One of the hot topics at AES this year…and by “hot,” I mean a subject that had multiple conference sessions devoted to it…was the concept of adding height to the spatial information presented by multi-channel surround formats. I’m sure a fair bit of the enthusiasm for this subject is caused by the announcement and release of Dolby Atmos earlier this year.
My experience with Dolby Atmos prior to AES was non-existent. To date, there are only 14 theaters in the U.S., and one in Canada, currently equipped for Atmos playback. The closest theater to me is in New York, and that’s not exactly a short trip from the Washington, DC, metro area. Thankfully, my trip out to San Francisco for AES provided me with two opportunities to listen to the system at work. The first was a technical demonstration at Dolby Laboratories, scheduled as a “Technical Tour” within the AES events program. The second was the AMC Metreon, which had two daily showings of Chasing Mavericks; the latest film release to be mixed in the new Atmos format.
Just imagining all that could be done in creating subtle backgrounds and ambiences, I was excited to hear what this system could do…though I fully expected the bulk of the examples that Dolby would be showing would tend toward spectacle. That proved, for the most part, to be true. Which made the opportunity presented by Chasing Mavericks all the more important; a chance to truly hear how editors and re-recording mixers would make use of the system throughout the course of a story. Before I get too deep into those experiences though, let’s talk about some of the interesting technical abilities of the system.Read More