Julian Pinn (Julian Pinn Ltd.) says the industry in embracing immersive audio at a fast rate, at least if compared to the uptake of digital audio in cinemas in the 1990s. He invites the panel to stage in turn and opens up the session. No powerpoints. Instead Julian promises to be a ‘fair’ moderator and give each speaker his turn. (The balance between Atmos, Auro and DTS is fair, in terms of time, though Skywalker Sound is given the most time.)
“There is a real hunger that people are prepared to pay for a premium cinema experience,” which includes better audio, says Pinn as he kicks off the panelists’ five minute each.
Brian Claypool (Barco BV) says Barco is not known for audio, but once digital cinema projector deployments were well underway they asked cinemas what was next. Atmos and other Barco initiatives (Escape et al) is what the result of that feedback was. “We don’t want to re-invent the wheel, we want to create something tangible of value to exhibitors,” says Claypool of Auro. “We need to keep the interest of cinema at the forefront of what we do. Not many people have Barco projectors in the home.” [Do I etect tension with Auro in the home?] Stresses importance of unified workflow.
Stuart Bowling (Dolby Laboratories) stresses that “audio is our background and we had different approach” to immersive audio. “5.1 is not enough. Creatively the movie makers we spoke to felt it was holding them back.” He goes on an elaborates, “With digital cinema we had greater bandwidth and uncompressed audio, which gave greater potential. We had to create tool sets, we had to create new ecosystem.” The starting point was with a ProTool plug-in and worked with mixers.
Gerard Loupias (DTS) – Pinn asks if DTS didn’t exit cinemas and why is it getting back in? Loupias says “we want to do immersive audio without restrictions and by ‘restrictions’ we mean costs. This is why DTS is offering an ‘open’ format.” He says if a cinema has 20 screens it cannot afford to make them all immersive because of the cost. Points out that all of them on the panel “love sound”. Says that Auro and Atmos “are the same idea.” Emphasizes that this is aso an issue for broadcast and the home. Says that their tools are available from the likes of Fairlight.