal speaker arrays. That would be a very, very smart move on their part.
There will be a bunch of titles to be announced when the time comes.

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post #906 of 5154 Old 07-12-2014, 01:11 PM
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Originally Posted by David Susilo View Post
There will be a bunch of titles to be announced when the time comes.
The operative words are: when the time comes. When will that be exactly?

Listen up, studios! Just say "NO" to DNR and EE!!
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post #907 of 5154 Old 07-12-2014, 01:30 PM
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Since they are releasing Atmos why are we stuck with the standard configuration? ie. 5ch, 7ch, 11ch receivers? Why not add more channels now since a new avr is required. I run 11 channels now. If I purchase a new 11ch avr I am removing my front height/wide and replacing them with 4 ceiling speakers.(7.4) Is 4 the correct amount for in ceiling speakers? It seems like a choice between dolby height/wide or atmos ceiling. Why not incorporate both? Leave the current 11 ch configuration alone and add 4 or even 6 options for ceiling speakers. Maybe that will be an option for future releases. I prefer not to purchase "bleeding end" electronics. IMO I'll wait a year or so until the dust settles. My current 11.4 channels is perfect for now. (although, the more the better). While I am ranting, why not add 4 subwoofer outputs? If your introducing a new receiver lets make some changes instead of rearranging some channels. I realize adding more channels requires more amplification, just add outputs for external amps.
We should create a quick pole of our choice. 5.2,5.4, 7.2,7.4, 7.6, 9.2, 9.4, 9.6,11.2,11.4,11.6


I like 9.6 or 11.6. I can leave my existing configuration alone and allow for 6 in ceilings. (I don't really need both wide and height). Anyone else with setup option/suggestions?
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post #908 of 5154 Old 07-12-2014, 01:43 PM
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Originally Posted by rlhaudio View Post
Since they are releasing Atmos why are we stuck with the standard configuration? ie. 5ch, 7ch, 11ch receivers? Why not add more channels now since a new avr is required. I run 11 channels now. If I purchase a new 11ch avr I am removing my front height/wide and replacing them with 4 ceiling speakers.(7.4) Is 4 the correct amount for in ceiling speakers? It seems like a choice between dolby height/wide or atmos ceiling. Why not incorporate both? Leave the current 11 ch configuration alone and add 4 or even 6 options for ceiling speakers. Maybe that will be an option for future releases. I prefer not to purchase "bleeding end" electronics. IMO I'll wait a year or so until the dust settles. My current 11.4 channels is perfect for now. (although, the more the better). While I am ranting, why not add 4 subwoofer outputs? If your introducing a new receiver lets make some changes instead of rearranging some channels. I realize adding more channels requires more amplification, just add outputs for external amps.
We should create a quick pole of our choice. 5.2,5.4, 7.2,7.4, 7.6, 9.2, 9.4, 9.6,11.2,11.4,11.6


I like 9.6 or 11.6. I can leave my existing configuration alone and allow for 6 in ceilings. (I don't really need both wide and height). Anyone else with setup option/suggestions?
We're stuck because of the slower CPU's being utilized and the fact that receivers can't be jammed with a bunch of amplifiers. Why aren't there pre-amp outs for more audio pathways? Because that would require more powerful chips to render an increasingly complex and varied speaker layout.

If you had enough money to burn at your disposal, you could get a Trinnov Altitude processor.

I too will be sitting this generation out until the manufacturers can get their act together and start producing Atmos (and perhaps DTS-UHD) products from the ground up that utilize more of the benefits of this technology.

Listen up, studios! Just say "NO" to DNR and EE!!
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post #909 of 5154 Old 07-12-2014, 03:23 PM
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Originally Posted by Dan Hitchman View Post
The operative words are: when the time comes. When will that be exactly?
Cedia.
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post #910 of 5154 Old 07-12-2014, 03:37 PM
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Originally Posted by FilmMixer View Post
Cedia.
Cool! That's what I was wondering. Seemed liked the best time. I'll be there.

It'll be interesting to know if they needed the original sound engineers behind the theatrical Atmos tracks to convert their work to consumer Atmos.

And whether Dolby's work on Die Hard's original soundtrack was just for a demo clip or if the entire movie was remixed in Atmos. That's one classic I would LOVE in Atmos!

Listen up, studios! Just say "NO" to DNR and EE!!
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post #911 of 5154 Old 07-12-2014, 04:43 PM
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Originally Posted by Dan Hitchman View Post
Cool! That's what I was wondering. Seemed liked the best time. I'll be there.

It'll be interesting to know if they needed the original sound engineers behind the theatrical Atmos tracks to convert their work to consumer Atmos.

And whether Dolby's work on Die Hard's original soundtrack was just for a demo clip or if the entire movie was remixed in Atmos. That's one classic I would LOVE in Atmos!
I can't speak about Die Hard.. however before I left ToddAO they just completed an Atmos mix of "Chicago..."

However, even being a much more recent film, the access and availability of the original elements really left the mixers hands tied...
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post #912 of 5154 Old 07-12-2014, 04:46 PM
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Originally Posted by brwsaw View Post
I'm not sure if Atmos will win my money or DTS. Now that a DTS equivellent has been suggested for consumer release I'm leaning and waiting for it to be officially anounced from a AVR manufacturer.
Just remember this..

Atmos is a proprietary format... studios aren't going to have the choice of what codec to use for films already mixed in Atmos but not MDA.

In the end a big part of the success of either format will come down to the software and titles available for each one..
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post #913 of 5154 Old 07-12-2014, 07:21 PM
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Originally Posted by joerod View Post
I have an Onkyo 3030 on the way and will definitely report back my ear's findings. After I spend a considerable amount of time with it. Perhaps some "negative" or "unsure" comments are coming from the majority of people who don't plan to jump in this fall or late summer? Either way I have spoke with a couple engineers who have helped develop Atmos and I am very curious and excited.
I hope you can give us some impressions regarding AccuuEQ..

No LR or Sub eq? Am I misinterpreting the literature? I know you have contacts and access at Onkyo but the ditching of audyssey makes this a no go for me....

Maybe you can talk to your insiders for some insight into their new solution. Timbre marching will be more important with Atmos and not correcting the mains or sub seems like heresy.

EDIT..

Did some digging on AccuEQ..

I wasn't wrong...

Straight from the horses mouth...

http://forums.onkyousa.com/viewtopic.php?t=5753&p=21276

"AccuEQ: There are advantages and disadvantages to any room calibration system.

Many calibration systems apply equalization to all channels. This in turn results in your speaker producing an “Equalized Sound” not necessarily the natural sound of your speakers.

The main benefit of AccuEQ is that it does not apply an Equalized effect to Front channels and Subwoofer. This allows the natural sound of your speakers to be heard while taking into consideration things such as room furnishings, speaker distance and speaker type.

We will continue to refine AccEQ as we move forward to make it the best calibration system available.
"

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post #914 of 5154 Old 07-12-2014, 07:47 PM
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Originally Posted by RichB View Post
Atmos in theaters is a very elegant and powerful solution.

Gen-1 home Atmos benefits users with ceiling channels that targets the sales pitch but narrows the market.

Atmos processing with vector/position has the potential to improve existing 5.1 / 7.1 systems with Atmos and conventional sound tracks.
Perhaps there was not enough DSP power, but that would have been a much better introduction.

The video side of the industry is pushing 4K and the exclusion of a HDCP 2.2 in most home Atmos AVR/processors makes them obsolete in the a year.
That is not Atmos's fault but it is a reality.

Cutting edge users may upgrade but many may decide to wait another year before upgrading their AVR.

- Rich
Rich. A counterpoint and some clarification

Atmos for the theater works incredibly well because Dolby approves and certifies all installations. While this adds cost, it makes for a better consistency of the product.

But they don't do any kind of speaker remapping...

It isn't part of the feature set for theatrical Atmos today.

So to imply it will be an omission isn't factual... It doesn't exist in the theatrical world, so it's not being left out. (I might be misinterpreting your comment...)

I don't see how translating Atmos soundtracks for home users in a 7.1.4 to start with narrows the market.

What I think will be the next step after this initial launch is a product with 9.1.4. Front wides will really enhance the way objects move off the screen and into the room. I think one of the manufactures confirmed they will have a 9.1.2 setup at launch however.

I agree there are those around here who are just the types who might want to install 34 speakers and amps. However for this to succeed and make the studios get behind the format requires a large user base, not the niche enthusiasts crowd.

Again, just my .02, but I think this is the perfect way to launch and to test the waters.

You'll have to excuse me but I'm not an expert on what we need 2.2 for.

Regardless, as a beta tester for Oppo you could elaborate on this, I would guess two HDMI outputs will work just as it has for those without 3D AVR support.... One to AVR for bitstream and one to display for video.

Again you'll have to educate me as to what sources will need 2.2 and what it can add.
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post #915 of 5154 Old 07-12-2014, 09:18 PM
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Originally Posted by FilmMixer View Post
Rich. A counterpoint and some clarification

Atmos for the theater works incredibly well because Dolby approves and certifies all installations. While this adds cost, it makes for a better consistency of the product.

But they don't do any kind of speaker remapping...

It isn't part of the feature set for theatrical Atmos today.

So to imply it will be an omission isn't factual... It doesn't exist in the theatrical world, so it's not being left out. (I might be misinterpreting your comment...)

I don't see how translating Atmos soundtracks for home users in a 7.1.4 to start with narrows the market.

What I think will be the next step after this initial launch is a product with 9.1.4. Front wides will really enhance the way objects move off the screen and into the room. I think one of the manufactures confirmed they will have a 9.1.2 setup at launch however.

I agree there are those around here who are just the types who might want to install 34 speakers and amps. However for this to succeed and make the studios get behind the format requires a large user base, not the niche enthusiasts crowd.

Again, just my .02, but I think this is the perfect way to launch and to test the waters.

You'll have to excuse me but I'm not an expert on what we need 2.2 for.

Regardless, as a beta tester for Oppo you could elaborate on this, I would guess two HDMI outputs will work just as it has for those without 3D AVR support.... One to AVR for bitstream and one to display for video.

Again you'll have to educate me as to what sources will need 2.2 and what it can add.
This is probably my unartful wording, but the benefit of is that audio objects are encoded with position information.
When played back in a particular theater, the sounds using the speakers and positions present the sounds in the proper locations.

Initially, I and others thought that the home Atmos would know the speaker layout in the home and perform the same function for the X.1 channels present.
Some home theaters diverge from ideal placement, so it might be possible, to use positional information improve existing sound tracks as well.

Concerning HDCP 2.2, I have no specific information, but it has been reported that 4K Blu-Ray will require the new copy protection. Lord knows why, it never stop piracy but does a pretty good job of inconveniencing (incompatibility, slow switching, handshake errors, etc.) the paying customers

Here is a post my the HDGuru:

Quote:
HDCP 2.2 (High-bandwidth Digital Content Protection) is the latest version of the encryption/decryption scheme used by HDMI to prevent copying of audio/video content as it travels from a source through additional devices (an A/V receiver, for example). At present, there is no content containing HDCP 2.2 encryption, though we expect that next-generation 4K Blu-ray discs and players will use it.
http://hdguru.com/three-must-have-4k-tv-features/

The streaming 4K solutions appear to be implemented within the display, thereby bypassing any need for a particular HDCP level.
Dual output form a 4K player can definitely accommodate a 4K display with HDCP using dual output (as it did with 3D).

There is little doubt the 4K will be a big deal at the next CES and as more sources come online, switching is desirable.


Unfortunately, the timing of new Audio features like Atmos and 4K are not occurring together as they did with say Blu-Ray and True-HD.


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post #916 of 5154 Old 07-12-2014, 10:41 PM
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Quote:
Originally Posted by RichB View Post
This is probably my unartful wording, but the benefit of is that audio objects are encoded with position information.
When played back in a particular theater, the sounds using the speakers and positions present the sounds in the proper locations.

Initially, I and others thought that the home Atmos would know the speaker layout in the home and perform the same function for the X.1 channels present.
Some home theaters diverge from ideal placement, so it might be possible, to use positional information improve existing sound tracks as well.

Concerning HDCP 2.2, I have no specific information, but it has been reported that 4K Blu-Ray will require the new copy protection. Lord knows why, it never stop piracy but does a pretty good job of inconveniencing (incompatibility, slow switching, handshake errors, etc.) the paying customers

Here is a post by the HDGuru:



http://hdguru.com/three-must-have-4k-tv-features/

The streaming 4K solutions appear to be implemented within the display, thereby bypassing any need for a particular HDCP level.
Dual output form a 4K player can definitely accommodate a 4K display with HDCP using dual output (as it did with 3D).

There is little doubt the 4K will be a big deal at the next CES and as more sources come online, switching is desirable.


Unfortunately, the timing of new Audio features like Atmos and 4K are not occurring together as they did with say Blu-Ray and True-HD.


- Rich

Actually this is my main concern too, and I don't wish to commit to a new amp that is crippled from the start?

Perhaps those in the know, like filmmixer / JD can comment on this ?

It's like the first HDMI 1.0 Marantz SR 9600, a flagship model, which became outdated within less than a year of it's introduction, all the audiophile bits not withstanding...

I rue to climb on board the HDMI 2 / non HDCP 2.2 bandwagon for this reason?
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post #918 of 5154 Old 07-12-2014, 11:04 PM
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Actually this is my main concern too, and I don't wish to commit to a new amp that is crippled from the start?

Perhaps those in the know, like filmmixer / JD can comment on this ?

It's like the first HDMI 1.0 Marantz SR 9600, a flagship model, which became outdated within less than a year of it's introduction, all the audiophile bits not withstanding...

I rue to climb on board the HDMI 2 / non HDCP 2.2 bandwagon for this reason?
I guess the real question for anyone debating this is what is the real timetable for a true 4K UHD standard, and also the availability of content...

Just like Atmos, CEDIA should have plenty of answers for us all in regards to UHD..
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When is CEDIA?
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Quote:
Originally Posted by FilmMixer View Post
Rich. A counterpoint and some clarification

Atmos for the theater works incredibly well because Dolby approves and certifies all installations. While this adds cost, it makes for a better consistency of the product.

But they don't do any kind of speaker remapping...

It isn't part of the feature set for theatrical Atmos today.

So to imply it will be an omission isn't factual... It doesn't exist in the theatrical world, so it's not being left out. (I might be misinterpreting your comment...)
Quote:
Originally Posted by RichB View Post
This is probably my unartful wording, but the benefit of is that audio objects are encoded with position information.
When played back in a particular theater, the sounds using the speakers and positions present the sounds in the proper locations.

Initially, I and others thought that the home Atmos would know the speaker layout in the home and perform the same function for the X.1 channels present.
Some home theaters diverge from ideal placement, so it might be possible, to use positional information improve existing sound tracks as well.
Now I'm confused!
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post #923 of 5154 Old 07-13-2014, 02:39 AM
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Quote:
Originally Posted by FilmMixer View Post

I hope you can give us some impressions regarding AccuuEQ..

No LR or Sub eq? Am I misinterpreting the literature? I know you have contacts and access at Onkyo but the ditching of audyssey makes this a no go for me....

Maybe you can talk to your insiders for some insight into their new solution. Timbre marching will be more important with Atmos and not correcting the mains or sub seems like heresy.

EDIT..

Did some digging on AccuEQ..

I wasn't wrong...

Straight from the horses mouth...

http://forums.onkyousa.com/viewtopic.php?t=5753&p=21276

"AccuEQ: There are advantages and disadvantages to any room calibration system.

Many calibration systems apply equalization to all channels. This in turn results in your speaker producing an “Equalized Sound” not necessarily the natural sound of your speakers.

The main benefit of AccuEQ is that it does not apply an Equalized effect to Front channels and Subwoofer. This allows the natural sound of your speakers to be heard while taking into consideration things such as room furnishings, speaker distance and speaker type.

We will continue to refine AccEQ as we move forward to make it the best calibration system available.
"
Trust me. I am not happy with the loss of Audyssey. To me it would be like having a McIntosh MX151 without Room Perfect. Of course I am very curious how Atmos will work. Of course no matter what I will be wondering if it could have sounded better with XT32 or a newer version. Most likely.

Search or copy and paste-> Joe Rod Home Theater .Com <-to check out my latest Reviews.

Check out these new Lighted Cup Holders:
http://hstrial-jrodriguez996.homeste...=1402680301175
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post #924 of 5154 Old 07-13-2014, 08:46 AM
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Now I'm confused!
Let me take a stab at this.

The Atmos format is object-based, and the objects do contain metadata that positions the objects in 3-dimensional space. The rendering engine knows what your speaker layout is, because you told it so when you set it up, and maps the objects to the best combination of speakers to render that object in your home theatre. But the rendering engine is *approximating* your speaker layout based on Dolby's guidelines - if you tell it you have a 5.1.2 system, it is assuming L,C,R, Left Surround, Right Surround, Left Top, Right Top (or Atmos-enabled reflective speakers to simulate those last two). It does not know if your Left Surround is at 90 degrees or 110 degrees, how high up the wall you've placed your surrounds, or where exactly on your ceiling your height speakers are.

What we've learned from FilmMixer is that Atmos in the cinema environment works much the same way - the rendering engine is making assumptions about speaker placement, assumptions based on Dolby guidelines. Presumably if a theater designed an Atmos auditorium with 64 speakers, but scattered them randomly around the room, Dolby would simply say no, not gonna certify that as an Atmos system.

In other words, the speaker remapping that many people are lamenting the absence of was never a part of the system to begin with.
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post #925 of 5154 Old 07-13-2014, 08:48 AM
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No need to wonder. Just make your next tester one of the high end D&M produces which DO include both XT32 and Atmos.
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post #926 of 5154 Old 07-13-2014, 08:53 AM
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Rich. A counterpoint and some clarification



What I think will be the next step after this initial launch is a product with 9.1.4. Front wides will really enhance the way objects move off the screen and into the room. I think one of the manufactures confirmed they will have a 9.1.2 setup at launch however.
I am interested in Dolby's approach to the front wides, since they've never been utilized by Dolby in a home theater environment (the only home theater use for wides to date is with DTS Neo:X, Audyssey DSX and probably some other up mixing algorithms I'm not familiar with).

In the theatrical implementation of Atmos are the side surround speakers up near the screen toed back towards the audience? Hypothetically speaking do you think additional side surround speakers in an Atmos home theater would be in the same spot as the wides in a Neo:X setup?

And an unrelated question, but one that I think will be beneficial to all reading - can you confirm what the 9.1 channel beds are for theatrical Atmos?
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post #927 of 5154 Old 07-13-2014, 08:59 AM
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Originally Posted by dschulz View Post
I am interested in Dolby's approach to the front wides, since they've never been utilized by Dolby in a home theater environment (the only home theater use for wides to date is with DTS Neo:X, Audyssey DSX and probably some other up mixing algorithms I'm not familiar with).

In the theatrical implementation of Atmos are the side surround speakers up near the screen toed back towards the audience? Hypothetically speaking do you think additional side surround speakers in an Atmos home theater would be in the same spot as the wides in a Neo:X setup?

And an unrelated question, but one that I think will be beneficial to all reading - can you confirm what the 9.1 channel beds are for theatrical Atmos?
Last one first: it's the 7.1 configuration just like before with two additional channels for the top left/right.

It's hard to know yet if the front wides will need to be positioned like the cinema white papers suggest or more like DTS Neo:X (what little we have to go on seems to focus on the top surrounds). In the cinema, they're side wall speakers that are placed between the regular side surround arrays and the front screen speakers to fill in the gap. They're aimed towards the main listening area of the theater.

Listen up, studios! Just say "NO" to DNR and EE!!
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post #928 of 5154 Old 07-13-2014, 09:40 AM
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Just remember this.. Atmos is a proprietary format... studios aren't going to have the choice of what codec to use for films already mixed in Atmos but not MDA. In the end a big part of the success of either format will come down to the software and titles available for each one..
The producers of TV shows like Game of Thrones presumably face an interesting and on-going question about how and when to add immersive audio to their product production (but not yet broadcast!) so as to maximize potential rerun revenue once ATSC 3.0 TV is deployed. The problem would seem to be complicated by the fact that--so far as I know--there is as yet no decision as to which immersive audio 'codec' will be implemented with ATSC 3.0. That might suggest that they should mix 'now' with an open vs closed platform to maximize flexibility once real ATSC 3.0 audio format decisions are made.

In the meantime, there remains the opportunity to use any TV content mixed with immersive audio to boost post season BD sales: "Watch the last season again at home, this time with improved, immersive audio NOT AVAILABLE IN THE BROADCAST VERSION!"

I'm sold!
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Last edited by SoundChex; 07-13-2014 at 09:57 AM.
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post #929 of 5154 Old 07-13-2014, 10:06 AM
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Cool

Quote:
Originally Posted by dschulz View Post
I am interested in Dolby's approach to the front wides, since they've never been utilized by Dolby in a home theater environment (the only home theater use for wides to date is with DTS Neo:X, Audyssey DSX and probably some other up mixing algorithms I'm not familiar with).

In the theatrical implementation of Atmos are the side surround speakers up near the screen toed back towards the audience? Hypothetically speaking do you think additional side surround speakers in an Atmos home theater would be in the same spot as the wides in a Neo:X setup?

And an unrelated question, but one that I think will be beneficial to all reading - can you confirm what the 9.1 channel beds are for theatrical Atmos?
Yes the front surrounds are toed towards the center of the theater.

The 9.1 is standard 7.1 (L C R LSS RSS LSB RSB ARRAYS) + two overhead arrays (OH L AMD R).

If you want access to the now available Left and Right Extra screen channels, you have to use an object.
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post #930 of 5154 Old 07-13-2014, 10:14 AM
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Quote:
Originally Posted by dschulz View Post
In the theatrical implementation of Atmos are the side surround speakers up near the screen toed back towards the audience? Hypothetically speaking do you think additional side surround speakers in an Atmos home theater would be in the same spot as the wides in a Neo:X setup?
Like the additional screen speakers, the first two or three surround speakers just outside the screen (added for Atmos) are for objects. Rearward of these speakers is where the side surround array starts and those are the speakers that playback the surround channel beds.

The speakers just outside the screen correlate with wides at home. Maybe not in precise angle, but they're outside the screen and located between the fronts and surrounds, just like wide speakers are.

Sanjay
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