DOLBY® Digital Cinema System
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ARCHIVE ONLY: DCI Digital Cinema System Specification, Version 1.2
Digital Cinema Initiatives, LLC Digital Cinema System Specification Version 1.2 March 07, 2008 Approval March 07, 2008 Digital Cinema Initiatives, LLC, Member Representatives Committee Copyright © 2005-2008 Digital Cinema Initiatives, LLC DCI Digital Cinema System Specification v.1.2 Page 1 NOTICE Digital Cinema Initiatives, LLC (DCI) is the author and creator of this specification for the purpose of copyright and other laws in all countries throughout the world. The DCI copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. DCI hereby grants to its members and their suppliers a limited license to reproduce this specification for their own use, provided it is not sold. Others should obtain permission to reproduce this specification from Digital Cinema Initiatives, LLC. This document is a specification developed and adopted by Digital Cinema Initiatives, LLC. This document may be revised by DCI. It is intended solely as a guide for companies interested in developing products, which can be compatible with other products, developed using this document. Each DCI member company shall decide independently the extent to which it will utilize, or require adherence to, these specifications. DCI shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document defines only one approach to compatibility, and other approaches may be available to the industry. This document is an authorized and approved publication of DCI. Only DCI has the right and authority to revise or change the material contained in this document, and any revisions by any party other than DCI are unauthorized and prohibited. -
CP750 Digital Cinema Processor the Latest in Sound Processing—From Dolby Digital Cinema
CP750 Digital Cinema Processor The Latest in Sound Processing—from Dolby Digital Cinema The CP750 is Dolby’s latest cinema processor specifically designed to work within the new digital cinema environment. The CP750 receives and processes audio from multiple digital audio sources and can be monitored and controlled from anywhere in the network. Plus, Dolby reliability ensures a great moviegoing experience every time. The Dolby® CP750 provides easy-to- The CP750 integrates with Dolby operate audio control in digital cinema Show Manager software, enabling it environments equipped with the latest to process digital input selection and technology while integrating seamlessly volume cues within a show, real-time with existing technologies. The CP750 volume control from any Dolby Show supports the innovative Dolby Surround Manager client, and ASCII commands 7.1 premium surround sound format, from third-party controllers. Moreover, and will receive and process audio Dolby Surround 7.1 (D-cinema audio), from multiple digital audio sources, 5.1 digital PCM (D-cinema audio), Dolby including a digital cinema server, Digital Surround EX™ (bitstream), Dolby preshow servers, and alternative content Digital (bitstream), Dolby Pro Logic® II, sources. The CP750 is NOC (network and Dolby Pro Logic decoding are all operations center) ready and can be included to deliver the best in surround monitored and controlled anywhere on sound from all content sources. the network for status and function. CP750 Digital Cinema Processor Audio Inputs Other Inputs/Outputs -
Dolby Surround 7.1 for Theatres
Dolby Surround 7.1 Technical Information for Theatres Dolby® has partnered with Walt Disney Pictures and Pixar Animation Studios to deliver Toy Story 3 in Dolby Surround 7.1 audio format to suitably equipped 3D cinemas in selected countries. Dolby Surround 7.1 is a new audio format for cinema, supported in Dolby CP650 and CP750 Digital Cinema Processors, that increases the number of discrete surround channels to add more definition to the existing 5.1 surround array. This document provides an overview of the Dolby Surround 7.1 format, and the effect that it may have on theatre equipment and content. Full technical details of cabling requirements and software versions are provided in appropriate Dolby field bulletins. Table 1 lists the channel names and abbreviations used in this document. Table 1 Channel Abbreviations Channel Name Abbreviation Left L Center C Right R Left Surround Ls Right Surround Rs Low‐Frequency Effects LFE Back Surround Left Bsl Back Surround Right Bsr Hearing Impaired HI Visually Impaired‐Narrative (Audio VI‐N Description) 1 Theatre Channel Configuration Two new discrete channels are added in the theatre, Back Surround Left (Bsl) and Back Surround Right (Bsr) as shown in Figure 1. Use of these additional surround channels provides greater flexibility in audio placement to tie in with 3D visuals, and can also enhance the surround definition with 2D content. Dolby and the double-D symbol are registered trademarks of Dolby Dolby Laboratories, Inc. Laboratories. Surround EX is a trademark of Dolby Laboratories. 100 Potrero Avenue © 2010 Dolby Laboratories. All rights reserved. S10/22805 San Francisco, CA 94103-4813 USA 415-558-0200 415-645-4175 dolby.com Dolby Surround 7.1 Technical Information for Theatres 2 Figure 1 Dolby Surround 7.1 (Surround Channel Layout) Existing theatres that are wired for Dolby Digital Surround EX™ will already have the appropriate wiring and amplification for these channels. -
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 -
Paramount Theatre Sherry Lansing Theatre Screening Room #5 Marathon Theatre Gower Theatre
PARAMOUNT THEATRE SHERRY LANSING THEATRE SCREENING ROOM #5 MARATHON THEATRE GOWER THEATRE ith rooms that seat from 33 to 516 people, The Studios at Paramount has a screening room to accommodate an intimate screening with your production team, a full premiere gala, or anything in between. We also offer a complete range of projection and audio equipment to handle any feature, including 2K, 4K DLP projection in 2D and 3D, as well as 35mm and 70mm film projection. On top of that, all our theaters are staffed with skilled projectionists and exceptional engineering teams, to give you a perfect presentation every time. 2 PARAMOUNT THEATRE CUTTING-EDGE FEATURES, LAVISH DESIGN, PERFECT FOR PREMIERES FEATURES • VIP Green Room • Multimedia Capabilities • Huge Rotunda Lobby • Performance Stage in front of Screen • Reception Area • Ample Parking and Valet Service SPECIFICATIONS • 4K – Barco DP4K-60L • 2K – Christie CP2230 • 35mm and 70mm Norelco AA II Film Projection • Dolby Surround 7.1 • 16-Channel Mackie Mixer 1604-VLZ4 • Screen: 51’ x 24’ - Stewart White Ultra Matt 150-SP CAPACITY • Seats 516 DIGITAL CINEMA PROJECTION • DCP - Barco Alchemy ICMP • DCP – Doremi DCP-2K4 • XpanD Active 3D System • Barco Passive 3D System • Avid Media Composer • HDCAM SR and D5 • Blu-ray and DVD • 8 Sennheiser Wireless Microphones – Hand-held and Lavalier • 10 Clear-Com Tempest 2400 RF PL • PIX ADDITIONAL SERVICES AVAILABLE • Catering • Event Planning POST PRODUCTION SERVICES 10 • SecurityScreening Rooms 3 SCREENING ROOMS SHERRY LANSING THEATRE THE ULTIMATE REFERENCE -
Digital Cinema System Specification Version 1.3
Digital Cinema System Specification Version 1.3 Approved 27 June 2018 Digital Cinema Initiatives, LLC, Member Representatives Committee Copyright © 2005-2018 Digital Cinema Initiatives, LLC DCI Digital Cinema System Specification v. 1.3 Page | 1 NOTICE Digital Cinema Initiatives, LLC (DCI) is the author and creator of this specification for the purpose of copyright and other laws in all countries throughout the world. The DCI copyright notice must be included in all reproductions, whether in whole or in part, and may not be deleted or attributed to others. DCI hereby grants to its members and their suppliers a limited license to reproduce this specification for their own use, provided it is not sold. Others should obtain permission to reproduce this specification from Digital Cinema Initiatives, LLC. This document is a specification developed and adopted by Digital Cinema Initiatives, LLC. This document may be revised by DCI. It is intended solely as a guide for companies interested in developing products, which can be compatible with other products, developed using this document. Each DCI member company shall decide independently the extent to which it will utilize, or require adherence to, these specifications. DCI shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document defines only one approach to compatibility, and other approaches may be available to the industry. This document is an authorized and approved publication of DCI. Only DCI has the right and authority to revise or change the material contained in this document, and any revisions by any party other than DCI are unauthorized and prohibited. -
Dvdit Pro Tutorial
TUTORIAL SONIC ™ DVDit® Pro 6 POWERFUL DVD AUTHORING FOR VIDEO PROFESSIONALS FROM SONIC THE HOLLYWOOD STANDARD IN DVD CREATION © Copyright 2005 Sonic Solutions. All rights reserved. DVDit Pro Tutorial — Sonic Part Number 800207 Rev B (09/05) This manual, as well as the software described in it, is furnished under license and may only be used or copied in accordance with the terms of such license. The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Sonic Solutions. Sonic Solutions assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Except as permitted by such license, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Sonic Solutions. SONIC SOLUTIONS, INC. (“SONIC”) MAKES NO WARRANTIES, EXPRESS OR IMPLIED, INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THE SOFTWARE. SONIC DOES NOT WARRANT, GUARANTEE, OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SONIC SOFTWARE IN TERMS OF ITS CORRECTNESS, ACCURACY, RELIABILITY, CURRENTNESS, OR OTHERWISE. THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF THE SONIC SOFTWARE IS ASSUMED BY YOU. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. IN NO EVENT WILL SONIC, ITS DIRECTORS, OFFICERS, EMPLOYEES, OR AGENTS BY LIABLE TO YOU FOR ANY CONSEQUENTIAL, INCIDENTAL, OR INDIRECT DAMAGES (INCLUDING DAMAGES FOR LOSS OF BUSINESS PROFITS, BUSINESS INTERRUPTION, LOSS OF BUSINESS INFORMATION, AND THE LIKE) ARISING OUT OF THE USE OR INABILITY TO USE THE SOFTWARE EVEN IF SONIC HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. -
Lossless Compression of Audio Data
CHAPTER 12 Lossless Compression of Audio Data ROBERT C. MAHER OVERVIEW Lossless data compression of digital audio signals is useful when it is necessary to minimize the storage space or transmission bandwidth of audio data while still maintaining archival quality. Available techniques for lossless audio compression, or lossless audio packing, generally employ an adaptive waveform predictor with a variable-rate entropy coding of the residual, such as Huffman or Golomb-Rice coding. The amount of data compression can vary considerably from one audio waveform to another, but ratios of less than 3 are typical. Several freeware, shareware, and proprietary commercial lossless audio packing programs are available. 12.1 INTRODUCTION The Internet is increasingly being used as a means to deliver audio content to end-users for en tertainment, education, and commerce. It is clearly advantageous to minimize the time required to download an audio data file and the storage capacity required to hold it. Moreover, the expec tations of end-users with regard to signal quality, number of audio channels, meta-data such as song lyrics, and similar additional features provide incentives to compress the audio data. 12.1.1 Background In the past decade there have been significant breakthroughs in audio data compression using lossy perceptual coding [1]. These techniques lower the bit rate required to represent the signal by establishing perceptual error criteria, meaning that a model of human hearing perception is Copyright 2003. Elsevier Science (USA). 255 AU rights reserved. 256 PART III / APPLICATIONS used to guide the elimination of excess bits that can be either reconstructed (redundancy in the signal) orignored (inaudible components in the signal). -
Dolby 3D Brochure
Dolby 3D Makes Good Business Sense Premium Quality Dolby 3D provides a thrilling audience experience and a powerful box-office attraction. It’s also more cost-effective and better Widely recognized as producing the best 3D image, Dolby for the environment than systems that use disposable glasses. Another key feature: Dolby 3D is part of an integrated suite of 3D provides an amazingly sharp picture with brighter, more Dolby Digital Cinema products from a company with over 40 years of cinematic innovation. natural colors—giving your audiences an unparalleled 3D experience they’ll want to return for again and again. Keep More 3D Profit Dolby 3D Return on Investment Dolby 3D is a one-time investment—no annual licensing fees ROI or revenue sharing. In fact, a complete Dolby 3D system generally pays for itself after only a few 3D releases. You $80K keep more of the additional revenues generated with Dolby $60K Flexible 3D and your ROI continues to improve over time. $40K Dolby 3D wows audiences on any screen—either on $20K traditional white screens or on silver screens, allowing Durable and Eco-Friendly for greater scheduling flexibility. Easily switch between Engineered to resist damage and hold their shape, Dolby 3D $0 2D and 3D, and move films from one auditorium to glasses deliver a comfortable fit and the highest quality 3D ($20K) another without screen restrictions. experience for hundreds of uses, without ending up in landfills like disposables. Reduce, reuse, recycle—it's good ($40K) for business. 1 5 10 15 Number of Dolby 3D Releases* World-Class Support Dolby provides comprehensive support for our 3D solution, *Based on 7,500 admissions per title. -
Optimizing the Implementation of Dolby Digital Plus in Soc Designs
White Paper Optimizing the Implementation of Dolby Digital Plus in SoC Designs Chris Cavigioli and Brett Miller, MIPS Technologies Roger Dressler and Rob Hislop, Dolby Laboratories January 2007 MIPS Technologies and Dolby Laboratories have collaborated to provide a rapid and low-risk methodology for deploying Dolby Digital Plus technology to the set-top box and HD DVD/Blu-ray Disc markets. Introduction Dolby® Digital Plus, the newest generation of Dolby Digital, the standard-setting audio technology from Dolby Laboratories, is making its way into next-generation home entertainment applications, bringing superior sound quality, more efficient audio compression, and an improved user experience to the home. Dolby Digital Plus, also known as Enhanced AC-3 (E-AC-3), was developed to address the changing requirements of two burgeoning consumer markets. For the emerging HD DVD and Blu-ray Disc optical disc players, the data compression capabilities of Dolby Digital Plus allow movie studios to combine a superior audio experience with high-definition video. The technology also enhances the latest digital TV set-top boxes (STBs), enabling broadcasters to deploy offerings with lower bit rates, reducing costs and adding flexibility and value for consumers. While there are tremendous advantages to using Dolby Digital Plus, there are also design considerations that system-on-a-chip (SoC) teams need to understand. The rigorous approval testing that is required at Dolby Laboratories before a chip or a system can use the Dolby Digital Plus logo is substantial. Working with Dolby Laboratories, MIPS Technologies has developed an optimized, tested version of Dolby Digital Plus that will run on any of its 32-bit synthesizable processor cores—significantly slashing audio subsystem development time. -
Frequently Asked Questions Dolby Digital Plus
Frequently Asked Questions Dolby® Digital Plus redefines the home theater surround experience for new formats like high-definition video discs. What is Dolby Digital Plus? Dolby® Digital Plus is Dolby’s new-generation multichannel audio technology developed to enhance the premium experience of high-definition media. Built on industry-standard Dolby Digital technology, Dolby Digital Plus as implemented in Blu-ray Disc™ features more channels, less compression, and higher data rates for a warmer, richer, more compelling audio experience than you get from standard-definition DVDs. What other applications are there for Dolby Digital Plus? The advanced spectral coding efficiencies of Dolby Digital Plus enable content producers to deliver high-resolution multichannel soundtracks at lower bit rates than with Dolby Digital. This makes it ideal for emerging bandwidth-critical applications including cable, IPTV, IP streaming, and satellite (DBS) and terrestrial broadcast. Dolby Digital Plus is also a preferred medium for delivering BonusView (Profile 1.1) and BD-Live™ (Profile 2.0) interactive audio content on Blu-ray Disc. Delivering higher quality and more channels at higher bit rates, plus greater efficiency at lower bit rates, Dolby Digital Plus has the flexibility to fulfill the needs of new content delivery formats for years to come. Is Dolby Digital Plus content backward-compatible? Because Dolby Digital Plus is built on core Dolby Digital technologies, content that is encoded with Dolby Digital Plus is fully compatible with the millions of existing home theaters and playback systems worldwide equipped for Dolby Digital playback. Dolby Digital Plus soundtracks are easily converted to a 640 kbps Dolby Digital signal without decoding and reencoding, for output via S/PDIF. -
Dolby 3D Installation Manual
Dolby® 3D Installation Manual Issue 2 Part Number 9110260 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 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 and the double‐D symbol are registered trademarks of Dolby Laboratories. All other trademarks Part Number 9110260 remain the property of their respective owners. Issue 2 © 2008 Dolby Laboratories. All rights reserved. S08/18712/19863 ii Dolby® 3D Installation Manual Regulatory Notices FCC NOTE: This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules.