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Dolby Atmos Setup
Old 1 week ago | Show parent
  #31
Gear Head
 
Quote:
Originally Posted by NReichman ➡️
Hello chelgrian:

Sorry if I've been brief in my answers. I wrote this article last month, and it goes deeper into the Apple world:

If You Are Mixing Dolby Atmos For Apple Music - Read This Now

Post again here if you have more questions. Enjoy!
None of those mechanisms allow you to play a local mp4 file on speakers. The VLC developers claim that Apple removed the API to output encoded audio over HDMI

https://forum.videolan.org/viewtopic.php?t=156724

Which suggests that only apps using apple's playback libraries can now do it.

Dolby suggest

https://learning.dolby.com/hc/en-us/...r-Dolby-Atmos-

There is quite a debate on the plex forums about if the plex method even still works it definitely won't for TrueHD content as Apple block that probably at the behest of Dolby. It's unclear for EAC3 and if it does doesn't mesh with the VLC developers claims.

So you are left with creating a HLS package putting it on a webserver and playing it using safari on the Mac pushing the audio via AirPlay to an ATV.

It's not exactly user friendly and it's almost as if Dolby or Apple don't want you to QA the encoded file on speakers.
Old 1 week ago | Show parent
  #32
Lives for gear
 
NReichman's Avatar
 
🎧 10 years
Quote:
Originally Posted by chelgrian ➡️
None of those mechanisms allow you to play a local mp4 file on speakers. The VLC developers claim that Apple removed the API to output encoded audio over HDMI

https://forum.videolan.org/viewtopic.php?t=156724

Which suggests that only apps using apple's playback libraries can now do it.

Dolby suggest

https://learning.dolby.com/hc/en-us/...r-Dolby-Atmos-

There is quite a debate on the plex forums about if the plex method even still works it definitely won't for TrueHD content as Apple block that probably at the behest of Dolby. It's unclear for EAC3 and if it does doesn't mesh with the VLC developers claims.

So you are left with creating a HLS package putting it on a webserver and playing it using safari on the Mac pushing the audio via AirPlay to an ATV.

It's not exactly user friendly and it's almost as if Dolby or Apple don't want you to QA the encoded file on speakers.
You can take the MP4 from DAPS or DAMS, put it on any exFAT USB thumb drive and plug it into an XBox, a Blu-Ray player, a home theater receiver… the list goes on. Very easy and fast. I agree, the web server method is a bit of a pain. Try the USB thumb drive! I regularly borrow my kids’ XBox for this purpose.
Old 1 week ago | Show parent
  #33
Gear Head
 
Quote:
Originally Posted by NReichman ➡️
You can take the MP4 from DAPS or DAMS, put it on any exFAT USB thumb drive and plug it into an XBox, a Blu-Ray player, a home theater receiver… the list goes on. Very easy and fast. I agree, the web server method is a bit of a pain. Try the USB thumb drive! I regularly borrow my kids’ XBox for this purpose.
For me the usb drive mechanism is far more of a pain than the web server method, but then my bills are paid by computer science rather than by sound recording.

The thing is that there is no technical reason why they can't be a software player that can play to discrete outputs on a pro sound interface. I object to the stupid hoops we have to jump through due to Dolby not allowing this.
Old 1 week ago | Show parent
  #34
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by chelgrian ➡️
For me the usb drive mechanism is far more of a pain than the web server method, but then my bills are paid by computer science rather than by sound recording.

The thing is that there is no technical reason why they can't be a software player that can play to discrete outputs on a pro sound interface. I object to the stupid hoops we have to jump through due to Dolby not allowing this.
https://professional.dolby.com/produ...erence-player/

You could try the dolby reference player.
Old 1 week ago | Show parent
  #35
Gear Head
 
🎧 5 years
Quote:
Originally Posted by NReichman ➡️
Hello chelgrian:

Sorry if I've been brief in my answers. I wrote this article last month, and it goes deeper into the Apple world:

If You Are Mixing Dolby Atmos For Apple Music - Read This Now

Post again here if you have more questions. Enjoy!
Really helpful article. Thanks for sharing!
Old 1 week ago | Show parent
  #36
Gear Head
 
🎧 5 years
Quote:
Originally Posted by chelgrian ➡️
You keep on claiming there are 'lots of ways to do this' what exactly are these ways of QAing a local file without having to publish it to a streaming service?

In terms of receivers and processors anything with pre-outs is useful in particular the Denon receivers measure better and are cheaper than the Marantz processors largely due to Marantz introducing tonnes of distortion via their pointless HDAM circuits.
Can you recommend the Denon product you mentioned?
Thanks
Old 1 week ago | Show parent
  #37
Gear Head
 
🎧 5 years
Quote:
Originally Posted by quadraphonics ➡️
https://professional.dolby.com/produ...erence-player/

You could try the dolby reference player.
Wondering why Dolby and Apple can’t get together on this and offer the stream of Apple Music through this software. Any Dolby devs out there that can jump in ?
Old 1 week ago | Show parent
  #38
Quote:
Originally Posted by tboston007 ➡️
Wondering why Dolby and Apple can’t get together on this and offer the stream of Apple Music through this software. Any Dolby devs out there that can jump in ?
Because it would alienate every home entertainment system manufacturer who pays Dolby for the privilege to have Dolby decoding in their products.

Like it or lump it, Dolby's business is built on them maintaining their reputation. Tightly controlling the means in which audiences can consume Dolby formats is the very sales pitch that sells the format to content creators, directors and producers in the first place. At the end of the day, audiences don't make Dolby content.

Ultimately the strategy is working. Dolby is a household name synonymous with sound quality... yet very few people know how it technically works, or how it differs between each technic iteration.
Old 1 week ago | Show parent
  #39
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by LDStudios ➡️
Because it would alienate every home entertainment system manufacturer who pays Dolby for the privilege to have Dolby decoding in their products.

Like it or lump it, Dolby's business is built on them maintaining their reputation. Tightly controlling the means in which audiences can consume Dolby formats is the very sales pitch that sells the format to content creators, directors and producers in the first place. At the end of the day, audiences don't make Dolby content.

Ultimately the strategy is working. Dolby is a household name synonymous with sound quality... yet very few people know how it technically works, or how it differs between each technic iteration.
This.

Dolby is making money by manufacturers licensing their technology, in this case the Dolby Atmos (EAC-3+JOC / AC-4 / TrueHD) decoding.

Some people just don't understand or like Dolby's business model. However, strangely they don't complain about the super affordable creation toolset either..

On a different note, in a professional broadcast / VOD environment, the encoded streams are not QC'd anyway.
I don't know any QC department that checks the HLS/DASH manifests of the VOD platforms.
QC is always done on the master asset (in the case of Dolby Atmos this would be the ADM WAV), and encoding/packaging normally is then done downstream by a cloud encoding provider.

You don't deliver encoded material as a mixer, unless for client approvals.
Old 1 week ago | Show parent
  #40
Lives for gear
 
🎧 10 years
While not a lot of people QC the encode - they probably should - especially with ATMOS and the ATMOS BiAural.

Maybe this has changed a bit recently, but the EC3 encodes of ATMOS material do not handle Beds and Objects the same. At least in the broadcast/streaming world, the beds get encoded at a much higher bit rate that all of the objects. As a result, if your mix relies heavily on objects - it has the possibility of falling apart due to data reduction after encode. (It could also be fine, it tends to be context dependent).

Specific to this conversation, I have found that the 2.0 Binaural/Headphone out from an Atmos can come in at a significantly different TP level when compared to the 2.0 Stereo re-render. I was speaking with an ATMOS music mixer the other day who had to pull an Apple release because while the 2.0 Stereo mix was fine, there were spots where the Binaural mix of the same piece clipped.

I think that those of use in the broadcast world really do need to listen and understand what the Dolby encode process and especially the DRC settings applied in the encoding process does to a mix. Ideally, we would be able to toggle between the source and an emulated encode on the mix stage to see what happens to that really dynamic scene we just worked on. We used to have 580s on a second monitor chain for this.

Randall


Quote:
Originally Posted by kosmokrator ➡️
This.

Dolby is making money by manufacturers licensing their technology, in this case the Dolby Atmos (EAC-3+JOC / AC-4 / TrueHD) decoding.

Some people just don't understand or like Dolby's business model. However, strangely they don't complain about the super affordable creation toolset either..

On a different note, in a professional broadcast / VOD environment, the encoded streams are not QC'd anyway.
I don't know any QC department that checks the HLS/DASH manifests of the VOD platforms.
QC is always done on the master asset (in the case of Dolby Atmos this would be the ADM WAV), and encoding/packaging normally is then done downstream by a cloud encoding provider.

You don't deliver encoded material as a mixer, unless for client approvals.
Old 5 days ago | Show parent
  #41
Gear Head
 
Quote:
Originally Posted by quadraphonics ➡️
https://professional.dolby.com/produ...erence-player/

You could try the dolby reference player.
The reference player is not a freely available item. You can't just download or buy it. I raised a support request with Dolby asking how and who it is available to how and have had no response.
Old 5 days ago | Show parent
  #42
Gear Head
 
Quote:
Originally Posted by kosmokrator ➡️
This.

Dolby is making money by manufacturers licensing their technology, in this case the Dolby Atmos (EAC-3+JOC / AC-4 / TrueHD) decoding.

Some people just don't understand or like Dolby's business model. However, strangely they don't complain about the super affordable creation toolset either..

On a different note, in a professional broadcast / VOD environment, the encoded streams are not QC'd anyway.
I don't know any QC department that checks the HLS/DASH manifests of the VOD platforms.
QC is always done on the master asset (in the case of Dolby Atmos this would be the ADM WAV), and encoding/packaging normally is then done downstream by a cloud encoding provider.

You don't deliver encoded material as a mixer, unless for client approvals.
There wouldn't be any point doing it for audio for video as the VOD provider would be doing the encoding from master video and ADM files and doing the QA on whatever they are going to provide to their customers.

For music where you are uploading to an automated system such as Avid Play which will then insert in to Tidal and Apple Music with no human involved in process or doing any QA on that encode then it really ought to be done for current incarnations of Atmos due to the object grouping and heavy lossy compression going on.
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