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Dolby Cineasset User Manual 005058 Issue 6
Dolby CineAsset User’s Manual 22 July 2019 CAS.OM.005058.DRM Issue 6 Notices Notices Copyright © 2019 Dolby Laboratories. All rights reserved. Dolby Laboratories, Inc. 1275 Market Street San Francisco, CA 94103-1410 USA Telephone 415-558-0200 Fax 415-645-4000 http://www.dolby.com Trademarks Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. The following are trademarks of Dolby Laboratories: Dialogue Intelligence™ Dolby Theatre® Dolby® Dolby Vision™ Dolby Advanced Audio™ Dolby Voice® Dolby Atmos® Feel Every Dimension™ Dolby Audio™ Feel Every Dimension in Dolby™ Dolby Cinema™ Feel Every Dimension in Dolby Atmos™ Dolby Digital Plus™ MLP Lossless™ Dolby Digital Plus Advanced Audio™ Pro Logic® Dolby Digital Plus Home Theater™ Surround EX™ Dolby Home Theater® All other trademarks remain the property of their respective owners. Patents THIS PRODUCT MAY BE PROTECTED BY PATENTS AND PENDING PATENT APPLICATIONS IN THE UNITED STATES AND ELSEWHERE. FOR MORE INFORMATION, INCLUDING A SPECIFIC LIST OF PATENTS PROTECTING THIS PRODUCT, PLEASE VISIT http://www.dolby.com/patents. Third-party software attributions Portions of this software are copyright © 2012 The FreeType Project (freetype.org). All rights reserved. Dolby CineAsset software is based in part on the work of the Qwt project (qwt.sf.net). This software uses libraries from the FFmpeg project under the LGPLv2.1. This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit (openssl.org). This product includes cryptographic software -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
History of the Early Days of Ampex Corporation
PAPER History of The Early Days of Ampex Corporation As recalled by JOHN LESLIE and ROSS SNYDER Alexander M. Poniatoff founded Ampex in 1944, primarily to manufacture small motors and generators for military applications. When WWII ended, the military contracts dropped off, and Alex had to search for a new line of business to continue his company’s existence. He and his small group of engineers heard a demonstration of a Magnetophon, a German magnetic tape recorder used by Hitler during WWII. The demonstration quickly convinced Alex to redirect his company and soon it was designing and manufacturing professional-quality magnetic tape recorders. Bing Crosby was a great help in Ampex’s early years. The company grew quickly and, within a short time, dominated the magnetic tape recorder market in radio, television, the record industry, and industrial and military markets for instrumentation recorders . Alex was born in Russia in 1892. His father was well-to- 0 INTRODUCTION do, and sent Alex to Germany for an education in engineering. After college, he returned to Russia only to see his country It has been amazing how many people today are asking become engaged in a civil war. Alex escaped to China, where questions about Ampex and the Company’s contribution to the he went to work for the Shanghai Power Company. He music recording industry, the radio and television broadcast immigrated to the United States in 1927 where he worked for industry and the stereophonic home entertainment field. There General Electric, Pacific Gas & Electric, and the Dalmo Victor is no question that Ampex was a major factor in each of these Corporation in San Carlos, California. -
Dolby Vision UHD Blu-Ray Authoring Workflow Guide
Dolby Vision UHD Blu-ray Authoring Workflow Guide Version 1.1 September 9, 2019 Confidential information Confidential Information Copyright © 2019 Dolby Laboratories. All rights reserved. For information, contact: Dolby Laboratories, Inc. 1275 Market Street San Francisco, CA 94103-1410 USA Telephone 415-558-0200 Fax 415-863-1373 http://www.dolby.com Trademarks Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. Following are trademarks of Dolby Laboratories: ® Dolby ® ™ ™ ® ™ ® Dolby Atmos Dolby Audio Dolby Cinema Dolby Theatre Dolby Vision Dolby Voice ™ ™ Feel Every Dimension in Dolby Feel Every Dimension ™ ™ Feel Every Dimension in Dolby Atmos Dolby Digital Plus ™ ® ™ Dolby Advanced Audio Dolby Home Theater Dialogue Intelligence ™ ™ Dolby Digital Plus Home Theater MLP Lossless ® ™ Pro Logic Surround EX ™ ™ Dolby Digital Plus Advanced Audio Dolby Fidelio ™ ™ ™ Dolby AccessLink Dolby CaptiView Dolby CineAsset ™ Dolby CineAsset Player All other trademarks remain the property of their respective owners. Patents This product is protected by one or more patents in the United States and elsewhere. For more information, including a specific list of patents protecting this product, please visit http://www.dolby.com/patents. Confidential information Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited. Software Distribution Licensee shall comply with Licensor’s most recent Software Distribution Policy, a copy of which is included in the Deliverables or provided to Licensee and updated by Licensor from time to time and communicated to Licensee. Dolby Vision UHD Blu-ray Authoring Workflow Guide Page 2 Confidential Information Table of Contents 1 OVERVIEW ......................................................................................................................................... 4 DOLBY VISION MASTER AND DOLBY VISION MEZZANINE DELIVERABLES ................................... -
SPRING 2013 Volume 7, Issue 1 SVG UPDATE 9 Sportspost:NY 36 12 League Technology Summit 26 Transport 36 Sports Venue Technology Summit
ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT Spring 2013 • Volume 7, iSSUE 1 AN PUBLICATION SVG SPECIAL REPORT: THE BIG SHOW FROM THE BIG EASY Inside the Super Bowl XLVII Compound in New Orleans • SVG Update: In-Depth Recaps of Recent SVG Events • Sports Broadcasting Hall of Fame: The Class of 2012 • White Papers: The Promise of 4K, Streaming the Pac-12 Networks, and Workflow Automation in Sports plus Comprehensive 2013 NAB Preview & SVG Sponsor Update UPFRONT IN THIS ISSUE 4 FROM THE CHAIRMAN Even With 4K, the Future of Sports Video Is Better HD 6 THE TIp-off Standing Up For Your Rights SPRING 2013 VOLUME 7, ISSUE 1 SVG UPDATE 9 SportsPost:NY 36 12 League Technology Summit 26 TranSPORT 36 Sports Venue Technology Summit 42 SVG SPECIAL REPORT: THE BIG GAME FROM THE BIG EASY SPORTS BROADCASTING HALL OF FAME Class of 2012 Coverage begins on page 54 56 George Bodenheimer 64 Cory Leible 58 Ray Dolby 66 Paul Tagliabue 60 Frank Gifford 68 Jack Weir 62 Ed Goren 70 Jack Whitaker 72 WHITE PAPERS 80 72 Canon: The Promise of 4K 76 iStreamPlanet: Live Linear Streaming 80 Wohler: File-based Workflow Automation 3 2 1 8 4 PRODUCT NEWS 15 32 84 Remote Sports Production Gearbase 18 More trucks, more gear, more consolidation 111 87 NAB Preview 84 A comprehensive look at what SVG Sponsors will showcase in Las Vegas 122 Sponsor Update New technology, news, and innovations 87 138 SVG SPONSOR INDEX 144 THE FINAL BUZZER A Measured Response to 4K Hype? The SportsTech Journal is produced and published by the Sports Video Group. -
Dolby Laboratories, Inc. -- Film Sound Glossary Film Sound Glossary
Film-Tech The information contained in this Adobe Acrobat pdf file is provided at your own risk and good judgment. These manuals are designed to facilitate the exchange of information related to cinema projection and film handling, with no warranties nor obligations from the authors, for qualified field service engineers. If you are not a qualified technician, please make no adjustments to anything you may read about in these Adobe manual downloads. www.film-tech.com Dolby Laboratories, Inc. -- Film Sound Glossary Film Sound Glossary Acoustics -- The characteristics, such as how sound is reflected and absorbed, that acoustically differentiate one environment from another, such as a living room from a concert hall. Ambiance -- Low level sounds that set a mood or suggest the character of a particular place. Analog vs. digital -- The difference between analog and digital sound is explained best in terms of the analog and digital soundtracks on the Dolby Digital print shown in Figure 1. Figure 1 The width of the analog soundtrack varies in a way that is directly analogous to the varying soundwaves of the original sound. All analog formats have an equivalent varying parameter, such as the strength of the magnetic field on recording tape, or the side-to-side swings of the groove on a phonograph record. When played back, the varying width of the track is translated to a varying electrical voltage which ultimately causes the theatre's loudspeakers cones to move back and forth to recreate the original sound. With a digital optical soundtrack, points along the soundwaves of the original sound are assigned a numeric (or digital) value, which are represented as tiny dots on the track. -
History of Multichannel Audio from Mag Stripe to Dolby Digital Surround Sound Past, Present, and Future
Surround Sound Past, Present, and Future A history of multichannel audio from mag stripe to Dolby Digital Surround Sound Past, Present, and Future ilm sound, television audio, reserved for the occasional dramatic and music playback formats effect—ethereal voices in religious used to be distinctly different epics, for example. Some formats F products of industries often switched this channel off by means workingF in isolation. In recent years, of trigger tones when it wasn’t however, this has changed. The needed because the track on the popularity of surround sound in the film was particularly narrow, and thus home has brought these industries very hissy. A history of and their sound formats closer Although film stereo lost favor in together. And now digital multichan- the 1960s and early 1970s due to high multichannel audio nel technology is fostering an even costs of the magnetic formats and a from mag stripe more consistent approach to sound slump in the film business, sound reproduction, easing the burden on mixers continued to experiment with to Dolby Digital both consumer and producer while the effects channel. Formats such as providing unparalleled fidelity not just six-track 70 mm magnetic (see to the tonality of live sound, but also sidebar) provided consistent signal-to- to its spatiality. noise ratios on all channels, so mixers could use the effects channel to Origins of surround sound envelop the audience in continuous low-level ambient sounds. The effects The first commercially successful channel came to convey greater sonic multichannel sound formats were realism overall, not just the occasional developed in the early 1950s for the dramatic effect. -
DP600 Program Optimizer—Postproduction
DP600 Program Optimizer—Postproduction Note: This document assumes the DP600 includes the optional file-based audio coding package. Dolby DP600 and DP600-C Program Optimizer Overview for Postproduction Facilities The DP600-C version additionally offers faster-than-real-time file-based encoding and decoding of Dolby Digital, Dolby Digital Plus, and Dolby E content, and enables transcoding be- tween Dolby E and Dolby Digital or Dolby Digital Plus formats. Taking advantage of the features of Dolby Digital Plus, the DP600-C can perform high-quality, single-step transcoding Summary of Dolby Digital to Dolby Digital Plus without having to de- code and reencode. The Dolby® DP600 Program Optimizer is an innovative and flexible system offering intelligent file-based audio loudness To ensure the highest possible work-flow integration and ef- analysis and correction compatible with many of the broad- ficiency, the DP600 offers open access (via Web Services) to cast and video-on-demand (VOD) media file formats in use Dolby’s unique audio processing engines as well as coding today. Expanding upon the technology developed for the technologies traditionally found only in real-time hardware. award-winning Dolby LM100 Broadcast Loudness Meter with Dialogue Intelligence™, the Dolby DP600 enables cable and For example, the DP600 feature set complements several IPTV broadcasters to automatically normalize the loudness of types of third-party applications and products, including the all file-based programming and commercials without impact- following: ing the original dynamic range.1 • Archiving • Automation For compressed audio formats that include metadata (Dolby E, • Content conversion Dolby Digital, and Dolby Digital Plus, for example), the Dolby • Content transport DP600 can automatically set the dialnorm parameter and • Distribution automatically correct a previously set dialnorm parameter. -
Dolby Is a Deep Company That Owns Many Technologies. Keeping the Terminology Straight Is Challenging
Dolby is a deep company that owns many technologies. Keeping the terminology straight is challenging. Here is my version: Dolby Surround (LCRS-->Lt/Rt-->files/tape/broadcast-->LCRS) 4:2:4 matrix process only. The mono surround channel is bandwidth limited between 100hz and 7khz. The term was originally used to mean Dolby Stereo, but now the term is used for non-film delivery formats. See Dolby Pro Logic Dolby Stereo (LCRS-->LtRt-->Dolby A encode-->OpticalTrack-->Dolby A decode-- >LCRS) 4:2:4 matrix described above with Dolby A type noise reduction. Dolby A is no longer favored, instead use Dolby SR. Dolby SR (LCRS-->LtRt-->Dolby SR encode-->OpticalTrack-->Dolby SR decode-- >LCRS) 4:2:4 matrix described above with Dolby SR type noise reduction. This is the same as Dolby Stereo except that the optical track is encoded with SR instead of A type noise reduction. This format is still used for surround audio from film optical and as the backup track for Dolby Digital. The terms Dolby SR and Dolby Stereo are often interchanged, incorrectly. Dolby Digital a.k.a. AC-3 5.1-->AC-3 data stream-->5.1 The compressed data stream supports up to 5 full bandwidth plus one low frequency effects channel. It is designed for film, broadcast, and DVD final audio delivery. It is NOT considered "editable", which means you cannot just "punch in" on the data stream without consequences. This is the digital audio part of Dolby SR-D and Digitial Cinema. Dolby SR-D is a dual-stream audio delivery system printed on the film, with a Dolby SR optical track and blocks of bits printed between sprocket holes that, when reconstructed, form the AC-3 digital audio stream. -
Dolby Audio Encoder DP591 Product Specification
Dolby Audio Encoder DP591 Product specification 19 January 2018 Copyright © 2018 Dolby Laboratories. All rights reserved. Dolby Laboratories, Inc. 1275 Market Street San Francisco, CA 94103-1410 USA Telephone 415-558-0200 Fax 415-863-1373 http://www.dolby.com Trademarks Dolby and the double-D symbol are registered trademarks of Dolby Laboratories The following are trademarks of Dolby Laboratories: Dialogue Intelligence™ Dolby Theatre® Dolby® Dolby Vision™ Dolby Advanced Audio™ Dolby Voice® Dolby Atmos® Feel Every Dimension™ Dolby Audio™ Feel Every Dimension in Dolby™ Dolby Cinema™ Feel Every Dimension in Dolby Atmos™ Dolby Digital Plus™ MLP Lossless™ Dolby Digital Plus Advanced Audio™ Pro Logic® Dolby Digital Plus Home Theater™ Surround EX™ Dolby Home Theater® All other trademarks remain the property of their respective owners. Confidential information Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited. Patents This product is protected by one or more patents in the United States and elsewhere. For more information, including a specific list of patents protecting this product, please visit http:// www.dolby.com/patents. Contents Contents 1 Introduction.................................................................................................. 5 1.1 Overview........................................................................................................... 5 1.2 Key features......................................................................................................5 -
DP563 Dolby Surround Dolby Pro Logic II Encoder User's Manual
DP563 Dolby Surround and Pro Logic II Encoder User’s Manual Issue 3 Part Number 91690 Dolby® DP563 User’s Manual Dolby Laboratories, Inc. Corporate Headquarters Dolby Laboratories, Inc. 100 Potrero Avenue San Francisco, CA 94103-4813 Telephone 415-558-0200 Fax 415-863-1373 www.dolby.com European Headquarters Dolby Laboratories, Inc. Wootton Bassett Wiltshire, SN4 8QJ, England Telephone (44) 1793-842100 Fax (44) 1793-842101 DISCLAIMER OF WARRANTIES: EQUIPMENT MANUFACTURED BY DOLBY LABORATORIES IS WARRANTED AGAINST DEFECTS IN MATERIALS AND WORKMANSHIP FOR A PERIOD OF ONE YEAR FROM THE DATE OF PURCHASE. THERE ARE NO OTHER EXPRESS OR IMPLIED WARRANTIES AND NO WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, OR OF NONINFRINGEMENT OF THIRD-PARTY RIGHTS (INCLUDING, BUT NOT LIMITED TO, COPYRIGHT AND PATENT RIGHTS). LIMITATION OF LIABILITY: IT IS UNDERSTOOD AND AGREED THAT DOLBY LABORATORIES’ LIABILITY, WHETHER IN CONTRACT, IN TORT, UNDER ANY WARRANTY, IN NEGLIGENCE, OR OTHERWISE SHALL NOT EXCEED THE COST OF REPAIR OR REPLACEMENT OF THE DEFECTIVE COMPONENTS OR ACCUSED INFRINGING DEVICES, AND UNDER NO CIRCUMSTANCES SHALL DOLBY LABORATORIES BE LIABLE FOR INCIDENTAL, SPECIAL, DIRECT, INDIRECT, OR CONSEQUENTIAL DAMAGES, (INCLUDING, BUT NOT LIMITED TO, DAMAGE TO SOFTWARE OR RECORDED AUDIO OR VISUAL MATERIAL), COST OF DEFENSE, OR LOSS OF USE, REVENUE, OR PROFIT, EVEN IF DOLBY LABORATORIES OR ITS AGENTS HAVE BEEN ADVISED, ORALLY OR IN WRITING, OF THE POSSIBILITY OF SUCH DAMAGES. Dolby, Pro Logic, and the double-D symbol are registered trademarks of Dolby Laboratories. Part Number 91690 All other trademarks remain the property of their respective owners. Issue 3 2003 Dolby Laboratories, Inc. -
Digital Multichannel Audio
MULTICHANNEL AUDIO DigitalMultichannel audio — live transmission of Prix Europa concert in Dolby AC-3 by RBB, and in Dolby E via the Eurovision Network The Eurovision network is continuing its evaluation of different technical options for multichannel audio (MCA) and, in October 2004, it broadcast a live concert from Prix Europa in Berlin using the Dolby E format. The 5.1 surround sound production was carried out by the German radio station RBB Radio Multikulti in Berlin. Part I of this article describes some of the problems in a 5.1 live mixing situation and how the mix was transported via a wide-area network to the satellite uplink in Potsdam for multicast distribution. In addition, some current issues on DVB signalling and set-top box compatibility are discussed, and a perspective on lessons learned for the future is given. Part II reports on the experience gained by the EBU from the Prix Europa 2004 Dolby E experiment. It also describes the technical and operational aspects of the trial in some detail and gives a short description of Dolby MCA technology. Part I Nikolaus Löwe RBB, Berlin From 16 to 23 October 2004, Radio Berlin Brandenburg (RBB) hosted the annual Euro- pean television, radio and Internet festival Prix Europa. It was opened on 16 October with a concert by the Danish band Oriental Mood at the RBB broadcasting house in Berlin. The festival’s opening concert has always been transmitted live on radio. This year, however, RBB Radio Multikulti carried out a multicast trans- mission in stereo and Dolby Digital 5.1 and the EBU distrib- Figure 1 uted the concert to its Members Oriental Mood on stage EBU TECHNICAL REVIEW – January 2005 1 / 14 N.