![]() ![]() If the media has an AC3 file its' audio is routed to the decoder and the picture is routed to the digital projector. ![]() Indie films also are played in cinemas using DVD on occasion. Digital Playback is usually via a disk based server, Digibeta, HDcam, HDcam-SR or D5 decks. Most cinemas still use optical reels, but more and more are going to Digital. This is true with set top boxes, DVD players and Cinema Decoders. Levels will change based on the DECODER settings. Place an LtRt Analog mix on 2 tracks of the Digibeta and the AC3 file on the other 2 tracks.Įncoding in Dolby E and Dolby AC3 DO NOT change the playback levels. ![]() So, I am wondering if it might be my encoding that is the issue, or if there is something else I should be looking at?Īny help or feedback on these issues would me much appreciated. My problem has been that, mixing at 85dB and bringing those mixes to cinemas that should be at 85dB should theoretically ensure that whatever is perceptively "loud" in my mixing environment should be equally perceptively loud in the cinema environment, but often this does not prove to be the case. ![]() I am a bit concerned that I should not be sending mixes to digibeta with Dynamic Range Control available, although I think it should be there for home DVD distribution. As you know, when encoding Dolby Digital, there are many settings options available to change. My second question is specifically regarding the dolby encoding for cinema. I have had no direct answer from anyone as to what encoding on a digibeta tape is best for playback at cineplex's.Īs I mentioned, most of the independent movies I work on are going to festivals and screenings, but I don't know are these screening situations any different to actual finished movies that get cinema distribution - in the sense that, is there any difference in how a non-film-reel based movie get distributed or played back in a cinema? How does the cinema receive their copies? I have recently been told Dolby E might be a better encoding, but up until now, even some plugin manufacturers have suggested it is best suited for "Broadcast" and not for cinema distribution. These digibeta's often end up being the master tape, the source of DVD duplications, and the actual screening copys in cineplexes at film-festivals and agency screenings. Is this the best method ( LtRt and Dolby Digital 5.1 ac3 file on the 4 channels) to lock the final information onto a digibeta for these film makers, or is there something I am naively missing. Generally speaking, my movie audio mix gets placed onto a digibeta tape, and thus far, it has been an LtRt mix on the first two channels, and a Dolby Digital mix onto the second channel pair. So far, for TV, they have always wanted an LtRt mix, however with independent films that has been a different story. I am trying to find the best method for attaching the movie audio that I mix onto the final image for my clients. ![]()
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