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Authoring for Dolby Atmos Cinema Sound Manual

1. c ec cceeccceeceeeeeeaeeeeeeeeseeeeseeeeaeeeeaeees 97 Recorder Mode Button in a Panner Plug in cccceccseceseeeeeeeeeeese esse eeseeeseeeseeeseeeseeeeeeeaeees 98 Linking Selector in a Stereo Panner Plug in Set to Mirrored usussssse 101 Basic Dolby Atmos System Block Diagram cccccccceeceseeeeeeeecaeeeseeeeseeeeaeeesaueeseeeeseeeeaes 105 I O Setup Output Configured for Dolby Atmos eeeeeeseeeeseeeeeeeeneennn 106 VCA Master Tracks Assigned to Each Effects and Foley Premix 107 Mix Edit Groups in Pro Tools Groups Window Active Groups in Gray 108 Pro Tools Mix Window Showing VCA Master Tracks Only eseseeeeeeeeesseee 109 Pro Tools Edit Window Showing Dialogue Reverb Returns with VCA Master Tracks 111 7 1 Mix Stage Mirrored by Dolby Atmos Mix Stage cccccccccceeceseeeeaeeeeeeeeseeeeseeeeseeeeaes 112 Dolby Atmos Mix Stage Block Diagram seesssesssessssesseeennneennnn nnne nnns 113 Authoring for Dolby Atmos Cinema Sound Manual vii List of Tables Table 1 1 ADDAN Sisenna eie T PE T 6 Table 1 2 Dolby Atmos Channel Abbreviations cccccccceccceeeceeeceeeteeeeeeeeeueeeneeeecseeaeeseeseeeseeenaeeses 7 Table 3 1 Dolby Atmos Specification for Pro Tools cccccecceccseeeseceseeeeeceeeceteceeeeseeeseeetseeeeeteee
2. 1 Opena Panner plug in window 2 Ifconfiguration options are not displayed above the virtual room in the plug in window click the configuration options button 3 Inthe Object ID section verify that there is an object number If a new object number is needed assign a new object number Authoring for Dolby Atmos Cinema Sound Manual 87 Using the Panner Plug in to Position Objects 4 Inthe Joystick Device section use the joystick device input and output selectors to select the joystick as the input and output device eo Track Preset Auto Object 4 g lt factory default gt m BYPASS Dolby Atmos Panner ME COMPARE SAFE Native Configuration Options Joystick Device Object ID Joystick Selectors Figure 5 11 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 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 5 5 2 Using a Control Surface or Mixing Console From a control surface or mixing console qualified by Dolby you can map Panner plug in controls to physical controls You can then edit and automate parameters from the control surface or console Refer to your control surface or console documentation for detailed information on how to use it to control standard plug in features You ca
3. 1 Turn on wedge elevation by doing one of the following e Click the elevation snap selector and select highlight the wedge elevation icon e Press S3 on the joystick e Useacontrol surface 2 Adjust elevation by moving the y coordinates with any of the following e Joystick e Control surface e Mouse on the pan location cursor or Y slider You can automate wedge elevation on and off in Pro Tools by using the Elevation Snap mode automation playlist Disabling Wedge Elevation To disable Wedge Elevation mode do one of the following e Click unhighlight the wedge elevation icon e Turn on Elevation mode or another Elevation Snap mode e Press S3 on the joystick again e Use a control surface 5 6 5 Recording Metadata from the RMU Use Recorder mode to record object metadata into Panner plug in automation playlists in Pro Tools from any of the following sources e Metadata sent to the RMU from another Pro Tools system e Metadata sent to the RMU from another client such as a System 5 mixing console using the System 5 Panner application or an AMS Neve DFC console Recorder mode is useful for e Bringing object metadata from multiple Pro Tools playback machines into a single Pro Tools record machine e Creating music and effects for a different language version of the film e Updating previous metadata in the Pro Tools session with new data from real time mixing console moves such as from a an AMS Neve DFC I
4. 64 Recorder mode e 95 recording metadata from the RMU 95 print master e 41 renderer connection status in Panner plug in e 84 Renderer section in the Monitor 62 rendering mode 62 Objects Only mode 59 to a surround format e 38 re rendering bass management routing e 39 clip level e 38 re render options e 38 surround gain e 39 to a surround format e 38 RMU enabling communication with Monitor 31 MADI inputs e 15 RMU output meters e 53 RMU audio output clearing clips 60 dimming e 58 gain changing e 59 muting e 59 Objects Only mode e 59 room configuration display e 58 monitoring e 57 verifying room configuration e 36 Waiting for Room Configuration message 31 S shortcuts for Monitor 61 timecode right click commands 63 signal generator in the Monitor e 66 Size slider in the Panner 76 Speaker Snap mode e 99 disabling e 99 using e 99 sphere elevation e 94 disabling 94 using e 94 stereo Panner plug in 100 Linking selector options 101 using 100 stop button in the Monitor 64 System 5 Panner application e 89 system overview e 2 Authoring for Dolby Atmos Cinema Sound Manual 123 Index T Time section in the Monitor 63 timecode right click commands 63 transport buttons in the Monitor 64 Transport section in the Monitor 64 troubleshooting Monitor communication with the RMU e 34 room configuration not loading e 37 V View section i
5. lt Control gt lt Option gt lt Command gt lt A gt to display the control and verify it is not set to Inf 26 Authoring for Dolby Atmos Cinema Sound Manual Working with Multiple Pro Tools Systems e Inthe Dolby RMU web client the following controls affect audio presence or level e The MUTE button at the top of the web client This button must be disabled for audio to be present at the RMU e The global gain dB control in the settings screen When this control is set to 60 dB audio is effectively muted e The DIM button at the top of the web client When enabled this button lowers the volume of signal at the Dolby RMU output by 20 dB Low level content may be inaudible 3 8 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 recording from a Pro Tools source machine to a Pro Tools destination machine metadata is routed directly from the source to the recorder This removes the processing overhead and latency introduced by the RMU processing first When working with multiple Pro Tools machines consider the following e 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 e Pro Tools machines must be synced together Common solutions include chas
6. 4 3 Waiting for Room Configuration Message ssssseesssesnnnennmneenen nennen nnns 31 4 4 Enabling Communication with the RMU cc cccccccecccceeeeeeeeseeeeseeeeseeeeaeeesaeeeseeeeseees 31 4 4 1 Enabling Communication from the Pro Tools Computer Required 32 4 4 2 Enabling Communication from Other Devices Optional 33 4 4 3 Verifying Communication with the RMU seseeseeeseeeenreennnnen 34 4 5 Loading a dac Room Configuration File Required eeeseeeeseeeeeeeeeeeeeee 34 4 5 1 Verifying the Room Configuration File cccccccccccseceeeeeeseeeeseeeeseeesaeeeseeeeseeeeseees 36 BO ica Meer EE ERE E M ER 37 4 6 1 Rendering to the Dolby Atmos Format ccccccccceeceeeeeeeeeeeseeeeseeesaeesaeeeseeeeseees 37 4 6 2 Re rendering to a Surround FOrma cccccccecccceeeceeeeeeeeeeeeeeseeeeseeeeseeeseueeseeeseees 38 4 7 Monitor Application Operation Modes cccccccceeccceeeece ceca eeeaeeeseeeeseeeeseeeeaeesseeeseeeseess 40 4 7 1 Live Mode Monitoring of Pro Tools ssesseesssessseeneeennnnn nennen 40 4 7 2 Recording a Dolby Atmos Print Mastel ccccecccseceeeeeseeeeeeeeeeeeeeseeesseeeseeeesaees 41 4 7 3 Punching In and Out of a Print Master Recording eeeeeseeeesseese 42 4 1 4 Playing Back a ETIDEMASIUOSE x dip gL Ore Ren
7. Bypass Dolby Atmos Panner OE COMPARE SAFE Native Configuration Options Joystick Device Object ID Object ID Selector Figure 5 9 Object ID Selector in a Panner Plug in Note Typing a single alphabet key and clicking lt Enter gt 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 Authoring for Dolby Atmos Cinema Sound Manual 83 Using the Panner Plug in to Position Objects Renderer Connection Status Besides providing the drop down menu for assigning an object number the Object ID section displays the Renderer connection status This is the communication status between Panner plug ins in Pro Tools and the Renderer software on the Dolby RMU a O Track Preset amp Auto Object 1 f lt factory default gt ww Dolby Atmos Panner SENE cOMPARE SAFE Native Configuration Options Button Figure 5 10 Renderer Connection Status in the Object ID Section The color of the IP address or host name denotes the status e Green Renderer is connected e Red Renderer is not connected 5 4 2 Inserting Multiple Plug ins and Automatically Assigning Object Numbers You can insert Panner plug ins across multiple tracks
8. 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 operation mode has a primary use e 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 e Print master allows for recording and monitoring a Dolby Atmos print master e 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 The Monitor application works in tandem with the Dolby RMU web client as described in this manual For more information on the web client see the manual for your Dolby Rendering and Mastering Unit 4 7 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
9. 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 Authoring for Dolby Atmos Cinema Sound Manual I7 Setting Up a Pro Tools Session 3 3 2 3 4 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
10. n Figure 6 6 Pro Tools Edit Window Showing Dialogue Reverb Returns with VCA Master Tracks 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 Authoring for Dolby Atmos Cinema Sound Manual an Workflows 6 2 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 crea
11. prm and one wav file per object e One dub_out rpl file See the manual for your Dolby Rendering and Mastering Unit for more information including how to stitch or combine multiple source Dolby Atmos print masters into a single print master 4 7 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 master management is performed via the Dolby RMU web client The project drive specified when creating the project that the print master is added to includes the folder that the print master will be recorded to See the manual for your Dolby Rendering and Mastering Unit for more information about managing projects and print masters When punching in and out of recording a print master keep in mind the following e The first punch in determines the beginning of the file You cannot subsequently punch in before the first punch e 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 e Itis not possible to have gaps
12. 1 O Setup Input Output fj Bus Insert Mic Preamps H W Insert Delay HD a I HD UG 2 ER ER Name Format 33 34 35 36 37 38 39 40 41 42 43 44 as an at an So st s2 53 54 L7 RY pp ia i 1 H4222444222H2H4422H LLLLLLLLLLLLLLLLEH mG BEC sero IL Eins FO EET BG e 9 3L BENE qa 39 New Path _ Compensate for output delays after record pass Controller Meter Path Atmos 7 1Bed Audition Paths Atmos 7 1 Bed Default Output Bus 7 1 Output Default AFL PFL Path none Default Monitor Format Stereo LR Sai eh MIRESI 5 1 Path Order LR C LFE Ls Rs M Sessions overwrite current O Setup when opened Import Settings Export Settings Cancel 0k Figure 6 2 O Setup Output Configured for Dolby Atmos 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 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 106 Authoring for Dolby Atmos Cinema Sound Manual Using Traditional Dolby 7 1 or 5 1 Mix Audio Files to Create a Dolby Atmos Mix c To simplify navigation and file manag
13. 15 16 Object 17 18 Object 19 20 Object 21 22 Object 23 24 i ia rs oa Ls ue es 7A Di Dasa vai a Object 25 26 Object 27 28 Object 29 30 Object 31 32 Object 33 34 Object 35 36 Object 37 38 Object 39 40 Object 41 42 Object 43 44 Object 45 46 Object 47 48 T rever prp pps ppc eo open p opone gun ros gon oun gen m Object 49 50 ADR DDD DBD DB BHD BBW 4 t p E Active Busses 31 256 New Path Default All Busses M Sessions overwrite current O Setup when opened Controller Meter Path Audition Paths Default Output Bus AFL PFL Path AFL PFL Mutes Aen A Mapping to Output Atmos 7 1 Bed Atmos OH Bed Object 1 2 Object 3 4 Object 5 6 Object 7 8 Object 9 10 Object 11 12 Object 13 14 Object 15 16 Object 17 18 Object 19 20 Object 21 22 Object 23 24 Object 25 26 Object 27 28 Object 29 30 Object 31 32 Object 33 34 Object 35 36 Object 37 38 Object 39 40 Object 41 42 Object 43 44 Object 45 46 Object 47 48 Object 49 50 Atmos 7 1 Bed Atmos 7 1 Bed HI 7 1 Qutput ss none none Import Settings Export Settings Figure 3 5 I O Setup Bus Mapping Configured for Dolby Atmos To see I O Setup bus mapping for Dolby Atmos 1 Inthe Pro Tools session for Dolby Atmos open the I O Setup dialog 2 Click the Bus tab Cenei Oy For more information on bus paths in Pro
14. 47 Using the Dolby Atmos Monitor Application e Select View gt Objects to view objects only In this view the objects view occupies the entire display area eoo Dolby Atmos Monitor RMUS PC local Dolby Atmos ucl pad gt do MUTE B DIM I DOLBY Figure 4 12 Objects View Only in the Monitor Application 4 8 3 Monitoring Objects The Monitor application includes two sections for monitoring and working with objects e Object Stream e Objects View The Monitor application also provides controls for e Rendering objects only See Monitoring Object Audio Only 48 Authoring for Dolby Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application Viewing 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 Yellow Fill Audio Signal Olive Fill No Audio Signal Green Ring Active Object Black Ring Inactive Object Figure 4 13 Object Stream Circles and Stream Information To view the object stream in the Monitor e Select View gt All or View gt Meters Identifying the Object Number of an Object Each object in the object stream has a dedicated object number To identify the object number of an object in the object stream e With a mouse hover over the object circle Objects
15. 5 1 Mix Audio Channels and Console Automation to Create a Dolby Atmos Mix 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 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 b Ensure all object audio tracks have been named and the session saved 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
16. 62 4102 Sigtial Generator atiera Hi nt oad vrata e sre N nextel idus 66 Chapter 5 Using the Panner Plug in to Position Objects 69 5 1 General Use of the Panner in Pro Tools eese nennen nnns 71 5 2 Special Considerations when Using the Pannel cccccccseccceeeeceeeeseeeeaeeseeeeseeeeaeeeeaes 71 5 3 Panner Plug in Window Controls and Displays cccccccccsececeeeeseeeeaeeesaeeeseeeeseeeeseeeaes 71 SION Panner VW IGUAL TROON eet TN 72 5 9 2 Object NUMDCF BOK eer teleeetors id ium deeliu un adu tees alata de costam dos eti esu deese xs luta 73 5 3 3 Operation Mode Buttons and Zones Sele ctor cccccccceecceeeceeeeeeeeeeeeeeeeeeeeaeeeaees 74 5 3 4 X Y Z Sliders and Position Displays cccccccseccceeecseeceeeeceeeccueeceusecsueeseeeeeseesaas 15 5 3 5 Object Size Slider and Level Display ccccccscccsseeceeeeceeecceeeceueeceueeseueeeseeeaes 76 5 3 6 Contiguration Optioris BUllOH ciripit veu aa aeo Ade ed lever ae dade ds Ble 79 5 3 7 Linking Selector Stereo Plug in Only cc cccccccccsececeeeeceeeeseeeeseeeseeeeseeeeseeeesaeeeaes 80 Authoring for Dolby Atmos Cinema Sound Manual 5 4 Inserting a Panner Plug in in Pro Tools uio e c ap vede aeuo De cuo ae dea vto o va dui 80 5 4 1 Manually Assigning an Object NUMDED cccccseecceeeeceeeeseeeeaeeeseeeeseeeeseeeesaeeeaes 81 5 4 2 Inserting Multiple
17. Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application 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 eoo Dolby Atmos Monitor RMUS PC local JATEA rch gt 1o f wore om X DOLBY 0000000000000000 00000000 Figure 4 22 Rendering to 7 1 Channels Eight Meters Shown Authoring for Dolby Atmos Cinema Sound Manual 55 Using the Dolby Atmos Monitor Application eoo Dolby Atmos Monitor RMUS PC local WOON tcl x gt o DS mure om i Q DOLBY 000000000000000000000000 000000000000000000000000 f i m C a Ls Rs LFE Figure 4 23 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
18. 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 Dolby Atmos Mix Stage Pro Tools Playback Machines Fole Avid System 5 Consoles EUCON Dialog Music Console Effects Console 7 1 Automation 7 1 Automation MADI Patch Across EN Music Object Bus Bed Bs 99 Dialogue Music Effects Object Object Object Bus Bus Bus Dolby Atmos Plug ins Tracks Tracks Tracks Tracks 1 72 1 10 11 22 23 39 40 82 Plug in Tracks Bed Tracks Object Tracks E Metadata Bed Object Pro Tools Record Machine Panners 13 29 Music Panners 1 12 Dialogue 29 72 Effects Rendering Dolby Atmos Print or 7 1 5 1 Mastering To Switch Amps Speakers Figure 6 8 Dolby Atmos Mix Stage Block Diagram Authoring for Dolby Atmos Cinema Sound Manual 13 Workflows 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 e Route dialogue and music machines to the dialogue music console e Route the Fix Effects Premixes ambience Foley and stem machines to the effects console Load automation data from the 7 1 mix stage
19. 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 Pro Tools 7 1 Tracks Overhead Track Object Tracks 1 54 Object Tracks 55 118 Objects 1 54 Objects 55 118 HD MADI 1 HD MADI 2 Dolby RMU 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 Table 3 1 Dolby Atmos Specification for Pro Tools Audio Playback Multichannel Channels and Track Layout Elements Voices Mixing Format In Pro Tools Bed 10 9 1 L C R Lss Rss Lsr Rsr and LFE Lts and Rts on separate bus Objects Up to 118 C for mono L and R for stereo Total Up to 128 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 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 au
20. 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 e Click the elevation snap selector and select highlight the sphere elevation icon e Press S4 on the joystick e Use a control surface 2 Adjust elevation by moving the x and y coordinates with any of the following e Joystick e Control surface e Mouse on the pan location cursor or X and Y sliders You can automate sphere elevation on and off in Pro Tools by using the Elevation Snap mode automation playlist Disabling Sphere Elevation To disable sphere elevation mode do one of the following e Click unhighlight the sphere elevation icon e Turn on Elevation mode or another Elevation Snap mode e Press S2 on the joystick e Useacontrol surface Using 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 94 Authoring for Dolby Atmos Cinema Sound Manual Operation Modes To use wedge elevation
21. F D wm 8 2a All Obj All Object 8 2b Dx Obj Dx Object _ Figure 6 3 VCA Master Tracks Assigned to Each Effects and Foley Premix 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 e 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 Authoring for Dolby Atmos Cinema Sound Manual 107 Workflows 8 For ease of comparison to the 7 1 mix consider importing the 7 1 print master into the Pro Tools session 9 Inthe 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 e Lay out up to 118 objects with the following suggested considerations a La
22. In this case verify the IP address or host name check your Ethernet connections and repeat the steps for enabling communication with the RMU 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 lt D gt on the keyboard to toggle between the modes 62 Authoring for Dolby Atmos Cinema Sound Manual Monitor Application Controls and Displays Overview 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 e During monitoring the RMU renders audio and metadata from Pro Tools and any client applications such as the System 5 Panner e During print mastering the RMU renders audio and metadata from Pro Tools e 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
23. Manual Resizing the Panner Plug in Window 5 9 Resizing the Panner Plug in Window You can resize the default plug in window to improve display To resize the Panner plug in window e 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 e If you want to return to the default window size do one of the following e Drag the lower right corner fully upward and to the left until the window no longer changes size e Delete the preferences file com dolby panner aax plist located at Library Preferences Authoring for Dolby Atmos Cinema Sound Manual 103 Chapter 6 Workflows This chapter provides examples of Dolby Atmos workflows e Using a Traditional Dolby 7 1 or 5 1 Mix Audio to Create a Dolby Atmos Mix e Using Traditional Dolby 7 1 or 5 1 Mix Audio Channels and Console Automation to Create a Dolby Atmos Mix 6 1 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 D
24. 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 In the Panner plug in window 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 lt Command gt lt Option gt lt Control gt the automation button at the top of the plug in window to enable all options 2 Forthe object track that will be automated click its Automation Mode selector and set the desired automation mode Start playback and automate panner controls as desired 4 When done writing automation stop playback 102 Authoring for Dolby Atmos Cinema Sound
25. Objects 1 54 Objects 55 118 HD MADI 1 HD MADI 2 Dolby RMU Figure 1 2 Basic Dolby Atmos System Block Diagram 1 3 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 e One or more Pro Tools machines sending metadata to Dolby RMU Pro Tools Machine Metadata with Panner Plug Ins Dolby RMU and Automation Figure 1 3 Basic Setup with Pro Tools Machine Sending Metadata to Dolby RMU 2 Authoring for Dolby Atmos Cinema Sound Manual Dolby Atmos Metadata Flow with Different Setups e Page table control surface such as an Avid D Command or Avid D Control added to a system with one or more Pro Tools machines sending metadata to Dolby RMU Page Table Control Surface Pro Tools Machine Metadata with Panner Plug Ins and Automation Dolby RMU Figure 1 4 Page Table Control Surface Added to Basic Setup e Mixing console such as an Avid System 5 or AMS Neve DFC Gemini with supporting software or other client application sending metadata to the Dolby RMU and onward to Pro Tools which in turn sends all metadata back to the RMU Client Metadata Mixing Console or Other Client such as a System 5 RMU Metadata with System 5 Panner Client Metadata All Metadata Figure 1 5 System 5 and System 5 Panner Applic
26. Plug ins and Automatically Assigning Object Numbers 84 2 0 CONTON Ine Panne ttr TH m 85 oye Yl ae DSi e JOyS UCK Gene nnn tr eee ee ee eee een een 86 0 5 2 Using a Control Surface or Mixing CONSOIE ccccccceeccceeeeceeeeaeeeeeeeeseeeeeeeeeseeeeaes 88 5 5 3 Positioning an Object Using a Mouse sesessseeeseseneeennrmeneenennnnn 91 0 5 4 Positioning an Object Using a Keyboard eeeeseeeseeseeeeeeer 91 S0 6 2 421 1 6 neci TEE I c Tm LEN 91 5 6 1 Bypass Master Bypass MOdeC c ccccceeccceeceseeeeeeeeeeeeseecesaeeeseeesseeeseeeeseeeeseeeeaes 91 9 52 DelraultMOGO o cB uide e Deeaxti t tes ene urinate ea pmurU dM b vat au d c Ded C ter 92 5 6 9 USING El valtioh MOGe coii rr cont Poe pee ota e cer oen e fosa a cea aad 92 5 6 4 Usinig Elevation Snap MOQGGS cin t cos peo a aaa a eret D as edet 93 5 6 5 Recording Metadata from the RMU ssesseesssessseseseeeenee ener 95 5 6 6 Using Speaker Snap Mode cccccsccceececsececeeeceseeceeesaueecaeeesseeeeeeesaueeseeeeeeeesees 99 SN on ZONG Saas DEDERE 99 5 7 Linking Stereo Panner Plug in Controls sees 100 5 7 1 Stereo Panner Linking OPptions ccccccccsecceseeceeeeceeeceeeeseeseueesaueecseeseaeesseeees 101 5 6 AulOMating Father COMMOIS srpnu sates eo tem tapes reo mata s PipGU E EPI evened 102 5 9 Resizing the Panner Plug in WINKOW ccccceccc
27. 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 e Object tracks can be mono or stereo e Mono object tracks use one mono Panner plug in and provide metadata for their respective mono output channel e Stereo object tracks use one stereo Panner plug in and provide metadata for their respective stereo output channels two mono subpaths e 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 plug in 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 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 5 3 Panner Plug in Window Controls and Displays The Panner plug in window includes controls and displays to support automating Dolby Atmos metadata for objects in Pro Tools e Virtual room e Object number box e Operation mode buttons and Zones selector e
28. Ready and Automation groups Ensure that none of the objects based groups are enabled Configure the session audio tracks to monitor mix audio channels and automation e Make sure the Rec Ready group is enabled e Inthe Rec Ready track set the fader to 0 to set all audio tracks to 0 e Inthe Rec Ready track enable Tracklnput to set all bed and object tracks to TrackInput mode so that the mix audio can be monitored Configure the panner track to record Dolby Atmos metadata from System 5 and any other clients e Make sure the Automation group is enabled e 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 18 Authoring for Dolby Atmos Cinema Sound Manual Using Traditional Dolby 7 1 or 5 1 Mix Audio Channels and Console Automation to Create a Dolby Atmos Mix 24 25 26 27 28 29 30 3 92 33 subsequent passes change to Touch because it is not possible to match out from the System 5 controls Start the playback machines 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 For subsequent metadata recording passes change automation to Touch Whe
29. X Y Z sliders and position displays Authoring for Dolby Atmos Cinema Sound Manual 7 Using the Panner Plug in to Position Objects e Object Size slider and level display e Configuration options button e Linking selector stereo plug in only 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 Track Preset Auto Object 1 f lt factory default gt Se Dolby Atmos Panner TS COMPARE sare Native Room Outline Zone Indicators Seven Shown Pan Location Cursor Right Overhead Left Overhead Figure 5 2 Panner Virtual Room Elements The virtual room includes e 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 e 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
30. XY DOLBY Authoring for Dolby Atmos Cinema Sound Manual Issue 3 Software v1 4 Dolby Laboratories Inc Corporate Headquarters Dolby Laboratories Inc 100 Potrero Avenue San Francisco CA 94103 4813 USA Telephone 415 558 0200 Fax 415 863 1373 www dolby com European Headquarters Dolby International AB Apollo Building 3E Herikerbergweg 1 35 1101 CN Amsterdam Zuidoost The Netherlands Telephone 31 20 651 1800 Fax 31 20 651 1801 Dolby Dolby Atmos and the double D symbol are registered trademarks of Dolby Laboratories All other trademarks remain the property of their respective owners Issue 3 2014 Dolby Laboratories All rights reserved S14 27504 28314 ii Authoring for Dolby Atmos Cinema Sound Manual Table of Contents Chapter 1 Introduction to Dolby Atmos Authoring Tools 1 Vel Dolby Almos OVENI EW einan cda edo etate kv hoec Essa A leoi ida cia do A bere add 1 1 2 Dolby Atmos System Overview cseesssssssseeeeee nennen nennen nnne nenne nnne nnne sna na ananas 2 1 3 Dolby Atmos Metadata Flow with Different Setups cc cccceecceeeeceeeeseeeeseeeeseeesaeeens 2 VA Dolby Atmos Monitor Application 25 siipra st eideds ices nte ce stad uo taii wr date o ees er ieee ak 4 1 5 uDolby Almos Pannen PIU coc ee depo pudet cun e Ese aa tate tcu es acus ta em alc ale ce 4 176 Optional AUROnNNG TOOlS usancicc quie aa ee ucay Ut ome
31. a surround format such as 7 1 or 5 1 channels By default Live mode has no Monitor transport controls engaged 40 Authoring for Dolby Atmos Cinema Sound Manual Monitor Application Operation Modes 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 7 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 Print master management is performed via the Dolby RMU web client The project drive specified when creating the project that the print master is added to includes the folder that the print master will be recorded to See the manual for your Dolby Rendering and Mastering Unit for more information about projects and managing print masters including how to stitch or combine multiple source Dolby Atmos print masters into a single print master To record a Dolby Atmos print master 1 Inthe Dolby RMU web client make acti
32. bec ue ean cabs doors Pra a sebes ae fev Ree io donas 5 17 Loo P AEn opt C cnr 6 1 7 1 Dolby Atmos Authoring Manuals ssessseesseesseeeneeennennnnnenene nnns 6 CG TERMI OOO uS 6 1 9 Questions or Feedback for Authoring ccccccccceeeccececeseeceeeecaeeccueeceuceceueesueeseeesaueessaeess 7 Chapter 2 Installing the Dolby Atmos Authoring Tools 9 2 1 Installing the Dolby Atmos Tools on a Pro Tools System seeeeeeeeeseeese 9 2 1 1 Authorizing the Dolby Atmos Plug ins seeeeseeeeeeeereernmnn 10 2 2 Installing the Monitor Application on Additional Devices eseeeseeesssssse 11 2 9 Celtiligtarted OVepVIeW Jssuspiesuioesdus Cavxacevkt oa eut adl pxuteud extet dy vevenasictUa ded ba vedo Bera dS 11 Chapter 3 Setting Up a Pro Tools Session eese eere nnn 13 3 1 Dolby Atmos Format in Pro Tools sssini aiaa iaaa naia 13 3 1 1 Dolby Atmos Format and Multichannel Mixing ccccccccceeceeeeeeeeeeeeeeeseeeeaeeeeaes 14 3 1 2 Considerations When Routing Pro Tools Physical Outputs to RMU MADI Inputs 15 3 2 Pro Tools Session Requilermefhls sebo E see EU ose dis ope enc bu ee S oL Rue acce sky a cechonns 16 3 3 Authoring in a Pro Tools SCSSION sich ciate sera Mba temi eee nas eet deum Mei Deni ue Cen Seen On 17 3 9 1 VVorkinig WIT the Bed aedes
33. dac file For more information about the Dolby RMU web client see the manual for your Dolby Rendering and Mastering Unit 4 5 1 Verifying the Room Configuration File When communication with the RMU is successful and you have successfully loaded the room configuration on 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 eoo Dolby Atmos Monitor RMUS PC local EE Dolby Atmos uc paf gt f o ME mute B om X DOLBY Room Configuration Figure 4 9 Successful Room Configuration in the Monitor Application Main Window To verify the room configuration e Inthe Monitor verify that the Waiting for Room Configuration message has been replaced with the speakers for the room configuration which was loaded with the Dolby RMU web client 36 Authoring for Dolby Atmos Cinema Sound Manual Rendering Troubleshooting a Room Configuration That Does Not Load If the Waiting for Room Configuration message does not go away and you have successfully enabled communication with the RMU do the following e Verify that a valid dac file has been created with Dolby Atmos Designer as directed by your Dolby Content Services representative or as described in the manual for your Dolby Rendering and Mastering Unit e Verify that the file has been correctly loaded with the Dolby RMU web client 4 6 R
34. host name e Check your Ethernet connections e Repeat the steps for enabling communication with the RMU 4 5 Loading a dac Room Configuration File Required Before you can use the Monitor application and Dolby RMU web client for authoring you must load a Dolby Atmos room configuration dac file into the Dolby RMU Use the Dolby Atmos Designer software application to generate the dac file for your mix stage This file includes the room configuration and other data For more information about the dac file and Dolby Atmos Designer see the Dolby Rendering and Mastering Unit for Cinema User Manual To load a dac file 1 Launch a browser that supports the Dolby RMU web client and type in the IP address for the Dolby RMU 34 Authoring for Dolby Atmos Cinema Sound Manual Loading a dac Room Configuration File Required The Dolby RMU web client displays I DOLBY dx JO F7 project info tat mute no active print master mxf media status reboot RMU overview re render license management settings management encoder The RMU licensing procedure consists of 3 steps restore 1 Upload your license file Choose a dac file to restore from browse and upload projects browse No file is selected 7 I Restore all system settings settings 2 Confirm the license features i or only restore settings selected below equalization room configuration room speakers and arrays duran speaker routin
35. in Dolby Atmos decorrelation is automatically applied across loudspeaker feeds This increases the perceived image size and impression of envelopment and ambience Object size spreads the audio for an object as follows e AtO object size is effectively off and audio routes to speakers based on the x y z position or Speaker Snap mode e At 100 audio spreads to all active speakers regardless of the location of the cursor e For values between 0 and 100 spreading is based on the object size the object location and the number of active speakers Note Object size is disabled when Speaker Snap mode is on 76 Authoring for Dolby Atmos Cinema Sound Manual Panner Plug in Window Controls and Displays 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 an Track Preset Auto Object 1 f lt factory default gt A Dolby Atmos Panner COMPARE SAFE Native Figure 5 4 Increasing Object Size from the Room Center Authoring for Dolby Atmos Cinema Sound Manual 77 Using the Panner Plug in to Position Objects Track Preset Auto Object 1 f lt factory default g
36. isolate or dedicate an object to a specific speaker or 72 Authoring for Dolby Atmos Cinema Sound Manual Panner Plug in Window Controls and Displays eroup 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 Elevation Snap mode is on and inactive gray when Elevation mode or an Elevation Snap mode is off e 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 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 e Object size outline The outline around the object displays the cur
37. plug ins 84 installing e 9 joystick e 86 list of ways to control e 85 manually assigning an object number 81 mixing console e 88 operation modes 91 Panner plug in window 71 recording metadata from the RMU e 95 using e 69 122 Authoring for Dolby Atmos Cinema Sound Manual Index Panner plug in window 71 automating Panner controls e 102 configuration options button e 79 configuring a joystick e 87 elevation and z coordinates e 76 inserting in Pro Tools e 80 Linking selector e 80 list of buttons and zones selector e 74 list of controls and displays 71 Object ID section 84 object number box e 73 object size slider and level display e 76 renderer connection status 84 resizing the window 103 stereo plug in e 100 virtual room e 72 x y and z position displays e 75 x y and z sliders 75 pink noise generating to a speaker 66 generating to a speaker array 67 play button in the Monitor 64 playing back a print master e 43 print master playing back a print master e 43 print master e 41 punching in and out of recording e 42 timecode location for playback e 44 Pro Tools 23 98 fps session e 20 24 fps session e 18 configuring I O Setup 21 configuring tracks and signal routing 24 creating a new session 18 multiple Pro Tools systems e 27 reconfiguring an existing session e 19 session requirements e 16 punching in and out of recording e 42 R record arm button in the Monitor
38. session for Dolby Atmos authoring 1 For 24 fps timecode sessions confirm the settings e Session Sample Rate 48 kHz e Timecode Rate 24 fps e Audio Rate Pull Up Down None e Video Rate Pull Up Down None 2 For 23 98 fps sessions see Working with 23 98 fps Redo output and bus paths in I O Setup per the Dolby Atmos specification Authoring for Dolby Atmos Cinema Sound Manual 19 Setting Up a Pro Tools Session 4 Inthe 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 23 98 fps When working with a timecode rate of 23 98 fps you can apply pull up down and sample rate conversion at the following times e When recording the mix session e Before print mastering the session 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 Applying Pull Up Down and Sample Rate Conversion When Recording a 23 98 fps Session To apply pull up down and sample rate conversion when recording a mix session in 23 98 fps Launch the session Choose Setup gt Session In the Format section set Sample Rate to 48 kHz In the Format section set the Timecode Rate to 23 98 fps pua ge I In the Timecode Settings section
39. to 7 1 the audio content below the bass threshold frequency 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 audio content below the bass threshold frequency is applied to Left Surround Ls and Right Authoring for Dolby Atmos Cinema Sound Manual 39 Using the Dolby Atmos Monitor Application Surround Rs speakers For both 7 1 and 5 1 the audio content below the bass threshold frequency plus the bed LFE are summed into LFE Make changes with the radio buttons Changes are applied immediately e bass threshold frequency Hz Sets the frequency at which bass is discarded or routed to LFE depending on the re render surround bass handling setting The range is 0 Hz and above The default is 120 Hz Make changes immediately with the up down arrow keys or type in a value and then press lt Enter gt When bass threshold frequency 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 or discarded 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 and bass manage to LFE is enabled the energy is distributed to all the LFE array speakers 4 7 Monitor Application Operation Modes
40. to the tracks 10 Create a new Pro Tools session for the Dolby Atmos mix 11 Configure session settings a Choose Setup Session b Setthe 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 Inthe 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 Authoring for Dolby Atmos Cinema Sound Manual 115 Workflows 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 Inthe Format section set the Timecode Rate to 29 97 c Inthe 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 gt Hardware and enable sample rate conversion for the sample rate c
41. 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 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 3 4 1 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 working with 23 98 fps see Working with 23 98 fps To create anew Pro Tools session for Dolby Atmos authoring 1 Choose File gt New Session 2 Select the Create Blank Session option 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 18 Authoring for Dolby Atmos Cinema Sound Manual Creating a Pro Tools Session for Dolby Atmos 4 From th
42. Atmos Monitor RMUS PC local um Dolby Atmos uci o o ME mure B ow XY DOLBY DIM Button Figure 4 26 Successful Connection Between Monitor and RMU Host Name 58 Authoring for Dolby Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application To change the volume with the DIM button do one of the following e Click highlight the DIM button to dim the volume e Click unhighlight the DIM button to undim the volume 4 8 7 Changing the Gain of RMU Audio Output The output attenuation ATTEN control provides gain control for RMU output The attenuation range is 0 to Infinity dB When set to Infinity audio is effectively muted The control is hidden by default and requires a keyboard shortcut to display lt Control gt lt Option gt lt Command gt lt A gt To change the output attenuation 1 Press lt Control gt lt Option gt lt Command gt lt A gt to display the control 2 Rotate the control with a mouse 4 8 8 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 or unmute audio with the Monitor application do the following e To mute and unmute individual room speakers click on a speaker icon in the room configuration e To toggle the mute status of multiple speakers select outline a group of speakers using a mouse and release Speakers that were on wil
43. D Control System Surround Panner Option Joystick On D Control systems with the Pro Tools Surround Panner option installed you can use the Surround Panner joystick to pan objects across the x axis and y axis The rotary encoder cannot be used for panning objects You must focus the desired channel first as described in the following steps To map the Panner plug in to the D Control system Surround Panner option joystick 1 Click the Target switch on the Surround Panner option Press the Custom button in the touchscreen Map the Panner plug in to a channel strip a Onachannel strip press the Insert switch b Onthe same channel strip press the Sel select switch for the plug in insert location such as insert A Map the X joystick a Inthe touchscreen press Assign X The Assign X button blinks blue b On the channel strip touch the encoder for Pan X on the channel strip Map the Y joystick a Inthe touchscreen press Assign Y The Assign Y button blinks blue b Onthe channel strip touch the encoder for Pan Y on the channel strip The joystick is ready to use for panning 90 Authoring for Dolby Atmos Cinema Sound Manual Operation Modes 5 5 3 Positioning an Object 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 e Click and drag the pan location cursor which repr
44. 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 not supplied authorizes your system to use the Panner plug in 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 License Manager downloadable from the iLok website www ilok com enables you to manage the licenses for all of your iLok protected applications in one place To register your license 1 Make sure you have a physical iLok USB smart key not supplied and that it is inserted on a USB port on your computer If you do not have an existing account go to www ilok com and follow the directions to sign up for a free account If you do not have iLok License Manager installed on one of your computers go to www ilok com and follow the directions to download it Launch the iLok License Manager In the iLok License Manager window sign in to your account Click highlight your account name in the navigation bar Authoring for Dolby Atmos Cinema Sound Manual Installing the Monitor Application on Additional Devices 7 View the available licenses for your account and drag the licenses to your iLok Note If you have been given license codes for your Dolby applications use the iLok License Manager to load the licenses to your ne
45. For information on creating and loading a dac file refer to the manual for your Dolby Rendering and Mastering Unit Authoring for Dolby Atmos Cinema Sound Manual 57 Using the Dolby Atmos Monitor Application Room Configuration Display The room configuration provides the following feedback e 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 e Olive fill The speaker does not have audio signal e Red ring around the speaker dot Output to the speaker is clipping e Mute icon over a speaker dot Output to the speaker is muted e 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 Yellow Fill Audio Signal Red Ring Output to Speaker Clipping Olive Fill No Audio Signal Mute Icon Output to Speaker Muted Figure 4 25 Room Configuration Indicators The room configuration also provides controls for e Muting one or more speakers See Muting RMU Audio Output 4 8 6 Dimming RMU Audio Output Use the DIM button to lower the volume of signal at the Dolby RMU output The DIM button provides 20 dB of attenuation eoo Dolby
46. O AUTO AUTO AUTO AUTO AUTO AUTO AUTO AUTO AUTO Figure 6 5 Pro Tools Mix Window Showing VCA Master Tracks Only e Assign each object track to its corresponding dialogue music and effects reverb sends Additionally assign effects objects to the LFE send e Feed sends to auxiliary input tracks that are set up with processing plug ins such as reverbs 13 Create object material from bed material by doing the following e 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 e You can insert Panner plug ins to the same insert position on all tracks or all selected tracks using standard Pro Tools all Option or all selected lt Option gt lt Shift gt 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 e 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 e You can use a joystick such as the JL Coop
47. 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 See Muting RMU Audio Output 64 Authoring for Dolby Atmos Cinema Sound Manual Monitor Application Controls and Displays Overvie Dim Button Use the DIM button to lower the volume of signal at the Dolby RMU output The DIM button provides 20 dB of attenuation See Dimming RMU Audio Output 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 See Changing the Gain of RMU Audio Output View The View section in the Monitor application window provides a drop down menu to set the current Monitor display e All Displays all meters displays and controls e Meters Displays object stream RMU audio output and room configuration only In this view the object view is effectively hidden e Objects Displays object view only Authoring for Dolby Atmos Cinema Sound Manual 65 Using the Dolby Atmos Monitor Application 4 10 2 Signal Generator Use the pink noise generator in the Monitor application to validate the C weighted SPL of each speaker f
48. Tools refer to Pro Tools documentation 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 Authoring for Dolby Atmos Cinema Sound Manual Configuring Tracks and Signal Routing Use the following layout for a Dolby Atmos session e One or more audio tracks for output bed stems in 7 1 track format with 7 1 channel output path e One or more audio tracks for the overheads that are part of the beds in stereo track format with stereo output path e 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 eoo Mix Dolby Atmos Mix EE a INSERTS A E INSERTS A E INSERTS A E INSERTS A E INSERTS A E INSERTSA E INSERTSA E INSERTSA E INSERTS A E INSERTS A E INSERTSA E INSERTSA E INSERTSA E INSERTS A E INSERTSA E INSERTS A E INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J INSERTS F J Paner i P e P le p Panner Par ner Panner ff Panner fi Pann
49. 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 3 3 1 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
50. a Set Audio Rate Pull Up Down to 0 1 Down b Set Video Rate Pull Up Down to None 6 Choose Setup Hardware and enable sample rate conversion for both HD MADI interfaces Applying Pull Up Down and Sample Rate Conversion Before Print Mastering a 23 98 fps Session To apply pull up down and sample rate conversion before print mastering a 23 98 fps session to the RMU 1 Launch the session 2 Choose Setup Session 3 Inthe Format section set Sample Rate to 48 kHz 4 Inthe Format section set the Timecode Rate to 24 fps 5 Inthe Timecode Settings section a Set Audio Rate Pull Up Down to 0 1 Up b Set Video Rate Pull Up Down to 0 1 Up 6 Choose Setup gt Hardware and enable sample rate conversion for the output of both HD MADI interfaces 20 Authoring for Dolby Atmos Cinema Sound Manual 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 Table 3 3 l O Setup Specification for Dolby Atmos Audio Number of Multichannel Buses Mapped to Buses Mapped to Output Elements Buses Format Output Na
51. also access the Enter Hostname dialog in the Renderer section of the Monitor application window by clicking in the Renderer section 7 Verify communication with the RMU and then verify the room configuration 8 Close the Monitor application if desired for example if intending to do subsequent monitoring at a different time or from a different device 9 Repeat steps 5 9 for Monitor applications on other Pro Tools machines 4 4 2 Enabling Communication 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 py dot gie dq If communication between Panner plug ins in Pro Tools and the RMU has not been enabled do so at this time See Enabling Communication from the Pro Tools Computer On a device dedicated as a secondary Monitor application install a copy of the Monitor application On the same device launch the Monitor application located in Applications D
52. also provides controls for e Dimming audio with 20 dB of attenuation See Dimming RMU Audio Output e Manually adjusting the volume See Changing the Gain of RMU Audio Output e Muting one or more speakers See Muting RMU Output e Muting bed output using Objects Only mode See Monitoring Object Audio Only e Clearing clips 56 Authoring for Dolby Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application 4 8 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 eoo Dolby Atmos Monitor aera ne FF Doby Atmos ee X DOLBY Lom Room Configuration Figure 4 24 Room Configuration in the Monitor Application Main Window To view the room configuration e Select View gt All or View gt Meters 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
53. 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 Power up the computer running Pro Tools On the computer that runs Pro Tools sessions used for Dolby Atmos launch the Monitor application located in Applications Dolby Dolby Atmos Monitor Dolby Atmos arch x gt f o S mute B om X DOLBY Waiting for Room Configuration Figure 4 4 Default Monitor Application Window When Not Communicating from Pro Tools 32 Authoring for Dolby Atmos Cinema Sound Manual Enabling Communication with the RMU 4 Click Dolby Atmos Monitor gt Preferences Mac or Tools gt Preferences Windows eop Dolby Atmos Preferences Renderer Server IP or Hostname Edit Mode Edit Figure 4 5 Dolby Atmos Preferences 5 In the Server IP or Hostname section click Edit 6 Enter the Renderer software IP address or host name or select an item for the drop down menu if any and then click Select Note You can
54. ant to enable recording for all Panner plug ins If you want to enable recording on individual Panner plug ins lt Shift gt click the Recorder mode button in the plug in and repeat the enable Recorder mode steps for additional plug ins Authoring for Dolby Atmos Cinema Sound Manual 97 Using the Panner Plug in to Position Objects In Recorder mode the pan location cursor is red Red Cursor in Recorder Mode Figure 5 13 Recorder Mode Button in a Panner Plug in Note To enable Recorder mode on individual Panner plug ins lt Shift gt 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 stop playback Recording Audio and Metadata at the Same Time with Pro Tools 10 On Dolby Atmos systems using Pro Tools 10 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 10 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 exist
55. ata 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 e 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 e 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
56. ation or Other Client Application Added to Basic Setup Pro Tools Machine with Panner Plug Ins and Automation e 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 Metadat Mixing Console with Automation Engine Dolby RMU in Master Mode Pro Tools Machine Metadata with Panner Plug Ins in Recorder Mode Figure 1 6 Mixing Console with Automation Engine Added to Basic Setup Authoring for Dolby Atmos Cinema Sound Manual 3 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 e Change the rendering mode of the RMU between Dolby Atmos and traditional 7 1 or 5 1 channel based mixes e Record a print master e Play back a print master e 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 eoo Dolby Atmos Monitor RMUS PC local e
57. 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 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
58. ceeceeeeeeeeeeceeeeseeeeseeesaeeeseueeseeeaeeesaeeess 103 Chapter o VVOFKTIOWS use scc alise mirar aie gD neu aesti id nai at esti bua reta 105 6 1 Using Traditional Dolby 7 1 or 5 1 Mix Audio Files to Create a Dolby Atmos Mix 105 6 2 Using Traditional Dolby 7 1 or 5 1 Mix Audio Channels and Console Automation to Create a Dolby AMOS MIX ie iie nit dus den does qud d praise osa a ilo Cu dea one Ue ue 112 MUNGO ue 121 Authoring for Dolby Atmos Cinema Sound Manual v Figure 1 1 Figure 1 2 Figure 1 3 Figure 1 4 Figure 1 5 Figure 1 6 Figure 1 7 Figure 1 8 Figure 3 1 Figure 3 2 Figure 3 3 Figure 3 4 Figure 3 5 Figure 3 6 Figure 4 1 Figure 4 2 Figure 4 3 Figure 4 6 Figure 4 7 Figure 4 8 Figure 4 9 Figure 4 10 Figure 4 11 Figure 4 12 Figure 4 13 Figure 4 14 Figure 4 15 Figure 4 16 Figure 4 17 Figure 4 18 Figure 4 19 Figure 4 20 Figure 4 21 Figure 4 22 Figure 4 23 Figure 4 24 Figure 4 25 Figure 4 26 Figure 4 27 Figure 4 28 Figure 4 29 Figure 4 30 Figure 4 31 Figure 4 32 Figure 4 33 Figure 4 34 Figure 5 1 Figure 5 2 Figure 5 3 List of Figures Simplified Dolby Atmos Block Diagram eeeseeessessseeseeeeneen nnne nnne nnns 1 Basic Dolby Atmos System Block Diagram eeseeseeeesseessseeeeeeeneee enn 2 Basic Setup with Pro Tools Machine Sending Metadata to Dolby RMU 2 Page Table Con
59. ch 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 Table 5 1 JL Cooper MCS Panner Joystick Switch and Knob Reference for Dolby Atmos Panner JLCooper Function MCS Panner Switch or Knob El 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 S1 Turn off Elevation mode 92 Turn off Sphere Elevation mode S3 Toggle Wedge Elevation on off S4 Turn on Sphere Elevation mode S5 Turn off Speaker Snap mode S6 Turn on Speaker Snap mode Preparing to Use a Joystick To prepare a joystick to control a Panner plug in complete the following 1 Installing the joystick 2 Configuring the joystick in a Panner plug in Installing a Joystick Before you can use a joystick to control the Panner you must install the joystick to a MIDI interface on the computer running Pro Tools for Dolby Atmos 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 req
60. ck a print master See the manual for your Dolby Rendering and Mastering Unit for detailed information For information on additional authoring tools see Optional Authoring Tools 1 1 Dolby Atmos Overview A Dolby Atmos mix consists of three primary elements e Bed audio or bed material Channel based premixes or stems including their multichannel panning e Object audio or objects Mono or stereo soundtrack content that have dedicated panning via Dolby Atmos metadata e Dolby Atmos metadata Panner automation for objects plus additional metadata Dolby Atmos Bed Audio Object Audio Dolby Atmos Metadata Figure 1 1 Simplified Dolby Atmos Block Diagram Authoring for Dolby Atmos Cinema Sound Manual Introduction to Dolby Atmos Authoring Tools 1 2 Dolby Atmos System Overview In a basic Dolby Atmos system one or more Avid Pro Tools machines define the audio and metadata e 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 e Danner 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 Pro Tools 7 1 Tracks Overhead Track Object Tracks 1 54 Object Tracks 55 118
61. 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 e When using two consoles as shown in this workflow the application must be installed on two separate machines e 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 e Install EUCON software on the two playback machines On each System 5 console reconfigure buses to route bed material to the Pro Tools record machine e 7 1 bed e Stereo overhead surround This stereo aux send should be configured to send material to the overhead surround arrays e 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 scree
62. ctions new features and improvements and known issues for Dolby Atmos mixing tools Dolby Rendering and Mastering Unit Manual for Cinema User Manual Refer to this manual to install and connect your Dolby RMU hardware interface in a Dolby Atmos authoring system for cinema and then 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 1 8 Terminology The following table lists abbreviations used throughout this document Table 1 1 Abbreviations Abbreviation Definition LIC Linear timecode MADI Multichannel Audio Digital Interface M amp E Music and Effects RMU Dolby Rendering and Mastering Unit SDDS Sony Dynamic Digital Sound UI User interface Authoring for Dolby Atmos Cinema Sound Manual Questions or Feedback for Authoring The following table lists channel notations used in this document Table 1 2 Dolby Atmos Channel Abbreviations Abbreviation Channel L Left R Right C Center S Surround Ls Left Surround Rs Right Surround Lsr Left Surround Rear Rsr Right Surround Rear Lss Left Side Surround Rss Rear Side Surround Lts Left Top Surround Rts Right Top Surround LFE Low Frequency Effects 1 9 Questions or Feedback for Authoring If you have questions or comments about this document please contact technical publicati
63. dio interfaces are two Avid HD MADI interfaces This is the recommended configuration when working in Pro Tools directly 14 Authoring for Dolby Atmos Cinema Sound Manual Dolby Atmos Format in Pro Tools 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 3 1 2 Considerations When Routing Pro Tools Physical Outputs to RMU MADI Inputs The Dolby RMU MADI inputs use SMPTE ITU channel ordering When configuring Pro Tools p
64. e 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 gt Session 7 Inthe Format section set Timecode Rate to 24 fps Session Setup Format Sample Rate 48 kHz Audio Format BWF WAV Bit Depth 24Bit 7 Interleaved Incaming Time 17 55 15 22 Clock Source SYNG 7 Timecode Rate 324 7 System Delay 16 samples Feet Frames Rate 24 9 7 Pan Depth X 30dB 7 Timecode 2 Rate 24 7 SYNC Setup amp Timecode Offsets SYNC Setup External Timecode Offsets Clock Reference Video Reference HD MMC Ree Positional Reference g Pin 00 00 00 00 Video Ref Format 1080p 24 Link Video In Format i i VSO 0 00 semitones cents Satellite GET Ref Present g Locked Speed Cal GO Sample Offset ST Timecode Settings Freewheel Pull Up Down None Audio Rate Pull Up Down None 7 o HE Frames Video Rate Pull Up Down None Jam Sync Figure 3 3 Session Setup Window Configured for Dolby Atmos 8 In the Timecode Settings section a Set Audio Rate Pull Up Down to None b 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 3 4 2 Reconfiguring an Existing Session To reconfigure an existing Pro Tools
65. e 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 e 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 e Inthe 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 DIM button in the transport When enabled this button lowers the volume of signal at the Dolby RMU output by 20 dB Low level content may be inaudible The output attenuation ATTEN control in the transport When this control is set to Inf negative infinity audio is effectively muted The attenuator is not displayed by default If it is not displayed press lt Control gt lt Option gt lt Command gt lt A gt to display the control and verify it is not set to Inf e Inthe Dolby RMU web client the following controls affect audio pre
66. e first available physical output HD MADI channel 11 for a mono track or HD MADI channel 11 and 12 for a stereo track 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 Opena Panner plug in window Authoring for Dolby Atmos Cinema Sound Manual 8l Using the Panner Plug in to Position Objects 2 If configuration options are not displayed above the virtual room in the plug in window click the configuration options button ye Track Preset Auto Object 1 f factory default e Dolby Atmos Panner SENE COMPARE SAFE Native Configuration Options Button Figure 5 8 Configuration Options Button in a Panner Plug in 82 Authoring for Dolby Atmos Cinema Sound Manual Inserting a Panner Plug in in Pro Tools 3 Inthe Configuration Options section click the Object ID selector and select or type an object number Object numbers 1 118 are provided in the Object ID selector by default for selection Currently used numbers appear in gray and are not available Track Preset Auto Object 1 E factory default m
67. eaeees 14 Table 3 2 Rendering and Mastering Unit MADI Inputs in a Dolby Atmos System 15 Table 3 3 VO Setup Specification for Dolby AMOS snina a ee e 21 Table 4 1 Monitor Application Shortcuts Reference ccccccceccseccceecceeece cece ceceeeseeeseeeseeteeeseeeeeeeeaeees 61 Table 5 1 JLCooper MCS Panner Joystick Switch and Knob Reference for Dolby Atmos Panner 86 Table 5 2 Panner Support by Control Surfaces and Mixing Consoles cccceceeceseeeeaeeeeeeeeseeeeseees 89 viii Authoring for Dolby Atmos Cinema Sound Manual Chapter Introduction to Dolby Atmos Authoring Tools All Dolby Atmos systems include the following primary authoring tools e Dolby Atmos Monitor application e 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 You use the Dolby Atmos Designer application to calibrate the mix stage and create a room configuration and you use the Dolby RMU web client in tandem with the Monitor application to modify Renderer software operations for example to load a room configuration listen to a Dolby Atmos mix record a print master or play ba
68. ececeeeeeeeeceeeeeeeeeseueeseeesseeeeaeeess 68 Dolby Atmos Panner Plug in Mono Version sessseesseeeseeneenneenn nnn 70 Fanner virtual lRRoom EIemelbls on dottor Eo apte Ede a a a 72 Default Dolby Atmos Panner Plug in with No Number Assignment 14 vi Authoring for Dolby Atmos Cinema Sound Manual Figure 5 4 Figure 5 5 Figure 5 6 Figure 5 7 Figure 5 8 Figure 5 9 Figure 5 10 Figure 5 11 Figure 5 12 Figure 5 13 Figure 5 14 Figure 6 1 Figure 6 2 Figure 6 3 Figure 6 4 Figure 6 5 Figure 6 6 Figure 6 7 Figure 6 8 Increasing Object Size from the Room Center ccccecccsecccececeeeseeeeaeeeseeeeseeeeseeeeaeeeaes T7 Increasing Object Size from a Side Wall ccccccccceecccseecesceceuceceueeceesceeceusecaueeseeeeseeesaas 78 Configuration Options BULLORD souci roris oet eon osos Jasaby suse staat ea rro RR ERN o eg EE us Jose 19 Dolby Atmos Panner Plug in for a Stereo Track cccccccceeccseeecseeeeeeeeseeeeseeeeaeeeseeeeseneesaees 80 Configuration Options Button in a Panner PIUQ IN cece cceccceececeeeeeeeeseeeeseeeeseeeeaeesaeeess 82 Object ID Selector in a Panner Plug in saninin a a ER 83 Renderer Connection Status in the Object ID Section 2 0 0 ccc cecceceeeeseeeeaeeeeaeeeeeeeesaees 84 Selecting ihe JOVSUCK DEVICE 1 m ete a d ipee iab ine ua s Eae nce Sema T Coe ae edet UE Ie 88 Configuration Options Button in a Panner PIUQ IN
69. ee cre ober 33 34 fa Sene qu LII see LED L9 TL LLILITLL EELLEL PEU UR i EU Seco sero wa owersar ja stereo BEGG sere BERNIR LIU sere Tene mae Li LL New Path Compensate for output delays after record pass Controller Meter Path Atmos 7 1 Bed Audition Paths Atmos 7 1 Bed erai Default Output Bus 7 1 Output Default AFL PFL Path none Default Monitor Format Stereo LR AFL PFL Mutes 5 1 Path Order LR C LFE Ls Rs M Sessions overwrite dire lO fep m peii 7 Import Settings Export Settings Figure 3 4 O Setup Output Configured for Dolby Atmos To configure the I O Setup output for Dolby Atmos 1 Inthe 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 a Create a new 7 1 path b Name it Atmos 7 1 Bed c Mapitto HD MADI channels 1 8 4 Forthe overheads a Addastereo path or use an existing stereo path b Name it Atmos OH Bed c Mapitto HD MADI channels 9 10 22 Authoring for Dolby Atmos Cinema Sound Manual Configuring I O Setup 5 For objects a Add or use existing mono and stereo paths for objects Note For more flexibility use stereo object outputs with m
70. ee 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 manual for your Dolby Rendering and Mastering Unit Setup verification includes the following e At the RMU e The RMU must have a valid IP address e lt 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 e At the Pro Tools system e The Pro Tools system must be connected to the RMU via two Avid HD MADI interfaces e One or more Pro Tools sessions must be configured for Dolby Atmos use e Acopy 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 e Double click the Dolby Atmos Monitor application file located in Applications Dolby Figure 4 2 Dolby Atmos Monitor Application Icon 30 Authoring for Dolby Atmos Cinema Sound Manual Waiting for Room Configuration Message 4 3 Waiting for Room Configuration Message When you first launch the Monitor the Waiting for Room Configuration message di
71. ee hein D Ped tou Uo ncs Peg TIR RE ID Eu Pau 43 4 8 Monitoring with the Dolby Atmos Monitor Application eeeeeeeeeeeeeeeeese 44 4 8 1 Considerations for Hearing Dolby Atmos Audio eeeeeeeeeeeeeeeeeeee 45 4 8 2 Selecting a Monitor Application VieW ccccccccceeeceeeeeeeeeeeeeeseeeeseeeeseeseeeeseueeseees 46 2 0 9 MORROnng ODJECIS ierse ioa diuas d ratos saa uos maa nho tee edet cuc Sa Dee stas tus erae e ve tabe E Us 48 4 8 4 Monitoring RMU Outputs decente bets Ends e et cute Deu re tesa et ied ER uc o3 4 8 5 Monitoring the Room Configuration and SPeEa ke Ps ccceeceseeceseeeeaeeeseeeeseeeeseees of 4 8 6 Dimming RMU Audio Output seesseesssssssesssseseeeennene nennen nnns 58 4 8 7 Changing the Gain of RMU Audio Output ccc ceccceeeeeeeeeseeeeaeeeseeeeseneesaees 59 4 8 8 Muting RMU Audio OQUIDUL ccc outs eiediclee oe n ban e d seem Ee quei d UNDER 59 4 8 9 Monitoring Object Audio Only Objects Only Mode ccccecceseeeeeeeeeeeeeseeeeseees o9 4 8 10 Clearing Clips in the RMU Output Meters eeeeeeeeenn 60 4 9 Monitor Application Keyboard Shortcuts Reference ccccccccecceeceseeeseeeeeeseeeeeeeseeeees 61 4 10 Monitor Application Controls and Displays Overview eeeseeeneenen 61 4 10 1 Monitor Application Window Headel cccccecccsecceeeceeeeeeceeeeseeesseeeseeeeseneesaees
72. eed and array eoo Dolby Atmos Monitor BF Doky Amos E X DOLBY Figure 4 30 Generating Pink Noise to a Speaker Speaker Icon with a Box Refer to the manual for your Dolby Rendering and Mastering Unit 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 Generating Pink Noise to a Speaker To generate pink noise to a speaker 1 Click on the signal generator button 66 Authoring for Dolby Atmos Cinema Sound Manual Monitor Application Controls and Displays Overview 2 lt Option gt click highlight the speaker icon in the room configuration eoo Dolby Atmos Monitor RMUS PC local Dolby Atmos irc oo d o MuTE B DiM DE DOLBY Figure 4 31 Generating Pink Noise to a Speaker Speaker Icon with a Box Generating Pink Noise to a Speaker Array To generate pink noise to a speaker array 1 Click on the signal generator button Authoring for Dolby Atmos Cinema Sound Manual 67 Using the Dolby Atmos Monitor Application RMUS PC local 2 Select the array from the speaker array drop down menu in the signal generator screen Dolby Atmos Monitor Dolby Atmos uci pa gt f o ME mute f om TI DOLBY Figure 4 32 Generating Pink Noise to the Rss Speaker Array 68 Authoring for Dolby Atmos Cinema Sound Manual Chapter 5 Using the Panner Plug in to Posi
73. ement on a control surface consider assigning each imported premix a VCA master Edit Dolby 7 1 Mix to Dolby Atmos Format awe ON S n S ai E a lomo Sr ewe ae 3d E de Feet Frames M 1 mee Ee MMMM iMi i iiM iii iii iii Hilly COMMENTS INSERTS A E SENDS A E The Tes znn M TUBE sad Ele asl PPIP Mooinput rs71 CEOE Maier eis mio F iF iF iF iF 3r FxB R Si senta PPP PIP Bnoinput Fs71 5 XIX gt Fx B Rss FiF fr fir fF 3cr MEE Ped Te Le Mnoinput Fs71 EIXE Fx B LFE anaga yo dB Fx C L I l P gt P Bnoinput F574 Fx A_03 Lss ir fr fr fr fr Cus PP Te Le Hroni rsa tet MEETS F jr fr r DE acr naagnog noinput FS71 Fx A_03 Lsr ir fr fr fr fr Pp p P Hnoinput F871 ogcogogog gt P P P p Hnoinput Fs71 F iF iF iF iF 30r Fx A_03 Rsr Fx D L acr Fx A 03 LFE OT Mol Mol Mol O0 O0 O0 00 arr rxat mun ERE EN HPPP fnin rszi AAS FiF fr fr iF gaaga o Fir or fr fF E PPP Pe Ss Fx B_O3 R Fir rfr iF h HPPP IP Hroinputi Fs71 CIEE Fir fr fr fF h gt P P P DP Hnoinput FS71 f Fx B_03 Rss F fr fr fr fr HPPP I gnin rsn i Fx B 03 Lsr F fr fr fr fr 5 I l5 d P gt H noinput IFST4 3 Fx B_03 Rsr ggG6G o aB HPPP noinput F571 Fx B_03 LFE Fir fr fr iF OT Mol Mol Mol Mol Mol Mol Mol 0 dB Fxe EET ER a E EE E GE E E E EE E DR E E ELE E ER BE S E RR ETC EE DEDERE noinput Fs71 CAN
74. endering 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 e During monitoring the RMU renders audio and metadata from Pro Tools and any client applications such as the System 5 Panner e During print mastering the RMU renders audio and metadata from Pro Tools and any client applications such as the System 5 Panner e During playback the RMU renders material from the print master located on the RMU 4 6 1 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 Launch the Select Rendering Mode dialog to reveal rendering selections by doing one of the following e Click in the Mode section of t
75. ene a peer ictu s ios duse put uou e leu tesa e 17 3 9 2 WOKIN O ita COD OCS eR 18 3 4 Creating a Pro Tools Session for Dolby Atmos eeseeesseeeseeenneennner 18 3 4 1 Creating a New Pro Tools Session eseessseessseseeee nennen nennen nnne nnns 18 3 4 2 Reconfiguring an Existing Session ccccccecceseeeceeeeeeeeeceeeeseeeeaeeeseeeeseeeesaueeseesaes 19 9 2 39 Working WItEr 25 99 TOS as acad e p eo feine e d beue de eeu Ie fe tase atic 20 320 COMMOUNING OSS OUI a cds cT 21 2 5 I CONMGUPING UlDUN ate 2a cece sane Sae abt tut Stones Een E Stet taa o hee M doce E a 22 30 2 CONTGUPING inei T sa setere a a R 23 2020 BUS WIADDING RERO D TUM 24 Authoring for Dolby Atmos Cinema Sound Manual iii 3 6 Configuring Tracks and Signal ROUtING cccccecccceeceeeeeceeeeseeeeseeeeaeeeeseeeseeeeseueeseeetaes 24 3 7 Considerations for Hearing Dolby Atmos Audio eeeseeeesseeeneeeneenne 26 3 8 Working with Multiple Pro Tools Systems eesseessseseseeneeennnennne ener 2f Chapter 4 Using the Dolby Atmos Monitor Application 29 4 1 Before Using the Monitor Application ccccccsscccsseccseecceeeceuceceuceceueesseeseueecsueesseeesaass 30 4 2 Launching the Monitor Application cccccccccecccsececeeeeceeeeeeeeseeeeseceseueeseeeeeeeesaeeesueeseees 30
76. ent options are provided e 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 e 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 e 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 5 5 Controlling the Panner You can control the Panner with any of the following e Joystick e Control surface e Mouse e Keyboard Authoring for Dolby Atmos Cinema Sound Manual 85 Using the Panner Plug in to Position Objects 5 5 1 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 tou
77. er i Panne Mi Panne SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E SENDS A E Figure 3 6 Dolby Atmos Tracks and Track Main Outputs Set to Dolby Atmos Paths 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 Authoring for Dolby Atmos Cinema Sound Manual 25 Setting Up a Pro Tools Session 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 Considerations for 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 e Bed tracks route to channel outputs that are mapped to the MADI I O as configu
78. er MCS Panner to control a Panner plug in When the joystick has been prepared you can use it to grab the object Authoring for Dolby Atmos Cinema Sound Manual 109 Workflows pan location cursor and position it anywhere in the Panner virtual room See Preparing to Use the Joystick e 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 Eachreverb group should consist of four stereo tracks each with a plug in such as ReVibe inserted on it b Eachofthe four tracks in the reverb group is fed from the same stereo send c Panthe four plug in groups in the following manner a Reverb track 1 L R b Reverb track 2 Lss Rss Reverb track 3 Lsr Rsr Reverb track 4 Overhead surround L R 23 110 Authoring for Dolby Atmos Ci
79. esents the object e Click and hold on another location in the room to move the object to that location e Inastlider click the slider button and drag to the desired coordinate e Ina slider click in the slider range to jump to a new coordinate 5 5 4 Positioning an Object Using a Keyboard To position an object pan location cursor precisely in the virtual room with a keyboard e Type a valid value in a slider position display and press lt Enter gt 5 6 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 e Bypass Master Bypass mode e Default mode X Y Z and Size e Elevation mode e Elevation Snap modes e Ceiling Elevation e Sphere Elevation e Wedge Elevation e Speaker Snap mode e Zones Note All modes except for the Elevation Snap modes are automated in separate automation playlists 5 6 1 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 Authoring for Dolby Atmos Cinema Sound Manual 9 Using the Panner Plug in to Position Objects You can automate b
80. eyboard 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 Re render Options Before re rendering to a surround format you can set re render options in the Dolby RMU web client The renderer provides the following options for re rendering to 7 1 or 5 1 e Surround Gain Re render Option e bass Management Routing Re render Options 38 Authoring for Dolby Atmos Cinema Sound Manual Rendering Setting Web Client Re render Options To set web client re render options 1 Inthe Dolby RMU web client click the re render menu in the project section of the navigation bar The project re render screen displays 2 Set re render options as desired Depending on the option changes are set immediately when selected or after you type and press lt Enter gt 3 O
81. g autoEQ room description maintenance 3 System will apply license immediately eq and level presets array delays log new print master timecode defaults transport Figure 4 7 Dolby RMU Web Client Default Window 2 Inthe Dolby Atmos web client load the room configuration dac file a Inthe RMU section of the navigation bar click the maintenance menu b At the top of the settings management section click the restore button settings management restore Choose a dac file to restore from browse No file is selected Restore all system settings or only restore settings selected below room configuration room speakers and arrays speaker routing autoEQ room description eq and level presets array delays new print master timecode defaults Figure 4 8 Setting Management Section of the Maintenance Screen c Click the browse button d Navigate to the location of the dac file that you want to load select it and click Choose Authoring for Dolby Atmos Cinema Sound Manual 35 Using the Dolby Atmos Monitor Application e Click the option box to Restore all system settings which includes room configuration equalization and level presets array delays and new print master timecode defaults or click individual option boxes to select individual settings f Click the restore button at the bottom of the settings management section to load all system settings or selected settings from the
82. he Monitor application window e Click Dolby Atmos Monitor gt Preferences Mac or Tools gt Preferences Windows and then click Edit in the Mode section In the Select Rendering Mode dialog click Dolby Atmos Leave Objects Only Mode unchecked unless specifically choosing to render object audio only In Objects Only mode bed material is effectively muted Authoring for Dolby Atmos Cinema Sound Manual 37 Using the Dolby Atmos Monitor Application 4 Click Select Note With the Monitor application in focus pressing lt D gt on the keyboard toggles between Dolby Atmos 7 1 and 5 1 rendering modes 4 6 2 Re rendering to a Surround Format To re render to a surround format change the rendering mode to the desired surround format 1 Optional Set the re render options in the Dolby RMU web client if needed 2 Launch the Select Rendering Mode dialog to reveal rendering selections by doing one of the following e Click in the Mode section of the Monitor application window e Click Dolby Atmos Monitor gt Preferences Mac or Tools gt Preferences Windows and then click Edit in the Mode section In the Select Rendering Mode dialog click the desired rendering mode Leave Objects Only Mode unchecked unless specifically choosing to re render object audio only In Objects Only mode all beds are effectively muted 5 Click Select Note With the Monitor application in focus pressing lt D gt on the k
83. horing for Dolby Atmos Cinema Sound Manual 27 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 re render to either 7 1 or 5 1 surround formats Object Stream Monitor Window Header RMU Output Meters eoo Dolby Atmos Monitor RMUS PC local Dolby Atmos arci oof f o MI mute B om I DOLBY Room Configuration Object View 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 Authoring for Dolby Atmos Cinema Sound Manual 29 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 s
84. ht the time scale values you want to change 3 Modify the values by doing one of the following e Type in new values and then press Enter e Use the right click commands to modify the values For example to paste in a new value right click on the time and choose Paste For more information see Timecode Right Click Commands 4 8 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 e Communication status e Objects e RMU output meters e Room configuration and speakers 44 Authoring for Dolby Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application 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 4 8 1 Considerations for 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 e 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
85. hysical 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 T 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 Authoring for Dolby Atmos Cinema Sound Manual 15 Setting Up a Pro Tools Session These assignments are defined in the I O Setup Output page Pro Tools HD MADI Dolby RMU Track Output Paths Outputs MADI Inputs I O Setup Bus Channels I O Setup Output Channels L L L R C C Lss LFE _ gt LFE Rss Lss Lss Lsr Rss Rss Rsr Lsr _ Lsr LFE Rs Rsr C O Lts Left OH Left OH Left OH R R Rts R OH R OH Right OH C or L R 7 C or L R gt C orL R Objects 1 118 Objects 1 118 Objects 1 118 Figure 3 2 Audio Routing Diagram 3 2 Pro Tools Session Requirements A Pro Tools session for Dolby Atmos has the following requirements e 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 a Powe
86. in the Object Stream Objects in the object stream are represented by circles and stream information is based on color as follows e Yellow fill The object has audio signal This status indicates signal presence only It does not indicate the amount of signal level e Olive fill The object does not have audio signal e Green ring around the object circle The object is active and will be rendered e Black ring around the object circle The object is inactive and not used Yellow Fill Audio Signal Olive Fill No Audio Signal Green Ring Active Object Black Ring Inactive Object Figure 4 14 Object Stream Circles and Stream Information Authoring for Dolby Atmos Cinema Sound Manual 49 Using the Dolby Atmos Monitor Application Up to 118 objects can be active in use as defined as active objects in your panning client such as Pro Tools 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 Displaying 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 The red outline of the auditorium includes a white rectangle to indicate the front screen plus transparent left side right side and back walls Front Screen Left Wall Right Wall Back Wall Fig
87. 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 Inthe Dolby RMU web client make active a print master that has media a Open a project See the manual for your Dolby Rendering and Mastering Unit for information on projects b Click the media button 42 Authoring for Dolby Atmos Cinema Sound Manual Monitor Application Operation Modes c Click the print masters tab to display the list of project print masters d In the project print masters and mxfs dialog select highlight a print master that has media A print master that has media displays a media icon in the second column e Click the set print master mxf button The dialog automatically closes 2 Inthe Monitor application transport or Dolby RMU web client 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 In Pro Tools 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 5 Inthe Monitor application punch in and
88. ing 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 e Use the Panner plug in Recorder mode to record metadata from multiple Pro Tools playback machines into a single Pro Tools record machine Note Panner plug ins in Recorder mode on the Pro Tools recorder machine do not set their object ID to active in the RMU Only Panner plug ins that are not set to be in Recorder mode such as those in Pro Tools playback machines declare their object as active in the RMU If an object ID in the playback machine is not declared as active the Recorder mode plug in with the same object ID will no longer record metadata for that object ID e 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 e 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 Aut
89. ing object audio tracks by reimporting the object audio tracks as new tracks using the Pro 98 Authoring for Dolby Atmos Cinema Sound Manual Operation Modes Tools import session data command This automatically names the panner tracks with a 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 Using 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 configu
90. ing for Dolby Atmos Cinema Sound Manual 6 Using the Dolby Atmos Monitor Application 4 10 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 eoo Dolby Atmos Monitor RMUS PC local uA Dolby Atmos clo o BE mure B om DE DOLBY Renderer Mode Time Outputs View MUTE DIM Transport LTC Stop Play Record Arm Figure 4 28 Monitor Application Window Header Renderer The Renderer section in the Monitor contains the following e IP address or host name e 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 eoo Dolby Atmos Monitor RMUS PC local Dolby Atmos ic oad gt o ME mure B on Q DOLBY Host Name Connection Status Figure 4 29 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
91. 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 th
92. is 120 dB Yellow Fill Audio Signal Transparent Fill No Audio Signal Figure 4 19 Objects View Yellow and Transparent Fills Shown e Transparent fill The object has no signal level or another object is being touched for automation 52 Authoring for Dolby Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application e 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 Blue Object Touched in Pro Tools Figure 4 20 Objects View Blue Object 4 8 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 Authoring for Dolby Atmos Cinema Sound Manual 53 Using the Dolby Atmos Monitor Application 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 eoo Dolby Atmos Monitor RMUS PC local Dolby Atmos 00 00 00 0 uci ood ao BE mute Bom I DOLBY 10 30 Inf C H Lss Rss Lsr Rsr Lts Rts LFE OOS OOOO OR CE E E E EE E C Ce Figure 4 21 Rendering to Dolby Atmos Format Ten Meters Shown 54 Authoring for Dolby
93. ject Size Slider and Position Display 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 axis You can move objects with a joystick control surface mouse or enabled automation for example in Pro Tools 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 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 70 Authoring for Dolby Atmos Cinema Sound Manual General Use of the Panner in Pro 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 e 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 e Inserting plug ins on tracks e Plug in window controls e Automating plug ins 5 2 Special Considerations when Using the Panner When using the Panner in Pro Tools consider the following e
94. l mute Speakers that were muted will unmute e 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 e To mute bed audio enable Objects Only mode 4 8 9 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 Authoring for Dolby Atmos Cinema Sound Manual 59 Using the Dolby Atmos Monitor Application To listen to objects only 1 Launch the Select Rendering Mode dialog to reveal rendering selections by doing one of the following e Click in the Mode section of the Monitor application window e Click Dolby Atmos Monitor gt Preferences Mac or Tools gt Preferences Windows and then click Edit in the Mode section In the Select Rendering Mode dialog click the desired rendering mode if needed Click Objects Only Mode and click Select The Monitor shows that Objects Only mode is enabled by displaying Objects in the Mode section of the Monitor application window Objects Only M
95. me Physical Channels Recommended Names Beds One or more 7 Atmos 7 1 Bed Channels 1 8 of first HD MADI interface Beds One or more Stereo Atmos OH Bed Channels 9 10 of first HD overheads MADI interface Objects Up to 118 Mono or stereo Object 1 and so on 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 Authoring for Dolby Atmos Cinema Sound Manual 21 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 1 O Setup input BITE Bus Insert Mic Preamps H W Insert Delay SG 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 iR zr n 0 52 53 54 Oei on rer sero 4 4 BERN Sane See Seana LETT owe ja See mi Bu eater sero i ERMENE object 25 26 ja Sene 3n Bias sero i cfa PPP stereo BEL LIC ETET L
96. n 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 Oneach System 5 console reconfigure buses to route object material to object tracks on the Pro Tools record machine e Create objects audio by rebusing elements from the bed e To preserve 7 1 L C R panning automation when routing to object tracks configure buses as L C R buses 114 Authoring for Dolby Atmos Cinema Sound Manual Using Traditional Dolby 7 1 or 5 1 Mix Audio Channels and Console Automation to Create a Dolby Atmos Mix 6 Setup object bus level and panning 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 metad
97. n 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 Authoring for Dolby Atmos Cinema Sound Manual 95 Using the Panner Plug in to Position Objects automation playlists no longer send data to the RMU Instead they receive data from a valid source such as a Pro Tools playback machine which can be recorded to their plug in automation playlists On Dolby Atmos systems using Pro Tools 10 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 Recording Audio and Metadata at the Same Time with Pro Tools 10 Recorder mode can be enabled for all plug ins in the session or individual plug ins To record metadata from a valid source such as a Pro Tools playback machine to Panner plug in automation playlists 1 Confirm system connections and configurations For example e The Pro Tools destination or recorder machine and any additional Pro Tool
98. n ready to record audio to the Pro Tools record machine configure the session audio tracks e Enable DestructivePunch record mode in the session e Make sure the Rec Ready group is enabled e Inthe Rec Ready track set the fader to 0 to set all audio tracks to 0 e Inthe 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 Start the playback machines and begin recording mix audio to the Pro Tools recorder machine Audio is recorded in bed and object audio tracks When finished recording consider combining object audio tracks and panner tracks to reduce the number of tracks For subsequent reels create new sessions and repeat the previous steps Bring all the reels into one master session Join the reels together Use crossfades as needed Record a Dolby Atmos Print Master Authoring for Dolby Atmos Cinema Sound Manual 119 Index 2 23 98 fps session e 20 24 fps session 18 A ATTEN control in the Monitor 64 authoring tools getting started 11 installer e 9 installing 9 Monitor application 4 optional tools 5 Panner plug in e 4 Autoassign options e 85 automating Panner controls 102 B bed material working with 17 bypass mode in the Panner e 91 C ceiling elevation e 93 disabling 94 using e 93 chase LTC button in the Monitor 64 console control of Pa
99. n the Monitor 65 virtual room in the Panner e 72 W wedge elevation 94 disabling e 95 using e 94 Zones in the Panner e 99 124 Authoring for Dolby Atmos Cinema Sound Manual
100. n the Monitor application change the rendering mode to the desired format 7 1 or 5 1 4 Proceed with live monitoring or print master playback Surround Gain Re render Option The renderer provides a gain option for re rendering to 7 1 or 5 1 e re render surround gain dB Sets the trim level for the surround speakers when in a surround re render mode 7 1 or 5 1 The range is 60 to 10 dB Make changes immediately with the up down arrow keys or type in a value and then press Enter When re rendering to 7 1 the trim is applied to Lss Rss Lb and Rb speakers When re rendering to 5 1 the trim is applied to Ls and Rs speakers Note With the re render surround gain set to 0 the re render process actually outputs the surrounds at 3 dB to account for 7 1 and 5 1 rooms being configured with surrounds at 82 dB as opposed to 85 dB in a Dolby Atmos mix stage Bass Management Routing Re render Options The renderer provides the following bass management routing options for re rendering to 7 1 or 5 1 e re render surround bass handling e discard bass If selected discards frequencies below the bass threshold frequency e bass manage to LFE If selected routes audio content below the bass threshold frequency to the LFE channel 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
101. n 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 88 Authoring for Dolby Atmos Cinema Sound Manual Controlling the Panner 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 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 x y and z position Automatic z axis panning with Elevation Snap modes x y and z position with stereo Panner plug in linking Elevation mode Elevation Snap modes for Sphere Elevation Wedge Elevation or Ceiling Elevation Speaker Snap mode Zones Focusing a Panner plug in Avid Avid System 5 with D Command and System 5 Panner D Control Application Encoders or faders Channel strip x y and z in Flip mode or encoders or joysticks joysticks x and y x and y position only position only or Pro Tools Surround Panner joystick x and y position D Control only or touchscreen x and y position D Control only Encoders faders in Flip mode or joysticks
102. nate 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 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 do one of the following e Click the slider button and drag to the desired coordinate e Click in the slider range to jump to a new coordinate e Type a valid value in a slider position display and press Enter Authoring for Dolby Atmos Cinema Sound Manual 75 Using the Panner Plug in to Position Objects 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
103. nction with Elevation mode and Elevation Snap mode which activate the overheads for use while panning Provided zones include e Back only Enables Lss Rss Lsr and Rsr zones e Front only Enables L C and R zones e Three Enables C Lsr and Rsr zones e Five B back Enables L C R Lsr and Rsr zones e Five Enables L C R Lss and Rss zones e Seven Enables L C R Lss Rss Lsr and Rsr zones To change the current zone in the Panner do one of the following e Click the zones button in the Panner and select a zone e Useacontrol surface You can automate zones in Pro Tools by using the zones automation playlist 5 7 Linking Stereo Panner Plug in Controls 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 100 Authoring for Dolby Atmos Cinema Sound Manual Linking Stereo Panner Plug in Controls To set how stereo panning controls are linked e Click the Linking selector and select None Mirrored or Copy Track Preset amp Auto Object 1 2 j lt factory default gt er Dolby Atmos Panner OPS COMPARE SAFE Native Left Right Linking Mirrored Linking Selector Stereo Plug in Only Figure 5 14 Linking Selector in a Stereo Panner Plug in Set to Mirrored Note You cannot automate the Linking setting To pan material with one option and then
104. nd is adjusted independently You can adjust the elevation across the room with a joystick control surface mouse or enabled automation To use Elevation mode 1 Turn on Elevation mode by doing one of the following e Click highlight the elevation button e Use a control surface 2 Adjust elevation the Z setting using any of the following e El or E2 on a joystick e Control surface e Mouse with the Z slider You can automate elevation mode on and off in Pro Tools by using the Elevation mode automation playlist 92 Authoring for Dolby Atmos Cinema Sound Manual Operation Modes Disabling Elevation Mode To disable Elevation mode do one of the following e Click unhighlight the elevation button e Press 1 on the joystick e Useacontrol surface 5 6 4 Using 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 e Ceiling Elevation gives the room a flat ceiling in the back 80 of the room and a curving ceiling from the front 2076 of the room to the screen e Sphere Elevation gives the room a domed ceiling e 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
105. nema Sound Manual Using Traditional Dolby 7 1 or 5 1 Mix Audio Files to Create a Dolby Atmos Mix 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 Edit 7 1 to Dolby Atmos Mix SESS 2707 PP ETT a 4 2 3 4 5 eto eta aa feat af TANF 00 01 49 0 00 01 49 12 00 01 50 00 00 01 50 12 00 01 5 Feet Frames 99995 08 99996400 99996 08 99997 00 99997 08 99998 00 99998 e ee e ee et me a ee a re m ee me mm es n im mm ini rue nu i raa FO nt a a a SNe n am HT Fx Reverb F2 D Verb DA Reverb A All Objects All Obj Memes Dx Objects Dx Obj gt Mx Objects Mx Obj Fx Objects Fx Obj did COMMENTS INSERTS A E SENDS A E f All Reverb All Reverb f Dx Reverb A Dx Reverb A Mx Reverb C Mx Reverb C Mx Reverb C1 Mx Reverb C2 Mx Reverb C3 Mx Reverb C4 Mx Reverb D Mx Reverb D Mx Reverb D1 Mx Reverb D2 Mx Reverb D3 Mx Reverb D4 Fx Reverb E Fx Reverb E Fx Reverb E1 ALL Li Fx Reverb F Fx Reverb F i a Obj A 4 Obj AS Obj A6 Obj A7 Obj A8 Obj B Obj B Obj B 9 Obj A Obj A Obj A 2 Obj A3 hene E Obj B 10 Obj B 11 Obj B 12 Obj B 13 Obj B 14 L2 GROUPS
106. ng for Dolby Atmos Cinema Sound Manual 79 Using the Panner Plug in to Position Objects 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 Plug in Controls eo Track Preset Auto Object 1 2 j lt factory default gt Se Dolby Atmos Panner Pe COMPARE SAFE Native Left Right Linking Mirrored Linking Selector Stereo Plug in Only 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 You can insert Panner plug ins individually or on multiple tracks simultaneously using Pro Tools all or all selected shortcuts e 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 80 Authoring for Dolby Atmos Cinema Sound Manual Inserting a Panner Plug in in Pro Tools e When you insert Panner plug
107. nner Avid D Cmmand 89 Avid D Control e 89 90 Avid System 5 e 89 supported consoles e 89 Surround Panner option e 90 System 5 Panner application e 89 D default operation mode in the Panner e 92 DIM button in the Monitor 64 Dolby Atmos hearing audio 26 metadata flow 2 mix overview e 1 specification for Pro Tools e 14 system overview 2 workflows e 105 E Elevation mode disabling e 93 using e 92 Elevation Snap modes 93 ceiling elevation e 93 sphere elevation 94 using e 93 wedge elevation e 94 installing Dolby Atmos tools e 9 joystick for Panner control 86 J joystick control of Panner configuring in a Panner e 87 installing 86 JLCooper MCS Panner 86 preparing for use 86 Surround Panner option e 90 using e 86 K keyboard shortcuts for Monitor 61 timecode right click commands 63 L Linking selector in the Panner e 80 live mode monitoring 40 metadata flow e 2 mix overview 1 Mode section in the Monitor 62 Authoring for Dolby Atmos Cinema Sound Manual 121 Index Monitor application before using e 30 changing timecode location for playback e 44 clearing clips 60 controls 61 displays 61 enabling communication with RMU e 31 hearing Dolby Atmos audio 26 installing e 11 keyboard shortcuts 61 launching 30 live mode monitoring 40 Mode section 62 Objects Only mode 59 objects view e 50 operation modes 40 Outputs
108. nnn nnn nnn nnns 52 Objects View Yellow and Transparent Fills Shown cccccceeceeeeeeaeeeeeeeeseeeeseeesaeeeeaeeees 52 Objects VIEW Blue ODI CCE 5 nd vete ee ut os dite oe unie nte Sena etur noctu x toa cals esee Santen caincanevent o3 Rendering to Dolby Atmos Format Ten Meters Shown ccccccceccseeeceeeceeteeeeeeeteeeeeees 54 Rendering to 7 1 Channels Eight Meters SHOWN cccccccseecceeeeeeeeeceeeeseeeeseeeeeeeseeeesaees 55 Rendering to 5 1 Channels Six Meters Shown cccccecccsceceecsececeeeteeeteeeseeeseeeeeeeeeeeeeees 56 Room Configuration in the Monitor Application Main Window seeeeeeeeeese 57 room Configuration Indicators oie Er ila Ae eee needa 58 Successful Connection Between Monitor and RMU Host Name cccccceseeeeeeeeeeeeees 58 Objects ONV MOG es secsctccnstchirisesehcnnsiechieneicsedeusdeneuednanueiauedsaaue tue tunaoosd O eepmesunonsas 60 Monitor Application Window HeOa del ccccccceccceccceeeceeeceeeceeeceeesaeesaeesueesaeesaeesaeesaseseeees 62 Successful Connection Between Monitor and RMU cccccccccseeecaeeeseeeeseeeeseeeeaeesaeeees 62 Generating Pink Noise to a Speaker Speaker Icon with a BOX cccceseeeeeeeeeseeeeeseeees 66 Generating Pink Noise to a Speaker Speaker Icon with a Box sssesusse 67 Generating Pink Noise to the Rss Speaker Array ccccscccce
109. no object number assignment is represented by a dash By default no object number is assigned eo Track Preset Auto Object 1 f lt factory default gt Se Dolby Atmos Panner MEE COMPARE SAFE Native 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 5 3 3 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 e 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 e 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 e 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 speake
110. nually 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 lt Option gt lt Shift gt 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 Sort the tracks by name so that each panner track now immediately follows its respective object audio track Map Panner plug ins to System 5 channel strips See the System 5 Panner Application for Dolby Atmos Manual Configure session automation e Inthe automation window enable automation for plug ins only Click write enable the plug in button Disable the other write enable controls e Enable Write Automation to Next Breakpoint on Stop e 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 e 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 e Enable the Rec
111. ode eoo Dolby Atmos Monitor RMUS PC local V Dolby Atmos Objects 01 16 52 9 clol gt 1o BB mue om I DOLBY 10 20 30 40 le Hi L C R Lss Rss Ler Rr Lts Ris LFE OOOOOOOOOOOO O000000000000 Figure 4 27 Objects Only Mode 4 8 10 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 e Click in the red clip area of any meter 60 Authoring for Dolby Atmos Cinema Sound Manual Monitor Application Keyboard Shortcuts Reference 4 9 Monitor Application Keyboard Shortcuts Reference The Monitor application provides shortcuts when it is in focus Table 4 1 Monitor Application Shortcuts Reference Shortcut Function lt Command gt lt F gt Full screen lt Command gt lt H gt Hide the Monitor application lt Command gt lt Comma gt Open preferences lt Command gt lt R gt Toggle record print master lt Command gt lt J gt Toggle enable LTC lt Control gt lt Option gt lt Command gt lt A gt Reveal the gain attenuator control lt D gt Toggle rendering mode 4 10 Monitor Application Controls and Displays Overview The Monitor application window has six main sections e Header which includes additional sections e Renderer e Mode e lime e Transport e Outputs e View e Object stream e Room configuration and speakers e RMU output meters e Object view Author
112. 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 84 Authoring for Dolby Atmos Cinema Sound Manual Controlling the Panner 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 Inthe 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 lt Option gt lt Shift gt click a plug in selector and select the Panner plug in 3 Inthe 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 autoassignm
113. olby Click Dolby Atmos Monitor gt Preferences Mac or Tools gt Preferences Windows In the Server IP or Hostname section click Edit Enter the Renderer software IP address or host name or select an item for the drop down menu if any and then click Select Authoring for Dolby Atmos Cinema Sound Manual 33 Using the Dolby Atmos Monitor Application 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 Verify communication with the RMU and then verify the room configuration 4 4 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 eoo Dolby Atmos Monitor RMUS PC local EE Dolby Atmos EEE rz M ons X DOLBY Host Name Connection Status Figure 4 6 Successful Connection Between Monitor and RMU Host Name To verify communication with the RMU e Verify that the renderer IP or host name displays in the Renderer section and the connection status light is green Troubleshooting Communication with the RMU If the connection status light is red after attempting to enable communication with the RMU the connection was unsuccessful Troubleshoot communication with the RMU by doing the following e Verify the IP address or
114. olby 7 1 2 Confirm Dolby Atmos system setup For information on installing and connecting the Dolby RMU see the manual for your Dolby Rendering and Mastering Unit Pro Tools 7 1 Tracks Overhead Track Object Tracks 1 54 Object Tracks 55 118 Objects 1 54 Objects 55 118 HD MADI 1 HD MADI 2 Dolby RMU Figure 6 1 Basic Dolby Atmos System Block Diagram 3 Create a new Pro Tools session 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 Authoring for Dolby Atmos Cinema Sound Manual 105 Workflows e 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 e 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
115. ole running the IKIS automation engine to author in the Dolby Atmos format refer to your console documentation In Pro Tools record panner automation for Panner plug ins Play back the Dolby Atmos session to audition audio from the RMU outputs If audio is inaudible refer to Hearing Dolby Atmos Audio When the Dolby Atmos mix is completed create a Dolby Atmos print master See Recording a Dolby Atmos Print Master Authoring for Dolby Atmos Cinema Sound Manual Chapter 3 Setting Up a Pro Tools Session Use Pro Tools digital audio workstation software for primary authoring in the Dolby Atmos format Dolby Atmos authoring tools are supported on an Apple Mac OS X computer running an Avid Pro Tools HDX or HD system qualified for Dolby Atmos 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 your control surface or console documentation 3 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 Authoring for Dolby Atmos Cinema Sound Manual 3 Setting Up a Pro Tools Session 3 1 1 Dolby Atmos Format and Multichannel Mixing The
116. ono subpaths created on the Bus page This configuration allows for using the output on stereo or mono object tracks b Name them Object x for mono and Object x x for stereo c 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 3 9 2 Configuring Input There is no required I O Setup input configuration for Dolby Atmos Authoring for Dolby Atmos Cinema Sound Manual 23 Setting Up a Pro Tools Session 3 5 3 3 6 24 YY VY VV Fy Y Y YY Vv Or YY UP UC Bus Mapping Buses for output paths are automatically created and mapped after output paths have been created in the I O Setup dialog m Atmos 7 1 Bed GJ 1 0 Setup Input Output Bus Insert Mic Preamps H W Insert Delay Channels R Lss Rss Lsr RsrLFE Atmos OH Bed Object 1 2 Object 1 Object 2 z c r r e gt 2 a T j 4 Object 5 6 Object 7 8 C R R Object 9 10 Object 11 12 Object 13 14 Object
117. ons documentation dolby com If you have technical questions about this product please contact CinemaSupport dolby com Authoring for Dolby Atmos Cinema Sound Manual Chapter 2 Installing the Dolby Atmos Authoring Tools The Dolby Atmos authoring tools installer includes e Primary authoring tools e Dolby Atmos Monitor application e Dolby Atmos Panner plug in e Optional authoring tools e System 5 Panner application See the System 5 Panner Application 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 OS X computer running an Avid Pro Tools IHDX 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 The Dolby Atmos authoring tools installer includes a 64 bit version of the Panner plug in and a 32 bit version The 64 bit Panner is required for Dolby Atmos systems with Avid Pro Tools 11 2 1 running on Mac OS X 10 9 4 Mavericks The 32 bit version of the Panner is included for Pro Tools 10 3 9 systems running on Mac OS X 10 8 5 Mountain Lion For full requirements refer to your Dolby Content Ser
118. onverter 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 12 13 than 24 fps the session settings will need to be reconfigured See Working with a Timecode Rate Other than 24 FPS 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 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 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 d When all the tracks have been created and named save the session 116 Authoring for Dolby Atmos Cinema Sound Manual Using Traditional Dolby 7 1 or
119. or touchscreen D Control only Encoders faders in Channel strip x y and z Flip mode or encoders or joysticks joysticks or x and y position only touchscreen D Control only Encoders or Channel strip Elev On faders in Flip mode switch Encoders or Channel strip Elev faders in Flip mode encoder and Sel switch Encoders or Channel strip SpSn faders in Flip mode encoder or On switch Encoders or Channel strip SpZn faders in Flip mode encoder and Sel switch Select switches Not applicable Authoring for Dolby Atmos Cinema Sound Manual 89 Using the Panner Plug in to Position Objects 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 Panning Objects with the
120. or Application b Click the print masters tab to display the list of project print masters c Inthe project print masters and mxfs dialog select highlight a print master that has media A print master that has media displays a media icon in the second column Note See the manual for your Dolby Rendering and Mastering Unit for information on adding print masters to the print master list in the Dolby Atmos web client d Click the set print master mxf button The dialog automatically closes 2 Inthe Monitor application begin playback e To trigger playback via an LTC source such as Pro Tools click highlight LTC to enable chasing to the sync master The RMU is now ready to chase LTC Trigger playback from the LTC source e To play back with the Monitor application as the master makes sure the Monitor LTC button is off unlit and then click highlight to begin playback When done click x to stop playback Changing the Timecode Location for Print Master Playback Before playing back a print master with the Monitor application as the master you can set where print master playback starts by changing the timecode value in the Time section To change the timecode location for print master playback 1 Clickin the Time section display The full timecode location is selected highlighted 2 If you want to change only some of the timecode values click in the display and drag with a mouse to select highlig
121. out of recording a 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 b When done recording click unhighlight O to punch out of recording c Continue to click highlight O to punch in and then again to punch out as needed 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 6 When the material has completed stop playback in Pro Tools 4 7 4 Playing Back a Print Master You can play back or monitor 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 Dolby RMU web client The print master selected in a Dolby Atmos project is the print master that will be played back as long as it has media For information on projects and managing print masters in a project see the manual for your Dolby Rendering and Mastering Unit To play back a Dolby Atmos print master 1 Inthe Dolby Atmos web client make active a print master that has media a Click the media button Authoring for Dolby Atmos Cinema Sound Manual 43 Using the Dolby Atmos Monit
122. r on the Pro Tools machine b Power on the Dolby RMU Launch the renderer on the RMU d Launch the Dolby Atmos Monitor application on the Pro Tools machine p e Connect the Monitor application to the Dolby RMU network f Launch Pro Tools and open a session e 48 kHz session sample rate e 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 l6 Authoring for Dolby Atmos Cinema Sound Manual Authoring in a Pro Tools Session e 24 fps session timecode rate e 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 e For 24 fps sessions set Audio Rate Pull Up Down and Video Rate Pull Down to None e 1 0 Setup output and bus mapping in Pro Tools configured for the Dolby Atmos bed and objects e Session tracks in Pro Tools configured for the Dolby Atmos bed and objects e Panner plug in considerations for best plug in performance and results in Pro Tools 3 3 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
123. r that is nearest to the current spatial placement Speaker Snap mode does not move the pan location cursor in the virtual room 74 Authoring for Dolby Atmos Cinema Sound Manual Panner Plug in Window Controls and Displays e 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 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 coordi
124. ration in the Dolby Atmos Monitor application When Speaker Snap mode is on object size is disabled To turn Speaker Snap mode on do one of the following e Click highlight the speaker snap button e Press S6 on the joystick e Useacontrol surface You can automate Speaker Snap mode on and off in Pro Tools by using the snap automation playlist Disabling Speaker Snap Mode To turn Speaker Snap mode off do one of the following e Click unhighlight the speaker snap button e Usea control surface 5 6 7 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 Authoring for Dolby Atmos Cinema Sound Manual 99 Using the Panner Plug in to Position Objects 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 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 conju
125. red 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 e 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 e 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 e Inthe 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 DIM button in the transport When enabled this button lowers the volume of signal at the Dolby RMU output by 20 dB Low level content may be inaudible The output attenuation ATTEN control in the transport When this control is set to Inf negative infinity audio is effectively muted The attenuator is not displayed by default If it is not displayed press
126. rent 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 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 e Open a plug in window and touch a control below the plug in header e Opena 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 5 3 2 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 Authoring for Dolby Atmos Cinema Sound Manual 73 Using the Panner Plug in to Position Objects None or
127. rom Pro Tools 32 Dolby Atmos Preferelq66S co i pet se apu senso adu ee saree Uv su pu EE a D RE IRA du 33 Successful Connection Between Monitor and RMU Host Name eeeeeeeesse 34 Dolby RMU Web Client Default WINdOW cc cccccccceccsececeeece cece eeseeeseeeseeeseeeteeeseeeeeeeeaeees 35 Setting Management Section of the Maintenance Screen cccccesecceeeceeeeeeeeeeeeseeesaeeees 35 Successful Room Configuration in the Monitor Application Main Window 36 All View in the Monitor Application cccccccccccsccceeeceeecseeseeesaeeseeseessesaeeceuecouseceeeeenenans 46 Meters View in the Monitor Application 1 elles nnn 47 Objects View Only in the Monitor Application ccccccccccccceeeeceeeeseeeeaeeeeeeeeseeeeseeeeaeeesaeeees 48 Object Stream Circles and Stream Information cccccccseccsecceeeceseeeseceecseeeseeeseeseeseeeses 49 Object Stream Circles and Stream Information cccccecceeccecceeeeeeceeeeeneeeeeeeseeeeeeseeesseeses 49 Objects View Outline and Front Screen eeeessssssssssssssssseeeeeeene nennen nnns 50 Rotated Display Of Objects View 3 3 ne t orte per oan Ux pex t eo aaa eade o er i eva Eee to pac dodi d 51 Side Display of Objects VIGW ie ide epe ska bosse see x ed ee tuse esu uides 51 Overhead Display of Objects View 1 esses nnne nennen
128. s playback machines or other clients that communicate to the RMU must be connected to the network and configured for use e 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 e For each Panner plug in confirm that all of its Dolby Atmos Panner automation parameters are enabled e 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 3 Enable Recorder mode by the doing the following a Open any Panner plug in window b If configuration options are not displayed above the virtual room in the plug in window click the configuration options button 96 Authoring for Dolby Atmos Cinema Sound Manual Operation Modes Track Preset S Auto Object 1 a factory default gt A Dolby Atmos Panner amp COMPARE SAFE Configuration Options Button Figure 5 12 Configuration Options Button in a Panner Plug in c Inthe Configuration Options section click the Recorder mode button if you w
129. section 64 playing back a print master e 43 print master e 41 punching in and out of recording 42 Renderer section 62 RMU output meters e 53 room configuration display e 58 room configuration not loading e 37 signal generator 66 Time section e 63 timecode right click commands e 63 Transport section e 64 using e 29 verifying communication with RMU 34 verifying room configuration e 36 View section e 65 views 46 Waiting for Room Configuration message 31 window header 62 MUTE button in the Monitor 64 O Object ID section 84 object number in the Panner automatically assigning object numbers e 84 manually assigning an object number 81 object number box in the Monitor 73 objects changing location 75 monitoring 48 objects view 52 Size slider 76 using e 86 using a console e 88 using a keyboard 91 using a mouse e 9 working with 18 objects view 50 operation modes in the Panner 91 bypass mode 91 ceiling elevation e 93 default mode e 92 Elevation mode 92 Elevation Snap modes 93 list of operation modes 91 Speaker Snap mode e 99 sphere elevation e 94 wedge elevation e 94 Zones e 99 Outputs section in the Monitor 64 ATTEN control e 64 DIM button 64 MUTE button 64 Panner plug in authorizing e 10 Autoassign options e 85 automatically assigning object numbers e 84 considerations e 71 control surface e 88 general use e 71 inserting multiple
130. section displays the running time of the RMU during print master recording and playback of a print master You can locate to a specific timecode location by double clicking on the display and typing the timecode location in when playing back from the RMU and not synced to picture The display includes right click commands for modifying the timecode location for print master playback 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 Timecode Right Click Commands The Time section display includes right click commands for modifying the timecode location for print master playback e Cut Cuts the highlighted time values after copying them for use with the paste command e Copy Copies the highlighted time values Authoring for Dolby Atmos Cinema So
131. sence or level The MUTE button at the top of the web client This button must be disabled for audio to be present at the RMU The global gain dB control in the settings screen When this control is set to 60 dB audio is effectively muted The DIM button at the top of the web client When enabled this button lowers the volume of signal at the Dolby RMU output by 20 dB Low level content may be inaudible Authoring for Dolby Atmos Cinema Sound Manual 45 Using the Dolby Atmos Monitor Application 4 8 2 Selecting a Monitor Application View The Monitor application allows for viewing all meters displays and controls meters only or objects only Select a view option based on your display needs e Select View gt All to view all monitor meters displays and controls eoo Dolby Atmos Monitor RMUS PC local V Dolby Atmos eS eS X DOLBY Figure 4 10 All View in the Monitor Application 46 Authoring for Dolby Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application e Select View gt Meters to view meters only Meters view displays the object stream RMU audio output and room configuration In this view the objects view is effectively hidden eoo Dolby Atmos Monitor RMUS PC local uu Dolby Atmos uci pa f gt f o ME mute B om Meters I XY DOLBY Figure 4 11 Meters View in the Monitor Application Authoring for Dolby Atmos Cinema Sound Manual
132. soles you can do either of the following e Use the System 5 Panner EUCON application from Dolby This 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 e Use the System 5 v6 0 software update from Avid This update has direct RMU communication enabled See your console documentation e AMS Neve DFC console See your console documentation Authoring for Dolby Atmos Cinema Sound Manual 5 Introduction to Dolby Atmos Authoring Tools Harrison MPC or Trion console running the IKIS automation engine See your console documentation 1 7 About This Manual This manual provides information for getting started with Dolby Atmos authoring tools ina e e e e Dolby Atmos system Introduction to Dolby Authoring Tools Installing the Dolby Atmos Authoring Tools Setting Up Pro Tools Sessions Using the Dolby Atmos Monitor 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 1 7 1 Dolby Use Atmos Authoring Manuals the primary Dolby Atmos authoring manuals in the following order What s New in Dolby Atmos Mixing Tools Refer to this manual for update installation instru
133. sphere elevation and off Using 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 e Click the elevation snap selector and select highlight the ceiling elevation icon e Use a control surface 2 Adjust elevation by moving the y coordinates with any of the following e Joystick e Control surface e Mouse on the pan location cursor or Y slider You can automate ceiling elevation on and off in Pro Tools by using the Elevation Snap mode automation playlist Authoring for Dolby Atmos Cinema Sound Manual 93 Using the Panner Plug in to Position Objects Disabling Ceiling Elevation To disable ceiling elevation mode do one of the following e Click unhighlight the ceiling elevation icon e Turn on Elevation mode or another Elevation Snap mode e Use a control surface 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
134. splays eoo Dolby Atmos Monitor Dolby Atmos ucl f o ME mute B om AU el XY DOLBY Waiting for Room Configuration Figure 4 3 Waiting for Room Configuration Message in the Default Monitor Application Window After enabling communication with the RMU and then loading a room configuration with the Dolby RMU web client 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 loaded or the Monitor application is not communicating with the RMU the Monitor application continues to display a Waiting for Room Configuration message 4 4 Enabling Communication with the RMU Enable communication between the Monitor and the RMU in one of two ways e From the Pro Tools system required to enable communication between Dolby Panner plug ins in Pro Tools and the RMU e From other devices Authoring for Dolby Atmos Cinema Sound Manual 3 Using the Dolby Atmos Monitor Application 4 4 1 Enabling Communication from the Pro Tools Computer 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
135. switch to another do separate automation record passes Avid D Command and D Control work surfaces support using the stereo Panner plug in linking control to change the x y or z axis position of the two objects in a stereo object See Panner Support by Control Surfaces and Mixing Consoles 5 7 1 Stereo Panner Linking Options 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 e None The Left and Right channel controls operate completely independently Actions taken in one channel do not affect the other e Mirrored Any action in one channel automatically places its mirror image in the other For example panning from center to the left in the Left channel produces a pan from center to right in the Right channel Authoring for Dolby Atmos Cinema Sound Manual IOI Using the Panner Plug in to Position Objects e Copy Any action in one channel is copied to the other For example panning from the center to the left in the Left channel also produces a pan from center to left in the Right channel 5 8 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
136. t Se Dolby Atmos Panner SE COMPARE SAFE Native 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 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 object size do one of the following e Click the slider button and drag to the desired coordinate e Click in the slider range to jump to a new coordinate e Type a valid value in a slider position display and press lt Enter gt 78 Authoring for Dolby Atmos Cinema Sound Manual Panner Plug in Window Controls and Displays 5 3 6 Configuration Options Button The configuration options button accesses options for manually assigning an object number and configuring a joystick to control pan positioning e C Track Preset Auto Object 1 f factory default e Dolby Atmos Panner FEN COMPARE SAFE Native Configuration Options Button 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 Authori
137. te 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 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 7 1 Mix Stage Dolby Atmos Mix Stage Pro Tools Playback Machines Pro Tools Playback Machines Avid System 5 Consoles Avid System 5 Consoles EUCON EUCON EUCON EUCON Dialog Music Console Effects Console Dialog Music Console Effects Console 7 1 Automation 7 1 Automation 7 1 Automation 7 1 Automation Pro Tools Record Machine Pro Tools Record Machine Dolby Rendering and Mastering Unit To Switch Amps Speakers To Switch Amps Speakers Figure 6 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 manual for your Dolby Rendering and Mastering Unit 12 Authoring for Dolby Atmos Cinema Sound Manual Using Traditional Dolby 7 1 or 5 1 Mix Audio Channels and Console Automation to Create a Dolby
138. tion Objects The Dolby Atmos Panner is an AAX native plug in 64 bit and 32 bit 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 The Dolby Atmos authoring tools installer includes a 64 bit version of the Panner plug in and a 32 bit version The 64 bit Panner is required for Dolby Atmos systems with Avid Pro Tools 11 2 1 running on Mac OS X 10 9 4 Mavericks The 32 bit version of the Panner is included for Pro Tools 10 3 9 systems running on Mac OS X 10 8 5 Mountain Lion For full requirements refer to your Dolby Content Services representative Authoring for Dolby Atmos Cinema Sound Manual 69 Using the Panner Plug in to Position Objects 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 O ry Track Preset Object 1 a factory default Dolby Atmos Panner amp COMPARE Object Number Box Configuration Options Button Elevation Mode Button Wedge Elevation Sphere Elevation Ceiling Elevation Button Virtual Room Speaker Snap Button X Y Z Sliders and X Zones Selector Position Displays Ob
139. 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 Authoring for Dolby Atmos Cinema Sound Manual 17 Workflows 17 For the groups that will be used to record audio and write panner automation create 18 I9 20 21 22 Z0 audio tracks and make them members of their respective groups as follows e Rec Ready e Automation 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 ma
140. trol Surface Added to Basic Setup cc cecccccccceeceseeeeeeeeseeeeseeeeseeeeseeeseeeess 3 oystem 5 and System 5 Panner Application or Other Client Application Added to Basic vlcuPjope e M 3 Mixing Console with Automation Engine Added to Basic Setup ss 3 Dolby Atmos Monitor Application 4 eda tu aie ean ei o M Ro Cal ea ici a urat set bu ndolu 4 Panner Plug in Mono Version lsssssessesseeseeesee nennen nenne nnne nne snni saa sasi saei as assa sana aaa 5 Basic Dolby Almos Block DIAG CAN quen uiam utu ot uota dove Ru OUO Ldvaa T CN E Sa CR ode env rin Rudd 14 AUGO ROUNE DIAG ANTT 16 Session Setup Window Configured for Dolby Atmos ccccceceeseeeeaeeeseeeeseeeeseeeeaeesaeess 19 I O Setup Output Configured for Dolby AtmoS ccccccccccceeeceeeeeeeceeeeeueeeseeeueeaueeseeeaeeeaees 22 I O Setup Bus Mapping Configured for Dolby Atmos cccccceccceeeceeeeeeeeeeeeseeeaseeaeeaees 24 Dolby Atmos Tracks and Track Main Outputs Set to Dolby Atmos Paths 25 DOIDY AMOS Montor ADDIGCGUOELb oni tdi a E eas RED C a a a RR EE 29 Dolby Atmos Monitor ADpIICatIOr ICOM uou Gloucester deu eget eae QU led opu ei Ded rtu Dubai et au Due 30 Waiting for Room Configuration Message in the Default Monitor Application Window 31 Default Monitor Application Window When Not Communicating f
141. u Dolby Atmos 01 16 52 9 cil gt o MUTE B DIM I DOLBY 10 20 30 L Cc RA Lss Rss Lsr Rsr Lts Rts LFE OOOOOOOOOOOO O0O0O0O0O00000000 Figure 1 7 Dolby Atmos Monitor Application 1 5 Dolby Atmos Panner Plug in Use the Dolby Panner plug in to position audio objects such as effects in a three dimensional audio field Panner plug ins are inserted on each Pro Tools mono or stereo 4 Authoring for Dolby Atmos Cinema Sound Manual Optional Authoring Tools 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 e C Track Preset Auto Object 1 a lt factory default gt Se Dolby Atmos Panner COMPARE SAFE Figure 1 8 Panner Plug in Mono Version 1 6 Optional Authoring Tools Depending on your Dolby Atmos system and workflow you may also use optional authoring tools e Local Renderer Plug in Suite The Dolby Atmos Local Renderer plug in suite or local renderer lets you create edit and monitor Dolby Atmos material in a mix room or edit suite that is not configured with a Dolby Rendering and Mastering Unit RMU See the manual for your Dolby Rendering and Mastering Unit e Avid System 5 console For systems with Avid System 5 mixing con
142. uirements 86 Authoring for Dolby Atmos Cinema Sound Manual Controlling the Panner 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 Onthe screen connect the MIDI out of the joystick device to the MIDI in of the USB MIDI interface h Onthe 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 Setthe 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 Configuring a Joystick in a Panner Plug in Before you can use a joystick to control the Panner you must configure the joystick in a Panner plug in To configure a joystick in a Panner plug in
143. und Manual 63 Using the Dolby Atmos Monitor Application Paste Pastes the last copied or cut values over the highlighted values or at selected location Delete Deletes the highlighted time values Select All Selects highlights all of the values in the display for use with cut copy paste or delete Undo Performs an undo operation on the previous cut copy paste or delete Redo Performs a redo operation on the previous cut copy paste or delete Transport The Monitor application provides transport buttons in the Transport section which can be used for recording a print master and playing it back Chase LTC LTC Stop X Play gt Record arm O Transport buttons support the following print master tasks 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 by doing one of the following e To trigger playback via an LTC source such as Pro Tools press enable LTC start the LTC source and then press gt e To play back with the RMU as master LTC disabled Press gt 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
144. ur Dolby Rendering and Mastering Unit e Dolby RMU software has been set up as described in the manual for your Dolby Rendering and Mastering Unit For cinema this includes calibrating the mix stage creating an RMU room configuration using Dolby Atmos Designer software and then loading the room configuration using the Dolby RMU web client Authoring for Dolby Atmos Cinema Sound Manual Installing the Dolby Atmos Authoring Tools Here is an overview of how to use Dolby Atmos authoring tools in a basic authoring workflow jm 10 Power on the Pro Tools system and individual Pro Tools machines as described in Pro Tools documentation Power on the Dolby RMU Launch the Dolby Atmos Monitor application on the primary Pro Tools machine and enable communication with the RMU Set up Pro Tools sessions and insert Panner plug ins for Dolby Atmos as needed If using an Avid System 5 mixing console to control Dolby Atmos metadata set up the System 5 a 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 C Create panner strips on the console For more information see the System 5 Panner Application for Dolby Atmos Manual If using an AMS Neve DFC console to author in the Dolby Atmos format refer to your console documentation If using a Harrison MPC or Trion cons
145. ure 4 15 Objects View Outline and Front Screen To display objects view e Select View gt All or View gt Objects Modifying Objects View The objects view in the Monitor application includes controls for changing the visual perspective e 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 position From any other view double click on the lower part of the objects view to return to normal view 50 Authoring for Dolby Atmos Cinema Sound Manual Monitoring with the Dolby Atmos Monitor Application e 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 16 Rotated Display of Objects View Figure 4 17 Side Display of Objects View Authoring for Dolby Atmos Cinema Sound Manual 5 Using the Dolby Atmos Monitor Application e 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 18 Overhead Display of Objects View Objects in Objects View The objects view provides monitoring information for each active object e 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
146. ve an unsaved print master a Open a saved project See the manual for your Dolby Rendering and Mastering Unit for information on projects Note A project that has never been saved must be saved prior to recording a new print master b Click the media button c Click the print masters tab to display the list of project print masters d Inthe project print masters and mxfs dialog do one of the following e Select highlight an unsaved print master that is a print master that has no media A print master that has no media displays no media icon in the second column e If there are no unsaved print masters add a new print master and select highlight it See the manual for your Dolby Rendering and Mastering Unit for information on adding a print master e Click the set print master mxf button The dialog automatically closes Authoring for Dolby Atmos Cinema Sound Manual 4 Using the Dolby Atmos Monitor Application 2 Inthe Monitor application transport or Dolby RMU web client transport prepare the renderer for recording a Click highlight LTC to set the RMU to chase timecode from Pro Tools or the bus b Click highlight O to ready the RMU for recording a print master 3 In Pro Tools start playback 4 When the material has completed stop playback in Pro Tools On the destination RMU drive the print master recording pass produces e Ten mono wav files which make up the 9 1 bed e One
147. vices representative To install the Dolby Atmos authoring tools 1 Quit Pro Tools if it is running 2 Ifupdating quit the Dolby Atmos Monitor application if it is running 3 Double click the DolbyAtmosTools installer package 4 Follow the onscreen instructions When installation is completed the tools and their supporting files are written to disk File and File Name Location After Installation Dolby Atmos Monitor Dolby Atmos Applications Dolby folder Monitor app Authoring for Dolby Atmos Cinema Sound Manual 9 Installing the Dolby Atmos Authoring Tools File and File Name Location After Installation Dolby Atmos Panner plug in Dolby Atmos Panner aaxplugin The Pro Tools Plug Ins folder for AAX format plug ins System 5 Panner application system5panner Applications Dolby folder 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 gt Peripherals gt 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
148. w 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 On the destination computer double click the DolbyAtmosTools installer package Follow the onscreen instructions 2 3 Getting Started Overview Before you begin using Dolby Atmos authoring tools verify the following e The RMU hardware interface is installed and connected in a Dolby Atmos authoring system as described in the manual for yo
149. y 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 e Consider creating a mix edit group for each group of objects to allow for simultaneous mono or individual panning GROUPS M 2a All Obj All Objects l 2b Dx Obj Dx Objects B 2c Mx Obj Mx Objects B 2d Fx Obj Fx Objects B 26 All Reverb All Reverb M 2f Dx Reverb A Dx Reverb A B 29 Dx Reverb B Dx Reverb B B 2h Mx Reverb C Mx Reverb C 2i Mx Reverb D Mx Reverb D B 2j Fx Reverb E Fx Reverb E 2k Fx Reverb F Fx Reverb F Figure 6 4 Mix Edit Groups in Pro Tools Groups Window Active Groups in Gray e AVCA 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 108 Authoring for Dolby Atmos Cinema Sound Manual Using Traditional Dolby 7 1 or 5 1 Mix Audio Files to Create a Dolby Atmos Mix control object VCAs for each segment In turn control these VCAs with a single all objects VCA VCA l VCA VCA VCA VCA Fob sosa Moie Iose Moo floor e Moir ione foni e sio Mois os Moi om Moin fosse Mora ox e Mor AUTO AUT
150. ypass on and off in Pro Tools by using the master bypass automation playlist 5 6 2 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 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 5 6 3 Using 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 a

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