Trinnov only captures sound, as you well stated, to gain >>knowledge of the discrete physical placement of all the speakers in the room.<< It is not a sound format like Atmos, Ambisonics, etc. FOHMM is referring to the mics used to record sound in Ambisonics format.
For cinemas, thus far all the formats use manual entry. That could change. It's a secondary function of the sound system -- calibration.
Roger, your mention regarding the Trinnov cal mic- quite correct, in that it's use is to identify characteristics of loudspeakers in rooms, including their placement within 2 degrees accuracy. it is presently used to advantage in commercial cinemas utilizing
Trinnov's Ovation Commercial Cinema Processor. BTW, Trinnov did make a surround microphone...
Now little known, Trinnov's first commercial product was the SRP- Surround Recording Platform,a system is based on an eight capsule mic array and processor to derive a ITU 5 channel sound field with up to 5th order directivity across the front. System based on same mathematical principals used in the Trinnov Optimizer to rebuild acoustic fields. More here: http://www.trinnov.com/wp-content/uploads/downloads/SRP_EN_A4_Nov2007.pdf & paper http://www.trinnov.com/wp-content/uploads/downloads/Trinnov-hsr-5.0-en.pdf
This discussion and your comment reminds me of Trinnov's first product- and my early work in 3D audio. 3D has been with us for a long time- in planetariums, so this is where my interest was drawn to for 3D. Planetariums have had excellent 3D mixes for years. When I looked into it, I found that the 3D mixes are done individually in the planetarium (mix console, mixer, etc on site). While inefficient- it was necessary as each planetarium has unique speaker layouts, and costs are recovered as shows run for very long periods of time. I saw an opportunity to experiment with Trinnov's acoustic filed technologies, which like Atmos, get away from channel based reproduction.
My early work with both SRP and Optimizer included organizing a study with University of Colorado (Denver- Graduate Audio Program) and Denver Gates Planetarium in 2006. Sound-field samples were captured with the SRP, then acoustically projected in various ways into the Planetarium's 16 channel dome using the Trinnov Optimizer. I repeated this with the folks at Oakland's Chabot Space & Science Center Planetarium. At Gates, we held an AES meeting to share the technological achievement and to use the audience of AES members to gather data on how consistent the spacial resolution was throughout the planetarium. We knew it would only be a matter of time and increased processing power
before we'd have 3D in cinemas.
Edited by Curt_Trinnov - 11/29/13 at 2:12pm