PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE

[Peter CINERAMAX]

NEPTUNE MOONS are not custom state of the art cinemas completely controlled by CINERAMAX, they are honorary moons distinguished by our c0-participation in the deployment of some noteworthy 4k HFR/HDR/3d/4k or 3D audio technological contribution. In This Case as in TRITON is the Quested Atmos thing, but what makes PROTEUS more important is that it is a non holds barred ATMOS certified soundstage facility, designed to show Meyers, how to do high spl Atmos right. Here the master engineers will not need to take Valium and Excedrin  after a weeks' recording session, instead they wll come out feeling relaxed, reinvigorated and ready for more,this regardless if you evaluated your mix at reference level or (if just for kicks) you played it back at reference plus 10.

We will be contributing to the design here of the world's ultimate ATMOS sound-stage; designed to outperform all other MEYERS ACHERON based PREMIERE RANK  Atmos Certified facilities...

While in the USA atmos PREMIER certification is not available, worldwide it is for this Meyers has the early market advantage.

This is historic as it gets! The first among many future similarly accoutered facilities (the beiginning of the end of a 90 year old Horn speaker reign). We are proud to be instrumental in laying out a new standard for augmented clarity and very high quality atmos soundtracks curiously notable for their High spl "therapeutically comfortable" extended listening sessions capabilities.

We will go from the Genesis of the LT series instigated by producer Jerry Bruckheimer who asked Quested: "Why is the incredible sound I hear at the Scoring room in Hans Zimmer not preserved to the Sound-stages in Warner and Disney where the sound is sooo harsh?

Stay tuned because just like the Hans Zimmer facility has elevated 7.1 soundtracks to award winning category, our PROTEUS amp/speaker design will elevate Atmos soundtracks to a new level of high spl transparency , realism and musicality, that will benefit the clarity and comfort factor of this content played back in lesser technology speaker systems.

Meyers has brought this upon themselves with their "signature large venue installation" in the seattle cinerama, which has been confused for a QSC run of the mill horn install.

While large venue cinemas are still a challenge for AMT based system due to vertical dispersion the more focused technical soundtages are completely ready for the AMT zero fatigue maximum intelligibility, high spl., speaker topology revolution!

[Peter CINERAMAX]

I have compiled many pictures of Atmos Dubbing Stages.

The sightlines required to clear the Neve console displays permit nearly floor to ceiling screens which I prefer, but the rear desk behind the Neve Console is used for laptops, this is a sightlines monkey wrench. I will give this matter some serious thought because in the age of 4k and 8k, having the screen up in the wall like toronto JBL blu room is wrong in my opinion.

According to insider info the majority of atmos sounstages (with clear exceptions depicted here) are primary 1.85 masked down to 2.35.

Because the flexibility of including Digital Film Formats but also Television atmos content, I think best is to do as big a screen in the 1.77 hdtv aspect ration and keep masking down to 1.85, and 2.35. A top down masking bar where the speakers are always at an optimal angle to the console MLP.

This is my assumption for the Quested system design.

[Peter CINERAMAX]

and more...

[Peter CINERAMAX]

mas...

[Peter CINERAMAX]

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[Peter CINERAMAX]

We will base the design on these dimensions, and deploy the Z series using dolby atmos guidelines, with surrounds 4'9" from each other center to center.

Track speaker hanging kits like this one will be assumed.

[Peter CINERAMAX]

34 CHANNELS- I WANT TO IMPROVE ON THE QUALITY OF THE DACS, THETA 12 CHANNEL DACS?

28 BIAMPED Z-8'S 300X2, 3 TRIAMPED Z 16'S 950+300+300, 7 QSB18 SUBS LCR +.1ZONE
4 ZUBS IN 2X FOR .2 RIGHT REAR ZONE, 2X FOR .3 LEFT REAR ZONE.

[Paddy]

What about the New 8 Channel Dacs from MSB Technology :

http://www.msbtech.com/products/master.php?Page=platinumHome

[Peter CINERAMAX]

Hi Paddy these are certainly considerable (like for Europa with D'agostino Cinema Standard) but they would probably break the bank in 32 channels, the Casablanca V 12 channel model is probably a little bit above the right price point at $995  per channel already.

[Peter CINERAMAX]

The DFC Gemini is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production. With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities including Warner Brothers, Disney, Fox, Skywalker Sound, De Lane Lea and Yash Raj Film. In fact, over 70% of international blockbusters are mixed on the DFC.


Performance

From the outset, the DFC Gemini was designed for optimum mix performance. At the heart of the console is DSP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1000 audio signal paths at 96kHz, 24 bit in a single, high-resolution DFC signal-processing tower. No other digital post production console can offer the sheer power required to handle the demands of tomorrows content.



Native Dolby Atmos Mixing

Dolby Atmos is the latest generation of immersive 3D surround sound, initially geared towards commercial cinema but now adapted for the home. By targeting loudspeakers placed in locations around the listener (including ceiling speakers) a sound can be made to feel as though it is coming from anywhere in the room. It is an adaptable, scalable, object based format that represents sound as independent audio elements which during playback are accurately positioned in three dimensional space using the loudspeakers that are available.   

AMS NEVE worked in consultation with Dolby for several years before the release of Dolby Atmos giving both teams the opportunity to look collaboratively at how content in this object based format could be efficiently created making it viable for the studios to adopt.

The first film natively mixed in the Dolby Atmos format was ‘Oblivion’ this feat was achieved using an AMS NEVE DFC console with both Dolby and AMS NEVE engineers present at the studios of Skywalker Sound to offer advice and support to the mixing crew. Until this point a film would be mixed in a traditional format and later a modified version done for Dolby Atmos where a limited number of sounds would be targeted to objects.



Request further information about the surround workflow for Dolby Atmos and Barco Auro 3D formats

Control Surface

To deliver the ultimate mixing experience usability is of paramount importance and AMS Neve’s wealth of experience in ergonomic design has created the most flexible surface in the industry designed to maximise both controllability and feedback to the user.

To accommodate a large number of inputs within a realistic working footprint, the console surface is semi assignable with signal paths and functions such as EQ and Dynamics mapped to provide fast and intuitive operation. Any channel strip can control all the resources on a mono, stereo or up to eight channel inputs.

The control surfaces give instant access to every aspect of routing and monitoring on matter how complex the mix. The channel strip provides total control with the patented touch sensitive Logicator pots, giving instant visual reference to each knob setting. Through ease of use the DFC Gemini has arisen as the market leader in predominantly freelance markets.

Enhanced visual feedback is provided by ViewMix, high resolution TFT monitors, allowing you, for the first time, to see, hear and feel your mix. The most complex setups are now simple to control. WavTrak display of audio track data by channel is the most significant innovation of its type since scrolling waveforms, providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path-by-path basis.

Automation

Encore:2 is the latest generation of the acclaimed Encore automation, delivering revolutionary new Reconform and Mix Import features as well as Automation in Stop and Mix Audition.

Star Command provides effortless control of Pro Tools™, Nuendo, Pyramix™ and Oasis™ systems, including plug ins, from the console surface via HUI™.

Encore:2 Automation Reconform delivers efficient workflow as picture re-cuts go up to the last possible moment. Change lists are taken into Encore:2 and the mix automation re-conformed to match the new cut, significantly reducing the workload on the Mixer and allowing the Director freedom to make creative changes right up to the dub.

Integrated automation re-conform. Integrates with AMS Neve CineFile / AudioFile SCX for simultaneous automation and audio re-conform.

AMS Neve DFC Gemini
AMS Neve DFC Gemini

    TFT Channel display
    TFT Master display
    Encore:2 automation system (compatible with 1800 AMS Neve consoles)
    Off-line edit options offering enormous cost savings
    Most powerful DSP engine - Ultra Scale Processing cards – 2000 paths at 96kHz
    Neve EQ, Dynamics and Bass Enhancement plug ins with linked dynamics
    Faster Control Surface
    Expanded 12 Stem Mixing
    MIOS96 new 96kHz I/O system with full remote control
    Complete integrated machine control
    Optional Monitor Facilities Rack
    WavTrak display providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path by path basis.
    Optional CineFile integrated Dubber/Recorder

    View the full imageAMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini

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Gary Rizzo talks about mixing on the AMS Neve DFC
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“The DFC allows us to spend our valuable mix time making good creative decisions and less time on the technicalities of the mixing interface”
- Gary Rizzo (Skywalker Sound)


https://www.youtube.com/watch?v=T1hj6P-nBMo&x-yt-cl=84924572&feature=player_detailpage&x-yt-ts=1422411861

[Peter CINERAMAX]

the mixing console kit, im trying to see how this integrates to the cp-850 and dolby server....

PDF here:

http://ams-neve.com/sites/amsneve/files/products/productsupport/manual/dfcgeminiproductprofile.pdf

[Peter CINERAMAX]

here is a workflow, but atmos uses a dds server and cp-850 so still don't understand...

[Peter CINERAMAX]

Just got response from Atmos equivalent of God (Andrew P.).

We are trying to figure out how the cinema server and cp-850 tie in to the Neve console. Do you have any sample soundstage diagrams for Atmos? Perhaps the plugins in the console act as a virtual cp-850? We are seeking clarity. A sample MiT laundry list of equipment for a similar facility shows the Dolby server, the Cp-850 and 2 Dac units... I’ve attached a couple of PDFs showing wiring diagrams.  There are obviously a lot of options for you, these examples show how the RMU (rendering and mastering unit) would be patched into the blu-link loop with options where the CP850 or the BSS processor are used to manage legacy audio and where you are using the DAC3201 as an analog output or where you utilize BSS units with AES output cards to send PCM to a D:A conveter.  Please review the attached and let me know if you have any questions.

The online NEVE diagram seems from a television 5.1 architecture.

2)We visited the CINERAMA in Seattle to analyze the acoustical treatments and saw the use of diffusers and BAD panels in rear, have you published guidelines for medium size rooms as to where to use refraction?  Dolby does not have published guidelines for the application of types of acoustical materials in any size room. We generally defer to the project acoustician to select what types of treatments used and the location of the treatments.   

3) Is the home atmos update to the cp-850 still in line for March release 2.21? Yes, it will be software release 2.1 which has a targeted release date of March 1.


4) if I wanted to use some higher end dacs with the cp-850 through a bss blu-madi translator box, how are you handling the volume, digitally at the dac, digitally at the cp-850, in tandem average level, other? This also applies to the Neve console as well as they have their own dacs as well. Refer to the attached document.  You can use BSS product to convert the blu-link signal to AES and then choose which converters you plan to use.  Volume is controlled digitally at the CP850.

5) HDR Dolby Vision, will there be a way to purchase these units for post production, soundstage, and review rooms?  I’ve copied [MY SECRET TO KNOW  ] on this email chain who can follow up with you regarding Dolby Vision projectors.  SO IT IS POSSIBLE!

Here are the covetted diagrams no one knows about. Nest I will do a bill of materials for such a studio leaving out the Neve console, The Dolby Renderer Modules and the focus rite red net 6, but making Intelligent line of sight recommendations....

[Peter CINERAMAX]

legacy tarcks go straight to BSS unit.

[Peter CINERAMAX]