• Skip to main content
  • Skip to secondary menu
  • Skip to primary sidebar
  • Skip to footer

mkpeReport

top analysis covering digital cinema, 3-D, HFR, and laser illumination

  • Reports
  • About
  • mkpe.com
  • cinepedia.com

The Wheel of Cinema Sound

November 2015 by Michael Karagosian

In the 90’s, a handful of digital audio on-film and with-film technologies emerged, all capable of reproducing 5.1 sound. The surprising part is that, regardless of the fact that they all used the same amps and speakers, at least three non-interoperable methods of distributing sound tracks proliferated. For sound mixers, this didn’t pose a problem, as they each could carry the same 5.1 mix. However, distributors and exhibitors weren’t really keen on the multiple distribution idea, and so digital cinema was designed to eliminate the multiplicity of distribution methods for 5.1 sound. Human ingenuity, however, perseveres, and today we are back to having multiple ways to distribute similar, although this time not perfectly identical, soundfields. We can mostly thank the innovators of immersive sound formats for this.

I say “mostly” as the industry did manage to complicate 5.1 distribution in digital cinema, although the effects have not been felt yet. Interop DCP got 5.1 sound right. ISDCF deserves credit for this through a series of recommendations, the latest of which can be found at http://isdcf.com/papers/ISDCF-Doc4-Interop-audio-channel-recommendations.pdf. But SMPTE DCP failed by standardizing two non-backwards-compatible methods for packaging 5.1 audio. Even Dolby found this to be unreliable and so added a third ad-hoc method that’s used in the SMPTE DCP distributions of Atmos soundtracks.

It is immersive sound, however, that deserves more attention. While 5.1 distribution methods may vary, the 5.1 mix itself remains the same. This isn’t necessarily the case for immersive sound, where each format uses a different speaker layout. In an attempt to manage such differences, the SMPTE group working on immersive sound for cinema is generating a set of metadata requirements for describing how sound objects are to be rendered. By applying this metadata in a standardized bit stream, an interoperable immersive format can be defined.

There is question, however, as to who will use it. Dolby has rolled out Atmos using its proprietary distribution format. DTS-X also has its own distribution format. Barco’s Auro 3D has its own distribution format, as well, although it can be buried within a 5.1 distribution. However, Barco’s object-based immersive format, AuroMax, has yet to rollout, reportedly in wait for a standardized distribution format to emerge. AuroMax may very well become the only format to utilize a standardized distribution format. But without utilization by all competitors, the so-called standardized format becomes just another item to deal with.

Even if the three sound formats shared a common distribution format, there remains the issue of different speaker layouts. Unlike 5.1 audio, three immersive sound formats could easily require three different mixes in post production to achieve a uniform soundfield response. There is already effort underway by a few of the technology providers to derive suitable mixes for their formats from the mixes of others. If so, this would support the feasibility of an interoperable mix. Given the commercial constraints of established and proprietary mixing tools in post production, the smartest application for a standardized immersive sound format would be as a mezzanine format exported and imported by proprietary mixing tools.

The means for interchange of mixes among proprietary mixing tools may not eliminate the pain of multiple distributions, but it would eliminate or at least reduce the pain of multiple mixes in post production, placing immersive sound on the same footing as 5.1 sound in the 90’s. Stepping back 20 years might not seem like a step forward, but after all, we’re on the wheel of cinema sound.

Wheel of Cinema Sound

Filed Under: Sound, Technical Bodies Tagged With: Immersive Sound, ISDCF, SMPTE

Primary Sidebar

Search

Topics

  • 3-D
  • Accessibility
  • Alt Content & Advertising
  • Anti-Piracy
  • Color
  • Communications
  • Deployment Entities
  • Distributors
  • Exhibitors
  • Fulfillment
  • High Dynamic Range
  • Higher Frame Rates
  • Installations
  • Patents
  • Projectors
  • Servers and IMBs
  • Sound
  • Technical Bodies
  • Theatre Management Systems
  • Trade Organizations and Shows

Full Archives

a publication of
MKPE Consulting LLC

Footer

Important Stuff

  • About
  • Privacy Policy

Archives

  • Category & Monthly Archives
Archives date back to 2008.

MKPE

mkpeReport is a publication of MKPE, a world-class consultancy building business at the crossroads of cinema and technology.
Learn more about MKPE.

copyright © 2008 - 2023 mkpe consulting llc

We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept”, you consent to the use of all cookies.
Cookie settingsACCEPT
Manage consent

Privacy Overview

This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary
Always Enabled
Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously.
CookieDurationDescription
cookielawinfo-checbox-analytics11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics".
cookielawinfo-checbox-functional11 monthsThe cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional".
cookielawinfo-checbox-others11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other.
cookielawinfo-checkbox-necessary11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".
cookielawinfo-checkbox-performance11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance".
viewed_cookie_policy11 monthsThe cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data.
Functional
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
Performance
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Analytics
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
Advertisement
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.
Others
Other uncategorized cookies are those that are being analyzed and have not been classified into a category as yet.
SAVE & ACCEPT
Powered by CookieYes Logo