Dolby Encoding Engine User's Guide

Total Page:16

File Type:pdf, Size:1020Kb

Dolby Encoding Engine User's Guide Dolby Encoding Engine User's Guide 2.3 4 February 2019 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. Confidential information Confidential information for Dolby Laboratories Licensees only. Unauthorized use, sale, or duplication is prohibited. Contents Contents 1 Introduction.................................................................................................. 6 1.1 Dolby Encoding Engine................................................................................... 6 1.2 Using this information....................................................................................6 1.3 Channel abbreviations.....................................................................................7 1.4 Resources.........................................................................................................7 1.5 Patent information......................................................................................... 8 1.6 Contacting Dolby.............................................................................................8 2 Product overview.......................................................................................... 9 2.1 Dolby Encoding Engine functions...................................................................9 2.2 Supported audio and video technologies..................................................... 9 2.3 Supported input and output formats...........................................................10 2.4 Other processing types.................................................................................. 11 2.5 Dolby Vision plug-ins.................................................................................... 12 2.6 System requirements.................................................................................... 12 3 Dolby Encoding Engine installation.............................................................14 3.1 Installing Dolby Encoding Engine on Linux...................................................14 3.2 Installing Dolby Encoding Engine on Windows............................................ 14 3.3 Adding product license..................................................................................15 3.4 Installing the xmllint component..................................................................15 4 Operation.....................................................................................................16 4.1 Executing an encoding job............................................................................ 16 4.2 Supported CLI options...................................................................................16 4.2.1 The --add-elem CLI option.................................................................18 4.2.2 The trace feature............................................................................... 19 4.2.3 ASCII characters and the --no-links CLI option.................................19 4.3 Command examples.......................................................................................19 5 Encoding parameters.................................................................................. 20 5.1 Dolby Digital Plus (1.0/2.0/5.1) encoding job............................................... 20 5.1.1 XML example files for Dolby Digital Plus (1.0/2.0/5.1)..................... 20 5.1.2 Input parameters for Dolby Digital Plus (1.0/2.0/5.1).......................21 5.1.3 Filter parameters for Dolby Digital Plus (1.0/2.0/5.1)...................... 22 5.1.4 Output parameters for Dolby Digital Plus (1.0/2.0/5.1)................... 25 5.2 Dolby Digital Plus (7.1) encoding job.............................................................27 5.2.1 XML example files for Dolby Digital Plus (7.1)...................................27 5.2.2 Input parameters for Dolby Digital Plus (7.1)................................... 27 5.2.3 Filter parameters for Dolby Digital Plus (7.1)................................... 29 5.2.4 Output parameters for Dolby Digital Plus (7.1).................................31 5.3 Dolby Atmos encoding job............................................................................32 5.3.1 XML example files for Dolby Atmos..................................................33 5.3.2 Input parameters for Dolby Atmos.................................................. 33 5.3.3 Filter parameters for Dolby Atmos.................................................. 34 5.3.4 Output parameters for Dolby Atmos............................................... 35 5.4 Dolby Atmos encoding job (from channel-based immersive input)........... 37 5.4.1 XML example files for Dolby Atmos (channel-based immersive) ............................................................................................................ 38 5.4.2 Input parameters for Dolby Atmos (channel-based immersive)...38 Dolby Encoding Engine 2.3 User's Guide 4 February 2019 3 Contents 5.4.3 Filter parameters for Dolby Atmos (channel-based immersive)... 38 5.4.4 Output parameters for Dolby Atmos (channel-based immersive).........................................................................................40 5.5 Dolby Vision profile 5 encoding job..............................................................42 5.5.1 XML example files for Dolby Vision profile 5....................................44 5.5.2 Input parameters for Dolby Vision profile 5.................................... 44 5.5.3 Filter parameters for Dolby Vision profile 5.....................................47 5.5.4 Output parameters for Dolby Vision profile 5..................................51 5.6 Dolby Vision profile 8.1 encoding job........................................................... 53 5.6.1 XML example files for Dolby Vision profile 8.1................................. 55 5.6.2 Input parameters for Dolby Vision profile 8.1..................................55 5.6.3 Filter parameters for Dolby Vision profile 8.1..................................58 5.6.4 Output parameters for Dolby Vision profile 8.1...............................62 5.7 HDR10 video encoding job............................................................................64 5.7.1 XML example files for HDR10 video..................................................66 5.7.2 Input parameters for HDR10 video.................................................. 66 5.7.3 Filter parameters for HDR10 video...................................................69 5.7.4 Output parameters for HDR10 video................................................73 5.8 SDR to Dolby Vision profile 4 encoding job..................................................75 5.8.1 XML example files for SDR to Dolby Vision profile 4 conversion.....77 5.8.2 Input parameters for SDR to Dolby Vision profile 4 conversion..... 77 5.8.3 Filter parameters for SDR to Dolby Vision profile 4 conversion..... 79 5.8.4 Output parameters for SDR to Dolby Vision profile 4 conversion...................................................................................... 80 5.9 SDR to Dolby Vision profile 8 encoding job................................................. 82 5.9.1 XML example files for SDR to Dolby Vision profile 8 conversion....83 5.9.2 Input parameters for SDR to Dolby Vision profile 8 conversion.... 83 5.9.3 Filter parameters for SDR to Dolby Vision profile 8 conversion.....85 5.9.4 Output parameters for SDR to Dolby Vision profile 8 conversion.......................................................................................85 5.10 SDR encoding job.......................................................................................... 87 5.10.1 XML example files for SDR................................................................89 5.10.2 Input parameters for SDR................................................................ 89 5.10.3 Filter parameters for SDR................................................................. 92 5.10.4 Output parameters for SDR..............................................................95 5.11 HEVC transcoding job....................................................................................97 5.11.1 XML example files for High-Efficiency Video Coding transcode.....98 5.11.2 Input parameters for High-Efficiency Video Coding transcode......98 5.11.3 Filter parameters for High-Efficiency Video Coding transcode......99 5.11.4 Output parameters for High-Efficiency Video Coding transcode ........................................................................................................... 101 6 Distributed encoding of Dolby Vision........................................................ 104 6.1 Basic distributed encoding......................................................................... 104 6.2 Expanded distributed encoding..................................................................106 7 Optimized
Recommended publications
  • Why Dolby Atmos" Whitepaper
    Why Dolby Atmos Why Dolby Atmos 08—2020 Your story made better in Dolby Atmos Dolby Atmos has become the immersive audio standard for film and television content creation. Introduced first in the cinema, Dolby Atmos has been adopted by the most popular streaming services such as Apple TV+, Disney+, and Netflix, and is also being made widely available to mainstream audiences on millions of consumer playback devices. Once used primarily on big-budget Hollywood films, Dolby Atmos is being leveraged by content creators on a wider variety of content genres and types than ever before. This is your opportunity to hear first-hand from some of those content creators on how Dolby Atmos has enabled them to enhance their stories. This paper will demystify what Dolby Atmos is and why content creators should be creating all of their content in Dolby Atmos. “Dolby Atmos is a format and not a particular sound. At Netflix, we feel the best mixes come when mixers have excellent technology and the freedom to use it in a way that best tells the story.” — Scott Kramer | Netflix Dolby Atmos: From cinema to home First utilized on Pixar’s 2012 film, Brave, Dolby Atmos introduced a new paradigm of audio creation and delivery in cinema, enabling filmmakers to fully immerse moviegoers in their story’s soundscape. Today, that paradigm has also revolutionized the home entertainment experience, bringing Dolby Atmos technology to the living room and enabling content creators to immerse viewers more deeply into their stories. Many of today’s leading content services and their studio partners have adopted Dolby Atmos on feature films and episodic titles.
    [Show full text]
  • 1680 N Vine Street, Los Angeles Building Highlights
    1680 N VINE STREET, LOS ANGELES BUILDING HIGHLIGHTS • The Taft Building-Hollywood’s most authentic office environment • Built in 1923 and completely renovated in 2019 • Located in the heart of the famous Hollywood Walk of Fame • Onsite amenities: Starbucks, Wood & Vine, APL and walking distance to everything else Hollywood has to offer • Directly adjacent to the W Hotel which provides ample onsite valet parking • Connected to the Metro Red line at Hollywood and Vine- linking to Downtown and the San Fernando Valley • Two blocks from 101 Freeway BUILDING DESCRIPTION • 12 floors • Building size: +/-125,888 rentable square feet • Average floor plate: +/-10,000 rentable square feet • Ceiling heights: 12’-14’ • Exposed brick, concrete floors and exposed concrete ceilings, operable windows throughout • Creative space available from 1,000- 10,000 square feet APL Restaurant | Wood & Vine Located at the iconic intersection of Hollywood Boulevard and Vine Street WALK SCORE ® OF 95 Untitled map Untitled layer 1680 Vine St LUXURY HOUSING LUXURY HOTEL AMENITIES MAP 1680 VINE STREET, LOS ANGELES KIMPTON HOTEL PANTAGES ARGYLE HOUSE NETFLIX HOLLYWOOD + HIGHLAND STATION HOLLYWOOD BLVD HOLLYWOOD + WESTERN STATION HOLLYWOOD + VINE STATION TRADER JOE’S CAHUENGA BLVD VIACOM SELMA AVENUE VINE ST CROSSROADS OF THE WORLD EQUINOX COLUMBIA SQUARE SUNSET BLVD NETFLIX HIGHLAND AVE ESSEX & HOLLYWOOD PALLADIUM DREAM HOTEL TENDER GREENS NETFLIX ON VINE KATSUYA FOUNTAIN AVENUE ST N GOWER SANTA MONICA BLVD AVA HOLLYWOOD yucca street carlos avenue Taft Building 41 3339
    [Show full text]
  • Spectracal Videoforge Pro Se
    Setup Guide By Rev. 1.7 CalMAN Setup Guide: SpectraCal VideoForge PRO Introduction The SpectraCal VideoForge PRO test pattern generator can be automatically controlled by the CalMAN Display Calibration Software to produce measurement and calibration test patterns via HDMI for SDR and HDR displays at resolutions from 640x480 up to 3840x2160. CalMAN Required Version • Version 5.8.31 or later CalMAN Recommended Workflows • All available measurement and calibration workflows VideoForge PRO Supported Firmware • Version 1.01 or later VideoForge PRO Control Port • Mini USB VideoForge PRO Connection to Computer The VideoForge PRO uses the FTDI USB device driver. 1. Install the FTDI driver before you connect the VideoForge PRO to your computer. The FTDI driver is available: o As part of the CalMAN Device Driver Pack (http://www.spectracal.com/download.php?id=3), or o From the FTDI web site (http://www.ftdichip.com/FTDrivers.htm). When the driver is properly installed, the Murideo will be listed in Device Manager under Ports (COM & LPT) as "USB Serial Port 2 CalMAN Setup Guide: SpectraCal VideoForge PRO (COMx)." If it is not listed that way, the driver is not yet properly installed. 2. Connect the VideoForge PRO to the CalMAN computer with a USB cable. CalMAN Connection to VideoForge PRO 1. When the VideoForge PRO is properly connected to the computer, launch CalMAN. CalMAN will automatically connect to the VideoForge PRO. 2. If the VideoForge PRO is plugged into the CalMAN computer after CalMAN is open, it can be connected by clicking the Find Source button on the CalMAN Source Settings tab.
    [Show full text]
  • Implementing Object-Based Audio in Radio Broadcasting
    Object-based Audio in Radio Broadcast Implementing Object-based audio in radio broadcasting Diplomarbeit Ausgeführt zum Zweck der Erlangung des akademischen Grades Dipl.-Ing. für technisch-wissenschaftliche Berufe am Masterstudiengang Digitale Medientechnologien and der Fachhochschule St. Pölten, Masterkalsse Audio Design von: Baran Vlad DM161567 Betreuer/in und Erstbegutachter/in: FH-Prof. Dipl.-Ing Franz Zotlöterer Zweitbegutacher/in:FH Lektor. Dipl.-Ing Stefan Lainer [Wien, 09.09.2019] I Ehrenwörtliche Erklärung Ich versichere, dass - ich diese Arbeit selbständig verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. - ich dieses Thema bisher weder im Inland noch im Ausland einem Begutachter/einer Begutachterin zur Beurteilung oder in irgendeiner Form als Prüfungsarbeit vorgelegt habe. Diese Arbeit stimmt mit der vom Begutachter bzw. der Begutachterin beurteilten Arbeit überein. .................................................. ................................................ Ort, Datum Unterschrift II Kurzfassung Die Wissenschaft der objektbasierten Tonherstellung befasst sich mit einer neuen Art der Übermittlung von räumlichen Informationen, die sich von kanalbasierten Systemen wegbewegen, hin zu einem Ansatz, der Ton unabhängig von dem Gerät verarbeitet, auf dem es gerendert wird. Diese objektbasierten Systeme behandeln Tonelemente als Objekte, die mit Metadaten verknüpft sind, welche ihr Verhalten beschreiben. Bisher wurde diese Forschungen vorwiegend
    [Show full text]
  • What Is Dolby Vision?
    Dolby Vision™ for the Home 1 WHAT IS DOLBY VISION? Dolby Vision™ transforms the way you experience movies, TV shows, and games with incredible brightness, contrast, and color that bring entertainment to life before your eyes. By fully leveraging the maximum potential of new cinema projection technology and new TVs’ display capabilities, Dolby Vision delivers high-dynamic-range (HDR) and wide-color-gamut content. The result is a refined, lifelike image that will make you forget you are looking at a screen. Current consumer video delivery and cinema standards are based on the limitations of old technologies and require altering the original content before it can be reproduced for playback—dramatically reducing the range of colors, brightness, and contrast from that captured by modern cameras. Dolby Vision changes that, giving creative teams the confidence that images will be reproduced faithfully on TVs, PCs, and mobile devices that feature Dolby Vision. Dolby Vision is a natural complement to Dolby Atmos®. It gives movie, television, and game creators the tools they need to create experiences that preserve the creative intent and let consumers experience truly immersive content without compromise. For manufacturers of televisions, game consoles, personal computers, and mobile devices, Dolby Vision unlocks the full capabilities of their hardware and creates a premium experience that can increase use and enjoyment of these products. 2 DOLBY VISION: ROOTED IN THE SCIENCE OF THE HUMAN VISUAL SYSTEM There are three ways to improve picture quality for movies, TV shows, games, and user-generated content: • More pixels: 4K, 8K, and beyond • Higher frame rate (HFR) • Better pixels (high dynamic range and wider color gamut): Dolby Vision 4K televisions have “more pixels,” and newer standards for UHD TV also include high frame rates, but these standards don’t make each pixel able to better represent the full range of brightness we see in reality.
    [Show full text]
  • 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
    [Show full text]
  • Audio Coding for Digital Broadcasting
    Recommendation ITU-R BS.1196-7 (01/2019) Audio coding for digital broadcasting BS Series Broadcasting service (sound) ii Rec. ITU-R BS.1196-7 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio- frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Recommendations (Also available online at http://www.itu.int/publ/R-REC/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management SNG Satellite news gathering TF Time signals and frequency standards emissions V Vocabulary and related subjects Note: This ITU-R Recommendation was approved in English under the procedure detailed in Resolution ITU-R 1.
    [Show full text]
  • Shop Fullcompass.Com Today! for Expert Advice - Call: 800-356-5844 M-F: 9:00-5:30 Central 412 VIDEO PLAYERS / RECORDERS
    DVD / BLU-RAY PLAYERS AND RECORDERS DVD / BLU-RAYVIDEO PLAY PLAYERSE RASND / RECORDERS 411 NEW! ATOMOS ATOMOS NINJA STAR POCKET- SIZE APPLE PRORES RECORDER AND TASCAM DV-D01U RACKMOUNTABLE SINGLE DISC DVD PLAYER DECK Designed for action cameras, drones The DV-D01U is a rackmountable single-disc player with a powered loading tray. and mirrorless DSLR’s, this pocket-size Apple The player reads DVD video, DVD audio (2-channel only), video CD, CD-DA, MP3, ProRes recorder delivers better quality (no MPEG compression) and huge WMA, .WAV, JPEG, ASF, MPEG-2/MPEG-1, and DivX. It is capable of playing back workflow timesavings. Ultra-long battery life with tiny size and weight make this properly finalized DVD +R/+RW discs. Outputs consist of HDMI audio/video unit ideal for situations requiring portability, reliability and long power draws. out and composite, S-Video, and component video outputs. Rear panel stereo Captures video in select HD/SD recording formats via HDMI, with 2-channel audio outputs are unbalanced (RCA) and digital outputs are optical. Digital outputs can from camera and/or analog input. Edit-ready media files are recorded directly to pass Dolby Digital and DTS surround streams for later decoding. The DV-D01U CFast 1.0 memory card. Standard mounting plate included. provides extensive bi-directional RS232 serial control and an I/R remote control ITEM DESCRIPTION PRICE is included. ATO-NINJA-STAR........ Pocket-Size ProRes Recorder & Deck ........................................... 295.00 ITEM DESCRIPTION PRICE ATO-MCFT064 ........... 64GB CFast Memory Card ........................................................... 159.00 DVD01U ..................... Rackmountable DVD player, 1RU ................................................ 369.99 ATO-MCFT128 ..........
    [Show full text]
  • Prices 06-2021
    Prices (exc. VAT) -June 2021 1 - Contents 2 - 4K HDR color grading 3 - 5.1 mixing 4 - Subtitling 5 - 2K/4K/3D DCPs 6 - Broadcast-ready files / IMF Package / Dolby E 7 - DVD & 2D/3D/4K Blu-ray authoring 8 - DVD duplication 9 - Blu-ray duplication 10 - Dailies management / 3D & HDR encoding 11 - LTO archiving and restore Have a question or want a quote? Write to us: [email protected] Registration: 492432703 - VAT ID: FR52492432703 4K HDR color grading Color grading station Half-day (4h) Full day (8h) Week (5d) Rental of 4K HDR DaVinci Resolve station with senior colorist's services € 550 € 990 € 4 900 Rental of 4K HDR DaVinci Resolve station without senior colorist's services € 270 € 500 € 2 450 Delivery of DaVinci Resolve source project to customer Included Video export Apple ProRes or DNxHR Included Color grading peripherals Week (5d) Rental of HDR Eizo CG3145 Prominence monitor € 900 Rental of DaVinci Resolve Mini Panel € 300 Transport costs (both ways, mandatory, only available in Paris, Hauts-de-Seine, Seine-Saint-Denis and Val-de-Marne) € 100 Roundtrip workflow Final Cut Pro Media Composer Premiere Pro Organisation of the timeline and export to Final Cut Pro 7/X, Avid Media Composer or Adobe Premiere Pro Offline reference clip with burned-in timecode after export € 90 / hour Project import and check on DaVinci Resolve The powerful color grading station: Blackmagic Design's DaVinci Resolve Studio 17 on Linux (+Neat plugin) AMD Ryzen Threadripper 64 cores / nVidia RTX 3090 24 GB Best 4K DCI 10-bit HDR mastering display monitor on an Eizo CG3145 Prominence (meeting Dolby Vision and Netflix standards) Display calibration by a VTCAM expert to Rec.
    [Show full text]
  • Capabilities of the Horchow Auditorium and the Orientation
    Performance Capabilities of Horchow Auditorium and Atrium at the Dallas Museum of Art Horchow Auditorium Capacity and Stage: The auditorium seats 333 people (with a 12 removable chair option in the back), maxing out the capacity at 345). The stage is 45’ X 18’and the screen is 27’ X 14’. A height adjustable podium, microphone, podium clock and light are standard equipment available. Installed/Available Equipment Sound: Lighting: 24 channel sound board 24 fixed lights 4 stage monitors (with up to 4 Mixes) 5 movers (these give a wide array of lighting looks) 6 hardwired microphones 4 wireless lavaliere microphones 2 handheld wireless microphones (with headphone option) 9-foot Steinway Concert Grand Piano 3 Bose towers (these have been requested by Acoustic performers before and work very well) Music stands Projection Panasonic PTRQ32 4K 20,000 Lumen Laser Projector Preferred Video Formats in Horchow Blu Ray DVD Apple ProRes 4:2:2 Standard in a .mov wrapper H.264 in a .mov wrapper Formats we can use, but are not optimal MPEG-1/2 Dirac / VC-2 DivX® (1/2/3/4/5/6) MJPEG (A/B) MPEG-4 ASP WMV 1/2 XviD WMV 3 / WMV-9 / VC-1 3ivX D4 Sorenson 1/3 H.261/H.263 / H.263i DV H.264 / MPEG-4 AVC On2 VP3/VP5/VP6 Cinepak Indeo Video v3 (IV32) Theora Real Video (1/2/3/4) Atrium Capacity and Stage: The Atrium seats up to 500 people (chair rental required). The stage available to be installed in the Atrium is 16’ x 12’ x 1’.
    [Show full text]
  • Dolby Atmos for the Home Theater
    Dolby Atmos® for the Home Theater October 2014 Dolby Atmos®, the revolutionary cinema sound technology, has come to home theaters. With Dolby Atmos, content creators can precisely place and move sounds anywhere in your living room, including overhead, to make entertainment incredibly immersive and lifelike. This white paper is designed to explain how Dolby Atmos will work in home theaters and how you can build a Dolby Atmos enabled system or upgrade your existing system to support Dolby Atmos. This paper also explains the technological components of Dolby Atmos in home theater and the tools that content creators and broadcasters will use to create and deliver Dolby Atmos content to homes. Why replace channel-based surround sound? Dolby Atmos is a revolutionary technology that moves beyond the paradigm of channel- based audio, which has gone as far as it can in the home. Dolby has led home theater technology since the late 1980s, when we introduced four- channel Dolby® Pro Logic®. We led the development of 5.1 and then introduced 7.1 surround sound in the home and the cinema. But as home theater expanded to 9.1 and even 11.1 systems, the problems of pursuing more and more channels became clear. Home theater content often originates from theatrical content that is mixed, at best, in 7.1 sound and many times in 5.1. That meant that 9.1 or 11.1 systems reached a point of diminishing returns in parsing and upmixing that limited signal to serve more and more channels. In addition, the ability to recreate reality using channel-based audio is inherently limited.
    [Show full text]
  • Ultra HD Playout & Delivery
    Ultra HD Playout & Delivery SOLUTION BRIEF The next major advancement in television has arrived: Ultra HD. By 2020 more than 40 million consumers around the world are projected to be watching close to 250 linear UHD channels, a figure that doesn’t include VOD (video-on-demand) or OTT (over-the-top) UHD services. A complete UHD playout and delivery solution from Harmonic will help you to meet that demand. 4K UHD delivers a screen resolution four times that of 1080p60. Not to be confused with the 4K digital cinema format, a professional production and cinema standard with a resolution of 4096 x 2160, UHD is a broadcast and OTT standard with a video resolution of 3840 x 2160 pixels at 24/30 fps and 8-bit color sampling. Second-generation UHD specifications will reach a frame rate of 50/60 fps at 10 bits. When combined with advanced technologies such as high dynamic range (HDR) and wide color gamut (WCG), the home viewing experience will be unlike anything previously available. The expected demand for UHD content will include all types of programming, from VOD movie channels to live global sporting events such as the World Cup and Olympics. UHD-native channel deployments are already on the rise, including the first linear UHD channel in North America, NASA TV UHD, launched in 2015 via a partnership between Harmonic and NASA’s Marshall Space Flight Center. The channel highlights incredible imagery from the U.S. space program using an end-to-end UHD playout, encoding and delivery solution from Harmonic. The Harmonic UHD solution incorporates the latest developments in IP networking and compression technology, including HEVC (High- Efficiency Video Coding) signal transport and HDR enhancement.
    [Show full text]