Dolby Laboratories Atmos User manual

Dolby Laboratories Atmos User manual

Authoring for Dolby

®

Atmos

Cinema

Sound Manual

Issue 1 Part Number 9111800

Software v1.0

Dolby Laboratories, Inc.

Corporate Headquarters

Dolby Laboratories, Inc.

Dolby Laboratories Licensing Corporation

100 Potrero Avenue

San Francisco, CA 94103-4813 USA

Telephone 415-558-0200

Fax 415-863-1373 www.dolby.com

European Headquarters

Dolby Laboratories, Inc.

Wootton Bassett

Wiltshire SN4 8QJ England

Telephone 44-1793-842100

Fax 44-1793-842101 ii

Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited.

Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Dolby Atmos is a trademark of Dolby Laboratories. All other trademarks remain the property of their respective owners.

© 2013 Dolby Laboratories. All rights reserved.

Issue 1

S13/26440/26818

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®

Atmos

Cinema Sound Manual

Table of Contents

List of Figures .............................................................................................................. vi

List of Tables .............................................................................................................. viii

Chapter 1 Introduction to Dolby Atmos Authoring Tools .......................................... 1

1.1

Dolby Atmos Overview ........................................................................................................ 1

1.2

Dolby Atmos System Overview ........................................................................................... 2

1.3

Dolby Atmos Metadata Flow with Different Setups ............................................................. 2

1.4

Dolby Atmos Monitor Application ........................................................................................ 4

1.5

Dolby Atmos Panner Plug-in ............................................................................................... 5

1.6

Optional Authoring Tools .................................................................................................... 6

1.7

About This Manual .............................................................................................................. 6

1.8

Terminology ........................................................................................................................ 7

Chapter 2 Installing the Dolby Atmos Authoring Tools ............................................. 9

2.1

Installing the Dolby Atmos Tools on a Pro Tools System ................................................... 9

2.1.1

Authorizing the Dolby Atmos Plug-ins ..................................................................... 10

2.2

Installing the Monitor Application on Additional Devices .................................................. 11

2.3

Getting Started (Overview) ............................................................................................... 11

Chapter 3 Setting Up a Pro Tools Session ................................................................ 13

3.1

Dolby Atmos Format in Pro Tools ..................................................................................... 14

3.1.1

Dolby Atmos Format and Multichannel Mixing ........................................................ 14

3.1.2

Routing Pro Tools Physical Outputs to RMU MADI Inputs ..................................... 15

3.2

Pro Tools Session Requirements ..................................................................................... 16

3.3

Authoring in a Pro Tools Session ...................................................................................... 17

3.3.1

Working with the Bed .............................................................................................. 17

3.3.2

Working with Objects............................................................................................... 18

3.4

Creating a Pro Tools Session for Dolby Atmos ................................................................ 18

3.4.1

Creating a New Pro Tools Session ......................................................................... 18

3.4.2

Reconfiguring an Existing Session .......................................................................... 19

3.4.3

Working with a Timecode Rate Other than 24 fps .................................................. 20

3.5

Configuring I/O Setup........................................................................................................ 21

3.5.1

Configuring Output .................................................................................................. 22

3.5.2

Configuring Input ..................................................................................................... 23

3.5.3

Bus Mapping ........................................................................................................... 24

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3.6

Configuring Tracks and Signal Routing ............................................................................ 25

3.7

Hearing Dolby Atmos Audio .............................................................................................. 26

3.8

Working with Multiple Pro Tools Systems ......................................................................... 27

Chapter 4 Using the Dolby Atmos Monitor Application ........................................... 29

4.1

Before Using the Monitor Application................................................................................ 30

4.2

Launching the Monitor Application .................................................................................... 30

4.3

Enabling Communication with the RMU ........................................................................... 31

4.3.1

Communicating from the Pro Tools System (Required) ......................................... 31

4.3.2

Communicating from Other Devices (Optional) ...................................................... 33

4.3.3

Verifying Communication with the RMU.................................................................. 34

4.3.4

Verifying the Room Configuration File .................................................................... 35

4.4

Rendering .......................................................................................................................... 36

4.4.1

Rendering to the Dolby Atmos Format .................................................................... 36

4.4.2

Re-rendering to a Surround Format ........................................................................ 36

4.5

Monitor Application Operation Modes ............................................................................... 39

4.5.1

Live Mode Monitoring of Pro Tools ......................................................................... 39

4.5.2

Recording a Dolby Atmos Print Master ................................................................... 39

4.5.3

Punching In and Out of a Print-Master Recording .................................................. 41

4.5.4

Playing Back a Print Master .................................................................................... 42

4.6

Monitoring with the Dolby Atmos Monitor Application ....................................................... 43

4.6.1

Hearing Dolby Atmos Audio .................................................................................... 44

4.6.2

Selecting a Monitor Application View ...................................................................... 45

4.6.3

Monitoring Objects .................................................................................................. 47

4.6.4

Monitoring RMU Outputs ......................................................................................... 53

4.6.5

Monitoring the Room Configuration and Speakers ................................................. 56

4.6.6

Muting RMU Audio Output ...................................................................................... 57

4.6.7

Monitoring Object Audio Only (Objects Only Mode) ............................................... 57

4.6.8

Clearing Clips in the RMU Output Meters ............................................................... 58

4.7

Monitor Application Keyboard Shortcuts Reference ......................................................... 59

4.8

Monitor Application Controls and Displays Overview ....................................................... 59

4.8.1

Monitor Application Window Header ....................................................................... 60

4.8.2

Signal Generator ..................................................................................................... 64

Chapter 5 Using the Panner Plug-in to Position Objects ......................................... 67

5.1

General Use of the Panner in Pro Tools ........................................................................... 68

5.2

Special Considerations when Using the Panner ............................................................... 68

5.3

Navigating the Panner Plug-in Window ............................................................................ 69

5.3.1

Panner Virtual Room ............................................................................................... 70

5.3.2

Object Number Box ................................................................................................. 71

5.3.3

Operation Mode Buttons and Zones Selector ......................................................... 72

5.3.4

X/Y/Z Sliders and Position Displays ........................................................................ 73

5.3.5

Object Size Slider and Level Display ...................................................................... 74

5.3.6

Configuration Options Button .................................................................................. 77

5.3.7

Linking Selector (Stereo Plug-in Only) .................................................................... 78

5.4

Inserting a Panner Plug-in in Pro Tools ............................................................................ 78

5.4.1

Manually Assigning an Object Number ................................................................... 80

5.4.2

Inserting Multiple Plug-ins and Automatically Assigning Object Numbers .............. 82

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5.5

Controlling the Panner ...................................................................................................... 83

5.5.1

Using a Joystick ...................................................................................................... 83

5.5.2

Using a Control Surface or Mixing Console ............................................................ 85

5.5.3

Using a Mouse ........................................................................................................ 87

5.5.4

Using Keyboard Shortcuts ...................................................................................... 87

5.6

Using the Operation Modes .............................................................................................. 88

5.6.1

Bypass (Master Bypass) Mode ............................................................................... 88

5.6.2

Default Mode ........................................................................................................... 88

5.6.3

Elevation Mode ........................................................................................................ 89

5.6.4

Elevation Snap Modes ............................................................................................ 90

5.6.5

Recording Metadata from the RMU ........................................................................ 92

5.6.6

Speaker Snap Mode................................................................................................ 96

5.6.7

Zones ...................................................................................................................... 96

5.6.8

Constrained Straight Line Mode .............................................................................. 98

5.7

Using the Stereo Panner Plug-in ...................................................................................... 99

5.7.1

Linking Stereo Panner Controls ............................................................................ 100

5.8

Automating Panner Controls ........................................................................................... 101

5.9

Resizing the Panner Plug-in Window.............................................................................. 101

Chapter 6 Using the ComPanSate Plug-in to Create Objects ................................ 103

6.1

General Use of the ComPanSate Plug-in ....................................................................... 104

6.2

Using ComPanSate AudioSuite Plug-in to Create Mono or Stereo Object Material ...... 104

6.3

Using ComPanSate RTAS Plug-in to Create Mono or Stereo Object Material .............. 105

6.4

ComPanSate Summing Controls .................................................................................... 106

Chapter 7 Workflows ................................................................................................. 107

7.1

Using Traditional Dolby 7.1 (or 5.1) Mix Audio Files to Create a Dolby Atmos Mix ....... 107

7.2

Using Traditional Dolby 7.1 (or 5.1) Mix Audio Channels and Console Automation to

Create a Dolby Atmos Mix .............................................................................................. 115

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List of Figures

Figure 1-1

Simplified Dolby Atmos Block Diagram .................................................................................. 1

Figure 1-2

Basic Dolby Atmos System Block Diagram ............................................................................ 2

Figure 1-3

Basic Setup with Pro Tools Machine Sending Metadata to Dolby RMU ................................ 2

Figure 1-4

Page Table Control Surface Added to Basic Setup ................................................................ 3

Figure 1-5

System 5 and System 5 Panner Application or OTher Client Application Added to Basic

Setup ....................................................................................................................................... 3

Figure 1-6

Mixing Console with Automation Engine Added to Basic Setup ............................................. 3

Figure 1-7

Dolby Atmos Monitor Application ............................................................................................ 4

Figure 1-8

Panner Plug-in, Mono Version ................................................................................................ 5

Figure 3-1

Basic Dolby Atmos Block Diagram ....................................................................................... 14

Figure 3-2

Audio Routing Diagram ......................................................................................................... 16

Figure 3-3

Session Setup Window Configured for Dolby Atmos ........................................................... 19

Figure 3-4

I/O Setup Output, Configured for Dolby Atmos..................................................................... 22

Figure 3-5

I/O Setup Bus Mapping, Configured for Dolby Atmos .......................................................... 24

Figure 3-6

Dolby Atmos Tracks and Track Main Outputs Set to Dolby Atmos Paths ............................ 25

Figure 4-1

Dolby Atmos Monitor Application .......................................................................................... 29

Figure 4-2

Dolby Atmos Monitor Application Icon .................................................................................. 30

Figure 4-3

Default Monitor Application Window (When Not Communicating from Pro Tools) ............... 32

Figure 4-4

Dolby Atmos Preferences ..................................................................................................... 32

Figure 4-5

Successful Connection Between Monitor and RMU Host Name .......................................... 34

Figure 4-6

Successful Room Configuration in the Monitor Application Main Window ........................... 35

Figure 4-7

All View in the Monitor Application ........................................................................................ 45

Figure 4-8

Meters View in the Monitor Application ................................................................................. 46

Figure 4-9

Objects View in the Monitor Application ............................................................................... 47

Figure 4-10

Object Stream Circles and Stream Information .................................................................... 48

Figure 4-11

Objects View Outline and Front Screen ................................................................................ 49

Figure 4-12

Objects View, Yellow and Transparent Fills Shown ............................................................. 49

Figure 4-13

Objects View, Blue Object .................................................................................................... 50

Figure 4-14

Rotated Display of Objects View .......................................................................................... 51

Figure 4-15

Side Display of Objects View ................................................................................................ 51

Figure 4-16

Overhead Display of Objects View ....................................................................................... 52

Figure 4-17

Rendering to Dolby Atmos Format, Ten Meters Shown ....................................................... 53

Figure 4-18

Rendering to 7.1 Channels, Eight Meters Shown ................................................................. 54

Figure 4-19

Rendering to 5.1 Channels, Six Meters Shown .................................................................... 55

Figure 4-20

Room Configuration Indicators ............................................................................................. 56

Figure 4-21

Objects Only Mode ............................................................................................................... 58

Figure 4-22

Monitor Application Window Header ..................................................................................... 60

Figure 4-23

Successful Connection Between Monitor and RMU ............................................................. 60

Figure 4-24

Generating Pink Noise to a Speaker (Speaker Icon with a Box) .......................................... 64

Figure 4-25

Generating Pink Noise to a Speaker (Speaker Icon with a Box) .......................................... 65

Figure 4-26

Generating Pink Noise to the Rss Speaker Array................................................................. 66

Figure 5-1

Dolby Atmos Panner Plug-in, Mono Version ........................................................................ 67

Figure 5-2

Panner Virtual Room Elements ............................................................................................ 70

Figure 5-3

Default Dolby Atmos Panner Plug-in with No Number Assignment ..................................... 72

Figure 5-4

Increasing Object Size from the Room Center. .................................................................... 75

Figure 5-5

Increasing Object Size from a Side Wall .............................................................................. 76

Figure 5-6

Configuration Options Button ................................................................................................ 77

Figure 5-7

Dolby Atmos Panner Plug-in for a Stereo Track ................................................................... 78

Figure 5-8

Configuration Options Button in a Panner Plug-in ................................................................ 80

Figure 5-9

Output Selector in a Panner Plug-in ..................................................................................... 81

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Figure 5-10

Selecting the Joystick Device ............................................................................................... 85

Figure 5-11

Configuration Options Button in a Panner Plug-in ................................................................ 94

Figure 5-12

Recorder Mode Button in a Panner Plug-in .......................................................................... 95

Figure 5-13

Constrained Straight Line Mode in a Mono Panner Plug-in ................................................. 98

Figure 5-14

Dolby Panner Plug-in for a Stereo Track, Set to Mirrored Linking........................................ 99

Figure 5-15

Linking Selector in a Stereo Panner Plug-in, Set to Mirrored ............................................. 100

Figure 6-1

ComPanSate Plug-in, AudioSuite Version .......................................................................... 104

Figure 6-2

ComPanSate Plug-in, RTAS Version ................................................................................. 105

Figure 7-1

Basic Dolby Atmos System Block Diagram ........................................................................ 107

Figure 7-2

I/O Setup Output, Configured for Dolby Atmos................................................................... 108

Figure 7-3

VCA Master Tracks Assigned to Each Effects and Foley Premix ...................................... 109

Figure 7-4

Mix/Edit Groups in Pro Tools Groups Window, Active Groups in Gray .............................. 111

Figure 7-5

Pro Tools Mix Window, Showing VCA Master Tracks Only ............................................... 112

Figure 7-6

Pro Tools Edit Window, Showing Dialogue Reverb Returns with

Their VCA Master Tracks .................................................................................................... 114

Figure 7-7

7.1 Mix Stage Mirrored by Dolby Atmos Mix Stage ............................................................ 116

Figure 7-8

Dolby Atmos Mix Stage Block Diagram .............................................................................. 117

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List of Tables

Table 1-1

Dolby Atmos Abbreviations ..................................................................................................... 7

Table 1-2

Dolby Atmos Channel Abbreviations ...................................................................................... 7

Table 3-1

Dolby Atmos Specification for Pro Tools .............................................................................. 14

Table 3-2

Rendering and Mastering Unit MADI Inputs in a Dolby Atmos System ................................ 15

Table 3-3

I/O Setup Specification for Dolby Atmos ............................................................................... 21

Table 4-1

Monitor Application Shortcuts Reference ............................................................................. 59

Table 5-1

JLCooper MCS-Panner Joystick Switch and Knob Reference for Dolby Atmos Panner ..... 83

Table 5-2

Panner Support by Control Surfaces and Mixing Consoles ................................................. 86

Table 5-3

Panner Keyboard Shortcuts Reference ................................................................................ 87

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Chapter 1

Chapter 1

Introduction to Dolby Atmos Authoring Tools

1.1

All Dolby

®

Atmos

systems include the following primary authoring tools:

• Dolby Atmos Monitor application

• Dolby Atmos Panner plug-in

Use these tools to author sound for digital cinema and to create a print master. You can also use the Monitor application to play back a print master.

The Dolby Rendering and Mastering Unit (RMU), the core intelligent component of the

Dolby Atmos audio authoring system, includes preinstalled software for various tasks in a Dolby Atmos authoring workflow. These include generating a room configuration with the Dolby Atmos Designer application, and using Renderer software to listen to a Dolby

Atmos mix, record a print master, or play back a print master. Refer to the Dolby RMU

Setup Manual for more information.

For information on additional authoring tools, see Optional Authoring Tools .

Dolby Atmos Overview

A Dolby Atmos mix consists of three primary elements:

• Bed audio (or bed material): Channel-based premixes or stems (including their multichannel panning)

• Object audio (or objects): Mono or stereo soundtrack content that have dedicated panning (via Dolby Atmos metadata)

• Dolby Atmos metadata: Panner automation for objects, plus additional metadata

Figure 1-1 Simplified Dolby Atmos Block Diagram

Chapter 1

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Introduction to Dolby Atmos Authoring Tools

1.2 Dolby Atmos System Overview

In a basic Dolby Atmos system, one or more Avid

® and metadata.

Pro Tools

®

machines define the audio

• Pro Tools multichannel tracks and signal routing define bed and object audio. High-

Definition Multichannel Audio Digital Interface (HD MADI) format interfaces receive audio from Pro Tools and send it to the Dolby RMU.

• Panner plug-ins on audio tracks in Pro Tools that contain object audio, along with their automation playlists, define Dolby Atmos metadata. One or more Pro Tools machines route metadata directly to the Dolby RMU via Ethernet.

2

1.3

Figure 1-2 Basic Dolby Atmos System Block Diagram

Dolby Atmos Metadata Flow with Different Setups

The flow of metadata in a Dolby Atmos system is dependent on the type of system setup.

There are four primary Dolby Atmos system setups for sending metadata (and audio) to the RMU:

• One or more Pro Tools machines sending metadata to Dolby RMU

Figure 1-3 Basic Setup with Pro Tools Machine Sending Metadata to Dolby RMU

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Dolby Atmos Metadata Flow with Different Setups

• Page table control surface (such as an Avid D-Command

RMU

®

or Avid D-Control

) added to a system with one or more Pro Tools machines sending metadata to Dolby

Figure 1-4 Page Table Control Surface Added to Basic Setup

• Mixing console (such as an Avid System 5 or AMS Neve DFC Gemini) with supporting software, or other client application (such as an iPad with the Dolby iPad

Panner-Controller) sending metadata to the Dolby RMU (and onward to Pro Tools, which in turn sends all metadata back to the RMU)

Figure 1-5 System 5 and System 5 Panner Application or Other Client Application Added to

Basic Setup

• Console as automation master; mixing console (such as an AMS Neve DFC Gemini), with automation engine sending metadata to the Dolby RMU, and Pro Tools recording the metadata (via Recorder mode in Panner plug-ins)

Figure 1-6 Mixing Console with Automation Engine Added to Basic Setup

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Introduction to Dolby Atmos Authoring Tools

1.4 Dolby Atmos Monitor Application

Use the Dolby Atmos Monitor application for audio and visual monitoring of the Dolby

RMU as it renders audio and Dolby Atmos metadata.

The Monitor application provides controls for the RMU renderer. Use it to:

• Change the rendering mode of the RMU between Dolby Atmos and traditional

7.1 or 5.1 channel-based mixes

• Record a print master

• Play back a print master

• Connect a machine to the RMU and its renderer

The Monitor application includes a bar meter, object signal present indicators, and an object positional display. It also provides the active speaker configuration, which contains signal present indicators and speaker mutes. Controls (such as mute and attenuation) are provided for B-chain control.

4

Figure 1-7 Dolby Atmos Monitor Application

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Dolby Atmos Panner Plug-in

1.5 Dolby Atmos Panner Plug-in

Use the Dolby Panner plug-in to position audio objects (such as effects) in a threedimensional audio field. Panner plug-ins are inserted on each Pro Tools mono or stereo track designated for an object. Plug-in panner position and other Dolby Atmos metadata can be written to Pro Tools automation playlists. Pro Tools sends the automation metadata to the RMU (via Ethernet), along with audio from Pro Tools outputs to the

RMU (via MADI), for rendering during monitoring or print-master recording.

Figure 1-8 Panner Plug-in, Mono Version

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6

Introduction to Dolby Atmos Authoring Tools

1.6

1.7

Optional Authoring Tools

Depending on your Dolby Atmos system and workflow, you may also use any of the following optional authoring tools:

• Dolby ComPanSate plug-in: If you are creating objects from multichannel mix files, use the Dolby ComPanSate plug-in to compensate for the pan-depth bump in level that is created when summing panned sources together.

• System 5 Panner application (for systems with Avid System 5 mixing consoles only):

The System 5 Panner application provides support for mapping x and y axis positioning of a Dolby Atmos object to joysticks on an Avid System 5, as well as mapping the panner controls of each Dolby Atmos object to a dedicated channel strip

(or panner strip). See the System 5 Panner Application for Dolby Atmos Manual.

• Apple

®

iPad

®

Panner-Controller (stand-alone iOS software for systems with an iPad only): Provides control of Dolby Atmos metadata from an iPad. See the iPad Panner-

Controller for Dolby Atmos Manual.

About This Manual

This manual provides information for getting started with Dolby Atmos authoring tools in a Dolby Atmos system, as follows:

Introduction to Dolby Authoring Tools

Installing the Dolby Atmos Authoring Tools

Setting Up Pro Tools Sessions

Using the Dolby Atmos Monitor

Using the ComPanSate Plug-in to Create Objects

Workflows

This manual is for engineers, sound designers, and others who use Dolby Atmos tools for authoring sound for digital cinema and to create a print master.

Dolby Atmos Authoring Manuals

Use the primary Dolby Atmos authoring manuals in the following order:

Dolby Rendering and Mastering Unit Manual: Refer to this manual to install and connect your Dolby RMU hardware interface in a Dolby Atmos authoring system.

Dolby RMU Setup Manual: Refer to this manual to set up and use RMU software preinstalled on the Dolby RMU.

Authoring for Dolby Atmos Cinema Sound Manual: Refer to this manual to create and work with Dolby Atmos material by using Dolby Atmos tools and other authoring software.

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1.8 Terminology

The following table lists abbreviations used throughout this document.

Table 1-1

Dolby Atmos Abbreviations

Abbreviation Definition

LTC

MADI

M&E

RMU

SDDS

®

UI

Linear timecode

Multichannel Audio Digital Interface

Music and Effects

Dolby Rendering and Mastering Unit

Sony

®

Dynamic Digital Sound

User interface

The following table lists channel notations used in this document.

Table 1-2

Dolby Atmos Channel Abbreviations

Abbreviation Channel

L

R

C

S

Ls

Rs

Lsr

Rsr

Lss

Rss

Lts

Rts

LFE

Left

Right

Center

Surround

Left Surround

Right Surround

Left Surround Rear

Right Surround Rear

Left Side Surround

Rear Side Surround

Left Top Surround

Right Top Surround

Low-Frequency Effects

Terminology

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Chapter 2

Chapter 2

Installing the Dolby Atmos Authoring Tools

The Dolby

®

Atmos

tools installer includes the following:

• Primary authoring tools:

• Dolby Atmos Monitor application.

• Dolby Atmos Panner plug-in.

• Optional authoring tools:

• Dolby ComPanSate plug-in.

• System 5 Panner application. See the System 5 Panner Application for Dolby Atmos

Manual.

A separate installer includes:

• Apple

®

iPad

®

Panner-Controller (optional). See the iPad Panner-Controller for Dolby

Atmos Manual.

2.1 Installing the Dolby Atmos Tools on a Pro Tools System

You must install the authoring tools on an Apple Mac

Avid

®

Pro Tools

®

®

OS

®

X

®

computer running an

|HDX or |HD system qualified for Dolby Atmos.

Note: The Monitor application located on the Pro Tools computer system is required for establishing communication between Panner plug-ins in Pro

Tools and the RMU. See Communicating from the Pro Tools System .

Following installation, the Monitor application can be installed on additional devices for dedicated (or secondary) monitoring.

For full requirements, refer to your Dolby Content Services representative.

Chapter 2

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Installing the Dolby Atmos Authoring Tools

To install the Dolby Atmos authoring tools:

1. Double-click the

DolbyAtmosTools installer package.

2. Follow the onscreen instructions.

When installation is completed, the tools and their supporting files are written to disk, as follows:

File (and Filename) Location After Installation

ComPanSate plug-in (

ComPanSate.dpm

)

Dolby Atmos Monitor (

Dolby Atmos

Monitor.app

)

Dolby Atmos Panner plug-in

(

Dolby Atmos Panner.aaxplugin

)

Pro Tools Plug-Ins folder for DPM format plug-ins

/Applications/Dolby

folder

The Pro Tools

Plug-Ins

folder for AAX format plug-ins

System 5 Panner application ( system5panner

)

/Applications/Dolb y folder

3. After installation has completed, verify that the Dolby Atmos Panner plug-in license is on a USB iLok attached to the Pro Tools system.

The licenses authorize your system to use the Dolby Atmos plug-ins. See

Authorizing the Dolby Atmos Plug-ins .

Note: The System 5 Panner application can coexist on a computer with a Pro

Tools session open, but EUCON

mode must be disabled in Pro Tools (in

Setup > Peripherals > Ethernet Controllers

). For example, use a Pro Tools computer dedicated to video, which does not require System 5 control of

Pro Tools. For more information, see the System 5 Panner Application for

Dolby Atmos Manual.

2.1.1 Authorizing the Dolby Atmos Plug-ins

Dolby Atmos plug-ins use PACE iLok antipiracy software. The Dolby Atmos Panner plug-in license stored on a USB iLok key authorizes your system to use the Panner and

ComPanSate plug-ins.

Insert the iLok into an available USB port before opening Pro Tools. The iLok key must remain in the USB port while Pro Tools is in use.

The iLok website ( www.ilok.com

) enables you to manage the licenses for all of your iLokprotected applications in one place.

To register your license:

1. Go to www.ilok.com

.

2. Use your existing account or follow the directions to sign up for a free account.

3. If setting up a new account, download and install the iLok client software.

Typical installations include a driver to support the iLok key and iLok website security drivers.

4. Log in to your account.

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Installing the Monitor Application on Additional Devices

5. Synchronize your iLok with your account.

6. View the licenses on your newly registered iLok.

7. Add and edit the name of the iLok for differentiation if you own multiple iLoks.

Note: If you have been given license codes for your Dolby applications, they can be redeemed on the iLok website for download synchronization to your new or existing iLok key.

iLok Zero Downtime Coverage

The iLok Zero DownTime program enables iLok owners to immediately replace licenses in case an iLok is broken, lost, or stolen. Visit www.ilok.com

for program details and restrictions.

2.2 Installing the Monitor Application on Additional Devices

You can install one or more dedicated Monitor applications on devices other than the Pro

Tools computer for Dolby Atmos. In this scenario, each secondary Monitor application enables communication with the Dolby RMU for RMU monitoring only. For information

on enabling secondary Monitor applications, see Communicating from Other Devices .

Note:

Secondary Monitor applications do not establish communication between the Panner plug-ins in Pro Tools and the RMU. Communication between the Panner plug-ins in Pro Tools and the RMU must first be established on

the Pro Tools computer. See Communicating from the Pro Tools System .

To install the Monitor application on a different Mac OS X computer:

1. If the destination computer does not have Pro Tools installed on it, create an

/

Applications/Dolby folder

.

2. On the destination computer, double-click the

DolbyAtmosTools installer package.

3. Follow the onscreen instructions.

2.3 Getting Started (Overview)

Here is an overview of what you need to do to begin using Dolby Atmos authoring tools:

1. Power on the Pro Tools system and individual Pro Tools machines, as described in

Pro Tools documentation.

2. Power on the Dolby RMU.

• Verify that the RMU hardware interface is installed and connected in a Dolby

Atmos authoring system, as described in the Dolby Rendering and Mastering Unit

Manual.

• Verify that Dolby RMU software has been set up, as described in the Dolby RMU

Setup Manual. This includes calibrating the mix stage and creating an RMU room configuration using Dolby Atmos Designer software.

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Installing the Dolby Atmos Authoring Tools

3.

Launch the Dolby Atmos Monitor application on the primary Pro Tools machine, and

enable communication with the RMU .

4.

Set up Pro Tools sessions

and insert Panner plug-ins for Dolby Atmos, as needed.

5. If using an Avid System 5 mixing console to control Dolby Atmos metadata, do the following:

• Launch the System 5 eMix software and appropriate routing.

• Launch the System 5 Panner on the machine it is installed on. For more information, see the System 5 Panner Application for Dolby Atmos Manual.

• Create panner strips on the console. For more information, see the System 5

Panner for Dolby Atmos Application Manual.

6. If using an iPad Panner-Controller, power it on and configure it to control an object.

For more information, see the iPad Panner-Controller for Dolby Atmos Manual.

7. If using an AMS Neve DFC console to author in the Dolby Atmos format, refer to

AMS Neve DFC console documentation.

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Chapter 3

Chapter 3

Setting Up a Pro Tools Session

Use Pro Tools

®

Atmos

digital audio workstation software for primary authoring in the Dolby

format.

®

Dolby Atmos authoring tools are supported by Pro Tools HD software, running on a Pro

Tools|HDX or HD system qualified by Dolby. For more information about Dolby Atmos system requirements, refer to your Dolby Content Services representative.

Note: You can use a mixing console with an automation engine (such as the AMS

Neve DFC) instead of Pro Tools, or in conjunction with Pro Tools, to author in the Dolby Atmos format. Refer to AMS Neve DFC console documentation.

Chapter 3

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Setting Up a Pro Tools Session

3.1

3.1.1

Dolby Atmos Format in Pro Tools

Before creating a Pro Tools session for Dolby Atmos, you should review the Dolby Atmos format and how it relates to Pro Tools multichannel mixing.

Dolby Atmos Format and Multichannel Mixing

The Dolby Atmos format is built from audio bed material and objects in Pro Tools session

tracks (per the Dolby Atmos specification for Pro Tools ), plus metadata, which is defined

by Panner plug-ins inserted on object tracks.

Figure 3-1 Basic Dolby Atmos Block Diagram

The total number of objects that can be routed via a MADI stream differs when using a mixing console that supports 56 channels (varispeed) only.

Audio

Elements

Bed

Objects

Total

10

Table 3-1

Dolby Atmos Specification for Pro Tools

Playback

Voices

(In Pro Tools)

Multichannel

Mixing Format

Channels and Track Layout

Up to 118

Up to 128

9.1 L, C, R, Lss, Rss, Lsr, Rsr, and LFE;

Lts and Rts (on separate bus)

Mono or stereo C for mono; L and R for stereo

14

Audio Elements

There are two types of content for Dolby Atmos: bed and objects. The bed refers to channel-based premixes or stems (including their multichannel panning). Objects refer to mono or stereo soundtrack content. Objects have dedicated panning via Dolby Atmos metadata (provided by Panner plug-ins and their automation playlists).

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Dolby Atmos Format in Pro Tools

3.1.2

Playback Voices (In Pro Tools)

This is the total number of audio streams that you can route to and from Pro Tools audio tracks, and physical audio outputs and inputs on your Pro Tools audio interfaces. In a

Dolby Atmos system, the primary Pro Tools audio interfaces are two Avid

®

HD MADI interfaces. This is the recommended configuration when working in Pro Tools directly.

When working with a mixing console (such as an Avid System 5 or AMS Neve DFC), there are typically several Pro Tools playback machines with smaller source sessions.

Multichannel Mixing Format

This is the number and type of channel outputs required for Dolby Atmos. In Pro Tools, the 9.1 format represents the bed, and is mapped as a 7.1 bed output, plus a stereo overhead output. Objects are mapped individually to mono and stereo outputs.

Channels and Track Layout

These are the default channel assignments (or mono subpaths) and their ordering (for example, in channel outputs and meters). Channels are configured in

I/O Setup

and are available for use as track outputs and sends in the session. For greater-than-stereo multichannel tracks, Pro Tools internal routing uses standard film channel ordering.

Note: Channel layout for Pro Tools outputs and meters do not match the ordering of the MADI inputs of the Dolby RMU. Internally, Pro Tools uses film channel ordering. RMU Inputs use SMPTE/ITU channel ordering. See

Routing Pro Tools Physical Outputs to RMU MADI Inputs .

Routing Pro Tools Physical Outputs to RMU MADI Inputs

The Dolby RMU MADI inputs use SMPTE/ITU channel ordering. When configuring Pro

Tools physical output paths in

I/O Setup

, order the outputs to match the ordering of the

MADI inputs of the RMU, according to the assignments listed in the following table.

Table 3-2

Rendering and Mastering Unit MADI Inputs in a Dolby Atmos System

1 2 3 4 5 6 7 8 9 10 11 to 128

L R C LFE Lss Rss Lsr Rsr Lts Rts C for mono object tracks;

L and R for stereo object tracks

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Setting Up a Pro Tools Session

These assignments are defined in the

I/O Setup

Output page .

3.2

Figure 3-2 Audio Routing Diagram

Pro Tools Session Requirements

A Pro Tools session for Dolby Atmos has the following requirements:

To ensure communication between the RMU and Panner plug-ins in Pro Tools , as

well as with the Dolby Atmos Monitor application, power on the system as follows:

• Power on the Pro Tools machine.

• Power on the Dolby RMU.

• Launch the renderer on the RMU.

• Launch the Dolby Atmos Monitor application on the Pro Tools machine.

• Connect the Monitor application to the Dolby RMU network.

• Launch Pro Tools and open a session.

• 48 kHz session sample rate:

• The Dolby RMU supports 48 kHz sessions only. If working with different sample rates during sound creation or premixing, you need to change the session sample rate prior to working with the RMU.

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Authoring in a Pro Tools Session

• 24 fps session timecode rate:

• The Dolby RMU creates 24 fps print masters from 24 fps sessions only. If you are

not working with a 24 fps session, see Working with a Timecode Rate Other than

24 FPS .

For 24 fps sessions, set

Audio Rate Pull Up/Down

and

Video Rate Pull/Down

to

None

.

I/O Setup

( output

and bus mapping ) in Pro Tools configured for the Dolby Atmos bed

and objects.

Session tracks in Pro Tools configured for the Dolby Atmos bed and objects.

Panner plug-in considerations for best plug-in performance and results in Pro Tools.

3.3

3.3.1

Authoring in a Pro Tools Session

Authoring for Dolby Atmos in a Pro Tools session consists of creating, mixing, and managing audio material designated as beds and objects. A completed Pro Tools session for Dolby Atmos is a mix of beds and objects (including their metadata) sent to the Dolby

RMU for rendering.

Use one or more sessions to support the authoring process and creation of the print master for exhibition.

Dolby Atmos mixes are typically created from individual Pro Tools sessions (for example, for each “reel” of the soundtrack). You can combine the reels in a single Pro

Tools session, and print master the session as a full soundtrack. Alternatively, you can print master each reel separately, and then stitch them together in the RMU to form the full soundtrack.

Working with the Bed

In Pro Tools, working with the bed for a Dolby Atmos mix is generally the same as traditional methods for working with multichannel stems for a surround or stereo format. One or more tracks for a given stem (such as the music stem) are still output (or sent) to a multichannel format. With Dolby Atmos, this is the 7.1 portion of the bed.

Additionally, bed material for overhead speakers is output to stereo. Surround and stereo panning are still performed using the Pro Tools Panner Grid, pan automation editing, or a Pro Tools hardware control surface.

The primary difference when working with bed material in the Dolby Atmos format is

configuring the session

I/O Setup

and signal routing so that the session meets the Dolby

Atmos specification and provides ten channels of audio to the Dolby RMU. Use the

Dolby Atmos Monitor application while authoring in Pro Tools to listen to the RMU output of the bed, objects, and the effect of object metadata, in real time. In addition, it is important to decide which material is suited for the bed (7.1 output or stereo overheads), as opposed to material that would benefit from precision positioning that can be applied to objects.

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Setting Up a Pro Tools Session

3.3.2 Working with Objects

Pro Tools tracks for objects in a Dolby Atmos mix use mono and stereo signal paths,

which, like the bed, are also configured in the session

I/O Setup

. However, instead of using Pro Tools built-in mono and stereo panning controls on each object track, you

insert a Dolby Atmos Panner plug-in and use its controls. The Dolby Atmos Panner plug-

in provides controls to write automation for Dolby Atmos metadata (pan position and other object metadata) to the track automation playlist. For example, the metadata places the object at a single point in a zone (or speaker zone), or moves it across one or more zones.

Typically, Dolby Atmos metadata is applied to audio at the RMU. Metadata in the automation playlist does not affect the sound within the Pro Tools session. Use the Dolby

Atmos Monitor application while authoring in Pro Tools to listen to the RMU output of the bed, objects, and the effect of metadata, in real time.

Note: To hear audio from an object track at the RMU, the object must exist in Pro

Tools (that is, the track Panner plug-in must have an object number assigned to it), and

I/O Setup

must be configured for Dolby Atmos.

When the object exists, auxiliary input tracks and other tracks that route to the same object output path will also output at the RMU.

The combination of objects supported by paths in the

I/O Setup

and primed for use with

Dolby Atmos Panner plug-ins ensures that the session meets the Dolby Atmos specification and provides audio and metadata for up to 118 objects to the RMU for rendering. As noted previously, it is important to designate as an object any material that benefits from precision panning.

3.4

3.4.1

18

Creating a Pro Tools Session for Dolby Atmos

Apply the Dolby Atmos specification for Pro Tools when creating a new Pro Tools session, or when reconfiguring an existing session (for example, when changing a 7.1- or

5.1-channel session to a Dolby Atmos session).

Creating a New Pro Tools Session

This section provides steps for creating a Pro Tools session in the Dolby Atmos standard

timecode rate (24 fps). If you are not working with a 24 fps session, see Working with a

Timecode Rate Other than 24 FPS .

To create a new Pro Tools session for Dolby Atmos authoring:

1. Choose

File

>

New Session

.

2. Select the

Create Blank Session

option.

3. Select the audio file type, sample rate (48 kHz), and desired bit depth.

You can work with different sample rates during sound creation or premixing, but you must change the session sample rate prior to working with the RMU.

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Creating a Pro Tools Session for Dolby Atmos

4. From the

I/O Settings

menu, select

Stereo Mix

.

You can create the required multichannel output and bus paths for Dolby Atmos after the session is opened.

5. Click

OK

.

The new session launches.

6. Choose

Setup

>

Session

.

7. In the

Format

section, set

Timecode Rate

to 24 fps.

3.4.2

Figure 3-3 Session Setup Window Configured for Dolby Atmos

8. In the

Timecode Settings

section:

• Set

Audio Rate Pull Up/Down

to

None.

• Set

Video Rate Pull Up/Down

to

None

.

9. Create output

and bus paths in the

I/O Setup

, per the Dolby Atmos specification.

10.

Create tracks to support beds and objects, per the Dolby Atmos specification.

Reconfiguring an Existing Session

To reconfigure an existing Pro Tools session for Dolby Atmos authoring:

1. For 24 fps timecode sessions, confirm the following settings:

• Session

Sample Rate

:

48 kHz

Timecode Rate

:

24 fps

Audio Rate Pull Up/Down

:

None

Video Rate Pull Up/Down

:

None

2. If working with a different timecode rate, see Working with a Timecode Rate Other than 24 FPS .

3. Redo output

and bus paths in

I/O Setup

, per the Dolby Atmos specification.

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Setting Up a Pro Tools Session

4. In the Pro Tools session, change existing tracks (and create new tracks, as needed) to

support beds and objects, per the Dolby Atmos specification.

3.4.3 Working with a Timecode Rate Other than 24 fps

When working with timecode rates other than 24 fps, you can apply pull up/down and sample-rate conversion when recording the mix session, or when preparing to print master.

The advantage of applying pull up/down when recording the session is that the Pro

Tools print master is in the identical format as the RMU master (48 kHz, 24 fps), and sample-rate conversion is applied during the mix (instead of during print-master recording).

To apply pull up/down and sample-rate conversion when recording a mix session (in

23.98 fps):

1. Launch the session.

2. Choose

Setup

>

Session

.

3. In the

Format

section, set

Sample Rate

to

48 kHz

.

4. In the

Format

section, set the

Timecode Rate

to

23.98 fps

.

5. In the

Timecode Settings

section:

• Set

Audio Rate Pull Up/Down

to

0.1% Down.

• Set

Video Rate Pull Up/Down

to

None

.

6. Choose

Setup

>

Hardware

, and enable sample-rate conversion for both HD MADI interfaces.

To apply pull up/down and sample-rate conversion when preparing a session (23.98 fps) for print mastering to the RMU:

1. Launch the session.

2. Choose

Setup

>

Session

.

3. In the

Format

section, set

Sample Rate

to

48 kHz

.

4. In the

Format

section, set the

Timecode Rate

to

24 fps

.

5. In the

Timecode Settings

section,

• Set

Audio Rate Pull Up/Down

to

0.1% Up.

• Set

Video Rate Pull Up/Down

to

0.1% Up

.

6. Choose

Setup

>

Hardware

, and enable sample-rate conversion for the output of both

HD MADI interfaces.

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Configuring I/O Setup

3.5 Configuring I/O Setup

You must configure Pro Tools I/O and signal routing for Dolby Atmos after creating a new session for Dolby Atmos, or when reconfiguring an existing surround session to

Dolby Atmos. Pro Tools I/O and signal routing will be determined by the paths defined in the

I/O Setup

.

Pro Tools sessions for Dolby Atmos should have their

I/O Setup

( output

and bus mapping ) configured for beds and objects, as listed in the following table.

,

Audio

Elements

Beds

Table 3-3

I/O Setup Specification for Dolby Atmos

Number of

Buses

One or more

Multichannel

7.1

Format

Buses Mapped to

Output Name

(Recommended

Names)

Atmos 7.1 Bed

Beds

(overheads)

Objects

One or more

Up to 118

Stereo

Mono or stereo

Atmos OH Bed

Object 1

(and so on)

Buses Mapped to Output

Physical Channels

Channels 1–8 of first HD MADI interface

Channels 9–10 of first HD

MADI interface

Channels 11 and higher of two

HD MADI interfaces

Note: We recommend you create an

I/O Setup

for Dolby Atmos in Pro Tools and export it for future use. See Pro Tools documentation for steps on how to export and import settings in the

I/O Setup

.

Note: For better flexibility when working with objects, create stereo object outputs with mono subpaths.

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Setting Up a Pro Tools Session

3.5.1 Configuring Output

In

I/O Setup

, create output paths for Pro Tools tracks and map them to physical outputs on the HD MADI interfaces.

22

Figure 3-4 I/O Setup Output, Configured for Dolby Atmos

To configure the

I/O Setup

output for Dolby Atmos:

1. In the Pro Tools session for Dolby Atmos, open the

I/O Setup

dialog and click the

Output

tab.

2. Set

5.1 Path Order

to

L R C LFE Ls Rs (SMPTE/ITU)

.

This ensures that new 5.1 output paths default to mapping the physical outputs of the first HD MADI interface to the same channel ordering as the RMU inputs.

3. For the 7.1 path:

• Create a new 7.1 path.

• Name it

Atmos 7.1 Bed.

• Map it to HD MADI channels 1–8.

4. For the overheads:

• Add a stereo path (or use an existing stereo path).

• Name it

Atmos OH Bed.

• Map it to HD MADI channels 9–10.

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Configuring I/O Setup

3.5.2

5. For objects:

• Add (or use existing) mono and stereo paths for objects.

Note:

For more flexibility, use stereo object outputs with mono subpaths (created on the

Bus

page). This configuration allows for using the output on stereo or mono object tracks.

• Name them

Object x

(for mono) and

Object x-x

(for stereo).

• Map them to respective HD MADI channels (starting with channel 11).

Note:

To hear audio from an object track at the RMU, the object must exist in Pro

Tools (that is, the track Panner plug-in must have an object number assigned to it), and

I/O Setup

must be configured for Dolby Atmos.

When the object exists, auxiliary input tracks and other tracks that route to the same object output path will also output at the RMU.

6. Click

OK

.

For more information on how to create output paths in Pro Tools, refer to Pro Tools documentation.

Configuring Input

There is no required

I/O Setup

input configuration for Dolby Atmos.

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Setting Up a Pro Tools Session

3.5.3 Bus Mapping

Buses for output paths are automatically created and mapped after output paths have

been created in the

I/O Setup

dialog.

24

Figure 3-5 I/O Setup Bus Mapping, Configured for Dolby Atmos

To see

I/O Setup

bus mapping for Dolby Atmos:

1. In the Pro Tools session for Dolby Atmos, open the

I/O Setup

dialog.

2. Click the

Bus

tab.

For more information on bus paths in Pro Tools, refer to Pro Tools documentation.

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Configuring Tracks and Signal Routing

3.6 Configuring Tracks and Signal Routing

A Pro Tools session for Dolby Atmos includes a combination of audio beds (in multichannel audio tracks) and objects (in mono or stereo audio tracks). You must configure audio tracks for Dolby Atmos after creating a new session for Dolby Atmos, or when reconfiguring an existing surround session to Dolby Atmos.

Use the following layout for a Dolby Atmos session:

• One or more audio tracks for output bed stems, in 7.1 track format, with 7.1-channel output path

• One or more audio tracks for the overheads that are part of the beds, in stereo track format, with stereo output path

• Audio tracks for objects, in mono or stereo format, with mono or stereo output path

The following figure shows how to create tracks and lay them out to support the Dolby

Atmos mix.

Figure 3-6 Dolby Atmos Tracks and Track Main Outputs Set to Dolby Atmos Paths

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Setting Up a Pro Tools Session

In the figure, music, dialogue, and effects beds (stems) are mixed to 9.1 (as separate 7.1 and stereo overhead bed paths), while stereo and mono objects have their own tracks.

Each object track has a Panner plug-in to define the Dolby Atmos metadata that is sent to

the RMU. (See Using the Panner Plug-in to Position Objects .)

Note: Audio from an object track outputs at the RMU only when the object exists in Pro Tools and has the proper

I/O Setup

routing.

Alternatively, you can route multichannel sends (instead of track main outputs) to a multichannel path. See Pro Tools documentation for more information.

Note: We recommend you create a Pro Tools session template for Dolby Atmos

(including track layout, signal routing, and plug-ins) for future use. See Pro

Tools documentation for steps on how to create session templates.

3.7 Hearing Dolby Atmos Audio

Bed and object audio from Pro Tools are routed to the Dolby RMU inputs, and are then routed to the RMU outputs. To hear bed and object audio, keep in mind the following:

• Bed tracks route to channel outputs that are mapped to the MADI I/O, as configured in

I/O Setup

, and then route to the Dolby RMU for rendering. Monitor bed audio from the Dolby RMU. Bed audio material outputs from the first ten channel outputs of the Dolby RMU.

• Object tracks route to channel outputs that are mapped to MADI I/O, as configured in

I/O Setup

. To hear audio from the Dolby RMU output, the object track in Pro Tools must have a Panner plug-in with an object number assignment.

• The Monitor application must be communicating with the Dolby RMU renderer (via a host name or IP address) and have a valid room configuration loaded.

• In the Monitor application, the following controls affect audio presence or level:

• The linear timecode (LTC) button in the transport: This button must be disabled

(unlit) for Pro Tools to output audio to the Dolby RMU, for live monitoring.

• The mute button in the transport: This button must be disabled for audio to be present at the RMU.

• Muted speakers in the room configuration: Any speaker that is muted results in no audio from that speaker. If all active speakers are muted, no sound will be heard from the Dolby RMU.

• The output attenuation (

ATTEN

) control in the transport: When this control is set to –Inf (–Infinity), audio is effectively muted. The attenuator is not displayed by default. If it is not displayed, press <Control>+<Option>+<Command>+<A> to display the control and verify it is not set to –Inf.

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3.8

Working with Multiple Pro Tools Systems

Working with Multiple Pro Tools Systems

You can use multiple Pro Tools machines in a Dolby Atmos system. Each machine needs to be connected to the RMU network.

When working with multiple Pro Tools machines, consider the following:

• The Pro Tools destination (or recorder) machine and any additional Pro Tools playback machines or other clients that communicate to the RMU must be connected to the RMU network and configured for use.

• Pro Tools machines must be synced together. Common solutions include chasing

LTC from a timecode generator, slaving to Sony

®

P2 machine control, or using the

Avid Satellite Link option. If working with Avid Satellite Link software, consider configuring the Pro Tools recorder machine as the first (administrator) machine, and playback machines as subsequent (nonadministrator) machines.

Use the Panner plug-in

Recorder mode to record metadata from multiple Pro Tools

playback machines into a single Pro Tools record machine.

• Do not use the same object number for Panner plug-ins in multiple playback machines that are used for the same print master. Divide object numbers among the various playback machines. It is possible to assign Panner plug-ins to the same object from different machines, which would corrupt the panning automation.

• When configuring a record machine to record Dolby Atmos metadata from one or more playback machines, make sure the record machine has the same number of

Panner plug-ins, each with the same object number, as configured in the playback machines.

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Chapter 4

Chapter 4

Using the Dolby Atmos Monitor Application

The Dolby

®

Atmos

Monitor application is a stand-alone application for audio and visual monitoring of the Dolby RMU as it renders audio and Dolby Atmos metadata. The

Monitor application includes controls for print-master recording and print-master playback. During monitoring or playback, you can also use the Monitor application to rerender to either 7.1 or 5.1 surround formats.

Chapter 4

Authoring for Dolby

Figure 4-1 Dolby Atmos Monitor Application

You can monitor the audio signals from the RMU outputs when listening live to Pro

Tools

®

material routed to the RMU, or when using the Monitor application to record a

Dolby Atmos print master or play it back. All audio monitoring includes real-time rendering of Dolby Atmos metadata. Additionally, controls are provided to mute individual speakers or groups of speakers in the room configuration, or all RMU output.

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Using the Dolby Atmos Monitor Application

The Monitor application provides visual feedback from the RMU, including status and metering information of Dolby Atmos objects, bed material, and speakers for the targeted room configuration.

For installation information, see Installing the Dolby Atmos Authoring Tools .

4.1 Before Using the Monitor Application

Before using the Monitor application for the first time, verify the Dolby Atmos system setup, as directed by your Dolby Content Services representative or as described in the

Dolby RMU Setup Manual. This includes the following:

• At the RMU:

• The RMU must have a valid IP address.

• A

.dac

file generated with Dolby Atmos Designer must be present on the RMU local drive. This file includes room configuration and other data required for live monitoring and other Dolby Atmos tasks.

• Live monitoring and other Dolby Atmos tasks require launching the Renderer software on the RMU and loading specific configuration data (such as room

configuration data) into the renderer via command-line options. Print-master recording

and print-master playback require additional renderer command-line

options.

At the Pro Tools system:

• The Pro Tools system must be connected to the RMU (via two Avid

® interfaces).

HD MADI

• One or more Pro Tools sessions must be configured for Dolby Atmos use.

• A copy of the Monitor application must be installed. This is required for establishing communication between Dolby Atmos Panner plug-ins in Pro Tools

and the RMU. See Communicating from the Pro Tools System .

4.2 Launching the Monitor Application

To launch the Monitor application:

• Double-click the Dolby Atmos Monitor application file (located in /

Applications/Dolby

).

Figure 4-2 Dolby Atmos Monitor Application Icon

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4.3

4.3.1

Enabling Communication with the RMU

Enabling Communication with the RMU

Enable communication between the Monitor and the RMU in one of two ways:

From the Pro Tools system (required to enable communication between Dolby

Panner plug-ins in Pro Tools and the RMU)

From other devices

Communicating from the Pro Tools System (Required)

You must use the Monitor application located on the Pro Tools computer for Dolby

Atmos to initially enable communication between the Monitor application and the RMU.

This is because the local Monitor application also automatically enables communication between Panner plug-ins in Pro Tools and the RMU. Once this connection is made, it is saved in the computer preferences, and you can keep the Monitor application open or closed without disabling the plug-in to RMU connection. However, Pro Tools must remain open so that Dolby Atmos metadata is actively sent to the RMU.

You can subsequently use the Monitor application on the Pro Tools system, or a dedicated one located on another device, to enable communication between the Monitor application and the RMU for monitoring.

To enable initial communication between the Monitor application and the RMU, including required communication between Panner plug-ins and the RMU:

1. Power up the RMU.

2. Power up the computer running Pro Tools.

3. On the RMU, load the

.dac

file generated during setup. (See the Dolby RMU Setup

Manual for information on generating a

.dac

file with the Dolby Atmos Designer software application.)

• Make sure the Renderer software is not running on the RMU. If it is running, turn it off by typing <Q> in its

Command Prompt

window or by using the

Windows

®

Task Manager

.

• Open a

Command Prompt

window.

• On a command line, navigate to the Renderer software, located at:

C:\Program Files (x86)\Dolby Laboratories\Adaptive Audio Renderer

• On a command line, type the commands and options to start the renderer, and load a room configuration.

For example (showing required command-line options): renderer --atmosconfig E:\RoomConfiguration\config.dac

In this example,

E:

is the media drive, and the path is the folders where the zipped

.dac

file containing the room configuration data is located.

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Using the Dolby Atmos Monitor Application

4. On the computer that runs Pro Tools sessions used for Dolby Atmos, launch the

Monitor application (located in

/Applications/Dolby

).

Figure 4-3 Default Monitor Application Window (When Not Communicating from Pro Tools)

5. Click

Dolby Atmos Monitor

>

Preferences

.

32

Figure 4-4 Dolby Atmos Preferences

6. In the

Renderer

section of the

Dolby Atmos Preferences

dialog, choose the renderer server IP or host name by doing one of the following:

• Click

Browse,

and select the renderer host name. Clicking

Browse

enables automatic discovery of any RMUs located on the same subnet as the Pro Tools system. This is the easiest way to select which RMU to connect to. If your Pro

Tools system and RMU exist on different subnets, you will need to enter the address manually (as described in the next bullet).

• Click

Edit

in the

Server IP or Hostname

line, and enter the renderer IP address in the

Enter Hostname

dialog.

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Note: You can also access the

Enter Hostname

dialog in the

Renderer

section of the Monitor application window by clicking in the

Renderer

section.

7. Click

Select

.

8.

Verify communication with the RMU , and then verify the room configuration .

9. Close the Monitor application, if desired (for example, if intending to do subsequent monitoring at a different time or from a different device).

10. Repeat steps 5–9 for Monitor applications on other Pro Tools machines.

4.3.2 Communicating from Other Devices (Optional)

You can also locate one or more dedicated Monitor applications on devices other than the

Pro Tools computer for Dolby Atmos. In this scenario, each secondary Monitor application allows for enabling communication with the Dolby RMU for RMU monitoring only. They do not establish communication between the Panner plug-ins in

Pro Tools and the RMU.

Note: Communication between Panner plug-ins in Pro Tools and the RMU must

first be established on the Pro Tools computer. See Communicating from the Pro Tools System .

To enable communication between a secondary Monitor application and the RMU only:

1. If communication between Panner plug-ins in Pro Tools and the RMU has not been

enabled, do so at this time. See Communicating from the Pro Tools System .

2. On a device dedicated as a secondary Monitor application, install a copy of the

Monitor application .

3. On the same device, launch the Monitor application (located in /

Applications/Dolby

).

4. Click

Dolby Atmos Monitor

>

Preferences

.

5. In the

Renderer

section of the

Dolby Atmos Preferences

dialog, choose the renderer server IP or host name by doing one of the following:

• Click

Browse,

and select the renderer host name.

• Click

Edit

in the

Server IP or hostname

line, and enter the renderer IP address in the

Enter Hostname

dialog.

Note: You can also access the

Enter Hostname

dialog in the

Renderer

section of the Monitor application window, by clicking in the

Renderer

section.

6. Click

Select

.

7.

Verify communication with the RMU , and then verify the room configuration .

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4.3.3 Verifying Communication with the RMU

When communication with the RMU is successful, the

Renderer

section provides two indications. The renderer IP or host name will appear in the

Renderer

section, and the connection status light will turn green.

Figure 4-5 Successful Connection Between Monitor and RMU Host Name

If the connection status light is red, the connection was unsuccessful. In this case, verify the IP address or host name, check your Ethernet connections, and repeat the steps for

enabling communication with the RMU .

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4.3.4 Verifying the Room Configuration File

When you launch the Monitor application and have successfully loaded the room configuration on the RMU and enabled communication with the RMU, the room configuration should appear in the Monitor application window.

The room configuration provides a visual representation of speakers, as configured for the Dolby Atmos room.

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Figure 4-6 Successful Room Configuration in the Monitor Application Main Window

When first enabling communication with the RMU, the Monitor application briefly displays a

Waiting for Room Configuration

message. When communication is fully enabled, the message is replaced with the speakers for the room configuration.

The room configuration and other data are in a

.dac

zip file on the RMU. If the file is not present on the RMU (or the Monitor application is not communicating with the RMU), the Monitor application continues to display a

Waiting for Room Configuration

message.

If the

Waiting for Room Configuration

message does not go away (and you have successfully enabled communication with the RMU), do the following:

• Verify that a valid

.dac file has been created and is located on the RMU (as directed by your Dolby Content Services representative, or as described in the Dolby RMU

Setup Manual).

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4.4

4.4.1

4.4.2

36

Rendering

Rendering refers to the process and algorithms that the RMU uses to render, or play audio beds and objects while positioning them to, or across, up to 64 speakers.

Positioning for beds is based on multichannel mixes. Positioning for objects is based on

Dolby Atmos metadata.

The Monitor application allows for rendering to the Dolby Atmos format in all operation modes, or re-rendering to a surround format (such as 7.1 or 5.1 channels) when listening

to a mix in the Monitor Live mode or when playing back a Dolby Atmos print master.

• During monitoring, the RMU renders audio and metadata from Pro Tools and any client applications (such as the System 5 Panner).

• During print mastering, the RMU renders audio and metadata from Pro Tools and any client applications (such as the System 5 Panner).

• During playback, the RMU renders material from the print master (located on the

RMU).

Rendering to the Dolby Atmos Format

By default, the Monitor application sets the RMU to render in the Dolby Atmos format.

If the setting of the rendering mode has been changed to re-render the Dolby Atmos format to a surround format (such as 7.1 or 5.1 channels), you can change it back to

Dolby Atmos in the Monitor application window or the Monitor application preferences.

To change the rendering mode to Dolby Atmos:

1. Do one of the following:

• Click in the

Mode

section of the Monitor application window.

• Click

Dolby Atmos Monitor

>

Preferences

, and then click

Edit

in the

Mode

line of the

Renderer

section.

2. In the

Select Rendering Mode

dialog, click

Dolby Atmos

.

3. Leave

Objects Only Mode

unchecked, unless specifically choosing to render object audio only. In Objects Only mode, bed material is effectively muted.

4. Click

Select

.

Re-rendering to a Surround Format

To re-render to a surround format, change the rendering mode to the desired format, as follows:

1. Do one of the following:

• Click in the

Mode

section of the Monitor application window.

• Click

View

>

Preferences

, and then click

Edit

in the

Mode

line of the

Renderer

section.

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Rendering

2. In the

Select Rendering Mode

dialog, click the desired rendering mode.

3. Leave

Objects Only Mode

unchecked, unless specifically choosing to re-render object audio only. In Objects Only mode, all beds are effectively muted.

4. Click

Select

.

Note:

With the Monitor application in focus, pressing <D> on the keyboard toggles between Dolby Atmos, 7.1, and 5.1 rendering modes.

Re-rendering and Clip Level

When re-rendering in 5.1 and 7.1, Monitor application meters use a lower clip threshold

(–3 dB) to replicate playback in a traditional room where the sound arrays are calibrated to 82 dB.

The RMU includes a +3 dB boost to signal in the surrounds (Ls and Rs in 5.1; and Lss,

Rss, Lb, and Rb in 7.1) prior to clipping and metering, and then a cut of –3 dB after that, but before the audio output. This results in the output clipping at a 3 dB lower threshold, and the metering showing a 3 dB higher signal. This also results in the same audio level output from the RMU to support playback in a room with the surrounds calibrated to 85 dB.

Renderer Command-Line Options for Re-rendering to 7.1 or 5.1

The renderer provides the following command-line options for re-rendering to 7.1 or 5.1:

--rerenderSurroundCrossover (in Hz)

--rerenderSurroundGain (in dB)

To use command-line options for re-rendering to 7.1 or 5.1:

1. Make sure the Renderer software is not running on the RMU. If it is running, turn it off by typing <Q> in its

Command Prompt

window or by using the

Windows Task

Manager

.

2. Open a

Command Prompt

window.

3. On a command line, navigate to the Renderer software, located at:

C:\Program Files (x86)\Dolby Laboratories\Adaptive Audio Renderer.

4. On a command line, type the commands and options to start the renderer, load a room configuration, and run other actions (including one or both re-rendering command-line options).

For example (showing print-master playback with both re-rendering command-line options): renderer -–atmosconfig E:\RoomConfiguration\config.dac --playlist

E:\FilmName\PrintMaster_1\dub_o u t.rpl --rerenderSurroundCrossover 50

--rerenderSurroundGain -1

In this example,

E:

is the media drive, the first path is the folders where the zipped

.dac

file containing the room configuration data is located, and the second path is the folders where the print master dub_out.rpl file

and other supporting files are located.

5. Press <Enter> to execute the command line.

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6. On the Monitor application, change the rendering mode to the desired format: 7.1 or

5.1.

7. Proceed with live monitoring, print-master recording, or print-master playback.

--rerenderSurroundCrossover (Bass Management Routing)

The

--rerenderSurroundCrossover

command-line option (in Hz) routes bass management of surround speakers to LFE during re-rendering, rather than to the bass management speakers that were assigned to speakers for rendering Dolby Atmos (via the

Dolby Atmos Designer). This prevents loss of bass material.

When re-rendering to 7.1, the crossover is applied to Left Side Surround (Lss), Right Side

Surround (Rss), Left Back (Lb), and Right Back (Rb) speakers. When re-rendering to 5.1, the crossover is applied to Left Surround (Ls) and Right Surround (Rs) speakers. For both

7.1 and 5.1, the bass from those crossovers (in addition to bed LFE) is summed into LFE.

When

–-rerenderSurroundCrossover

is specified (with a valid range of 0 and above, in

Hz), the renderer applies a crossover at the specified frequency and the bass content is preserved and summed into the LFE. Typical settings are 50–150 Hz. The bass content is cut by 10 dB to account for the LFE being calibrated 10 dB higher than other speakers.

If there is more than one speaker in the LFE array, the energy is distributed to all the LFE array speakers.

When

--rerenderSurroundCrossover

is not specified, the renderer applies the default crossover at 120 Hz, maintains the high content in the surround arrays, and discards the bass content. This behavior also occurs if you specify an invalid argument (such as a negative value or nonnumeric value).

--rerenderSurroundGain (Master Trim Control)

The

--rerenderSurroundGain

command-line option (in dB) provides a master trim control for re-rendering to 7.1 or 5.1.

When re-rendering to 7.1, the trim is applied to Lss, Rss, Lb, and Rb speakers. When rerendering to 5.1, the trim is applied to Ls and Rs speakers.

When

–-rerenderSurroundGain

is specified (with a valid range: 10 and below, in dB), the renderer applies the trim. For trim values below 0 dB, use a minus sign, followed by the value.

When

--rerenderSurroundGain

is not specified, the renderer applies the default trim of 0 dB (no trim). This behavior also occurs if you specify an invalid argument (such as a nonnumeric value).

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Monitor Application Operation Modes

Monitor Application Operation Modes

The Monitor application has three operation modes: live monitoring, print master, and playback.

All three modes allow for monitoring the RMU status and metering, the effect of Dolby

Atmos metadata on objects, and the room speaker configuration. Each mode also allows for monitoring object audio only, as well as muting individual speakers or groups of

speakers in the room configuration, or all RMU output. See Monitoring with the Dolby

Atmos Monitor Application .

Each mode has a primary use, as follows:

• Live monitoring allows for monitoring the audio signals from the RMU outputs when mixing and listening live to Pro Tools material in the Dolby Atmos format, or a surround format (such as 7.1 or 5.1 channels).

• Print master allows for recording and monitoring a Dolby Atmos print master.

• Playback is the default operation mode after communication is enabled and a room is loaded. It allows for playing back (or monitoring playback of) a Dolby Atmos print master in the Dolby Atmos format, or a surround format (such as 7.1 or 5.1 channels).

4.5.1 Live Mode Monitoring of Pro Tools

Live mode allows for monitoring the audio signals from the RMU outputs when listening live to Pro Tools material being rendered in the Dolby Atmos format, or re-rendered to a surround format (such as 7.1 or 5.1 channels). By default, Live mode has no Monitor transport controls engaged.

All Monitor metering, displays, and controls are functional in Live mode.

Note: During Live mode monitoring, make sure the Monitor

LTC

button is off. This ensures that you are receiving live audio from the Pro Tools session.

4.5.2 Recording a Dolby Atmos Print Master

Use the Monitor application to record (generate) a Dolby Atmos print master. The print master contains the bed audio (9.1), up to 118 objects, and Dolby Atmos metadata.

Note: The setting of the rendering mode in the Monitor application does not affect the print-master recording. The rendering mode affects only what is being listened to during recording. A print master created with the Monitor application is always a Dolby Atmos print master.

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Print-mastering management is performed via the command-line invocation of the renderer on the RMU. The print-master record directory specified on the command line is the directory that the print master will be recorded to. Refer to the Dolby RMU Setup

Manual for more information about Renderer software and command-line options, including how to stitch (or combine) multiple-source Dolby Atmos print masters into a single print master.

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To record a Dolby Atmos print master:

1. Set up the RMU for recording by doing the following:

Make sure the Renderer software is not running on the RMU. If it is running, turn it off by typing <Q> in its

Command Prompt

window or by using the

Windows Task Manager

.

• Open a

Command Prompt

window.

• On a command line, navigate to the Renderer software, located at:

C:\Program Files (x86)\Dolby Laboratories\Adaptive Audio Renderer

• On a command line, type the commands and options to start the renderer, load a room configuration, and set the recording path. Include additional commandline options, as desired.

For example (showing required command-line options): renderer –-atmosconfig E:\RoomConfiguration\config.dac --recordpath

E:\FilmName\PrintMaster_1\

In this example,

E:

is the media drive, the first path is the folders where the zipped

.dac

file containing the room configuration data is located, and the second path is the folders where you record the print master.

Note: Create a command-line script for print-master recording to simplify running the same, or similar, command lines in the future.

• Press <Enter>.

Note: In the

Command Prompt

window, onscreen messaging tells you whether this is the first recording pass to the directory, or if you are about to change an existing directory.

2. In the Monitor application transport, click (highlight)

LTC

to set the RMU to chase timecode from Pro Tools (or the bus).

3. In the Monitor application transport, click (highlight)

O

to ready the RMU for recording a print master.

4. In Pro Tools, start playback.

5. When the material has completed, stop playback in Pro Tools.

On the destination RMU drive, the print-master recording pass produces:

• Ten mono

.wav

files, which make up the 9.1 bed

• One

.prm

and one

.wav

file, per object

• One dub_out.rpl

file

Refer to the Dolby RMU Setup Manual for more information, including how to stitch (or combine) multiple-source Dolby Atmos print masters into a single print master.

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Monitor Application Operation Modes

4.5.3 Punching In and Out of a Print-Master Recording

You can punch in and out of recording a Dolby Atmos print master. This is useful when you want to update one or more sections of a print master with new audio or metadata.

Note:

Before doing a punch in and out recording pass, do not add new objects to the Pro Tools session. If you need to add new objects to the session, record a new print master with the new objects before doing the punch in and out.

Print-mastering management is performed via the command-line invocation of the renderer on the RMU. The print-master record directory specified on the command line is the directory that the print master will be recorded to. Refer to the Dolby RMU Setup

Manual for more information about Renderer software and command-line options.

When punching in and out of recording a print master, keep in mind the following:

• The first punch in determines the beginning of the file. You cannot subsequently punch in before the first punch.

• If you are recording to an existing print master, you can start from anywhere in the timeline as long you do not punch in before or after the print master start and end times.

• It is not possible to have gaps in the file. Punch ins must be done in a linear fashion.

You cannot jump to a later point in the timeline and punch in or out.

To punch in and out of recording to update a Dolby Atmos print master:

1. Set up the RMU for recording by doing the following:

• Make sure the Renderer software is not running on the RMU. If it is running, turn it off by typing <Q> in its

Command Prompt

window or by using the

Windows Task Manager

.

• Open a

Command Prompt

window.

• On a command line, navigate to the Renderer software, located at:

C:\Program Files (x86)\Dolby Laboratories\Adaptive Audio Renderer

• On a command line, type the commands and options to start the renderer, load a room configuration, and set the recording path. Include additional commandline options, as desired.

For example (showing required command-line options): renderer –-atmosconfig E:\RoomConfiguration\config.dac --recordpath

E:\FilmName\Print_Master_1\

In this example, E: is the media drive, the first path is the folders where the zipped

.dac

file containing the room configuration data is located, and the second path is the folders where you record the print master.

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• Press <Enter>.

Note: In the

Command Prompt

window, onscreen messaging tells you whether this is the first recording pass to the directory, or if you are about to change an existing directory.

2. In the Monitor application transport, click (highlight)

LTC

to set the RMU to chase timecode from Pro Tools (or the master bus).

3. Verify that Pro Tools (or the master bus) is generating timecode.

4. Do the following:

• Start playback. For example, in Pro Tools, place the cursor in the timeline prior to where you intend to punch in, and then start playback.

Note: If you are recording to an existing print master, you can start from anywhere in the timeline as long you do not punch in before or after the print-master start and end times.

• In the Monitor application transport, click (highlight)

O

to punch in and begin recording.

The first punch in determines the beginning of the file. You cannot subsequently punch in before the first punch.

Note:

You can also begin recording by first clicking

O

to ready the RMU for recording a print master. Next, make a selection in Pro Tools, and then press

Play

in Pro Tools to start playback and recording. This is useful when updating a specific clip or section in the timeline.

5. When done recording, click (unhighlight)

O

to punch out of recording.

6. Continue to click (highlight)

O

to punch in, and then again to punch out, as needed.

7. When the material has completed, stop playback in Pro Tools.

4.5.4 Playing Back a Print Master

The Monitor application allows for playing back (or monitoring playback of) a Dolby

Atmos print master, as rendered in the Dolby Atmos format, or re-rendered to a surround format (such as 7.1 or 5.1 channels).

Print-master management is performed via the command-line invocation of the renderer on the RMU. The print master specified on the command line is the print master that will be played back. Refer to the Dolby RMU Setup Manual for more information about

Renderer software and command-line options.

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4.6

To play back a Dolby Atmos print master:

1. Set up the RMU for recording by doing the following:

Make sure the Renderer software is not running on the RMU. If it is running, turn it off by typing <Q> in its

Command Prompt

window or by using the

Windows Task Manager

.

• Open a

Command Prompt

window.

• On a command line, navigate to the Renderer software, located at:

C:\Program Files (x86)\Dolby Laboratories\Adaptive Audio Renderer

• On a command line, type the commands and options to start the renderer, load a room configuration, and specify the print master to play back. Include additional command-line options, as desired.

For example (showing required command-line options): renderer -–atmosconfig E:\RoomConfiguration\config.dac --playlist

E:\FilmName\PrintMaster_1\dub_out.rpl

In this example,

E:

is the media drive, the first path is the folders where the zipped

.dac

file containing the room configuration data is located, and the second path is the folders where the print master dub_out.rpl

file and other supporting files are located.

• Press <Enter>.

2. Do one of the following:

• To trigger playback via an LTC source (such as Pro Tools): In the Monitor application transport, click (highlight)

LTC

to enable chasing to the sync master.

The RMU is now ready to chase LTC. Trigger playback from the LTC source.

• To play back with the Monitor application as the master: In the Monitor application transport, click (highlight)

>

to begin playback. When done, click

[x]

to stop playback.

Monitoring with the Dolby Atmos Monitor Application

The Monitor application provides a general set of meters, displays, and controls for all operation modes. These allow for monitoring and working with the following:

Communication status

Objects

RMU output meters

Room configuration and speakers

Additionally, you can select from different view options. See Selecting a Monitor

Application View .

To ensure that you hear Dolby Atmos audio from the Dolby RMU outputs, see Hearing

Dolby Atmos Audio.

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4.6.1 Hearing Dolby Atmos Audio

Bed and object audio from Pro Tools are routed to the Dolby RMU inputs, and are then routed to the RMU outputs. To hear bed and object audio, keep in mind the following:

• Bed tracks route to channel outputs that are mapped to the MADI I/O, as configured in

I/O Setup

, and then route to the Dolby RMU for rendering. Monitor bed audio from the Dolby RMU. Bed audio material outputs from the first ten channel outputs of the Dolby RMU.

• Object tracks route to channel outputs that are mapped to MADI I/O, as configured in

I/O Setup

. To hear audio from the Dolby RMU output, the object track in Pro Tools must have a Panner plug-in with an object number assignment.

• The Monitor application must be communicating with the Dolby RMU renderer (via a host name or IP address) and have a valid room configuration loaded.

• In the Monitor application, the following controls affect audio presence or level:

• The linear timecode (LTC) button in the transport: This button must be disabled

(unlit) for Pro Tools to output audio to the Dolby RMU, for live monitoring.

• The mute button in the transport: This button must be disabled for audio to be present at the RMU.

• Muted speakers in the room configuration: Any speaker that is muted results in no audio from that speaker. If all active speakers are muted, no sound will be heard from the Dolby RMU.

• The output attenuation (

ATTEN

) control in the transport: When this control is set to –Inf (–Infinity), audio is effectively muted. The attenuator is not displayed by default. If it is not displayed, press <Control>+<Option>+<Command>+<A> to display the control and verify it is not set to –Inf.

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4.6.2 Selecting a Monitor Application View

The Monitor application allows for viewing all meters, displays, and controls, meters only, or objects only.

To view all monitor meters, displays, and controls:

• Select

View

>

All

.

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Figure 4-7 All View in the Monitor Application

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To view meters only:

• Select

View

>

Meters

.

In this view, the following items are displayed: the object stream, RMU audio output, and room configuration. In this view, the objects view is effectively hidden.

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Figure 4-8 Meters View in the Monitor Application

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To view objects only:

• Select

View

>

Objects

.

In this view, only the objects view is displayed.

4.6.3

Figure 4-9 Objects View in the Monitor Application

Monitoring Objects

The Monitor application includes two sections for monitoring and working with objects:

Object stream

Objects view

The Monitor application also provides controls for:

Rendering objects only. See Monitoring Object Audio Only .

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Monitoring the Object Stream

The object stream in the Monitor application provides a simple display of objects being rendered in the Dolby Atmos session, including their current input status during live monitoring, print mastering, or playback of a print master. Additionally, you can identify the object number for an object.

Figure 4-10 Object Stream Circles and Stream Information

Up to 118 objects can be active (in use), as initially defined by the number of Pro Tools

track voices that have a valid object number during live monitoring or print mastering.

Note: Always turn on the RMU prior to launching Pro Tools. This will ensure that

Pro Tools communication with the RMU has been established.

Objects are represented by circles, and stream information is based on color, as follows:

• Yellow fill: The object has audio signal. This status indicates signal presence only. It does not indicate the amount of signal level.

• Olive fill: The object does not have audio signal.

• Green ring around the object circle: The object is active and will be rendered.

• Black ring around the object circle: The object is inactive and not used.

To view the object stream:

• Select

View

>

All

or

View

>

Meters

.

To identify the object number of an object:

• With a mouse, hover over the object circle.

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Monitoring the Objects View

The objects view in the Monitor application is a virtual auditorium, which provides a visual representation of object positioning and signal level, as rendered by the RMU.

Additionally, it includes controls for changing the visual perspective.

The red outline of the auditorium includes a white rectangle to indicate the front screen, plus transparent left side, right side, and back walls.

Figure 4-11 Objects View Outline and Front Screen

The objects view provides monitoring information, as follows:

• Yellow fill: The object has a signal level. The signal level of each object is indicated from bright yellow (louder signals) to low-intensity yellow (softer signals). The threshold is –120 dB.

Figure 4-12 Objects View, Yellow and Transparent Fills Shown

• Transparent fill: The object has no signal level, or another object is being touched for automation.

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• Blue fill: The object is currently touched for automation. When an object is touched, all other objects will display as transparent (regardless of whether they have signal).

Figure 4-13 Objects View, Blue Object

The objects view includes controls for changing the room perspective, as follows:

• Normal view: This is the default view of the auditorium, with the front screen at the back of the box, and left side, right side, and back walls in their standard positioning.

From any other view, double-click on the lower part of the objects view to return to normal view.

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• Rotated and side views: You can rotate the objects view to show side views. Click and drag left or right, and then release.

Figure 4-14 Rotated Display of Objects View

Figure 4-15 Side Display of Objects View

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• Overhead view: To display the overhead view of objects, double-click on the upper part of the objects view. To return to normal view, double-click the objects view again.

Figure 4-16 Overhead Display of Objects View

To display objects view:

• Select

View

>

Objects

.

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4.6.4 Monitoring RMU Outputs

The RMU output meters provide metering for the full RMU output (beds and objects) in the current rendering mode. Object levels are affected by their placement in the room, as defined by Dolby Atmos metadata.

When rendering to the Dolby Atmos format, there are ten meters: L, C, R, Ls, Rs, Lsr, Rsr,

Lts, Rts, and LFE. They represent the 9.1 render of the Dolby Atmos mix and how much energy is getting sent to the different zones of the room.

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Figure 4-17 Rendering to Dolby Atmos Format, Ten Meters Shown

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When re-rendering to another mode (such as 7.1 or 5.1 channels), the number and layout of meters are based on the surround format. For example, Dolby Surround 7.1 has eight meters: L, C, R, Ls, Rs, Lsr, Rsr, and LFE.

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Figure 4-18 Rendering to 7.1 Channels, Eight Meters Shown

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Figure 4-19 Rendering to 5.1 Channels, Six Meters Shown

When re-rendering in 5.1 and 7.1, Monitor application meters use a lower clip threshold

(–3 dB) to replicate playback in a traditional room where the sound arrays are calibrated to 82 dB.

The RMU includes a +3 dB boost to signal in the surrounds (Ls and Rs in 5.1; Lss, Rss, Lb, and Rb in 7.1) prior to clipping and metering, and then a cut of –3 dB after that, but before the audio output. This results in the output clipping at a 3 dB lower threshold, and the metering showing a 3 dB higher signal. This also results in the same audio level output from the RMU to support playback in a room with the surrounds calibrated to 85 dB.

The Monitor application also provides controls for:

Muting one or more speakers.

See Muting RMU Output .

Muting bed output (using Objects Only mode). See Monitoring Object Audio Only .

Clearing clips .

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4.6.5 Monitoring the Room Configuration and Speakers

The room configuration in the Monitor application provides a visual representation of

RMU output to speakers, as configured for the target Dolby Atmos room, plus basic monitoring controls for muting.

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Figure 4-20 Room Configuration Indicators

The room configuration and other data are in a

.dac

zip file on the RMU. When first enabling communication with the RMU, the Monitor application will briefly display a

Waiting for Room Configuration

message. When communication is fully enabled, the message will be replaced with the speakers for the room configuration.

If the file is not present on the RMU (or the Monitor application is not communicating with the RMU), the Monitor application continues to display a

Waiting for Room

Configuration

message.

For information on creating and loading a

.dac

file, refer to the Dolby RMU Setup Manual.

The room configuration provides the following feedback:

• Yellow fill: Signal level to the speaker is indicated from bright yellow (louder signals) to low-intensity yellow (softer signals). The signal presence indicators use a range of

–80 to –10 dB.

• Olive fill: The speaker does not have audio signal.

• Red ring around the speaker dot: Output to the speaker is clipping.

• Mute icon (over a speaker dot): Output to the speaker is muted.

Waiting for Room Configuration

: This message appears for a short time when first establishing communication with an RMU. If the

.dac

file that contains the room configuration data is not found on the RMU (or the Monitor application is not communicating with the RMU), the message will remain onscreen.

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To view the room configuration:

• Select

View

>

All

or

View

>

Meters

.

The room configuration also provides controls for:

Muting one or more speakers.

See Muting RMU Output .

• Clearing clips.

4.6.6 Muting RMU Audio Output

The Monitor application allows for muting individual speakers or groups of speakers in the room configuration, or all RMU output.

To mute (and unmute) individual room speakers:

• Click on a speaker icon in the room configuration.

To toggle the mute status of multiple speakers:

• Select (outline) a group of speakers using a mouse and release. Speakers that were on will mute. Speakers that were muted will unmute.

To mute (and unmute) all RMU output:

• Click the

MUTE

button in the

Outputs

section. When all output is muted, the

MUTE

button is red and displays

UNMUTE

.

Note: The

MUTE

button has no function when a Monitor dialog (such as the

Dolby Atmos Preferences

dialog) is open.

To mute bed audio:

Enable

Objects Only mode .

4.6.7 Monitoring Object Audio Only (Objects Only Mode)

During any Monitor mode (live, print master, or playback), you can set monitoring to

Objects Only mode. This sets the RMU to render objects only and effectively mute audio from all beds.

Note:

Objects Only mode is typically used for demonstrations to illustrate what audio is encapsulated in an object and what audio is static in a bed.

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To listen to objects only:

1. Do one of the following:

Click in the

Mode

section of the Monitor window.

• Click

View

>

Preferences

, and then click

Edit

in the

Mode

line of the

Renderer

section.

2. Click the desired rendering mode, if needed.

3. Click

Objects

(for Objects Only mode).

4. Click

Select

.

4.6.8

Figure 4-21 Objects Only Mode

Clearing Clips in the RMU Output Meters

The RMU output meters let you clear any clips that are displayed in its meters.

To clear clips in all meters:

• Click in the red clip area of any meter.

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4.8

Monitor Application Keyboard Shortcuts Reference

Monitor Application Keyboard Shortcuts Reference

The Monitor application provides the following shortcuts when it is in focus.

Table 4-1

Monitor Application Shortcuts Reference

Shortcut Function

<Command>+<F>

<Command>+<H>

<Command>+<Comma> (“,”)

Full screen

Hide the Monitor application

Open preferences

<Command>+<R>

<Command>+<J>

Toggle record print master

Toggle enable LTC

<Control>+<Option>+<Command>+<A> Reveal the gain attenuator control

<D> Toggle rendering mode

Monitor Application Controls and Displays Overview

The Monitor application window has six main sections:

Header , which includes the following sections:

Renderer

Mode

Time

Transport

Outputs

View

Object stream

Room configuration and speakers

RMU output meters

Object view

Signal Generator

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4.8.1 Monitor Application Window Header

The header in the Monitor application window contains displays for checking the status of your session, and contains transport controls to record a print master or play it back.

Additionally, you can re-render to a surround platform during live monitoring or playback.

Figure 4-22 Monitor Application Window Header

Renderer

The

Renderer

section in the Monitor contains the following:

• IP address or host name

• Connection status

When communication with the RMU is successful, the

Renderer

section provides two indications. The renderer IP or host name will appear in the

Renderer

section, and the connection status light will turn green.

Figure 4-23 Successful Connection Between Monitor and RMU

This section also allows for setting the host name or IP address. You can click in the

Renderer

section to open the

Enter Hostname

dialog, and then enter the host name or IP address. (To browse for an address, use the Monitor preferences.)

If the connection status light is red, the connection was unsuccessful. In this case, verify the IP address or host name, check your Ethernet connections, and repeat the steps for

enabling communication with the RMU .

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Mode

The

Mode

section displays the current rendering mode and allows for changing it.

Clicking in the

Mode

section opens the

Select Rendering Mode

dialog, which is used to set the mode. You can also press <D> on the keyboard to toggle between the modes.

Rendering mode refers to the format that the RMU uses as it renders, or plays audio beds and objects while positioning them to, or across, up to 64 speakers. Positioning for beds is based on multichannel mixes. Positioning for objects is based on Dolby Atmos metadata.

• During monitoring, the RMU renders audio and metadata from Pro Tools and any client applications (such as the System 5 Panner).

• During print mastering, the RMU renders audio and metadata from Pro Tools.

• During playback, the RMU renders material from the print master (located on the

RMU).

Dolby Atmos is the default setting. Additional platforms (such as 7.1 and 5.1 channels) are available.

Note:

The setting of the rendering mode in the Monitor does not affect the print master recording. The rendering mode affects only what is being listened to during recording. A print master created with the Monitor is always a Dolby

Atmos print master.

Time

The

Time

section displays the running time of the RMU during print-master recording and playback of a print master.

The time scale is in hours:minutes:seconds.

During print mastering, you should enable LTC in the Monitor application so that the

RMU chases timecode from Pro Tools (or the master bus). The Monitor application will display the sync time (including any offset) as defined for the Pro Tools session. The running time of the print-master recording pass is saved with the print master.

During playback of a print master, you should enable LTC so that the RMU syncs to the house master. The Monitor application will display the same sync time that was displayed during print mastering.

Note: During Live mode monitoring, you should set the Monitor application

LTC

button to off, to ensure that you are receiving live audio from the Pro Tools session.

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Transport

The Monitor application provides transport buttons for recording a print master and playing it back.

The

Transport

section in the Monitor application includes the following buttons:

• Chase LTC:

LTC

• Stop:

[X]

• Play:

>

• Record arm:

O.

This button is disabled when the Panner plug-in is in Recorder mode.

Use these buttons as follows:

• Start print mastering: Press

LTC,

start the LTC source, and then press

O

.

• Punch in and out of print mastering: Press

LTC,

start the LTC source, press

O

to punch in, and then press

O

to punch out.

• Start playback of a print master:

• To trigger playback via an LTC source (such as Pro Tools), press

LTC,

start the

LTC source, and then press

>

.

• To play back with the RMU as master (

LTC

disabled): Press

>

.

• Stop playback of a print master (with

LTC

disabled): Press

[X]

.

• Pro Tools live monitor: No transport controls engaged.

Note:

The

Transport

section has no function when a Monitor dialog (such as the

Dolby Atmos Preferences

dialog) is open

Outputs

The

Outputs

section in the Monitor application window provides a

MUTE

button and an attenuator for controlling RMU output.

Mute Button

The

MUTE

button lets you mute (or unmute) RMU output. The button is displayed in all

Monitor application views.

To mute (or unmute) RMU output:

• Press (highlight) the

MUTE

button to mute all RMU output (or unhighlight, to unmute all output).

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Monitor Application Controls and Displays Overview

Output Attenuation Control

The output attenuation (

ATTEN

) control provides gain control for RMU output. The attenuation range is 0.00 dB to –Inf. When set to –Inf (–Infinity), audio is effectively muted. The control is hidden by default and requires a keyboard shortcut to display

(<Control>+<Option>+<Command>+<A>).

To change the output attenuation:

1. Press <Control>+<Option>+<Command>+<A> to display the control.

2. Rotate the control with a mouse.

View

The

View

section in the Monitor application window provides a drop-down menu to set the current Monitor display:

All:

Displays all meters, displays, and controls.

Meters

: Displays object stream, RMU audio output, and room configuration only. In this view, the object view is effectively hidden.

Objects:

Displays object view only.

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Using the Dolby Atmos Monitor Application

4.8.2 Signal Generator

Use the pink-noise generator in the Monitor application to validate the C-weighted SPL of each speaker feed and array.

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Figure 4-24 Generating Pink Noise to a Speaker (Speaker Icon with a Box)

Refer to the Dolby RMU Setup Manual for instructions on how to test each speaker and speaker array.

The

signal generator

button is not displayed when the Panner plug-in is in Recorder mode.

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Monitor Application Controls and Displays Overview

To generate pink noise to a speaker:

1. Click on the

signal generator

button.

2. <Option>-click (highlight) the speaker icon in the room configuration.

Figure 4-25 Generating Pink Noise to a Speaker (Speaker Icon with a Box)

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Using the Dolby Atmos Monitor Application

To generate pink noise to a speaker array:

1. Click on the

signal generator

button.

2. Select the array from the

speaker array

drop-down menu in the signal generator screen.

Figure 4-26 Generating Pink Noise to the Rss Speaker Array

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Chapter 5

Chapter 5

Using the Panner Plug-in to Position Objects

The Dolby

®

Atmos

Panner is an AAX native plug-in for Pro Tools

®

that defines Dolby

Atmos metadata (pan position and other metadata) for a Dolby Atmos mix. The Panner supports 44.1, 48, 88.2, 96, 176.4, and 192 kHz sample rates, and works with mono and multichannel (stereo) track formats.

In a typical Dolby Atmos setup, Dolby Atmos metadata is applied to audio at the RMU and you use the Dolby Atmos Monitor application to listen to the effect of metadata in real time. In this case, metadata in the automation playlist does not affect the sound within the Pro Tools session.

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Figure 5-1 Dolby Atmos Panner Plug-in, Mono Version

The Panner allows for panning audio objects through all three dimensions of a virtual room in the user interface (UI): left/right (x-axis), front/back (y-axis), and top/bottom (z-

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Using the Panner Plug-in to Position Objects

axis). You can move objects with a joystick, control surface, iPad

Panner-Controller for Dolby Atmos Manual.

®

, mouse, or enabled automation (for example, in Pro Tools). For information on using an iPad, see the iPad

In the Panner default mode, you pan an object to a point in the room, or from one point

in the room to any other point. The Panner includes a Constrained Straight Line mode to

constrain Panner movement to a straight line of a defined length in the virtual room.

Note:

Pro Tools sessions being monitored or print mastered by a Dolby RMU must be 48 kHz. If working with different sample rates during sound creation or premixing, change the session sample rate prior to working with the RMU.

For installation information, see Installing the Dolby Atmos Authoring Tools .

5.1 General Use of the Panner in Pro Tools

Most standard Pro Tools plug-in and automation controls are available for the Panner plug-in.

Exceptions include the following:

• Settings for configuration options are not saved with Panner plug-in presets.

Refer to Pro Tools documentation for additional information on working with plug-ins, including:

• Inserting plug-ins on tracks

• Plug-in window controls

• Automating plug-ins

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Special Considerations when Using the Panner

When using the Panner in Pro Tools, you should consider the following:

• Pro Tools sessions being monitored or print mastered by a Dolby RMU must be 48 kHz. If working with different sample rates during sound creation or premixing, change the session sample rate prior to working with the RMU.

• Object tracks can be mono or stereo:

Mono object tracks use one mono Panner plug-in and provide metadata for their respective mono output channel.

Stereo object tracks use one stereo Panner plug-in and provide metadata for their respective stereo output channels (two mono subpaths).

Only one plug-in mono path or subpath at a time can have a given object number. Up to 118 track voices (at 48 kHz) can be dedicated as objects by inserting a Panner plugin on their track and selecting a unique object number for each mono path or subpath. The object number represents the output stream the metadata uses.

Additional track voices cannot be used as objects, because the Panner plug-in cannot

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Navigating the Panner Plug-in Window

5.3

be assigned to an object number greater than 118 or to an object number already in

use. You can autoassign object numbers by inserting Panner plug-ins on multiple tracks

(all, or all selected), or you must manually assign object numbers after

inserting Panner plug-ins individually.

Navigating the Panner Plug-in Window

The Panner plug-in window includes controls and displays to support automating Dolby

Atmos metadata for objects in Pro Tools:

Virtual room

Object number box

Operation mode buttons and Zones selector

X/Y/Z sliders and position displays

Object Size slider and level display

Configuration options button

Linking selector (stereo plug-in only)

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5.3.1 Panner Virtual Room

The Panner provides a virtual room in its UI that is used when inputting panning position for an object, or monitoring the object position during automation playback in

Pro Tools.

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Figure 5-2 Panner Virtual Room Elements

The virtual room includes the following primary elements:

• Room outline: A bluish outline represents the walls of the room. The top of the virtual room represents the front of the real room (where the screen and L, C, and R zones are located), and the bottom represents the back. Left and right sides represent room left and right, respectively.

• Zone and overhead indicators: Zone (or speaker zone) indicators and overhead

(Elevation mode) indicators display which speaker zones are active for an object in

Dolby Atmos as the RMU interprets metadata from the Panner plug-in. Inversely, this feature is sometimes described as zone exclusion. Zones are also used when the

RMU re-renders the Dolby Atmos mix to a surround format (such as 7.1 or 5.1 channels). You can use zones to isolate (or dedicate) an object to a specific speaker or group of speakers. Zones are displayed as small blue squares in their relative position. Zones on the room outline represent the L, R, C, sides, and rear speaker zones. Six zone configurations are available. Zones are active (teal) or inactive (gray), based on the zones button setting. Additionally, two inner blue squares, located on the x-axis, represent the overheads. They are active (teal) when Elevation mode or an

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5.3.2

Elevation Snap mode is on; and inactive (gray) when Elevation mode or an Elevation

Snap mode is off.

• Pan location cursor: The pan location cursor provides the current position of the object in the room. You can move the cursor with a joystick, control surface, iPad, mouse, or enabled automation. The pan location cursor is represented by a yellow dot (located by default at the center of the virtual room). Depending on the Elevation mode and positioning in the room, the cursor changes size: the cursor is larger when the object is more elevated, and smaller when the object is less elevated. As the cursor is moved, the

X

,

Y

, and

Z

sliders and position display values update accordingly.

Inversely, the cursor moves when the

X

,

Y

, and

Z

sliders or position display values are adjusted. In Recorder Mode, the cursor is red.

• Object size outline: The outline around the object displays the current spread of its audio in the room. You can set the object size (level of spread) with the Dolby Atmos

Panner plug-in UI, or a control surface, iPad, mouse, or enabled automation. The outline changes size and direction based on the object size setting and the object position and active speakers in the room.

The color of the area outside of the virtual room indicates the plug-in focus state. Blue indicates the plug-in window (or channel in a stereo plug-in) is focused; gray indicates it is not. The focused plug-in channel is the one controlled by the joystick. For information

on configuring a joystick, see Using a Joystick .

Panner plug-ins automatically focus when you do any of the following:

• Open a plug-in window and touch a control (below the plug-in header).

• Open a plug-in window, and click in the plug-in window (below the plug-in header).

Note:

Panner plug-ins lose focus when you touch another window or dialog, including a Pro Tools control outside of the plug-in (such as setting an

Automation mode). To resume use of Panner plug-in controls, refocus the plug-in.

Object Number Box

The object number box displays the assigned object number. The Dolby RMU uses this number to identify the object, and in turn, send its audio to the RMU outputs and render its metadata.

Stereo tracks have two object number boxes, one for each mono subpath.

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None (or no object number assignment) is represented by a dash (–). By default, no object number is assigned.

5.3.3

Figure 5-3 Default Dolby Atmos Panner Plug-in with No Number Assignment

You can manually assign object numbers

in the plug-in window, or autoassign object numbers when inserting plug-ins with Pro Tools all, or all selected shortcuts.

Operation Mode Buttons and Zones Selector

The Panner plug-in window includes buttons and selectors for enabling or selecting common operation modes and displaying their status.

Elevation mode button : This button toggles Elevation mode on and off. Elevation

mode allows for manual adjustment of the z (top/bottom) dimension in the virtual room. When Elevation mode is off, you cannot adjust the z coordinate, but previously written manual adjustments can be read.

Elevation Snap mode buttons : These buttons let you toggle an Elevation Snap mode

on or off, in order to change the shape of the ceiling in the room, and in turn, how elevation drops as objects are panned away from the ceiling.

Speaker Snap mode button : This button toggles Speaker Snap mode on and off.

Speaker Snap mode moves object audio to the active speaker nearest its established location during playback (for example, to eliminate phantom panning). At the RMU, this ensures that 100% of the audio signal is routed to the single speaker that is nearest to the current spatial placement. Speaker Snap mode does not move the pan location cursor in the virtual room.

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Navigating the Panner Plug-in Window

Zones selector : This selector lets you select one of six common speaker zone layouts,

in order to activate or deactivate specific speaker zones (for example, to isolate or dedicate an object to a specific group of speakers).

5.3.4 X/Y/Z Sliders and Position Displays

The

X

,

Y

, and

Z

sliders allow for using a mouse to adjust the location of the object in all three dimensions: x (left/right), y (front/back), and z (top/bottom). You can also use a joystick, control surface, iPad, enabled automation, or keyboard to adjust the location. As the

X

,

Y

, and

Z

sliders or position display values are adjusted, the pan location cursor in the virtual room moves accordingly. Inversely, the

X

,

Y

, and

Z

sliders and position display values update when the cursor is adjusted.

You can place or pan an object from any location in the Panner virtual room to any other location. The

X

and

Y

sliders have a range of –100 to 100. The

Z

slider range is 0 to 100.

When Elevation mode is off (elevation button not highlighted), you can adjust x and y coordinates, but you cannot adjust the z coordinate. When Elevation mode is on, you can also adjust the z dimension. In Ceiling and Wedge Elevation Snap modes, the z coordinate is generated from the y coordinate only, and changes as the y coordinate is changed. In Sphere Elevation Snap mode, the z coordinate is generated from x and y coordinates, and changes as they are changed.

Respective x, y, and z position displays provide the value (or coordinates) of the current object position in the virtual room, whether moving the pan location with a joystick, control surface, iPad, mouse, enabled automation, or keyboard entry.

Note: If the

X

,

Y

, and

Z

sliders and their position displays are not visible at the bottom of the plug-in window, click the

Done

button in the

Configuration

Options

section to close the options and reveal the sliders and their values.

To change object location using a slider and a mouse, do one of the following:

• In a slider, click the slider button and drag to the desired coordinate.

• In a slider, click in the slider range to jump to a new coordinate.

To change object location for a slider by using a keyboard:

• Type a valid value in a slider position display, and press <Enter>.

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Elevation and Z Coordinate User-Interface Elements

In all cases, the

Z

slider position, its display value, and the z automation playlist match as expected. They always represent the overhead level that is displayed in both the plug-in

UI, and the Monitor application. However, there are situations where the rendered audio output may not match the z position being displayed. For example, if you disable

Elevation mode after writing z automation, audio will play back rendered without overheads, but the plug-in UI will continue to display the z automation.

There are also situations where the z automation UI and rendered audio output do not update during a write automation pass as expected. If you enable an Elevation Snap mode during a write automation pass, the z automation and elevation amount will not update until new automation data for the corresponding slider is written. For example, when you enable Sphere Elevation Snap mode, updates occur after new x or y automation data is written.

Note:

After authoring a Panner plug-in with Elevation mode or an Elevation

Snap mode on, you can edit the z automation data that was recorded by using a pencil tool in the z automation playlist. The elevation defined by the new automation will be applied to the rendered object audio in the subsequent playback as long as Elevation mode is enabled.

5.3.5 Object Size Slider and Level Display

The object

Size

slider lets you spread audio for an object across the room, based on the current object position and active speakers in the room. You can use a joystick, control surface, iPad, mouse, enabled automation, or keyboard to adjust the size (or spread). The object size outline, which surrounds the object cursor in the virtual room, shows the current spread for an object. The object size has a range of 0 to 100.

Use object size to increase or decrease the number of loudspeakers used to render a particular object. When rendering in Dolby Atmos, decorrelation is automatically applied across loudspeaker feeds. This increases the perceived image size and impression of envelopment and ambience.

You can set the object size to spread the audio for an object, as follows:

• At 0, object size is effectively off, and audio routes to speakers based on the x/y/z position or Speaker Snap mode.

• At 100, audio spreads to all active speakers, regardless of the location of the cursor.

• For values between 0 and 100, spreading is based on the object size, the object location, and the number of active speakers.

Note: When using values above 0, Speaker Snap mode is ignored.

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Navigating the Panner Plug-in Window

Note: When using values between 50 and 100, audio may spread to all active speakers, regardless of the location of the cursor. For example, if you have an object in the center of the room, with size = 51, it is effectively the same as an object in the corner of the room with size = 100. Play with the object size control starting from different room locations to see how object size spreads audio.

Figure 5-4 Increasing Object Size from the Room Center.

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Figure 5-5 Increasing Object Size from a Side Wall

The object size level display provides the value of the current object size in the virtual room, whether setting the size with a joystick, control surface, iPad, mouse, enabled automation, or keyboard entry.

Note: If the object

Size

slider and level display are not visible at the bottom of the plug-in window, click the

Done

button in the

Configuration Options

section to close the options and reveal the slider and its value.

To change the object size using the slider and a mouse, do one of the following:

• In a slider, click the slider button and drag to the desired coordinate.

• In a slider, click in the slider range to jump to a new coordinate.

To change object size for a slider by using a keyboard:

• Type a valid value in a slider position display, and press <Enter>.

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5.3.6

Navigating the Panner Plug-in Window

Configuration Options Button

The configuration options button accesses options for manually assigning an object number

and configuring a joystick to control pan positioning.

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Figure 5-6 Configuration Options Button

When finished setting configuration options, click

Done

to close the options area and reveal the standard

X

,

Y

,

Z

, and

Object

sliders, their position display values, and the

Linking

selector (stereo only).

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5.3.7 Linking Selector (Stereo Plug-in Only)

The

Linking

selector setting for stereo Panner plug-ins determines how the controls for the L and R channels relate to each other. You can set linking to off (set to none), or to

mirror or copy moves by either channel. For more information, see Linking Stereo Panner

Controls .

Figure 5-7 Dolby Atmos Panner Plug-in for a Stereo Track

5.4 Inserting a Panner Plug-in in Pro Tools

Insert Panner plug-ins on mono or stereo tracks in Pro Tools that are identified as Dolby

Atmos objects.

Note: When Pro Tools plug-ins are organized by category, the Panner plug-in is located in the

Sound Field

submenu. When organized by company, it is in the

Dolby Laboratories

submenu.

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Inserting a Panner Plug-in in Pro Tools

You can insert Panner plug-ins individually, or on multiple tracks simultaneously (using

Pro Tools all, or all selected shortcuts):

• When you insert Panner plug-ins individually on tracks, object numbers are not assigned. This means that the plug-in is disabled until an object number is assigned to it.

• When you insert Panner plug-ins using the Pro Tools all, or all selected shortcuts, you can choose how to autoassign numbers. For example, you can choose to not autoassign object numbers in the new plug-ins, or to autoassign new numbers across new and old plug-ins, or new plug-ins only.

You must assign an object number to a plug-in to enable it. This number is used by the

Dolby RMU to identify the object and render its metadata. Stereo plug-ins have two object number assignments, one for each mono subpath.

You can manually assign object numbers in the plug-in window, or autoassign object numbers when inserting plug-ins with Pro Tools all, or all selected shortcuts. Inserting plug-ins across multiple tracks and autoassigning object numbers will save you time and simplify the process of adding Panner plug-ins to your Dolby Atmos sessions.

For consistency and ease of use, you should insert all Panner plug-ins in the same insert position (for example, at the beginning or end of the inserts chain). This also makes it easier to display the knobs on a control surface.

Note: Typically, you should align the object number assignment with your track name and the number used to name the channel path or subpath.

This will help create a logical and consistent numbering and naming scheme.

For example, insert the first plug-in on a track named

Object 1

(for a mono track) or on a track named

Object 1–2

(for a stereo track). In the

Pro Tools

I/O Setup

, you can map the first object to the first available physical output, HD MADI channel 11 (for a mono track) or HD

MADI channel 11 and 12 (for a stereo track).

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5.4.1 Manually Assigning an Object Number

You can assign an object number manually to a Panner plug-in. This is useful for enabling a single plug-in that currently does not have a number. You can also change an existing object number to another available number, or to None (to disable the Panner).

Numbers greater than 118 or in use by another path or subpath will be unavailable.

To assign an object number (or change an existing object number assignment):

1. Open a Panner plug-in window.

2. If configuration options are not displayed above the virtual room in the plug-in window, click the configuration options button.

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Figure 5-8 Configuration Options Button in a Panner Plug-in

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Inserting a Panner Plug-in in Pro Tools

3. In the

Configuration Options

section, click the

Output

selector and select or type an object number. Object numbers 1–118 are provided in the

Output

selector by default for selection. Currently used numbers appear in gray and are not available.

Figure 5-9 Output Selector in a Panner Plug-in

Note: Typing a single alphabet key and clicking <Enter> selects None. This is an alternative way to effectively stop the plug-in from sending metadata to the RMU.

4. To close the

Configuration Options

section, click

Done

.

After an assignment has been made (and the

Configuration Options

section has been closed), the assignment will appear in the plug-in object number box. None is represented by a dash (—).

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5.4.2 Inserting Multiple Plug-ins and Automatically Assigning Object Numbers

You can insert Panner plug-ins across multiple tracks of the same type (or channel width) at one time. Panner plug-ins can be inserted to the same insert position on all tracks, or all selected tracks, using standard Pro Tools all, or all selected shortcuts.

When you insert Panner plug-ins using Pro Tools all, or all selected shortcuts, you can choose how to autoassign numbers across new and existing plug-ins. For example, you can choose to not autoassign object numbers in the new plug-ins, or to autoassign new numbers across new and old plug-ins, or new plug-ins only.

To insert Panner plug-ins to the same insert position in all tracks:

1. <Option>-click a plug-in insert selector, and select the Panner plug-in.

2. In the dialog, choose an autoassign option.

To insert Panner plug-ins to the same insert position in all selected tracks:

1. Choose (highlight) one or more track names.

2. <Option>+<Shift>-click a plug-in selector, and select the Panner plug-in.

3. In the dialog, choose an autoassign option.

Note: When working with sessions that have mono and stereo plug-ins, consider placing all plug-ins of the same width together, and then performing autoassignment of the first set, and then the second set, to maintain sequential numbering from the first plug-in to the last.

Autoassign Options

When inserting Panner plug-ins with Pro Tools all, or all selected shortcuts, the following autoassignment options are provided:

• None (autoassign object numbers to no plug-ins): New Panner plug-ins are not assigned object numbers. Existing plug-ins are unaffected and retain their object numbers.

• Overwrite existing (autoassign object numbers to all plug-ins): All Panner plug-ins are assigned (or reassigned) the next available object number for a mono object (or the next two available numbers for a stereo object). Assignments are made in track sequential order (left to right, or top to bottom). Existing plug-ins are affected, depending on where they are located in the session.

• Preserve (autoassign object numbers to new plug-ins only): Each new Panner plug-in is autoassigned the next available object number for a mono object (or the next two available numbers for a stereo object). Assignments are made in track sequential order (left to right, or top to bottom). Existing plug-ins are unaffected and retain their object numbers.

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5.5

5.5.1

Controlling the Panner

Controlling the Panner

You can control the Panner with any of the following:

Joystick

Control surface

• iPad

• For information, see the iPad Panner-Controller for Dolby Atmos Manual.

Mouse

Keyboard

Using a Joystick

When the joystick has been prepared , you can use it to grab the object (pan location

cursor) and position it anywhere in the Panner virtual room.

To grab the object (pan location cursor) with the joystick:

1. Open the plug-in window.

2. Click the touch button of a non-touch-sensitive joystick (such as a JLCooper MCS-

Panner), or move the joystick (if it is a touch-sensitive joystick).

You can also use the joystick switches and knobs to determine other Panner behaviors.

The following table provides functions for a JLCooper MCS-Panner.

S1

S2

S3

S4

S5

S6

Table 5-1

JLCooper MCS-Panner Joystick Switch and Knob Reference for Dolby Atmos Panner

JLCooper

MCS-Panner

Switch or

Knob

Function

E1 and E2 Modify elevation. Turning to the right elevates the object in the audio field; turning to the left lowers the object in the audio field.

Turn off Elevation mode.

Turn off Sphere Elevation mode.

Toggle Wedge Elevation on/off.

Turn on Sphere Elevation mode.

Turn off Speaker Snap mode.

Turn on Speaker Snap mode.

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Preparing to Use a Joystick

Before using a joystick to control a Panner plug-in, you must install the joystick to a MIDI interface on the computer running Pro Tools for Dolby Atmos, and then configure the joystick in each Panner plug-in.

To install a joystick (such as a JLCooper MCS-Panner) on the Pro Tools computer:

1. Obtain a suitable USB MIDI interface. It must have at least one set of female MIDI in and out connectors.

2. Install the USB MIDI interface on the Pro Tools computer. Refer to the interface documentation for installation and configuration requirements.

3. Configure the joystick in

Audio MIDI Setup

, as follows: a. On the Pro Tools computer, navigate to

Audio MIDI Setup

(located at

/Applications/Utilities/Audio MIDI Setup

). b. Double-click the

Audio MIDI Setup

application. c. Click

Window

>

Show MIDI Window

. d. Click

Add Device

. e. Double-click on the

new external device

icon, and set properties for the device. (For example, give it a device name of

joystick

or something similar.) f. Click

Apply

. g. On the screen, connect the MIDI out of the joystick device to the MIDI in of the USB MIDI interface. h. On the screen, connect the joystick to the USB MIDI interface by clicking the arrow for the joystick output port (and holding the mouse button down), and then dragging an onscreen connection cable to the input arrow of the

USB MIDI device.

4. Obtain a suitable joystick. The Dolby Panner plug-in was designed and tested with the JLCooper MCS-Panner. You may substitute other devices.

5. Set the DIP switches on the MCS-Panner. You must set switches 1, 3, and 4 to the on

(down) position.

6. Plug the MCS-Panner MIDI in and out cables into the USB MIDI interface MIDI out and in connectors, respectively.

To configure the joystick in a Panner plug-in:

1. Open a Panner plug-in window.

2. If configuration options are not displayed above the virtual room in the plug-in window, click the configuration options button.

3. In the

Output

section, verify there is an object number. If a new object number is

needed, assign a new object number .

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4. In the

Joystick Device

section, use the joystick device input and output selectors to select the joystick as the input and output device.

5.5.2

Figure 5-10 Selecting the Joystick Device

5. Test the connection by moving the joystick. The yellow dot in the plug-in should move as the joystick is moved.

6. To close the

Configuration Options

section, click

Done

.

7. Repeat the preceding steps, and configure the joystick in each of the remaining

Panner plug-ins in the session.

Using a Control Surface or Mixing Console

From a control surface or mixing console qualified by Dolby, you can map Panner plugin controls to physical controls. You can then edit and automate parameters from the control surface or console.

You can use the Panner with most control surfaces and mixing consoles that support page tables (such as Avid

®

D-Command

®

or D-Control

, or an Artists Series control surface), including Avid Pro Series control surfaces (such as System 5) in EUCON

™ mode. Contact your Dolby Content Services representative for a full list of supported control surfaces and consoles.

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With the System 5 Panner application, you can map the panner controls of each Dolby

Atmos object in the RMU to a dedicated channel strip on an Avid System 5. See the

System 5 Panner Application for Dolby Atmos Manual.

Table 5-2

Panner Support by Control Surfaces and Mixing Consoles

Function Avid

D-Command and

D-Control

AMS Neve DFC

Gemini

Avid System 5 (with

System 5 Panner

Application)

x, y, and z position Encoders, or faders (in Flip mode); or joysticks

(x and y position only), or touchscreen

(x and y position, D-

Control only)

Left joystick (x and y) and right joystick

(z), left and right joysticks split into two mono channels

(x, y, and z), or channel strips

Channel strip x, y, and z encoders; or joysticks

(x and y position only)

Elevation mode

Elevation Snap modes (for Sphere

Elevation, Wedge

Elevation, or Ceiling

Elevation)

Focusing a Panner plug-in

Encoders, or faders (in Flip mode)

Encoders, or faders (in Flip mode)

Speaker Snap mode Encoders, or faders (in Flip mode)

Zones Encoders, or faders (in Flip mode)

Select switches

Right joystick panel, or channel strips

Channel strips

Channel strip

Elev On

switch

Channel strip

Elev

encoder and Sel switch

Right joystick panel, or channel strips

Right joystick panel, or channel strips

Channel strip

SpSn

encoder, or

On

switch

Right joystick panel Channel strip

SpZn

encoder and

Sel

switch

Not applicable

Note: You can map Panner plug-in controls to D-Command or D-Control encoders, faders, and B/M/P switches (in custom faders and in channel strips only). You cannot map these controls to the EQ or dynamics section of a control surface.

Standard control surface features are supported by the Panner plug-in, including:

• Adding and removing plug-ins

• Focusing (mapping) plug-in controls

• Opening one or more plug-in windows onscreen

• Targeting a plug-in window

• Toggling plug-ins (inactive or active)

• Changing plug-in presets from the channel strips

• Copying and pasting plug-in settings

• Enabling plug-in automation

• Creating plug-in maps with Learn mode

Refer to your control surface or console documentation for detailed information on how to use it to control standard plug-in features.

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5.5.3

5.5.4

Controlling the Panner

Using a Mouse

You can also use a mouse to position the object (pan location cursor) precisely in the virtual room.

To position the object using a mouse, do one of the following:

• Click and drag the pan location cursor, which represents the object.

• Click and hold on another location in the room to move the object to that location.

• In a slider, click the slider button and drag to the desired coordinate.

• In a slider, click in the slider range to jump to a new coordinate.

You also use a mouse in Constrained Straight Line mode (to constrain Panner movement

to a straight line of a defined length in the virtual room).

Using Keyboard Shortcuts

Use a keyboard to position the object (pan location cursor) precisely in the virtual room, by doing the following:

• Type a valid value in a slider position display, and press <Enter>.

The Panner plug-in also includes a keyboard shortcut

for using Constrained Straight Line mode .

Table 5-3

Panner Keyboard Shortcuts Reference

Shortcut Function

<Option>-click in room, and mouse drag

(and then click in room to snap cursor to line).

Creates a constrained (defined length) straight line path for panning

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5.6 Using the Operation Modes

The Panner includes several different modes for use when adjusting and automating panning. You can use many of these modes at the same time.

The following modes are available in the Panner plug-in window, and can be automated in Pro Tools:

Bypass (Master Bypass) mode

Default mode (X/Y/Z and Size)

Elevation mode

Elevation Snap modes

Ceiling Elevation

Sphere Elevation

Wedge Elevation

Speaker Snap mode

Zones

Note: All modes (except for the Elevation Snap modes) are automated in separate automation playlists.

The Panner includes an additional positioning mode that adjusts x, y, and z coordinates:

Constrained (Defined Length) Straight Line mode

5.6.1

5.6.2

Bypass (Master Bypass) Mode

The bypass switch in the Panner plug-in header effectively stops plug-in metadata from being sent to the Dolby RMU. When the bypass switch is on, metadata no longer routes to the Dolby RMU. However, all audio from the object track continues to output from the

Dolby RMU.

You can automate bypass on and off in Pro Tools by using the master bypass automation playlist.

Default Mode

In the Panner plug-in default mode, all three dimensions, x (left/right), y (front/back), and z (top/bottom) are separately adjustable with dedicated

X

,

Y

, and

Z

sliders. You can place or pan an object from any location in the Panner virtual room to any other location.

Additionally, the object

Size

slider can be used to spread audio across the dimensions.

By default, Elevation mode is on (elevation button highlighted). This makes active both overhead speakers in the virtual room. Additionally, this allows for adjustment of the z dimension. You can adjust the z dimension only when Elevation mode is on.

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5.6.3

The default zones setting is seven, making active seven speaker zones (L, C, R, Lss, Rss,

Lsr, and Rsr).

For stereo Panner plug-ins,

Linking

is set to

None

by default.

The x, y, and z coordinate positions, object size, Elevation mode status, and active zones, can all be automated in Pro Tools.

Elevation Mode

Elevation mode allows for manual adjustment of the z (top/bottom) dimension in the

Panner virtual room. When on (elevation button highlighted), two overhead zones are made active in the room (and are displayed as two blue squares left and right of the center of the room). Elevation mode is on by default.

Elevation mode forms a flat ceiling across the virtual room. The elevation z coordinate is not linked to x and y coordinates, and is adjusted independently. You can adjust the elevation across the room with a joystick, control surface, iPad, mouse, or enabled automation.

To use Elevation mode:

1. Turn Elevation mode on by doing one of the following:

• Click (highlight) the elevation button.

• Use a control surface or iPad.

2. Adjust elevation (the

Z

setting) using any of the following:

E1 or E2 on a joystick.

• Control surface or iPad.

• Mouse (with the

Z

slider).

To disable Elevation mode, do one of the following:

Click (unhighlight) the elevation button.

• Press

S1

on the joystick.

• Use a control surface or iPad.

You can automate Elevation on and off in Pro Tools by using the Elevation automation playlist.

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5.6.4 Elevation Snap Modes

Elevation Snap mode refers to the automation playlist that supports three modes that change the shape of the ceiling in the room, and in turn, how elevation drops as objects are panned away from the ceiling.

Ceiling Elevation gives the room a flat ceiling in the back 80% of the room and a

curving ceiling from the front 20% of the room to the screen.

Sphere Elevation gives the room a domed ceiling.

Wedge Elevation gives the room a peaked ceiling.

You can automate Elevation Snap modes in Pro Tools by using the Elevation Snap mode automation playlist. Elevation Snap mode has four states: ceiling elevation, wedge elevation, sphere elevation, and off.

Ceiling Elevation

Ceiling elevation links the z elevation to the y coordinate to form a flat ceiling inside the

Panner virtual room that curves from the front 20% of the room to the screen. The elevation is constant in the back 80% of the room. Elevation drops uniformly as objects are moved away from the front 20% of the room to the screen. Left or right movements on the x-axis do not change the object elevation.

To use ceiling elevation:

1. Turn on ceiling elevation by doing one of the following:

• Click the elevation snap selector, and select (highlight) the ceiling elevation icon.

• Use a control surface or iPad.

2. Adjust elevation by moving the y coordinates with any of the following:

• Joystick.

• Control surface or iPad.

• Mouse (on the pan location cursor or

Y

slider).

To disable ceiling elevation mode, do one of the following:

• Click (unhighlight) the ceiling elevation icon.

• Turn on Elevation mode or another Elevation Snap mode.

• Use a control surface or iPad.

You can automate ceiling elevation on and off in Pro Tools by using the Elevation Snap mode automation playlist.

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Sphere Elevation

Sphere elevation links the z elevation to the x and y coordinates to form a hemispheric dome inside the Panner virtual room. The highest point of the dome is the exact center of the room. Elevation decreases uniformly as you move away from the center in any direction. Elevation drops to the bottom at the four points where the hemisphere meets the virtual walls.

To use sphere elevation:

1. Turn on sphere elevation by doing one of the following:

• Click the elevation snap selector, and select (highlight) the sphere elevation icon.

• Press

S4

on the joystick.

• Use a control surface or iPad.

2. Adjust elevation by moving the x and y coordinates with any of the following:

• Joystick.

• Control surface or iPad.

• Mouse (on the pan location cursor or

X

and

Y

sliders).

To disable sphere elevation mode, do one of the following:

• Click (unhighlight) the sphere elevation icon.

• Turn on Elevation mode or another Elevation Snap mode.

• Press

S2

on the joystick.

• Use a control surface or iPad.

You can automate sphere elevation on and off in Pro Tools by using the Elevation Snap mode automation playlist.

Wedge Elevation

Wedge elevation links the z elevation to the y coordinate to form a peaked ceiling inside the Panner virtual room. The highest elevation is a line running left and right at the center of the room. Elevation drops uniformly as objects are moved away from that center line on the y-axis toward either the front or back of the room. Left or right movements on the x-axis do not change the object elevation.

To use wedge elevation:

1. Turn on wedge elevation by doing one of the following:

• Click the elevation snap selector, and select (highlight) the wedge elevation icon.

• Press

S3

on the joystick.

• Use a control surface or iPad.

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5.6.5

2. Adjust elevation by moving the y coordinates with any of the following:

• Joystick.

• Control surface or iPad.

• Mouse (on the pan location cursor or

Y

slider).

To disable Wedge Elevation mode, do one of the following:

• Click (unhighlight) the wedge elevation icon.

• Turn on Elevation mode or another Elevation Snap mode.

• Press

S3

on the joystick again.

• Use a control surface or iPad.

You can automate wedge elevation on and off in Pro Tools by using the Elevation Snap mode automation playlist.

Recording Metadata from the RMU

Use Recorder mode to record object metadata from the RMU into Panner plug-in automation playlists in Pro Tools. When using Recorder mode, metadata from the RMU can originate from any of the following sources:

• Playback of a print master on the RMU

• Metadata sent to the RMU from another Pro Tools system

• Metadata sent to the RMU from another client (such as a System 5 mixing console using the System 5 Panner application, an AMS Neve DFC console, or an iPad using the iPad Panner-Controller application)

Recorder mode is useful for:

• Recovering lost metadata (for example, from a print master)

• Bringing object metadata from multiple Pro Tools playback machines into a single Pro Tools record machine

• Creating music and effects for a different language version of the film

Updating previous metadata in the Pro Tools session with new data from realtime mixing console moves (such as from a an AMS Neve DFC)

In normal Panner plug-in operation (Recorder mode disabled), each Panner plug-in is the automation master for its respective object. As the automation master, the plug-in provides object position metadata to the RMU, and Panner plug-in controls are available for use.

When Recorder mode is enabled on a Panner plug-in, the pan location cursor is red.

Additionally, all Panner plug-in controls (other than Recorder mode) are read only, and are displayed as grayed out or in a lighter tone. In this mode, Panner plug-ins and their automation playlists no longer send data to the RMU. Instead, they receive data from the

RMU, which can be recorded to their plug-in automation playlists.

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Metadata is not recorded to the automation playlist on a track when the track is in input or record mode. This is because automation write modes are disabled in these modes. See

Using Recorder Mode while Recording (or Monitoring) Audio .

Recorder mode can be enabled for all plug-ins in the session or individual plug-ins.

In Recorder mode, the record button on the Monitor application is disabled.

To enable Recorder mode for all plug-ins in the session:

• Click the

Recorder mode

button in any Panner plug-in.

To enable Recorder mode for individual plug-ins:

• <Shift>-click the

Recorder mode

button in each Panner plug-in.

To record metadata from the RMU to Panner plug-in automation playlists:

1. Confirm system connections and configurations. For example:

• The Pro Tools destination (or recorder) machine and any additional Pro Tools playback machines or other clients that communicate to the RMU must be connected to the network and configured for use.

• Pro Tools machines must be synced together. Common solutions include chasing

LTC from a timecode generator, slaving to Sony

®

P2 machine control, or using the Avid Satellite Link option. If working with Avid Satellite Link, consider configuring the Pro Tools recorder machine as the first (administrator) machine, and playback machines as subsequent (nonadministrator) machines.

2. Prepare Panner plug-ins in the destination Pro Tools machine that will record incoming automation metadata, by doing the following:

• For each Panner plug-in, confirm that all of its Dolby Atmos Panner automation parameters are enabled.

• For each track with a Panner plug-in, set the Automation mode to one of the modes that write automation (such as Write, Touch, and Latch modes).

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3. Enable Recorder mode by the doing the following:

• Open any Panner plug-in window.

• If configuration options are not displayed above the virtual room in the plug-in window, click the configuration options button. h

Figure 5-11 Configuration Options Button in a Panner Plug-in

• In the

Configuration Options

section, click the

Recorder mode

button if you want to enable recording for all Panner plug-ins. If you want to enable recording on individual Panner plug-ins, <Shift>-click the

Recorder mode

button in each plugin.

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In Recorder mode, the pan location cursor is red.

Using the Operation Modes

Figure 5-12 Recorder Mode Button in a Panner Plug-in

Note:

To enable Recorder mode on individual Panner plug-ins, <Shift>-click the

Recorder mode

button on individual Panner plug-ins.

4. To close configuration options, click the configuration options button.

5. Begin playback.

6. When done recording metadata from the RMU, stop playback.

Recording Audio and Metadata at the Same Time

If you want to record audio to an object track (or monitor input audio on an object track) at the same time you record panner metadata with Recorder mode, you must create two tracks for the object. This is necessary because in Pro Tools, automation write modes are disabled when a track is in record or input mode. In this scenario, create an object audio track (for recording and monitoring audio only), and then a panner track (where you insert the Panner plug-in and record automation metadata only).

When working with multiple objects, you can easily create panner tracks from existing object audio tracks by reimporting the object audio tracks as new tracks using the Pro

Tools import session data command. This automatically names the panner tracks with a

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Using the Panner Plug-in to Position Objects

.1 extension. When tracks are sorted by name, each panner track immediately follows the object audio track. You can then insert Panner plug-ins on the panner tracks.

5.6.6 Speaker Snap Mode

Speaker Snap mode moves object audio to the active speaker nearest its established location during playback. At the RMU, this ensures that 100% of the audio signal is routed to the single speaker that is nearest to the current spatial placement. The location of the speaker that the object snaps to is based on the current room configuration

(defined by the

.dac

file, located on the RMU), and can vary from one room to another.

Speakers in inactive zones are ignored in Speaker Snap mode.

Speaker Snap does not move the pan location cursor in the virtual room.

Speaker Snap is useful for eliminating phantom panning. For example, in the Panner default mode (Speaker Snap mode off), the algorithm might spread the audio of one object across two or more speakers. Speaker Snap mode prevents this by snapping all of the audio to the single speaker nearest the indicated position of the object in the Panner virtual room.

Note: For a visual representation of which speaker the audio snaps to, look at the room configuration in the Dolby Atmos

Monitor application.

5.6.7

To turn Speaker Snap mode on, do one of the following:

• Click (highlight) the speaker snap button.

• Press

S6

on the joystick.

• Use a control surface or iPad.

To turn Speaker Snap mode off, do one of the following:

• Click (unhighlight) the speaker snap button.

• Use a control surface or iPad.

You can automate Speaker Snap mode on and off in Pro Tools by using the snap automation playlist.

Zones

Zones in the Panner plug-in define which speaker or speaker zones (excluding overheads) are active for the object, as the RMU interprets the object metadata. Zones are also used when the RMU re-renders the Dolby Atmos mix to a surround format (such as

7.1 or 5.1 channels). Zones can be useful to isolate (or dedicate) an object to a specific speaker or group of speakers.

Inactive zones are effectively muted for live monitoring or print master recording.

Additionally, speakers in inactive zones are ignored in Speaker Snap mode.

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Using the Operation Modes

Zones are displayed in the virtual room as blue squares in their relative position. Zones on the room outline represent the L, C, R, Lss, Rss, Lsr, and Rsr speakers or speaker zones. Zones are active (teal) or inactive (gray), based on the setting of the zones button.

Zones work in conjunction with Elevation mode and Elevation Snap mode, which activate the overheads for use while panning.

Provided zones include:

• Back only: Enables Lss, Rss, Lsr, and Rsr zones

• Front only: Enables L, C, and R zones

• Three: Enables C, Lsr, and Rsr zones

• Five B (back): Enables L, C, R, Lsr, and Rsr zones

• Five: Enables L, C, R, Lss, and Rss zones

• Seven: Enables L, C, R, Lss, Rss, Lsr, and Rsr zones

To change the current zone in the Panner, do one of the following:

• Click the zones button in the Panner, and select a zone.

• Use a control surface or iPad.

You can automate zones in Pro Tools by using the zones automation playlist.

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5.6.8 Constrained Straight Line Mode

In Constrained Straight Line mode, you constrain Panner movement to a straight line of a defined length in the virtual room.

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Figure 5-13 Constrained Straight Line Mode in a Mono Panner Plug-in

The length of the line is indicated onscreen by a green line with green loops at its start and end coordinates.

During Constrained Straight Line mode, the current Z setting is preserved, and Elevation mode and Elevation Snap mode are disabled.

To constrain panning movement to a straight line of a defined length:

1. <Option>-click in the virtual room to set the start of the line. The cursor will automatically jump to this location.

2. Drag the cursor away from the start of the line in any direction, and then stop at the desired length. As you drag the cursor away from the start of the line, a start green loop is revealed at the start of the line, followed by a green line until you stop. When you subsequently move the cursor away from the end of the line, an end green loop is revealed.

3. You can move the cursor back and forth along the line (between the start and end green loops).

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Using the Stereo Panner Plug-in

5.7

To disable a constrained straight line, do one of the following:

• Double-click in the virtual room.

• <Option>-click in the virtual room.

Using the Stereo Panner Plug-in

You can insert the stereo Panner plug-in on any stereo track. You can adjust controls on each channel independently (unlinked), or linked to either copy or mirror actions made on the other channel.

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Figure 5-14 Dolby Panner Plug-in for a Stereo Track, Set to Mirrored Linking

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5.7.1 Linking Stereo Panner Controls

The

Linking

selector setting in a stereo Panner plug-in determines how the controls for

Left

and

Right

channels relate to each other. The options are:

None

: The

Left

and

Right

channel controls operate completely independently. Actions taken in one channel do not affect the other.

Mirrored

: Any action in one channel automatically places its mirror image in the other. For example, panning from center to the left in the L channel produces a pan from center to right in the R channel.

Copy:

Any action in one channel is copied to the other. For example, panning from the center to the left in the L channel also produces a pan from center to left in the R channel.

To set how stereo panning controls are linked:

• Click the

Linking

selector, and select

None

,

Mirrored

, or

Copy

.

Figure 5-15 Linking Selector in a Stereo Panner Plug-in, Set to Mirrored

Note: You cannot automate the option and then switch to another, do separate automation record passes.

Linking

setting. To pan material with one

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5.9

Automating Panner Controls

Automating Panner Controls

You can automate many of the Panner plug-in controls in Pro Tools. The recorded

(written) automation for these controls defines the metadata that is sent to the RMU for rendering a Dolby Atmos mix (or for re-rendering to a surround format).

The Panner supports the following automation:

• Bypass (Master Bypass): Bypass status for plug-in metadata (on or off). When set to on, audio from the object track continues to output from the Dolby RMU.

• Pan X: Pan location in the x (left/right) dimension, (–100 to 100).

• Pan Y: Pan location in the y (front/back) dimension, (–100 to 100).

• Pan Z: Pan location in the z (top/bottom) dimension, (0 to 100).

• Size: (0 to 100).

• Elevation: Elevation status (on or off).

• Elevation Snap: Elevation Snap mode states (ceiling elevation, wedge elevation, sphere elevation, or off).

• Snap: Speaker Snap mode status (on or off).

• Zones: Active speaker zones: back only, front only, three, five back, five, and seven.

To automate metadata for a Panner plug-in:

1. Enable automation for all Dolby Atmos parameters for proper operation.

Parameters can be enabled by doing one of the following:

Open the

Panner Plug-in Automation

window, and enable automation for all parameters.

• Open the

Mixing Preferences

dialog, and enable the option for all plug-in controls to default to autoenabled.

• <Command>+<Option>+<Control> the automation button at the top of the plugin window to enable all options.

2. For the object track that will be automated, click its

Automation Mode

selector, and set the desired automation mode.

3. Start playback, and automate panner controls as desired.

4. When done writing automation, stop playback.

Resizing the Panner Plug-in Window

You can resize the default plug-in window to improve display.

To resize the Panner plug-in window:

• Drag the lower-right corner of the window to change the size of the window. Drag upwards or to the left to decrease the size of the window, or downward or to the right to increase the size of the window.

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To return to the default window size, do one of the following:

• Drag the lower right corner fully upward and to the left until the window no longer changes size.

• Delete the preferences file ( com.dolby.panner.aax.plist

), located at

/Library/Preferences

.

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Chapter 6

Chapter 6

Using the ComPanSate Plug-in to Create Objects

Chapter 6

The Dolby

®

Tools

®

ComPanSate plug-in is a native AudioSuite and RTAS

®

plug-in for Pro

that lets you compensate for the pan-depth bump in level that is created when summing panned sources together (for example, when creating a mono object from a multichannel mix).

The plug-in supports 44.1, 48, 88.2, 96, 176.4, and 192 kHz sample rates, and works with various multichannel track formats, based on the plug-in type.

The following AudioSuite plug-ins are included in the ComPanSate suite:

• ComPanSate 5.0

• ComPanSate 5.1

• ComPanSate 7.0

• ComPanSate 7.0 SDDS

®

• ComPanSate 7.1

• ComPanSate 7.1 SDDS

• ComPanSate Stereo

The following RTAS plug-ins are included in the ComPanSate suite:

• ComPanSate 5.0 Mono (5.0/mono)

• ComPanSate 5.0 Stereo (5.0/stereo)

• ComPanSate 5.1 Mono (5.1/mono)

• ComPanSate 5.1 Stereo (5.1/stereo)

• ComPanSate 7.0 Mono (7.0/mono)

• ComPanSate 7.0 Stereo (7.0/stereo)

• ComPanSate 7.1 Mono (7.1/mono)

• ComPanSate 7.1 Stereo (7.1/stereo)

• ComPanSate Stereo Mono (stereo/mono)

Note: When Pro Tools plug-ins are organized by category, the ComPanSate plug-in is located in the

Sound Field

submenu. When organized by company, it is in the

Dolby Laboratories

submenu.

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6.1 General Use of the ComPanSate Plug-in

Most standard Pro Tools AudioSuite and RTAS plug-in controls are available for the

ComPanSate plug-in.

Exceptions include the following:

• The

Save Settings

menu selection is disabled.

Refer to Pro Tools documentation for additional information on working with

AudioSuite plug-ins, including:

• Plug-in window controls

Refer to Pro Tools documentation for additional information on working with RTAS plug-ins, including:

• Inserting plug-ins on tracks

• Plug-in window controls

• Automating plug-ins

6.2

Use the ComPanSate AudioSuite plug-in to sum multichannel mixes (5.0, 5.1, 7.0, 7.0

SDDS, 7.1, 7.1 SDDS, or stereo) to mono or stereo, which can then be copied and pasted into a destination mono or stereo object track.

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Figure 6-1 ComPanSate Plug-in, AudioSuite Version

To create mono or stereo objects (or object material) from a multichannel mix:

1. Make a selection in a multichannel track.

2. Choose

AudioSuite

>

Sound Field

, and then choose the ComPanSate plug-in for the matching source material.

For example, if the source material is in 7.1 format, choose

ComPanSate 7.1

.

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Using ComPanSate RTAS Plug-in to Create Mono or Stereo Object Material

6.3

3. Set options for level summing:

• Set

Pan law

to the pan law that was used when the source was created.

• Set

Mixdown

to

Mono

or

Stereo

, depending on whether the destination track is mono or stereo.

4. Press

Render

to mix down the multichannel mix.

5. When processing is completed, select and copy the rendered audio in the multichannel track.

Paste the material to a single destination mono or stereo object track. Additional

(unused) channels will be ignored. Do not select more than one destination track.

Using ComPanSate RTAS Plug-in to Create Mono or Stereo

Object Material

Use the ComPanSate RTAS plug-in to sum multichannel mixes (5.0, 5.1, 7.0, 7.1, or stereo) to mono or stereo in real time, for use in a Dolby Atmos

mix.

Figure 6-2 ComPanSate Plug-in, RTAS Version

To create mono or stereo objects (or object material) from a multichannel mix in real time:

1. On a multichannel track, insert the ComPanSate plug-in for the matching source material and desired results.

For example, if the source material is in 7.1 format and you want to sum to stereo, choose

ComPanSate 7.1 Stereo (7.1/stereo)

. The output path (number of output channels) in Pro Tools will automatically adjust to the new path (stereo or mono).

2. In the plug-in window, set options for level summing:

• Set

Pan law

to the pan law that was used when the source was created.

3. Begin playback.

Note: If you remove the ComPanSate plug-in, the track reverts to the previous multichannel mix and output path.

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6.4 ComPanSate Summing Controls

ComPanSate provides two level-summing options:

Pan law

(or pan depth): Sets the amount of signal attenuation that occurs when a track is routed to a stereo output and panned to center. The ComPanSate setting defaults to

–3 dB

, based on the Pro Tools session default pan depth of –3 dB (which is set in Pro Tools

Session Setup

). The choices are

None

,

–6 dB

, and

–3 dB

.

None

is equivalent to 0 dB of pan depth.

Mixdown

(AudioSuite plug-in only): Sets the multichannel selection to sum to one channel (

Mono

) or two channels (

Stereo

). Choices are:

None

,

Mono

, and

Stereo

.

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Chapter 7

Chapter 7

Workflows

7.1

This chapter provides examples of Dolby

®

Atmos

workflows.

Using a Traditional Dolby 7.1 (or 5.1) Mix Audio to Create a Dolby Atmos Mix

• Using Traditional Dolby 7.1 (or 5.1) Mix Audio Channels and Console Automation to

Create a Dolby Atmos Mix

Using Traditional Dolby 7.1 (or 5.1) Mix Audio Files to Create a

Dolby Atmos Mix

The following workflow provides one example of how to set up a mix session to remix a

Dolby 7.1 mix to the Dolby Atmos format. It refers to a 7.1 mix that was recorded traditionally with a large-frame console and recorded premixes, as opposed to a mix performed entirely within Pro Tools

®

. The workflow for remixing a 5.1 mix is the same.

1. Complete the final mix in Dolby 7.1.

2. Confirm Dolby Atmos system setup. For information on installing and connecting the Dolby RMU, see the Dolby Rendering and Mastering Unit Manual.

Chapter 7

Figure 7-1 Basic Dolby Atmos System Block Diagram

3.

Create a new Pro Tools session .

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4.

Configure basic routing in Pro Tools (via Pro Tools

I/O Setup

). Create separate output paths for beds and objects with the following considerations:

Beds include two output paths, one for the Dolby RMU 7.1 arrays, and the other for the RMU overhead surround arrays. Outputs 1–8 are set up as a single 7.1 output with mono sub paths. The multichannel path is named “Atmos 7.1 Bed.”

In Pro Tools, the physical output order is L, R, C, LFE, Lss, Rss, Lsr, Rsr. These outputs address the RMU 7.1 arrays. Outputs 9–10 are set up as a single stereo output with mono subpaths, named “Atmos OH Bed.” These outputs address the

RMU overhead surround arrays.

• Outputs 11–118 are object outputs. They are set up as stereo outputs with mono subpaths, so that they can be used on stereo and mono object tracks. They address the RMU object inputs.

Figure 7-2 I/O Setup Output, Configured for Dolby Atmos

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Using Traditional Dolby 7.1 (or 5.1) Mix Audio Files to Create a Dolby Atmos Mix

5. Prepare effects and Foley premixes for the Dolby Atmos mix by doing the following: a. Rerecord all effects, ambience, and Foley premixes and their associated reverbs, applying the final mix console automation as new 7.1 premixes. Printed 7.1 premixes should include leveling and audio processing (such as EQ, dynamics, and LFE). b. If necessary, rerecord reverbs that were added during the final mix as a separate premix. For example, this allows for replacing the reverb with a 9.1 reverb in the

Dolby Atmos mix. c. To simplify navigation and file management on a control surface, consider assigning each imported premix a VCA master.

Figure 7-3 VCA Master Tracks Assigned to Each Effects and Foley Premix

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Workflows

6. Prepare dialogue elements for the Dolby Atmos mix. Consider the type of film (such as an animated feature versus an action feature) when performing the following steps, for example:. a. Consider creating separate dialogue premixes where no characters overlap by running all dialogue premixes through the console final mix automation and combining them. b. Consider printing final mix reverbs as separate elements.

7. Prepare music elements:

• In Pro Tools, import the music elements using the same process as described for effects and dialogue. For more enhanced Dolby Atmos mixing of the music, it is desirable to get the flattened music separations (such as percussion, strings, synthesizers, and solo instruments) from the final mix music session.

8. For ease of comparison to the 7.1 mix, consider importing the 7.1 print master into the Pro Tools session.

9. In the session, conform to existing reel breaks.

10. Decide which premixes are bed material (9.1 mixes) and which premixes would benefit by being made into objects (mono or stereo) for Dolby Atmos panning.

11. Make sure all beds are assigned to bed outputs.

12. Create object tracks in Pro Tools:

• Lay out up to 118 objects, with the following suggested considerations: a. Lay out objects in groups of eight mono tracks to facilitate moving entire 7.1 premix regions from the prepared premixes. b. Further categorize the groups into dialogue, music, mono effects, and stereo effects segments to expedite the creation of stems and music effects masters used for foreign language.

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• Consider creating a mix/edit group for each group of objects, to allow for simultaneous (mono) or individual panning.

Figure 7-4 Mix/Edit Groups in Pro Tools Groups Window, Active Groups in Gray

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• A VCA hierarchy greatly simplifies leveling, and expedites navigation on a control surface. Use VCA master tracks to control each group of objects.

Additionally, create VCAs for dialogue, music, and effects object VCAs to further control object VCAs for each segment. In turn, control these VCAs with a single all-objects VCA.

Figure 7-5 Pro Tools Mix Window, Showing VCA Master Tracks Only

• Assign each object track to its corresponding dialogue, music, and effects reverb sends. Additionally, assign effects objects to the LFE send.

• Feed sends to auxiliary input tracks that are set up with processing plug-ins

(such as reverbs).

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Using Traditional Dolby 7.1 (or 5.1) Mix Audio Files to Create a Dolby Atmos Mix

13. Create object material from bed material by doing any of the following:

• Insert a ComPanSate RTAS

®

plug-in on a premix multichannel track to mix down to a stereo or mono track in real time.

• Run the ComPanSate AudioSuite plug-in on a multichannel track to mix down to mono or stereo, and then copy and paste the material to a destination mono or stereo object track.

• Copy bed material from a separate premix mono or stereo source, and paste it into mono or stereo object tracks.

14. Insert the Dolby Atmos Panner on each object track, and assign it an object number:

• You can insert Panner plug-ins to the same insert position on all tracks, or allselected tracks, using standard Pro Tools all (<Option>) or all-selected

(<Option>+<Shift>) shortcuts. When you insert Panner plug-ins using Pro Tools all, or all selected shortcuts, you can choose how to autoassign numbers across new and existing plug-ins. For example, you can choose to not autoassign object numbers in the new plug-ins, or to autoassign new numbers across new and old

plug-ins, or new plug-ins only. See Inserting Multiple Panner Plug-ins and

Automatically Assigning Object Numbers .

• Pro Tools sessions store Dolby Atmos metadata as plug-in automation until the mix is print mastered to the Dolby RMU. Alternatively, metadata can be fed directly to the RMU from another client (such as a System 5 configured with the

System 5 Panner application, or an iPad

®

with the iPad Panner-Controller).

• You can use a joystick (such as the JL Cooper MCS-Panner) to control a Panner plug-in. When the joystick has been prepared, you can use it to grab the object

(pan location cursor) and position it anywhere in the Panner virtual room. See

Preparing to Use the Joystick .

You can use the Dolby Atmos Monitor stand-alone application for local or

remote monitoring of the Dolby RMU as it renders material from Pro Tools. For example, from the Monitor, you can monitor the status of objects and their levels.

15. Assign object tracks to appropriate outputs. Make sure that the object ID number matches the output that the object track is routed to. For example, the track for object

1 in Pro Tools should route to the path for object 1 in the RMU.

16. Create 9.1 reverbs in Pro Tools: Set up reverb groups for objects (for example, two for dialogue, two for effects, and one for music). The benefit of the reverb groups is that they allow for individual control over the wet signal fed to the zones by riding the reverb returns: a. Each reverb group should consist of four stereo tracks, each with a plug-in (such as ReVibe

®

) inserted on it. b. Each of the four tracks in the reverb group is fed from the same stereo send. c. Pan the four plug-in groups in the following manner: a. Reverb track 1: L/R b. Reverb track 2: Lss/Rss c. Reverb track 3 Lsr/Rsr d. Reverb track 4: Overhead surround L/R

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d. Assign the reverb returns to their respective bed subbuses (dialogue, music, effects) so that they are combined with the dry signal when creating stems for further mixing.

Figure 7-6 Pro Tools Edit Window, Showing Dialogue Reverb Returns with Their VCA Master

Tracks

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7.2

17. Insert an LFE plug-in (such as Lowender, by reFuse) on an auxiliary input. Feed the input from a single send path, primarily from effects object tracks (because premixes have recorded LFE), and then return the signal directly to the LFE effects subbus.

18. Consider having access to a sound library, so that you can bring in new sounds, or extend existing effects and Foley moments in the Dolby Atmos mix.

19. Work with the Panner plug-in for each object: See Using the Panner Plug-in to

Position Objects .

20. Create additional Pro Tools sessions for each movie reel, using the session setup, I/O routing, and track and plug-in layout from the Pro Tools template session. To keep the mixing console layout consistent and facilitate further mixing (such as stem creation, downmixes, and music and effects), try to keep the routing and object tracks consistent from reel to reel.

21.

Record a Dolby Atmos Print Master . This includes recording the final 9.1 bed, up to

118 audio objects, and the associated Dolby Atmos metadata to an RMU.

Using Traditional Dolby 7.1 (or 5.1) Mix Audio Channels and

Console Automation to Create a Dolby Atmos Mix

The following workflow provides one example of how a mix session can be set up to use a Dolby 7.1 mix and Avid

®

System 5 console automation to create a Dolby Atmos mix.

With this setup, you can monitor the source audio and console automation while using

System 5 channel strips to write Dolby Atmos metadata to a dedicated Pro Tools record machine. To finalize the Dolby Atmos mix, you record the source audio and console automation to the Pro Tools record machine. From this machine, you can combine mix reels and record a single print master to the Dolby RMU.

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Workflows

The workflow for using a 5.1 mix is the same:

1. Set up a Dolby Atmos mixing stage that mirrors the Dolby 7.1 mixing stage, and in addition includes a Dolby RMU. Alternatively, you can add a Dolby RMU to the 7.1 mix stage to turn it into a Dolby Atmos mix stage.

Figure 7-7 7.1 Mix Stage Mirrored by Dolby Atmos Mix Stage

For more information on setting up a Dolby Atmos RMU hardware interface, see the

Dolby Rendering and Mastering Unit Manual.

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Using Traditional Dolby 7.1 (or 5.1) Mix Audio Channels and Console Automation to Create a Dolby Atmos Mix

In this workflow example, audio from multiple Pro Tools playback machines and automation from one or two System 5 mixing consoles feed a Pro Tools recorder machine that contains the final mix tracks.

Figure 7-8 Dolby Atmos Mix Stage Block Diagram

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2. Transfer sessions and audio from the 7.1 playback machines to the Dolby Atmos playback machines.

Consider setting up dedicated playback machines and routing to dedicated System 5 consoles, based on the function of the audio and its automation. For example:

• Route dialogue and music machines to the dialogue/music console.

• Route the Fix, Effects Premixes, ambience Foley, and stem machines to the effects console.

3. Load automation data from the 7.1 mix stage consoles to the Dolby Atmos mix stage consoles.

Install the System 5 Panner application to control Dolby Atmos metadata with

System 5 console channel strips, as described in the System 5 Panner Application for

Dolby Atmos Manual:

• When using two consoles (as shown in this workflow), the application must be installed on two separate machines.

• Identify available machines that can run the application. The destination machines should be machines that do not require EUCON

control of audio by the console because System 5 Panner connection requires that EUCON mode is disabled in Pro Tools peripherals preferences page. In this workflow example, the System 5 Panner application is installed on two Pro Tools playback machines

(fix and effects premix).

• Install EUCON software on the two playback machines.

4. On each System 5 console, reconfigure buses to route bed material to the Pro Tools record machine:

• 7.1 bed.

• Stereo overhead surround. This stereo aux send should be configured to send material to the overhead surround arrays.

• 7.1 alternative bus (optional): Internally reassign this bus to L, C, R, OhL, OhR,

Lsr, Rsr, and LFE. This lets you pan from onscreen to overheads (instead of to Lss and Rss) and onward to back surrounds without having to use objects.

Note: All sound elements are rebused to the bed at the start of the reel. An exception is the music stem L and R, which are assigned to object buses and panned in between the screen L/R and the first surrounds to create movement (widening) of music from screen to first surrounds. This frees up screen audio space for effects.

5. On each System 5 console, reconfigure buses to route object material to object tracks on the Pro Tools record machine.

• Create objects audio by rebusing elements from the bed.

• To preserve 7.1 L/C/R panning automation when routing to object tracks, configure buses as L/C/R buses.

6. Set up object bus level and panning.

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Individual buses cannot be automated on the System 5. As a workaround, route the object bus insert send to an input channel, and then route its postfader channel output returns to the object bus insert return. All fader and audio processing automation is written on the input channel. The input channel will be paired with the Dolby Atmos panner strip, side by side in the channel layout.

7. Consider adding an Artist Series controller for additional remote control of the Pro

Tools record machine.

The Artist Series controller can access AutoMatch and Preview modes, as well as all manual write commands.

8. Install the Dolby Atmos authoring tools on the Pro Tools record machine.

The Pro Tools record machine for the Dolby Atmos mix stage monitors and records the bed and object audio, plus records Dolby Atmos metadata from the System 5

Panner and RMU. Dolby Atmos Panner plug-ins on panner tracks define active objects. The machine is a Pro Tools HDX system, with two cards and two external

MADI I/Os.

9.

Configure basic routing in Pro Tools (via Pro Tools

I/O Setup

). Create separate output paths for the bed and objects with the following considerations:

• Beds include two output paths, one for the Dolby RMU 7.1 arrays, and the other for the RMU overhead surround arrays. Outputs 1–8 are set up as a single 7.1 output with mono subpaths. The multichannel path is named “Atmos 7.1 Bed.”

In Pro Tools, the physical output order is L, R, C, LFE, Lss, Rss, Lsr, Rsr. These outputs address the RMU 7.1 arrays. Outputs 9–10 are set up as a single stereo output with mono subpaths, named “Atmos OH Bed.” These outputs address the

RMU overhead surround arrays.

Note: The track layout on the RMU is different (L, C, R, ... OhR). As an alternative to using

I/O Setup

to map Pro Tools film-based ordering of outputs to RMU inputs that use SMPTE/ITU-based ordering, you can create a cross patch in the MADI patch on the System 5 between the recorder machine and the RMU.

• Outputs 11–118 are object outputs. They are set up as stereo outputs with mono subpaths, so that they can be used on stereo and mono object tracks. They address the RMU object inputs. Name the object I/O paths with their respective categories (typically “Dx,” “Mx,” and “Fx”) to reduce errors when assigning the

I/O to the tracks.

10.

Create a new Pro Tools session for the Dolby Atmos mix.

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11. Configure session settings. a. Choose

Setup

>

Session

. b. Set the session start time to match the reel number. (For example, reel 2 is

2:00:00:00.) If you are planning on creating one print master from one session, set session start to match the first reel. c. In the

Format

section, set

Sample Rate

to 48 kHz. d. In the

Format

section, set the

Timecode Rate

to match the playback source session timecode rate. If the timecode rate is not 24 fps (which will be required when print mastering), you need to configure the mix session for the different rate.

Additionally, you must enable sample-rate conversion for the HD MADI interfaces.

In this example, the timecode for the source sessions is 29.97, so the playback machine requires the following settings for mixing: a. Set clock source to its reference video reference. b. In the

Format

section, set the

Timecode Rate

to 29.97. c. In the

Timecode Settings

section, set

Audio Rate Pull Up/Down

to

0.1% Down.

This changes the sample rate to 47,952. In order to convert the incoming 48 kHz signal, sample rate conversion must be engaged in the

Hardware Setup

dialog. The MADI I/O requires a separate 48 kHz word clock connection to the sample-rate converter MADI input. d. Choose

Setup

>

Hardware

, and enable sample-rate conversion for the samplerate converter MADI input. Repeat this step for the other MADI I/O.

Note: When print mastering a session that was mixed in a timecode rate other

than 24 fps, the session settings will need to be reconfigured. See Working with a Timecode Rate Other than 24 FPS .

12. Set up bed audio tracks on the Pro Tools recorder machine.

You will use the bed tracks to monitor and record bed audio created from mix audio channels and console automation: a. Create ten tracks to represent the bed portion of the Dolby Atmos print master. b. Name the tracks to match Dolby Atmos 9.1 layout order (L, C, R, Lss, Rss, Lsr,

Rsr, LFE, OhL, and OhR). For example, name the first track “Bed.L,” the second track “Bed.C,” and so on. c. Directly assign all inputs and outputs. d. When all the tracks have been created and named, save the session.

13. Set up object audio tracks on the Pro Tools recorder machine:

You will use the object tracks to monitor and record object audio created from mix audio channels and console automation. a. Create up to 118 object tracks after the bed tracks. b. For better management, consider naming objects and dividing them up based on category: dialogue, music, and effects. For example, name the first object (on track 11) “Dx Object 1.” c. Directly assign all inputs and outputs.

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d. When all the tracks have been created and named, save the session.

Note: Do not add Panner plug-ins to the object tracks. The next step will guide you through creating separate object tracks with Panner plug-ins. In order to monitor audio and record Dolby Atmos metadata at the same time,

Panner plug-ins cannot be inserted on object audio tracks, because Pro

Tools cannot write plug-in automation if a track is in input (track input enabled) or record mode.

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14. Set up panner tracks.

These tracks will be used to hold Panner plug-ins and record object panning positions and other Dolby Atmos metadata from the System 5. Create the same number of tracks that were created for object audio. Tracks should be named with a

.1 extension (for example “Dx Object 1.1”) to facilitate ordering. a. Ensure all object audio tracks have been named and the session saved. b. Re-import the object audio tracks as new tracks via import session data. (This will automatically name the panner tracks with a .1 extension and will be of use when ordering the tracks described in the following steps.)

15. To simplify track handling, create groups with the following suggested names:

• “Bed”: Group all bed audio tracks. Use this group to assign all bed tracks to a

VCA master.

• “All Objects”: Group all object audio tracks. Use this group to assign all object tracks to a VCA master.

• “All Panners”: Group all tracks with Panner plug-ins. Use this group to insert plug-ins and assign object numbers.

• “Pec-Direct”: Group all bed and object audio tracks. Use to show bed and object audio tracks only, to put them into input or record (for monitoring or recording audio, respectively).

• “Dx Objects”: Group all dialogue object tracks. Use to assign all dialogue objects to a VCA master.

• “Mx Objects”: Group all music object tracks. Use to assign all music objects to a

VCA master.

• “Fx Objects”: Group all effects object tracks. Use to assign all effects objects to a

VCA master.

• “Rec Ready”: Group all bed and object audio tracks. Use to track arm (record and input controls) for bed and object audio tracks.

• “Automation”: Group all tracks with object Panner plug-ins. Use to select an automation mode for all panner tracks.

16. For the VCA groups, create the following VCA masters and assign them to their respective group.

• Bed

• All Objects

• Dx Objects

• Mx Objects

• Fx Objects

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17. For the groups that will be used to record audio and write panner automation, create audio tracks and make them members of their respective groups, as follows:

• Rec Ready

• Automation

18. Insert Panner plug-ins on each panner track and assign an object number to each plug-in. a. On the Pro Tools mixing preferences page, click (enable) Plug-in Controls

Default to Auto Enabled. This will eliminate the need to manually enable automation for each inserted Panner plug-in before recording Dolby Atmos metadata. b. Use the All Panners Group to select the panner tracks only. c. Insert Panner plug-ins to the same insert position on all selected tracks using the

(<Option>+<Shift>) shortcut. d. When prompted, autoassign numbers to all of the new plug-ins. For more

information, see Inserting Multiple Panner Plug-ins and Automatically

Assigning Object Numbers .

19. Sort the tracks by name, so that each panner track now immediately follows its respective object audio track.

20. Map Panner plug-ins to System 5 channel strips.

See the System 5 Panner Application for Dolby Atmos Manual.

21. Configure session automation:

• In the automation window, enable automation for plug-ins only. Click (write enable) the plug-in button. Disable the other write enable controls.

• Enable

Write Automation to Next Breakpoint on Stop

.

• On the Pro Tools mixing preferences page, click (enable)

Latching Behavior for

Switch Controls in “Touch.”

This will let you press a switch (such as Sphere mode) and have it latch during automation record pass (instead of having to hold it).

• On the Pro Tools mixing preferences page, click (enable)

Allow Latch Prime on

Stop

. This lets you prepare the step prior to the automation record pass. In the

Options menu, check

Link Track and Edit Selection

. This is required if you using an optional Artist Series control surface.

• Enable the Rec Ready and Automation groups. Ensure that none of the objectsbased groups are enabled.

22. Configure the session audio tracks to monitor mix audio channels and automation:

• Make sure the Rec Ready group is enabled.

• In the Rec Ready track, set the fader to 0 to set all audio tracks to 0.

• In the Rec Ready track, enable

TrackInput

to set all bed and object tracks to

TrackInput

mode so that the mix audio can be monitored.

23. Configure the panner track to record Dolby Atmos metadata from System 5 and any other clients (such as an iPad Panner-Controller).

• Make sure the Automation group is enabled.

• Set the automation mode for all panner tracks by setting the automation in the

Automation track. For the first record pass, set the automation to

Latch

. For

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subsequent passes, change to

Touch

, because it is not possible to match out from the System 5 controls.

24. Start the playback machines.

25. Begin recording Dolby Atmos metadata moves using the System 5 channel strips that were configured as panner strips.

Panning information is recorded in automation playlists.

Note: If needed, adjust audio levels using System 5 channel strips that were configured to control audio channels.

26. For subsequent metadata recording passes, change automation to

Touch

.

27. When ready to record audio to the Pro Tools record machine, configure the session audio tracks:

• Enable

DestructivePunch

record mode in the session.

• Make sure the Rec Ready group is enabled.

• In the Rec Ready track, set the fader to 0 to set all audio tracks to 0.

• In the Rec Ready track, click the record enable button to enable the track for destructive punch recording. This will enable destructive punch recording for all bed and object tracks.

28. Start the playback machines and begin recording mix audio to the Pro Tools recorder machine.

Audio is recorded in bed and object audio tracks.

29. When finished recording, consider combining object audio tracks and panner tracks to reduce the number of tracks.

30. For subsequent reels, create new sessions and repeat the previous steps.

31. Bring all the reels into one master session.

32. Join the reels together. Use crossfades as needed.

33.

Record a Dolby Atmos Print Master .

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