Dolby Atmos : Object Based Immersive Audio presented by AES Malaysia Section (Part 1)

[Music] so first of all uh welcome everyone to uh aes malaysia sections monthly mixer meeting uh this is our traditional monthly gathering that we do unfortunately now during covet right we do it online but you know before this in the past years we always you know um we would always meet up in person usually hang out in a mama because in malaysia that's the traditional meeting meeting place for everyone hopefully you know that that time will will come again where we can all you know hang out together in the mamas but in the meantime thank you so much right so we are doing this online right uh every month let me just quickly introduce uh myself okay uh i am jd wong i am the current uh serving president of the aes malaysia section the topic of today's uh webinar slash presentation is uh dolby atmos and although when you see the poster i the poster says um dolby atmos apple music and spatial audio jeffrey who is uh our our presenter is going to cover not just purely on music as well but other areas as well because you know for all of you all of us here some of us are uh from different fields of audio as well so you know we will widen the scope a little bit jeffrey will widen the scope a little bit to also include other other areas we are very very honored and very very thankful to have with us a special uh guest presenter his name is um mr jeffrey lau all the way from uh dolby in singapore all right thank you so much jeffrey for joining uh our meeting was welcome i'm very happy to be here jeffrey's uh um background and his uh details i'll i'll let jeffrey maybe introduce himself like in a in a short while okay right um i'm i did write it all down in the event so you can also go and read right uh what what jeffrey's uh background and accomplishments are without further ado i'll hand off the session i'll hand off this meeting to jeffrey okay thanks teddy thank you everyone for having me uh i'm very happy to be here um as you know i work for dolby and this is kind of like my job and it's something i have to do i'm actually in toby a contest relations manager or content engineer and what i do is to actually build the content ecosystem that supports dolby technologies i will explain to you what adobe technology is about today we are here to talk about dolby atmos that's one of the technologies that adobe has developed my job is to really build the ecosystem train and make create awareness troubleshoot anything requires that you require to build um create content with dolby technologies and because of that i'm very happy to be here uh not not just part of my job but you know very happy to meet fellow sound engineers i'm a sound engineer personally myself jd and i was just chatting earlier i'm similar to him i came from a music mixing background i was working in a studio that was the synchro sound equivalent in malaysia which was from recording studios in singapore from there i ended up meeting a lot of artists and stuff and they dragged me out of the studio to do some uh live work like concert work like foh monitoring work simply because i i was the engineer that was uh i don't know went through the whole process the album so i kind of knew the songs before anyone else so when they needed to go play live they they kind of pulled me along and i and i had a opportunity to do that and then after that uh they said you know um well when you when you do a cons concert there's 10 000 people 20 000 people but on tv there is like um like one million people easily so they say but so they pulled me along to the tv station like jeff can you just help us with the sound so so that's how my kind of experience like grew from from a studio person i did a little bit of foh monitorings in concert lifestyle and then i actually did live broadcast and stuff like this and when i did live broadcast um it was the time where kind of 5.1 was coming along i was adobe consultant for a little while like a part-time one in the event of something that they had to teach in 5-1 or something like this i would help dolby and in 2018 eventually i joined adobe as a full-time staff so again this is my job i was very excited to join dobby simply because uh i mean 5.1 has been around very long time astro has been using this since for at least more than 10 years all the content has shown literally have 5.1 soundtrack i was very happy to join dolby about three years ago simply because uh at that point i already know that there is this thing called dobie atmos in fact in 2016 uh adobe gave me an opportunity i kind of interned at dolby they actually trained me adobe atmos when i learned about dolby atmos i was really very excited and i really thought very well of this technology and i'm very happy to come and share this with you today so pretty much that's like my experience or career in like two minutes or three minutes yeah so again very happy that um i'm talking to some engineers and and you know i can use terms that you will understand uh and and non-sound engineers wouldn't understand but if you don't understand anything please feel free to ask me or type in the chat i'm very happy to answer questions um if this is the first time you're hearing something about dolby atmos and you're kind of like lost not to worry it took me a while to kind of learn dobby atmos as well because um dolby atmos kind of changed the paradigm of audio and um i'm very happy to be able to introduce this to you tonight if it's the first time you're hearing from uh hearing about wms or hearing from me right so let's start so what we'll do today is um let me introduce a little bit about dolby and what does adobe do and stuff like this and please feel free to shoot up in a q a because i know you guys are all some engineers or audio engineers at some kind of audio whether it's studio or live sound or or cinema or broadcast or even audiologists so please feel free to ask me any questions uh i i would really enjoy answering the questions so let me start so toby is ultimately a technology company it started out like 50 years ago and uh it's as old as singapore so to speak uh since we get our independence and uh this adobe has always been trying to provide some technology to bring about the spectacular experience for content so in the very early days adobe like uh the first technology developed was noise reduction i'm not sure anybody in the crowd will actually realize uh or know anything about dolby's noise reduction but that is the first technology they ever built and uh or even use adobe noise reduction as a technology when they were recording on tape uh i i don't know i hope somebody in the crowd jd is there anybody in a crowd that would have recorded on tape or have you recorded a tape personally yep but i i have remembered the good old days and having to remember to [Music] switch on the top noise reduction i think clto will definitely as well you know be somebody's background in tape cool so yes so dovie it's always been a technological company um in earlier days they were selling products but today we don't sell many products we still have products um in fact the latest product from dolby is actually speakers toby eventually bought a speaker company after all these years and we have our new dolby speakers however our main thing is really to actually bring about technology that would provide a spectacular experience so um you know where science meets art and where technology meets the imagination and i actually really like this where science meets art and technology means imagination because this is very much what we do as sound engineers uh if like many people think that some i'm sure you agree with me that many people think that some engineers are just people pushing faders uh turning it turning something on and off and uh oh yeah you have to put your eq at these frequencies and you know that they are very wrong because in a lot of what we do there's a lot of creative art form involved and there is no fixed way to kind of mix a song or process a sound or something like this so this is where they'll be coming like providing the technology that meets your imagination because um i find some engineers uh you know they they are people who grasp the signs and the craft at the same time so that's the kind of why i kind of did this slide um and it's also because you know you guys are also engineers and all have a passion for audio which is something very very interesting and in today's context there's just so much technology with it that that you know that it's just beyond even my imagination when i first encountered this so because it's a technological company it's been it's been many many years where they had um you know come up with my product and i say 50 years ago you have the dolby noise reduction and um 30 years ago they got involved in movies and stuff and you know we we were also very involved in doing um kind of coming up with a 5.1 format and then after that we we were there was pro logic that was adobe e uh i wonder if anybody have seen all the dolby technologies um the reason why i put this slide is because where though the technologies that dolby provide is so wide that you can't say oh let's adobe this or this is dolby because it's it's actually so white and it being so wide is actually the reason why we are the only company in the world with this end-to-end proper proposition so what do i mean for by that and this is what i mean like the entire adobe right is an end-to-end ecosystem of delivering spectacular experience to the audience so we start from the creation stage where you you you have seen our formats like dolby atmos there's dolby audio dolby audio just simply means 5.1 uh there's always dolby surround at some point what is more on the theatrical side of things and then what we do is we also have the codecs to transmit all these formats and then after that we get them encoded we get them packed nicely we get them sent across the transmission paths and stuff and at the playback device what happened is um we can decode these streams and then we can ensure that this decode or at the playback device it is exactly how the you know master was created and uh how the director wanted the content to be heard or how you wanted your mixes to be heard and there is no such company in the world with this end-to-end proposition we have competitors in every every block of these three blocks you know from start to end but there is only one dolby that is able to carry this from the very beginning okay and the creation of formats encode the format pack up the formats you know and then after that make sure that it's decoded very nicely at the playback device so this is the technology as in or the ecosystem or our value proposition that will bring about the spectacular experience and this is and today obviously all of us are mostly i will believe uh in this just in the first part of it the creation process or what we call production um there might be some engineers from tv stations that look after transmission and stuff and there might be some engineers that are working for consumer devices so you know in dolby there are engineers in every part of the world in every of these three parts i'm of course in the front part but i have a colleague that is working with samsung jbl's and stuff like this that has dolby technology built into these devices and then ensuring that when you receive adobe stream it gets decoded nicely and playback nicely we need to understand this when we look at atmos because atmos is an end-to-end ecosystem once you understand this and then you you realize actually how brilliant it is and how we have kind of changed things a little bit in in the audio space so we have partners in every every part of the the ecosystem so obviously in the creation all the creation studios like netflix uh tv tv disney and stuff like that tv stations or cable tv so to speak and then of course the big names universals netflix vr com apple okay these are all content studios are creating content they're people distributed obviously netflix disney plus they are like the ott platform so they are distributing it and then obviously these are all the consumer brands that actually carry out technologies and uh you can see this uh all your famous uh hi-fi brands or consumer devices brands of a prosumer brands and stuff like this uh speaker brands and all these so is it it is after all an end-to-end ecosystem where we create and add the oem ensure that it's played back correctly and then um the device we you know we have about 120 plus tvs 250 uh avr's 50 and all and the numbers goes on and all these dolby atmos compatible that means if we receive adobe admin stream you know what to do with it so what do you mean by know what to do with it i'll explain a little bit further as we go into what dolby sports is but just you know that there are many devices out there that can playback adobe and more stream uh first of all obviously your your iphone and um among other things and then from there and if you can play back some form of dobby atmos it will give you what we call an immersive experience which is something that we will talk more about and these are some pictures of the devices from soundbars and uh you know tablets like ipads iphones home theater systems uh headphones so to speak and stuff like this and at this moment there are about a thousand over these dolby atmos cinema titles worldwide and then there are about 750 plus wms home titles to date uh however i think these these are numbers that are kind of back dated to last year or something uh they are yeah i think the numbers have increased you said that i can't find a nice enough slide to update this so uh i kind of left it as there but it's definitely a lot a few more uh than 750 at this point uh just you know that many movies that you watch have actually adopted the dolby atmos technology and now we even have uh like wms in music as well so the momentum has definitely started adobe actually released dolby atmos in 2012 and it was mainly for the cinemas and then as the as the format evolved it went into the home theaters which is the department of dolby that i've kind of formed i'm kind of from i don't look after anything any of the cinema stuff um if you like to know more about cinema stuff please just let me know because i have a colleague that looks after the cinema stuff uh but i know a little bit of that and then i look after anything outside the cinema so anything from music to ott platforms like netflix and stuff like that broadcasting stuff like that um i i look after it and today's focus is really dolby atmos for home entertainment as i have written on the title page so these titles are also available in home entertainment and and of course toby atmos music is all part of home entertainment and i think at this point there is like 4 000 maybe 3 000 plus songs um out there that is available in dolby atmos and um i i hope you at some point yes you know is able to experience or enjoy or you know have um this uh chance to experience toby atmos at some form or another like be spatial music or special audio on apple music or uh has been to adobe mmos cinema uh or as a home theater system or recently bought a soundbar because of the lockdown and then you have dolby atmos in the samba and you've enjoyed it somehow or you've seen it on netflix or somewhere that brings me to so what is toby atmos and why what the what makes dolby atmos so interesting as you already know dolby is an end-to-end ecosystem we have an end-to-end ecosystem and our aim is to bring to use spectacular experiences so in the past um what we have done is that we have mixed music in so-called what we call a channel based methodology or channel based way that means uh we we go up to a mixing console like like what you normally do and you would bus or use a pen knob to move the sound the original sound all the way to a particular channel or speaker or bus so if you had a stereo mixer you would just bust everything to left or right uh if you had a maybe a wider mixer like a 5.1 mixer you could buy something from or pen something from left right center left surround right surround lfe just like this picture here it's very sim this is like how a cinema will normally have it so you have the left center right speaker there's an lv speaker that behaves like an oxen uh then you you or you could pan it to the left surround speaker or right surround speaker so this is what we have been doing traditionally and like i mentioned earlier dolby atmos actually changed the paradigm of this a little bit uh as you know a little bit actually quite a lot dolby actually sat down and realized that okay let's find out let's look at what's wrong with today's sound formats right so one is only a horizontal plane like there is no real sound format other than a really emissive sub format that allows you to pen like a full on 360. uh i mean this was like 20 you know year to 2010 and all this when they were all thinking about this i don't know exactly when they started thinking about this i i know they released atmos in 2012 but a few years back of that they were thinking about this like okay there's no format that is really give you a full 360 panning with channel base mixing right we are always doing some form of a sound mix compromise so what do you mean by a sound mix compromise it means that we are trying to put the sound where the speaker is not where we want the sound so i'm quite sure as sound engineers or audio engineers or audio professionals out there you would have encountered this at some point maybe not think about it so explicitly but i'm quite sure um you would have thought of this like okay i only have left and right speaker so i can only put the sound within this left and right speaker and as you know we are taught in the books like okay don't put anything of the sound outside the left left and right speaker because that's what you call out of face and you know the teacher will will scold you about it and only something yeah so we were always compromising putting the sound as in where we where the speakers were or where the buses allow us to go uh with 5.1 is the same thing uh you had an extra center speaker which made it very very useful we had surround speakers so that people can be inside the sound rather the sound being in front of you obviously we stereo we we have what we call stage sound i call it stage now because i'm always mixing in the vision of a stage as in a band in front of me in a stage or or a scene in front of me as a stage so it's either left right a little bit front or a little bit back uh we had to deal with a lot of things with phantom center so it's always a compromise somewhere and obviously we learned how to use the stereo format very well um there's so many tricks after stereo came out in 50 years ago and there were so many tricks to really get a good song out of stereo and that's really good and there are also many tricks to get good sound out of 5.1 but they are all channel based that means two big things happen one we are we compromising because we are trying to find the position of the speaker and then secondly is once you mix to this mix right you cannot change it that means if you have mixed it with stereo and somebody wants 5.1 then you got to scratch your head a little bit and say okay how am i going to get 5.1 of it you can get a 5.1 mix to derive a stereo mix eventually a monomix but if you had a stereo mix how can you go upwards or if you have mixed the movie in 5.1 but going to the cinema and 7.1 then you go scratching okay should i just copy the real speakers or should i just call up my session and try to pan things in between those speakers or you know try to spread it wider or something like this so we are always compromising at some point and dolby decided that okay i want something to fix then so you will always have play black in flexibility that's that's what i just mentioned and all this ends up sums up to a natural output because we are trying to compromise and we are trying to work around what the speaker format has tell us has taught us to do or um work around what most playback system has taught us to do so they'll be asked like okay can we change that at all uh is there a way to solve these problems and go to the future with it so um they came up with an innovation or they'll be came out in innovation whereby let's not think so much about channel based audio and look at object-based audio with object-based audio we are given the precise placement of sound and uh so that we don't have to worry where the speakers are right you know and there will be a cell engineer's dream right it's like either want you know sometimes we get very technical okay i'm mixing stereo there are rules of stereo what if i tell you there were no rules right and just try to do whatever you want how about a format that could be adaptive to any playback environment that means if i mix it in this format right i don't have to worry if it's played back on stereo playback on five one playback seven one or even wider formats than that or even wider formats that i cannot think of today like for example maybe five years later someone comes out with a very popular sambar and each format is like a 12.1.4 which we not heard of today you you don't want to go back to the movie you mix today or something you mix today at 5.1 to realize that okay how am i gonna get my 5.1 mix to sound okay on the 12.1.4 because everybody wants to hear it on 12.1.4 today so the answer is dolby atmos and what what we do is we use a way of mixing in object base which is we get the audio track instead of busting it to left bars right bars or channel bus we we just stop an xyz coordinate for the track we don't mix with the speaker design in mind we mix in the imaginary three-dimensional space so based on that concept that is what dolby atmos is about so dolby atmos in short is these three things so one is the format that gives you full 360 degrees immersive placement of the sound that means you can place it 360 degrees because it was first designed for cinema we we used the three dimensional rectangular as the as the space to use it as a gauge for your imaginary space so anywhere you can position the sound anywhere in this rectangle okay so you see all these green little dots these green dots are actually audio signals and levels and this is where you position it just like where you want to pan it okay i want to put it left i want to put it right i want to put it where my aircon is up there and it's all up to you we don't think about whether okay is there a speaker there um can we put it there like when you think about mixing stereo say okay i i want to have the sound a bad but i can't because there's no sound there's no speaker in the back it's going to play that back right so what we're going to do right so here we don't worry about this we actually says okay just let's have this rectangle and let's position the sound anywhere you like and the dolby technology would actually take that and then move it to a playback device and at the playback device we do a handshake when this dolby atmos file that you created mixing in wbos in this imaginary 3d reaches a three-dimensional space not two-dimensional space reaches a playback device what will happen is it will kind of do a handshake and it says ah you are like a cinema and in this cinema what happens is oh the director has wanted to put the sound on the high left of me and based on this handshake the mapping is red and the our adobe playback system would actually send that sound which is maybe this little dot that you made here and send it to the closest speaker to that position and then after that it says oh okay maybe the rear aircon i want it rear high up there just like where my you know my picture the aircon is uh then is this little dot here which is they will find the speaker closer to that and if in a case where they cannot find a speaker closest to that position what they'll do is they'll find the newer speaker and send that sound to the nearest speaker and do some phase correlated uh processing and stuff like this to to give you the virtualization or the perception that the sound is up there so all this is orchestrated by our technology and at the playback device and mapped to the playback device so that your mix or your dolby atmos format or adobe atmos master will play back and adapt to any playback format that is possible so it goes to a laptop or mobile phone okay i'm sorry but laptop mobile phone can't do much no ways but it will still fold everything down nicely and render it down to a stereo version so that it's still reasonable there will still be immersive information inside the stereo version however obviously it won't sound as good as if you had ceiling speakers and all this but it's still reasonable so it's because of that it becomes very scalable because you don't have to go and create a stereo mix just because you had to put it on a laptop or you want to make it sound good and then after that you you have this other thing about headphones um the whole has kind of been very headphones have been very very popular lately because obviously people are uh traveling maybe not so much today but people when travel they output headphones um and stuff like this and how how can you recreate um immersive order headphones so for headphones again if when adobe atmos master file is sent to the playback device it does the handset says oh i'm gonna go on headphones and when you go on headphones what you do it will create a three dimensional listening experience called binaural based on how you have mixed it with these dots and rectangular uh positioning what if you have done and it will actually create a binaural render on your headphones so that when you put in your headphones you will hear the binaural version of your immersive mix so it will actually be compatible from all the way from headphones to laptops stereo speakers to multi-channel soundbars virtualizing soundbars all the way to maybe a home theater or a full-on cinema so this is a format that is totally adaptable and scalable and it is based on the fact that we have changed the way to mix from mostly a channel-based format to an audio object-based format and it is a format that can do a full 360 thing and like i said you have seen the applications it's used in cinema it's used on streaming platforms like netflix and disney plus and other streaming platforms as well and it's used on apple music and all this is to deliver um immersive experience uh you know a spectacular immersive experience or listening experience of the content to your listeners or to the listeners and it is totally scalable in a sense that when it's like i said you know after three years or five years somebody comes out with a new format a really cool soundbar but it's 12.1.4 so again the wms master will reach the 12 14 soundbar and do a handshake and mapping says okay i know where your speakers are the director had one the sound displays okay this is the nearest places nearest place to it i'll send the sound to it uh oh there i want it there okay you have a a so-called ceiling speaker or a height reflection speaker so-called up firing speaker okay i'll say to up-free speakers so that it reflects off your ceiling and you hear it as if it's on the ceiling so um very scalable in the future you don't have to worry even a few years time you you don't have to worry what channel based formats are there dolby atmos will be able to scale to that or adapt to that so this is what makes dolby atmos really special and how how is it been able to be used to bring immersive experiences to all the contents from you know cinematic to streaming to even music and you can see um the the con the few pictures i've shown and it's you know from cinematic you know home theater and stuff and then even to on the go where's headphones and uh i'm sure some ev somebody in this car would have an airport or something and and you would have heard apple music in spatial audio and like oh wow this is it's sounding you know much bigger and and three-dimensional and stuff like this so this is what the format does and this is kind of how it works and this is the music part so we had tidal music doing this we have uh um this spatial audio by apple music and now we are even looking into podcasts so sauda i i think podcast is one of the biggest audio entertainment uh talked about audio and audio entertainment today and um there is a ear shot in india that is actually using dolby atmos for uh podcasts and and and and you know telling their audio stories uh telling their presentations in three dimensions and this is one of the tracks they have uh where where you can listen to the sound of the forest and and stuff like this so um if you if you are if you can get this app you can check it out i'm not so sure if you can get it here uh however we know that earshot is the india's newest digital destination for news and entertainment they actually offer dolby atmos and obviously special audio and of course toby atmos music on tidal amazon does it as well but i think amazon music is not so available in this region there are different formats that you can play it back on and this format is the like the home entertainment way of representing the three-dimensional space i just put this just in case people didn't understand many times when i give presentations they always tell me oh this slide is really helpful because i finally understood what these numbers meant so just in case you didn't know 5.1 means there are five speakers or five channels on the surrounds and there's left center right three and then left surround right surround the point one is the subwoofer the one that has the rumbling sound that goes like this and uh that's what we call lfe which is low frequency effects and when you have the third number comes in point two means the number of height speakers you have so when you say point two means there are two ceiling speakers and they are right immediate in the middle of this 5.1 setup and uh if you had a 5.1.4 that means you actually have four speakers uh front and back uh 7.1 you have more speakers on the surround which you have instead of just left the right right surround you have left surround right surround left rear surround and right rear surround and point two obviously through to ceiling speakers 7.1.4 is pretty much a standard um for for the studios um where you have 7.1 uh seven speakers around one lfe and four speakers and uh you can go up to something like 912 which is uh on the surrounds you'll not only have left surround right surrounds left rear right rear in the front you have another pair of surrounds and we call this left wide and right wide the reason why we like 9.1 is because um if you're a film mixer or movie mixer you will find that a lot of the musics are usually very wide to you know create space to put and the dialogue and action sequence in the center or in the left within the left lcr and and sometimes it it there's no space for music so some many people actually pan them a little wider into the left white speakers and right white speakers and then you get a really nice spread of sound you know in front of you from dialogue to effects to music so that's why we have something like 9.1 and uh and then you have of course the standard one is the 5.1 for multi-channel audio i kind of just put this slide because uh it's very interesting that people always tell me oh now i finally know that when i go to the shops i can't remember what's the consumer shops in malaysia like the best tanki or no norman jones where you just go there you see all the all the consumer electrics and then you'll see some sound bar and says oh i'm a 5.1.2 samba and what does that mean so this is kind of what it means so that's pretty pretty much the atmos uh format in itself is anybody like really lost uh at this point um and have no idea what i'm talking about uh or everybody's kind of good and kind of starting to realize ah okay this is gonna change something oh cool i get a lot uh sound i can see some of the reactions that's nice okay so i assume nobody is like really lost or anything so let me let me just move on to talk about right like at this point you must be really curious like oh cool so how can i start creating content in dolby atmos right it's like is there any special thing that we need or what has changed yes actually the production process has changed and this is where i kind of tell you what has changed and how it exchanged and how you can actually start doing dolby atmos content at the end of this webinar or seminar and there's tons of help now on the youtube uh obviously when it started in the early days uh i think dolby was the one providing all the help but i think these days if you search on youtube and stuff you'll find pretty much a lot of information and dolby itself has many many links i'll share with you guys later at the end of the presentation um i'll actually give it to jd which can distribute to you guys and there are many links that helps that actually helps people understand more about how to create content in dolby atmos right so with dolby atmos right this is the interesting part of it like i just spent the last half an hour telling you about okay we're gonna change things and we're going to do object-based audio and it's going to be adaptable and scalable but because uh it was started mainly in the movie industry in 2012 i think it's almost 10 years ago when they first released atmos we give the option of still mix being able to mix in channel based so what i mean by that so in adobe and most format right there is an audio bit and then we have the objects which i've talked so much about and then when we combine these two it's the full-on adobe admos format so when we talk about dolby atmos right then as you go into the production thing and and because you're all sound engineers you need to understand the audio bit and you need to understand objects and when you put them together they are dopey at most so objects i talk a lot about it it's just the sound like the sound of these birds croaking and uh singing and stuff like this and the crocodile instead of crocodile or some reptile you know and these are the sounds and we put the three-dimensional audio to it so what are bits so bits is your traditional channel-based mixing that means uh your left right your 5.1 your 7.1.2 so you can still mix in bits and then add this with objects and you'll get dolby atmos uh this i call this the hybrid approach of static and dynamic audio uh whereby we the bed is static that means it's just your traditional way of mixing but we actually add the objects i think this was probably done because you can imagine in 2010 when you brought dolby atmos to a film re-recording guy and he says hey let's forget about your 7.1 which i know you're very good at and let's just make some objects he'll look at you with a very big question mark right like no this is due next week uh please get out of my face because i have no time to change everything now when it's due next week so so i guess dobby went there says okay don't worry you can still do 7.1 which you're very good at and then maybe i can give you this sound that you can actually pan across your head because you know the picture requires it to in a big spaceship flying over your head you could do that with objects or something like this so i guess that was done this way but the way i look at it is that the fact that it can also take objects it you know creates a very good path because you there's there is still merits in mixing in some objects in some way uh so that you know you can still translate some of your older stuff or or some of the more static stuff in the audio bit so we have the bait which is usually your room tone your forest sound and stuff like this and then plus the highlights which is the animal sound and you combine together you get a full immersive effect which is your three-dimensional space now that you understand this concept this is how it looks like in the production workflow so if you look at this slide right down the middle right and you look towards the left or right right that's basically how we have been mixing audio today not 20 years ago when we when we were we had big consoles and stuff uh but i think most people do it on a door today which is what we call a digital audio workstation um and in this digital audio workstation will play back the audio mix the audio and then eventually bounce the sound out so you have all the elements of the mix uh this is excuse me this is more of a music one i took this music slide uh there's another slide of this where it has room tone dialogue and stuff like this so if you are a filmmaker just imagine that the least thing is the dialogue and then the the room tones is the reverberation you know some stuff like that but it's still elements of the whole audio mix and we actually record them or we position them or we drag them into our session and then we create this whole session of like 100 over tracks and then we try to balance them and then we will output a mix and then that it will be your cereal mix or your five one mix or your seven one mix so with wmos what we have changed is that the daw don't complete the mix anymore you require what we call a renderer if you look at this this little picture this is our software and you will need this is the heart of every atmos mix so you need to start sending the sound uh from the daw to the renderer and like the previous slide i talked about there's a bit and there's objects so we allow you to transmit about the option of 128 tracks of the daw to our renderer our renderer will accept 128 tracks and the first 10 tracks will always be reserved for the bids right and the first 10 tracks will be 7.1.2 this is the widest bait you can have so you can have a static 7.1 and then plus two channels on top the two channels on top simply means left ceiling and right seaming so with the bit you can't move things in on top of the ceiling you need an object to do that however it just gives you where for you to place the tone like left ceiling and right sink and this first 10 channels is reserved that means you can choose to use the widest bit which is 7.1.2 or you can just choose to use a stereo bit and most musics are just made on a stereo bit because music people hardly ever mix anything out of stereo so maybe the first thing they do is create a stereo bit then broadcast people will use a 5.1 bit a full on movie people um big feature film will use a 7.1 by 2 bit netflix uses a 7.12 bit but if you choose to use a 51 bit it's also possible so the first 10 first 10 channels according to your dw will be mixed accordingly like any other mixes that you've done channel based and you can mix it to that and then the next 118 channels you would use for objects so one one channel is like a mono sound and then you put the xyz coordinate we see this positional metadata is the xyz coordinate and then we will have the audio and the xyz coordinate and we'll send it to the renderer at the renderer you will see these little green dots and that's where we show you where the position is your dw like pro tools uh or some other daw you you would or might have what we call a three-dimensional panel with the three-dimensional panel as you move the sound it will correspond a little dot in this imaginary space and then as you move it it will actually move the dots and then that's how we are positioning the audio we are not worried about where the speakers are we are just positioning it at a three-dimensional space where we want to do it and then this where the monitoring comes about whereby you have a monitoring setup it could be a 7.1.4 setup a 5.1.4 setup but this monitoring setup is what represents or plays back your three-dimensional space i was just talking to a thai mixing engineer like a week ago he says ah this is the coverage of 3d so i just thought that was a really really great way of explaining it so to mix in 3d you have to hear it in 3d right so your monitoring setup a 5 or 7.1.4 setup or 5.1.4 setup is how you are hearing it in 3d and as you move the objects around in that imaginary three-dimensional space in a renderer the renderer will output the monitoring for you to experience it and monitor it or in audio engineering well we call it critical listen critically listening it to it and you can do your mix and you can position your stuff anywhere you want in the three-dimensional space should you not have a 7.1.4 setup not to worry you can still start with the most basic one which is a pair of headphones and the renderer will create a binaural render of the hip of the three-dimensional space in binaural for you to start mixing it as well you can start with it it may not be as great as a fully calibrated 7.1.4 setup but you can definitely start doing it and some people are literally mixing ammos with the pair of headphones and it can be done and it's very far because all you need is just pretty much a laptop which i'll explain more later so the main point here is the changes to the workflow is that the daw no longer actually exports some form of a mix it actually sends the audio plus the panning metadata to the renderer the renderer accepts it and render use the three-dimensional data and the and the audio and render the sound out to the relevant speakers uh for you to hear the three-dimensional space so the renderer is now the heart of the whole mix and then from there what we'll do is when you're finishing your mix we will actually record your master file uh with a time code sync uh let's say you can see this little word here that i've added uh plus ldc so with the time code sync we will actually record a master file i think if you know about dolby noise reduction you know that when you finish your mix uh 40 years ago or 30 years ago you couldn't bounce the mix like what we do today or even the concept of off-life bounce is totally not tucked off at that time uh you had to play and you have to have a mastering recorder so it goes back to the same concept of a mastering recorder which is uh you play the mix back and then it goes to the renderer the renko will start recording as like a mastering recorder i think some of you your mastering recorder will be a quarter inch tape a half inch mustard tape maybe a d80s or maybe uh if you're in a film world some form of d88 where you use that to back up your 7.1 mix um i'm not sure if anybody remembers a tescum d88 that was a little cassette or video cassette that could record eight tracks of audio um they had a adax as well which uh wasn't much use in the film mode but the tescum d88s were used and that's where you that was your master recorder and you could record your 7.1 mix into that or record your stereo mix into a quarter inch master or record your stereo mix into a d80 i'm not sure if you have remember i don't see a d80 very much a digital audio tape these days yeah but you know for a while that was the thing that i work with every day right so it's back to the concept of a master record so you record the the master file and then from that master file we will export the formats to uh to delivery so um adm b wave is actually the most accepted delivery in most formats like even in streaming they will accept adm wave apple music accepts adm b wave you can also export a coded version which is that means we actually packed it up nicely encoded it's like the so-called mp3 versions but uh it's compressed so that it doesn't take up so much space but still giving the uh lossy percep perceivable uh percept deceivable sort of immersive experience um pardon my english there so i got a bit tongue tied but you won't perceive the loss that's what i mean like it's but it's still uh a lossy codec or you can just give it the master file that you recorded which we call the dolby atmos master file and there is also another format called the iab which is an mxf file for you for to be included in a imf package uh that is the that is that's another format so you could export them to different formats and they will take this and actually use this to distribute so while you are exporting the master file format you can also use the renderer to export what we call re-renders so for example like i mentioned you could play back on a stereo or you can play back on the monitoring place back on a 714 so what happens is you could you could tell the renderer says okay um i want to have a full full pcm so called wav file that is 714 which is the left the left speaker will be one wav file the right the center the lfe all in all in this pcm or use i just want a stereo wav file because i want it to be playable in every player possible that can handle a wav file so you can ask the render expect a stairway file you can ask the renderer to export a binaural wave file which is you know then you can take it to any computer and hear the binaural play it back on the set of headphones and and actually hear the immersive effect or you can take it to a 5.1 system put it back into your daw and hear it on a 5.1 system you could do all that with what we call channel based pcm renders uh i'm quite sure you would know most people know what pcm is uh if not i think jd can explain future in the future what pcm stands for but i'm quite sure 90 of you would know pretty much this is the whole workflow and there are just three main components that you need to remember to start on dolby atmos so one is your adobe amaze renderer which is the heart of the whole thing and of course your some kind of daw and some kind of interface and then after that your monitoring setup we can range something from a pair of headphones to a full on multi-channel setup like 7.1.4 on even as high something as 91.6 the renderer comes in two forms the simplest form is what we call the dolby atmos production suite this is where this is what most of you will call native means that the daw and the renderer actually coexist in one computer and how we use a virtual soundcloud aggregate i o i think pro tools called something like an aggregate i o uh or mac also you have aggregate ios which is like a virtual sound card uh we created this virtual sound card called the adobe audio bridge and then from there your daw can use dolby audio bridge to send 128 channels of audio to the production suite and the production suite will output the rendered audio to your sound card which is a built-in output or any kind of audio interface you can plug in it will do that so totally maintaining this workflow from dw to the renderer to the monitoring so this middle part is taken care of with our virtual sound card called the adobe audio bridge and then uh you can purchase this on the abit website uh and or and like i mentioned earlier you need this to create the atmos master file or the music master file on the otd master file and it will render a monitoring everything from binaural to something like 916 and it will monitor the loudness and true peaks which you need for file delivery which i'm not going to talk so much today uh and what happened is uh if your daw doesn't have a surround panel or three-dimensional panel uh not to worry we have this plug-in called the dolby atmos music panel which will pimp your daw up with the three-dimensional panel and this is usually used in logic pro uh button live but today's uh steinberg nuendo pro tools blackmagic resolve they all have a three-dimensional panel built-in already so you won't need this but if you're using something like a button live and logic pro you get this we give this for free the reason why this is called music panel because when we give this out for free we added a little sequencer at the bottom and this sequencer is actually time to the tempo of your daw so the music mixers will find tempo a little bit more relevant whereby you could create so-called i call them dancing objects which means that you could create short sequences of movements uh like things moving this way or just moving front and back front and back and then use these little buttons to trigger these patterns on the sound so uh it's great for little things that move uh especially in in kind of dance music kind of scenario where you have little tweaky sounds that you want to move them consistently much like a tremelo guitar or something you could create these short sequences and then you will go and then you can time these sequences to the tempo of the music which makes it very exciting and very fun to play with and i suggest that you just if you are like a logic user or something or even if you are pro tools and you want to use this you can as well it's a little bit messy to to kind of arrange it in in pro tools but if you do the housekeeping is no problem because pro tools already have a 3d panel and it's already already have uh features that can help you do that but if you want to use this uh five by us tool is something we give free you can just download the you go to the link and download it i'll give you a whole set of links later on so not to worry and you don't have to really copy this down but yes so in case your door does not have a full three dimensional panel we have one for you if you don't see your door on this list we are working on it you can try to pimp the panel to work sometimes it works sometimes you don't we can't guarantee it um i can only assure you that we are working on increasing this list as we move on the future i have received many requests from people who wants uh reaper to be on the list who wants a pros on us do they want to be on the list so just in case you're gonna ask me the question answer it first yes we are working on it no i don't know when it's going to come out but we are working on it that's all i can say so that is for the panel so moving forward by the end of the night you should be able to start doing this uh simply by you you get a free panel you have logic or pro tools i'll send you a link to download a 90-day trial for the adobe atmos production suite which can be installed on your computer as long it is a mac i'm sorry for the windows users but we don't really have a elegant workflow for windows at this point uh again we are working on it uh however my next slides might explain better so uh for mac if you have a little macbook and it's running os 13.6 and above you can just download this uh free panel this renderer and have your door going and use dolby audio bridge to send the audio over and then have a nice pair of headphones uh and then you can literally start creating dolby atmos or doing three-dimensional immersive audio tonight like after i finish talking so it's literally as simple as that uh obviously there will be troubleshooting and stuff if it doesn't work but not the worry we have you you can just search on the web and that we have our website like dolby professional dot com and you can just go there and there's a whole forum just like gear forum similar to that and you can get most of your answers and we have designed the search engine uh such that you can literally ask the question like google or how do i do this or renderer receive no sound or something ideas and you actually find a lot of answers and you know come up with a checklist to think and the full on even your 90-day trial you can export the relevant files the dolby atmos master file the adm files is fully functional demo you can literally create the mix and send it to avidplay and every play might put it on apple we pass all the requirements and stuff like this and you can do all your channel based deliberates like you know send out a binaural mix so somebody will check it out and says oh this is my first immersive 3d mix on dolby atmos uh you know so that he doesn't have to actually you know also download the renderer to hear it it's just a standard wav file the only limitation to that wav file is isis binaural right and we know that in binaural you cannot hear it unless it is on a pair of headphones because that's the theory of binaural right so that's the only limitations but other than that uh it's pretty much the same if that is the so-called the easiest way the lowest barrier of entry and if yeah if you are in this car and says oh no i am the like the the top engineer in malaysia right now and i work in a big studio and i want the full on setup because all my mixers are epic right because if they need to mix something like 232 checks of music usually any laptop will run 32 tracks but when it becomes 160 tracks of epic rock music with orchestra and full on 24 tracks of drum set and 24 tracks of packing vocals and or guitars and stuff that would drive your computer with much limitations because your one computer or your native computer has to run your daw and the renderer together at the same time to give you the rendered three-dimensional mix so with the full-on setup we have the second flavor of the renderer which is the adobe atmos mastering suite and what we do is we put the dolby mouse mastering suite on a separate computer your door will run on one computer and we will actually send audio and metadata to the computer with the mastering suite or the renderer via something like dante or madi or something like this and then from there the renderer will create the monitoring you'll create a master file you will do your binaural output everything the same you see the top level that is the cinema renderer the bottom level is the home entertainment renderer it is slightly different at this point uh it will kind of converge at some end i don't know but the concept is exactly the same you have the nice big door uh and this door is probably a very advanced door like a pro tools hdx system or a new arch or some kind something kind of thing a very big scale kind of daw and then from there they know that just manages uh hundreds and hundreds of tracks and then after that we send 128 tracks to the renderer on a separate computer this renderer will do all the processing uh the one extra difference between the ren the the mastering suite and the production suite is that the the mastering suite comes with eqs and the reason why it comes with eqs is because we assume that you would have a 7.1.4 setup or some multi-speaker setup that requires calibration and alignment so uh for the mastering suite the the in eqs uh for it to help you calibrate this and it's part of our the company we bought many years ago uh called lake uh i'm some of your live sound guys my remember a very alien spaceship looking device called adobe eq which looks as if somebody took a control panel of some spacecraft some alien spacecraft i totally love that staff worked with many system engineers tuning speakers using that stuff and the eqs in the dolby atmos mastering suite has some resemblance to the late eq we use that to calibrate the speakers and usually the full on setup will come with something like a 7.1.4 setup which is again left center right in the front there's side surrounds rear surrounds and and four four speakers set up on the ceiling and that will represent the space and the mastering seat has um eqs on any of these channels to do that and because it is separated it can handle a lot of workload because uh you could be running like a hd x2 or hcx3 system on the baw computer and then you have this other computer uh that's running the dms and just for you to understand as you read all your youtube and articles later in the forum when we say the rmu which i'm quite sure you you have seen this term it just simply means the computer with some kind of renderer view in either cinema renderer or the dolby atmos production suite or the dolby atmos mastering suite uh so we just any they are in a separate computer the simplest way to explain it is simply just saying that okay it's a rendering mastering unit so they're called rmu and that's that's how it works and so i've kind of shown you the most easiest setup which is all in one computer and try to mix at most monitoring headphones two-year binaural or you got a full-on setup which you know you have a big control surface full-on hdx processing and then running 128 channels via madi or dante to the renderer and the renderer coming out with the 12 speakers monitoring or even 64 speakers monitor alternator speaker monitoring in the cinema itself like how the cinema works so that's the full on setup versus the little laptop setup this is also better because you know processing is done however the cost escalates a lot more than buying a macbook pro the complexity of the systems also expands but it's great with picture as well because these two things are all sync in time code and then you know it's great for pictures like just like what cinema does and this is the setup and yeah and you have maverick studios uh in kl right near you guys uh uh having a full on 91.6 setup i think it's adam speakers and then uh i think yeah i think jd says some some of them are here today in this talk so yeah speak shout out to you this is a very early stage dolby atmos uh post-production studio that i i i kind of helped put together they you know i think they are very busy now mixing uh a few singles or albums for i think i don't know for some record companies sounded amazing it was the first real 916 setup done uh very properly uh kudos to the engineers like paul morrison and all these i think raymond assuming putting it together i was there it's not the greatness it's kind of where i took this picture yeah big shout out to you guys out there and um they were very nice also they they helped me showcase to some of the some people of how it sounds like and i said um give them a bus give them a call if you want to hear and and then they can also explain it as good as me what dolby atmos production is and in fact they can't even show you on the spot how they mix it and stuff i've heard the works from them i think they have done a mix an atmospheric for netflix although it wasn't really released they use it as a native workflow that means you can actually mix in that moss but export 5.1 or make the export exports they almost export stereo because there are some future proving benefits in doing that uh but obviously you know you want to hear the full on immersive thing but yeah so check this out this maverick studio uh somewhere in kl and then okay so that's pretty much it for for studios at most and the other good thing that we like to do with dolby atmos is actually live broadcast and we actually have live broadcasts of dolby atmos globally not so much in malaysia yet but then again uh i'm not sure if you know that uh your very big cable tv uh astro in malaysia actually broadcast uh the the recent uefa the euro cup uefa games in dolby atmos so i think that was something they offered um i'm not sure if you heard it if you actually it's uh i've heard it and i thought it sounded really really good but you know in malaysia also kudos to astro they you know they went full on to do this and that's why for this talk i actually included the live versions because uh it was just only like a couple of months back where uefa games ufo was there for the semi-finals onwards uh astro were broadcasting it in netflix and if you had a home theater system or samba you could technically receive it and actually and enjoy as if you were sitting here although in today's context uh this is not gonna happen for a little while we are all kind of stuck at home but it's good to know that if you had a sound system and set at home you could still feel the passion of the pitch and to feel the excitement and the glory and the happiness of the fans of course you also will feel the agony and all these when they didn't get the ball yeah it's a very really nice uh experience to have especially in this day and age whereby you know sitting in a stadium like this like literally here sitting here next to this guy is virtually impossible right now and i do miss this quite a lot not that i'm a football fan but you know going to music concerts and watching movies and stuff where you are enjoying content or enjoying with many people when things are unfolding that feeling you can't get sitting at home watching netflix or watching sports on tv so uh dolby atmos brings you one step closer which makes it feels very good and so i just thought just wanted to touch on some so that people have an understanding so that in case in the crowd there were people that were from broadcast station might actually think about you know doing life at most to actually bring that immersive experience to the home of a live event the thing about atmos life is slightly different from our post-production workflow we just get a nice mixer like a live mix console and again the same thing the whole uh the musician the audience uh this is like evs is i think broadcast will understand what evs are bgm is a card a system 360 i think it's a card playback system where you playback audio and sound effects put all that into a mixer and then you we mix what we call a of our so-called three-dimensional space and it is still very much a channel based input channel based immersive approach not like the object-based hybrid approach the object-based thing happens slightly later in the 591 encoder because you are mixing it live you can't draw the automation and do pans you know so pretty slicey and everything so what we do is we actually create a three-dimensional self-view in a 5.1.4 mix for atmos and then we send it into our encoder i call this a finite one and call it because this was the first product we developed to do this however i think this product is being replaced soon and there are new encoders coming on the market that does this so what we do is we mix a 514 channel based approach mix using a mixer there are few mixers on the market that can support a 514 um mainly you know the the sports mixing mixer or the broadcast mixers i've seen somebody actually makes 514 on yamaha mixers as well it's just it just depends how i do it i mean you everyone knows that you know a simple yamaha ql one can actually mix in five one uh or cl5 can mix in five one i've actually done five one shows on cl5s and then uh yeah and then we can find ways to put in the fall as well and as long as we can monitor it and uh we use this object authoring tool this three devices here or these two devices here actually forms what we call our renderer one to do the encoding and one to do the object authoring so it's the same thing the renderer is your 590 finite one and stuff this thing is being replaced by a telos encoder now the audio console like stage tag ssl lower correct they can support this 514 and i say even yamaha and what we do is we send a 514 pcm and then we get it encoded to a contribution codec like ed2 i think if you are from astro you'll be very familiar with what we call dolby e and that is our contribution codec that another technologies that sends contribution audio so that it can be repackaged for distribution audio and then we will transmit by our distribution codec which is adobe digital plus the same as how the renderer will also export a mp4 with dolby digital plus as i mentioned earlier i'll show you in the slide earlier so this is the 590 we also have three dimensional rendering so what we do is we will put the 0.4 into the edges of the square and then after that we have the 5.1 so this is something like the bed and then we have the objects like this and then we can uh also put the pa feed right in the center or we the objects can be something like an alternate um so-called alternate language and we can choose to use this object or not and we have what we call presentation so we can have a normal full-on immersive or we can have select another thing and then what we do is we can have alternate language and stuff like this and uh have different presentation to provide different feeds to different people this might not sound relevant to those people who are in studios doing post-production work for a live broadcast scenario this is very very relevant because if you are mixing shows or sports uh predominantly you will actually encounter many many situations where you are doing multiple mixers that is sending out of your ob truck to different places and we are actually doing different mixers and you are actually you know like octopus hand all over the place trying to react and while listening to the instructions of the director so enough dp finitely we can create different presentations that have different combinations of tracks to create different presentations this is the future of broadcast technology is not really implemented yet it can be done so what we can do in the future is like for example uh back to the football we can say okay for this presentation is for the home fans and this present for the away fans so that it will turn on the mics that is on the home fence so that you you'll hear the same scream and passion and agony at the same time and not hear the away fans away team fans and stuff like this so you can actually what we call personalized audio as you want to watch the tv oh i really some people in some ways don't even like to have the commentator saying things or don't agree and commented and decided to say okay i just want a full-on crowd crowd sound i don't want to hear the commentator talk i just want to feel it and watch it and hear the whistle and stuff like this so you can also do that you can choose your own personalization it is not being done as yet today but the technology is there to make it form possible we are just lacking the devices uh coordination where the devices have the menu or the broadcasters have the menu where you can choose what audio you want to personalize but this is a technology that um i'm just sharing with you uh but if you want to do a full on like a full on dolby atmos immersive live production you could do it today uh you just need a few hardware boxes from us or from our partners who have developed the hardware boxes for us and you're ready to go honestly to make something like 514 and get this full-on immersive experience it's not difficult at all and especially if in malaysia where you work for astro you would have actually delivered 51 mixers and you're familiar with 5.1 array and you're just adding four more speakers on the cd right and this is the monitoring for 514 is the same thing uh it's just that again four speakers uh just that is based on a 5.1 setup and this is an ob truck that has a full on uh 5.1 setup so you can see the genelecs of 5.1 here and then you have the the height the ceiling speakers up here i'm not sure if you can see it uh yeah but this is this is a nice truck um i think this truck is a truck in somewhere in china you can see the this is the typical 514 setup yeah and if i'm not wrong this should be a stage type mixer so to kind of conclude everything um dolby atmos is the first like so-called immersive audio format that could have been produced transmitted and actually enjoyed and dolby is the one company that does it end-to-end with this format we managed to bring immersive experience from cinema to living rooms to mobile devices or to anything that carried our technology to decode it and uh future proof the content with the ability to render any channel based audio output i find that very very appealing for somebody like me because you know i could have done a good mix today but i know that if if somebody wanted something wider in the future i couldn't i have to go back to the mixing console and rethink my mix all together and to think okay now i have a real speaker what should i put on the rear speaker uh with atmos i just think 3d and then it will just take care of stereo for me on 5 1 for me and just to really add to the fact that even if you listen to 5.1 what the render would have done was to take the height information and process it and actually put it to the 5.1 speaker so even you are listening to atmos mix in 5.1 you would hear or experience some form of immersive it won't be as good as if you had four high speakers or two high speakers uh but you would still hear the difference because the renderer has incorporated and processed the audio to kind of try to virtualize some of that here that the effect with the 51 speakers same as when that phylon speakers are actually down mix or down render we don't call it down mix because we call it render with wmos to a stereo version where um if you have mixed stereoly natively in stereo the dolby atmos derived stereo would have still sounded better because there is some height information rendered into the stereo mix this gives it a very good future proving kind of thing because you never know people you know 50 years ago beetles was probably given a pen knob they they were looking at music in stereo in mono and then they would say okay let's look at music in stereo and they didn't quite know what to do with it and they tried putting the band on the left speaker and the vocal on the right speaker and then because they were still thinking in mono i guess because they think ah i can just do that but if somebody has stereo do this thing about you sitting in abbey road 50 years ago with the beatles or something like okay now we have stereo and now we have atmos so what what do we do with ammos now we not only can have sound in front of you we can have some behind you the left and right view and the top of you one of the speaker manufacturing speaker so somebody from the speaker manufacturer who speaks uh said something recently that i thought was very good he says when i hear atmos i'm you know when you hear stereo i'm just listening to the front wall when i hear atmos i'm listening to the you know the front wall the rear wall the sidewalls and the ceiling so i thought that was a very great way to metaphor uh how atmos feels to me as well i can hear everything all around just imagine now you're in the studio and you are given this ability to render or to create to position sound all around you what would you do right is there a new way to look at music um in films it makes a very direct sense because as stuff is flying around you it's very easy to to match the audio the picture but when it comes to music you know there's so much more imagination to do this instead of being the band playing in front of you you can feel like you are in you're standing right in the stage in the middle of the band and the band is playing all around you is there a different perception to the groove is there a different perception to how we stage music i don't know there's many questions that you know i'm still constantly experimenting every day with toby moss again this is the first time the distribution is ensured by the same company you know for years some engineers have just done stereo and we just squash it and we tweak it to the best it can sound and say okay good luck hopes it plays back well in some other speaker because we have done our deal diligence to make sure that it was bright enough it was busy enough the base was tight enough it had the loudness so that it could shine on radio and stuff like this but we told you i must leave it to toby to take care of that if we don't think about sound we think about food like how we started this phone call with a phone order like you don't order the fried chicken anymore delivered to you fry you actually we actually deliver the chicken with the spices and the instruction how to fry it so that you know it will adapt to anybody's place and if people want to have a full-on dinner with knife and fog they could if they want to carry that dinner uh in a box and walk and eat they could do that so it's something along those lines whereby the distribution is and ensured by the company that created the format and to really conclude what dolby tries to do is bring spectacular experience for your content uh we are an end to end solution from production transmission to playback and we have done this with well thought out production workflows and professional practices so there are people like me working in dobie that understand studios understand production workflows engineers that understand broadcasting engineers they understand building of oem devices and that's how we put all these bricks together to develop and and to produce or bring value add to an entertainment ecosystem and the best part is we provide support just like this throughout the whole ecosystem this is an immersive audio solution for the next generation that's what really dolby atmos is in the nice in a nutshell thank you for listening and i hope um that i haven't taken too much time and there are quite a few questions i hope thank you so much jeffrey yeah they're already few in the chat already which i've been keeping track of so we'll definitely get down to that okay so um right thank you so much jeffrey this is definitely a very very fascinating and interesting subject um even though i've watched some previous uh presentations before i'm always learning something new all the time there's always something new to discover [Applause] [Music] you

Channel: Direct Access : MixStream

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Keywords: recording, mixing, music production, mixstream, direct access, studio2105, popshuvit, AES, audio engineering society, dolby, atmos

Id: Ec2-a4v6olM

Length: 78min 16sec (4696 seconds)

Published: Mon Sep 27 2021