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From THR:

At the National Association of Broadcasters Show's Technology Summit on Cinema, stakeholders debated how to balance economic and creative issues.
Immersive sound systems such as Dolby Atmos and Barco Auro have already started to invade theaters, and stakeholders see great artistic promise. But how do you avoid a format war while also keeping the creative intent of the systems and finding an economic model that works?

That’s the balancing act that standards body Society of Motion Picture and Television Engineers (SMPTE) is working on as it sets immersive sound standards, reported Sony Pictures’ executive director of digital audio mastering Brian Vessa, who is leading the standards effort, speaking Saturday at the National Association of Broadcasters (NAB) Show’s Technology Summit on Cinema.

READ MORE NAB: Imax Exec Urges Exhibitors to Maintain Proper Light Levels in Theaters
“We have new storytelling options, but with this comes some issues,” Vessa explained. “We have a bunch of sound systems out there, and we have to make a unique version and set of deliverables for each … and this takes time and money. We want one version that can play in any theater and also downstream (for home formats) and that can be archived.”

This desire for a standard isn’t just coming from the studios. It’s also coming from exhibition. In February 2013, the National Association of Theatre Owners and the Union Internationale des Cinemas (UNIC) released cinema exhibitor requirements for immersive sound technologies to ensure that any audio rendering system that an individual cinema may choose is capable of playing back immersive sound when a studio releases it. Numerous stakeholders believe the current lack of consistency is holding back a wider immersive sound rollout.

Currently, prepping movies for these sound systems do take extra time and money. "You might mix [a master] for 2-3 weeks and then spend another two weeks mastering for the different formats," said Skywalker Sound’s re-recording mixer and sound designer Will Files, whose immersive sound credits including Dawn of the Planet of the Apes and Brave.

READ MORE NAB: How Will Hollywood Get High Dynamic Range Content to Your TV?
But Vessa warned that with studios looking to control production budgets, mixers might not have the luxury of those extra weeks. “We can’t spend a whole lot of money; the studios will get up and walk away,” he asserted.

Still, Vessa said he was “optimistic” that the SMPTE committee will have some immersive sound standards determined around the end of the year. "Immersive sound is going to be part of the next generation (of entertainment)," he said. "My suggestions is start building that immersive sound library now. It's going to be a game changer."

Dolby has been resistant to certain parts of the standard process that its says might impact its Atmos system. Files raised this point during the session, saying that the standard effort should consider the artistic intent. “If we are going to go toward an open standard, how to do you make it fit?” he asked. “The speaker configuration certainly isn’t the same (for the different systems). In practical use, that sounds different. That's going to be the challenge as a creative.”

Files added that he likes the idea of “a company shepherding their own technology."

Said Vessa: “We don’t want to mess with anyone’s secret sauce; we are just looking to get the piece standardized [that would allow us] to deliver it in a reasonable fashion. … We want to foster innovation in a way that everyone knows the playing field. The sandbox is still pretty big.”

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"READ MORE NAB: How Will Hollywood Get High Dynamic Range Content to Your TV?"

'How they get it into your home?' Sinclair and Technicolor demo over-the-air-delivery according to ATSC 3.0 http://www.tvtechnology.com/news/00...mo-hdr-uhd-live-over-the-air-broadcast/275489

Deborah D. McAdams /
04.09.2015 11:52 AM

Technicolor and Sinclair Demo HDR UHD Live Over-the-Air Broadcast

HOLLYWOOD, CALIF.—Technicolor and Sinclair Broadcast Group have announced a successful demonstration of UltraHD with high dynamic range live broadcast based on proposed ATSC 3.0 technologies. They are calling it a “world’s first,” and saying it “marks a significant step forward in the distribution of live UHD and HDR content for future broadcasting systems.”​

Indeed, the video engineering community agrees that high dynamic range, or HDR, is integral to the advancement and success of UltraHD or 4KTV, especially since some argue that higher resolutions alone are only detectable on large screens at very small distances. HDR, on the other hand, is noticeable. (For more on HDR, see links below story.)​

Sinclair and Technicolor described the HDR 4KTV transmission demo as follows:​

The series of broadcasts, integrated into Sinclair’s experimental OFDM transmission system and transmitted under real-world conditions outside of a laboratory, delivered high quality HDR content broadcast at HD and 4K/UHD resolutions in a single-layer with backwards compatible standard dynamic range. Both HDR and legacy devices, including fixed position TVs and mobile devices, were all able to receive and display the broadcast signal. Based on open standards from MPEG (HEVC, SHVC, 3D Audio from MPEG-H) plus HDR, with MMT and DASH transport streaming standards, and Technicolor’s Staggercast and Fast Channel Change technologies, the broadcast met the most ATSC 3.0 requirements of any previously demonstrated system. Mobile tests yielded a received signal at up to 60 miles away and, separately, the receipt of the mobile broadcast signal at up to 120 miles/hour.​

“We’re building a path toward new broadcast TV services that are appropriate for UHD and HDR,” said Vince Pizzica, Technicolor senior executive vice president of corporate development and technology. “We’re excited to reach the first milestone in our testing of real-world, challenging environments. This latest series of over-the-air tests confirms that Technicolor’s HDR video solutions support broadcast at HD and 4K resolutions, as well as for standard dynamic range and mobile devices, presenting a whole new world of opportunities for broadcasters.”​

This latest demonstration follows Technicolor and Sinclair’s deployment of Technicolor’s ATSC 3.0 4K UltraHD test bed platform and receipt of an over-the-air signal, an industry first completed in October.​

“With Technicolor’s tremendous resources, we’ve made great use of Sinclair’s full-powered UHF ‘Next Gen’ development system and realized a full-featured ATSC 3.0 upper layer testbed that supports a remarkable number of capabilities,” said Mark Aitken, vice president of advanced technology for Sinclair Broadcast Group. “This accomplishment will allow broadcasters to envision new business opportunities and achieve fully scalable, robust audio and video capabilities for our viewing audience.”​
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