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Dolby Atmos Theatre System - Page 17

post #481 of 911
Add "The Heat" to the list. wink.gif

ATMOS mix completed at Fox in the Zanuck Theater..

Very happy with how it turned out.
post #482 of 911
In a recent interview, the director of 'Oblivion' talked about using Atmos:
Quote:
We mixed it in Atmos. We’re the first film to mix a movie, from scratch, in Atmos, front to back. I think that’s the other format that’s worth checking out. It’s very unique. All the other Atmos movies that have been out have been mixed in 5.1, and then converted. It’s like converting 2D to 3D. We started our pre-mix in Atmos, in January, so the spacial, the music, the way the bubble ship moves around the room, you’ll notice that it’s so immersive that it can almost be distracting. It’s just a different experience.
http://collider.com/oblivion-imax-joseph-kosinski-interview/
post #483 of 911
Any word on when atmos gets installed in more theatres in nj?
post #484 of 911
For clarity, this quote is not entirely accurate.

"All the other Atmos movies that have been out have been mixed in 5.1, and then converted. It’s like converting 2D to 3D."

Almost all of them start with 7.1 mixes (I think ours was the only 5.1)...

I disagree that it's like a "post conversion" to 3D.

When mixing for Atmos, depending on how you setup to do it (there are a couple of different work flows) you can still have access to any of the individual elements as need.

"The Hobbit" was done simultaneously on two stages... the primary mix was the 7.1 and they built off of that.

One of the issues at this point in mixing "natively" / from the get go / as the primary starting point is that there is currently no way to have an object be much bigger than one speaker at a time.. this is due to change in the next month or two when they add the ability to make the object "bigger" (I think the parameter will be called "object size.")

It is true that "Oblivion" will be the first that did the final mix in Atmos, and then downmixed to 5.1/7.1 after the fact..

I'm really looking forward to the first mix using the new authoring tools (like object size, spin, etc.) that will really give us some great opportunities to fully unleash the format..

In terms of the complaint earlier about Dolby's requirements for a pert screen.... because of the timbre matching of the speakers outside of the mains, the screen channels and surrounds really need to be on a close plane so the sounds don't "jump" in height as they go from the screen into the surrounds...

While I understand the benefits in picture quality that can be achieved with a non-perf screen, I've always found the placement of main channel speakers above the screen (or below) to be much more distracting in a theater environment (AMC HITS anyone?)...

IMO, it's not really a fair dig at Dolby for their requirement.
post #485 of 911
Shameless self promotion I know, but nice to see the story and pix of the install...

Cinema Con ATMOS Screenings

I heard the room actually sounded pretty fantastic....
post #486 of 911
Any word on when installation of atmos theaters increase? I read on the wikipedia page that with each movie more and more theaters will be added.
post #487 of 911
Quote:
Originally Posted by Kascnef82 View Post

Any word on when installation of atmos theaters increase? I read on the wikipedia page that with each movie more and more theaters will be added.

From a news story at Cinema Con:

"Other films to be tailored for the technology include “Iron Man 3,” scheduled for May 3, “Star Trek into Darkness” and the new Superman reboot “Man of Steel,” Dolby said. The number of auditoriums equipped with Atmos will double to about 200 worldwide by June, Bowling said."
post #488 of 911
Quote:
Originally Posted by FilmMixer View Post


IMO, it's not really a fair dig at Dolby for their requirement.

Well it certainly is in the context of cost no object more intimate screening rooms. Rooms where the thirty something amplfiers and speakers may be D'agostinos and kharmas instead of JBL.

You may ask Carl Huff who recently calibrated the datasat in the prometheus cinema and I explicitly asked him to be ruthless in his commentary re the center channel. He was amazed at the frontal imaging considering the center channel was under the screen. Properly done the torus room proves the generally accepted requirement of a perf screen an absolute myth.

You cannot sacrifice picture quality due to obsolete sound theories. The fact that the Hit system (specially on a flat aspect ratio room) was an acoustical torture chamber has not precluded other rooms from sounding superb.
Edited by CINERAMAX - 4/20/13 at 7:00pm
post #489 of 911
Quote:
Originally Posted by CINERAMAX View Post

You may ask Carl Huff who recently calibrated the datasat in the prometheus cinema and I explicitly asked him to be ruthless in his commentary re the center channel. He was amazed at the frontal imaging considering the center channel was under the screen. Properly done the torus room proves the generally accepted requirement of a perf screen an absolute myth.

You cannot sacrifice picture quality due to obsolete sound theories. The fact that the Hit system (specially on a flat aspect ratio room) was an acoustical torture chamber has not precluded other rooms from sounding superb.

Have you ever tried to do a torus or other solid screen installation of a larger 20+ foot screen? When you get to larger screen sizes placing the center speaker on top or bottom of the screen becomes really noticeable in the sound, most cinemas around where I live have solid screens with the speakers above the screen and I notice it every time.

Even if you can work around the problems of solid screens Dolby still needs to maintain some kind of standard and they have to choose if the movies are mixed with perforated screens or not. A bad standard is better than no standard.
post #490 of 911
Quote:
Originally Posted by CINERAMAX View Post

Well it certainly is in the context of cost no object more intimate screening rooms. Rooms where the thirty something amplfiers and speakers may be D'agostinos and kharmas instead of JBL.

You may ask Carl Huff who recently calibrated the datasat in the prometheus cinema and I explicitly asked him to be ruthless in his commentary re the center channel. He was amazed at the frontal imaging considering the center channel was under the screen. Properly done the torus room proves the generally accepted requirement of a perf screen an absolute myth.

You cannot sacrifice picture quality due to obsolete sound theories. The fact that the Hit system (specially on a flat aspect ratio room) was an acoustical torture chamber has not precluded other rooms from sounding superb.

While it may be true that the center imaging was "amazing," I would still be concerned as how a pan from the center, through the sides and into the auditorium would sound without the speakers being on the same plane...

That's not "obsolete sound theory..."

It's pretty solid science.

In addition, even in smaller rooms, I suspect the imaging is dependent on where one sits..
post #491 of 911
How is the atmos mix of oblivion
post #492 of 911
Quote:
Originally Posted by Kascnef82 View Post

How is the atmos mix of oblivion
One of the better Atmos mixes. And by better, I mean took advantage of Atmos' unique capabilities: smoother pans, overhead imaging, etc. (though the mix that did those things best for me still remains 'Brave').
post #493 of 911
Were there any atmos trailers for upcoming movies and whichttheater did u go to
post #494 of 911
Quote:
Originally Posted by Kascnef82 View Post

Were there any atmos trailers for upcoming movies and whichttheater did u go to

AFAIK there have not been any trailers mixed yet in Atmos.... besides the short film in front of "Brave" and the two logos ("Leaf" and "Unfold") I don't know of any other material playing besides the features.
post #495 of 911
Oblivion sounded ok...... but i was expecting more... the LFE was lacking needs to be way higher
post #496 of 911
Quote:
Originally Posted by mudkip View Post

Oblivion sounded ok...... but i was expecting more... the LFE was lacking needs to be way higher

Where did you see it? It was really.aggressive at the Burbank AMC....
post #497 of 911
If the LFE track felt underwhelming, I assure you, the theater you were in was not properly aligned.
post #498 of 911
The Denver area finally got its first Dolby Atmos installation in an AMC theater with an ETX screen.

The most obvious changes in the auditorium were two rows of five speakers on the ceiling and six(!) large subwoofers hung from the ceiling in the back of the theater. The movie was G.I. Joe in RealD XL 3D.

I sat in the middle/middle of a virtually empty theater to critically listen to the new sound system. The “Leaf” logo had a nice dimensionality but lacked the ethereal any-point-in-the-room quality I was expecting. The movie made constant use of the (very hot) surround channels. I didn’t exactly have to strain to hear the screen speakers but I’ve never heard surrounds turned up to such a high level. I chalk it up to “new toy” syndrome where AMC wanted to make sure their upgrade was noticed. The bass was exemplary with the rear subs quite obvious at times.

I was surprised that I only heard the side surrounds from speakers directly to the left and right of me. I didn’t hear sound move along the wall as things panned front to back or vice versa.

From the White Paper link in the first post of this thread, it appears that any speaker/channel/amp configuration is okay in an Atmos installation:

“In contrast to using all 64 output channels available, the Dolby Atmos format can
be accurately rendered in the cinema to other speaker configurations such as 7.1,
allowing the format (and associated benefits) to be used in existing theatres with no
change to amplifiers or speakers.”

The question is, did AMC reconfigure it’s surrounds to “one speaker-one amp” or did they just add the ceiling and subs and call it day? How can a person know if they’re going to a full-blown Atmos theater or one I would call Atmos-Lite? Anything in Dolby licensing that requires one surround speaker per channel before an auditorium can display the Atmos logo?

Unrelated question: How are most surround speakers wired to one physical 5.1 or 7.1 channel? If I’ve got nine right surrounds on one wall, wiring them in parallel would drop the impedance too low for the amp. If they’re in series it’s too inefficient. Do most theaters already use more than one amp for a set a surrounds?

John
Edited by johnty - 4/26/13 at 12:20am
post #499 of 911
Any word on when rockaway gets atmos? Does that theater have 7.1 installations in all screens except the digital imax.
post #500 of 911
I guess North Dallas is lucky because we get to pick between Cinemark or the new Look Theater for Atmos. I will be testing out Atmos for the 1st time tomorrow and I look forward to see what it offers with Oblivion. A buddy of mine had just watched a move there (Look Theater with Atmos) and he said the sound was very good. I proceeded to tell him what he had heard, apparently they don't really advertise Atmos much so he was unaware of why there was a difference.
post #501 of 911
Quote:
Originally Posted by johnty View Post

The Denver area finally got its first Dolby Atmos installation in an AMC theater with an ETX screen.

The most obvious changes in the auditorium were two rows of five speakers on the ceiling and six(!) large subwoofers hung from the ceiling in the back of the theater. The movie was G.I. Joe in RealD XL 3D.

I sat in the middle/middle of a virtually empty theater to critically listen to the new sound system. The “Leaf” logo had a nice dimensionality but lacked the ethereal any-point-in-the-room quality I was expecting. The movie made constant use of the (very hot) surround channels. I didn’t exactly have to strain to hear the screen speakers but I’ve never heard surrounds turned up to such a high level. I chalk it up to “new toy” syndrome where AMC wanted to make sure their upgrade was noticed. The bass was exemplary with the rear subs quite obvious at times.

I was surprised that I only heard the side surrounds from speakers directly to the left and right of me. I didn’t hear sound move along the wall as things panned front to back or vice versa.

From the White Paper link in the first post of this thread, it appears that any speaker/channel/amp configuration is okay in an Atmos installation:

“In contrast to using all 64 output channels available, the Dolby Atmos format can
be accurately rendered in the cinema to other speaker configurations such as 7.1,
allowing the format (and associated benefits) to be used in existing theatres with no
change to amplifiers or speakers.”

The question is, did AMC reconfigure it’s surrounds to “one speaker-one amp” or did they just add the ceiling and subs and call it day? How can a person know if they’re going to a full-blown Atmos theater or one I would call Atmos-Lite? Anything in Dolby licensing that requires one surround speaker per channel before an auditorium can display the Atmos logo?

Unrelated question: How are most surround speakers wired to one physical 5.1 or 7.1 channel? If I’ve got nine right surrounds on one wall, wiring them in parallel would drop the impedance too low for the amp. If they’re in series it’s too inefficient. Do most theaters already use more than one amp for a set a surrounds?

John

A couple of things...

At this point Dolby has been involved in all these installs... AMC can't change how it's setup or retire things.

While in the future it may very well be possible to scale theaters gradually to Atmos,it's not happening that way now...

Regarding GI Joe it was a late decision to release in Atmos. There are not a lot of objects. Most of the activity comes from the original 7.1 stems.
post #502 of 911
Quote:
Originally Posted by Kascnef82 View Post

Any word on when rockaway gets atmos? Does that theater have 7.1 installations in all screens except the digital imax.

I believe AMC is going to be fairly aggressive in adding Atmos to all of their ETX screens.
post #503 of 911
I was truly overwhelmed with how good Dolby Atmos sounded. The theater showcased 2 Atmos sound trailers that were both very well done. The movie Oblivion had several scenes that really seem to take advantage of the new format. I look forward to future movies and the creativity applied to this wonderful tool. I really hope we can bring this technology into our homes one day. Atmos makes the move from lossy to lossless trivial in comparison.
post #504 of 911
The first step for home theater adoption is for dolby to be lenient on allowing private screening room experiments (with their current cinema processor) devoid of the visually unacceptable perforated screen. WITH THE TORUS A center channel sound can be moved from be in front of the screen and pushed up
post #505 of 911
Are all amc theaters 7.1 audio?
post #506 of 911
Looking forward to Iron Man 3 in Atmos tomorrow night.
post #507 of 911
I just emailed AMC. I wonder when Minnesota will get Atmos, though, I'd settle for a projector upgrade in the IMAX rooms, I can see pixels from the back third. mad.gif
post #508 of 911
Same here in rockaway. When I get closer to the screen its pixels and blurry and dark.
post #509 of 911
Just watched Iron Man 3 in Atmos, wasnt all that impressed. i dont think the movie fully utilized the channels. The intro for Dolby Atmos however, was beautiful and sounded amazing. So im not giving up hope just yet.
post #510 of 911
Like movie mixes in general, Atmos mixes vary. The unique capabilities of Atmos (smoother pans, overhead imaging, etc) tend to get buried in loud bombastic soundtracks like G.I. Joe: Retaliation' and 'Iron Man 3'. Ironically, it's with quieter soundtracks like 'Brave' and 'Life of Pi' and 'Oblivion' that I've really gotten a sense of what Atmos can do.
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