Originally Posted by AYanguas
I think it must be a matter of Return of Investment, as it is for almost everything in industry/economics.
How expensive could be to engage a good mixer/artist that really does a very good job? And how much market demand there really is for very good immersive tracks?
Is that market demand only we, lunatic audiophiles? while the big resources goes to market Atmos on TVs, mobiles or Soundbars?
Given the way Auro got a reputation for being good with music pretty quickly with no advertising, I'd say word of mouth spreads quickly for a truly GREAT product (and there's no reason DTS:X coulnd't do the same, etc.) I simply think Atmos is the "lazy" format now that it's pretty sure of itself controlling most of the market. That leaves the smaller guys to outdo them with superior products. They don't have superior formats (although one could argue DTS:X Pro is a lot closer to Atmos, better in an upmixing sense even if they'd ever get around to releasing it) so the one thing they COULD do is a BETTER product (i.e. mix). If DTS:X mixes were all fantastic while half the Atmos tracks suck, they'd quickly gain attention, IMO (and more likely to succeed than Auro-3D for sure). But letting releases like The Big Lebowski out that sound barely like stereo doesn't help their case any, IMO. You can blame it on the studios (they probably use their own people), but that's where someone like DTS:X needs to step in.
They could have their chance with Imax Enhanced. Make sure the product is noticeably superior to the existing BD/UHDs that may already have Atmos on them. Maybe it will be just a niche product, but sometimes niche products have a way of growing and surpassing the leader because everyone know they're BETTER. Of course, to do this they actually need to release some product first.... Where the heck is Venom??? They promised months ago that would be the first major movie release in Imax Enhanced and there's no sign of it.... The year is almost half over. A couple of documentaries in Imax Enhanced...that not only doesn't cut it, it actually ticks some people off who have since already written the format off before a single movie has come out. In other words, they've already mishandled it. You can't announced a supposedly superior product that promises IMAX Ratios and perhaps a better sound mix without filtered bass (as many releases are starting to have) and then just disappear for 9 months with nary a word.... Yeah, I've already written it off myself too. It's a big NOTHING for the simple reason NOTHING is what they're producing just like Auro-3D.
It's sad because it's just not that hard to do better than the average Atmos tracks, IMO. Most barely use the overheads. Most still follow the old "at the speaker" formula with most of the surround effects coming from straight off to the side with the occasional rear effect instead of "immersing you" all around all the time. You listen to the AMAZE demo and you think THAT is what I want to hear in a movie like Predator. Birds taking off and flying right overhead so I feel like I'm really outside. Instead, you get something like Annihilation in Atmos whereby they're outside most of the movie and yet you RARELY hear outside sounds except from the front. Yes, it uses special effects and weird synth sounds all over the place, but how about some actual REALISM? WTF is the point of "immersive audio" if it doesn't actually IMMERSE?
I actually hold Groundhog Day up as one of the best Atmos soundtracks even though there's not much overhead use, etc. because the one thing it DOES DO is IMMERSE the best it can! The outside scenes actually sound like you're outside. The sound effects are almost distracting in some regards, but to me that's what it should be. The sounds around you in a busy city square (like the Auro-3D demo plays) is what you hear in real life if you're there. Those sounds don't just MUTE because someone is talking to you! But that's what movies do! Atmospheric soundtracks promised a more life-like sound and so far MOST of them haven't delivered on that. I can count on two hands the numbers of truly EXCELLENT Atmos/X/Auro mixes (and I do include Auro because Red Tails was awesome and only in 5.1 elsewhere).
There's this notion that to tell a story it doesn't have to be "realistic". Well in that case, I don't need Atmos, X or Auro-3D sound now do I? Because if you're not going to utilize them properly, then there's almost no point to them at all, IMO.