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This topic comprises 2 pages: 1 2
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Topic: What's up with these 2.0 channel trailers?
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Paul H. Rayton
Expert Film Handler
Posts: 210
From: Los Angeles, CA , USA
Registered: Aug 2003
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posted 06-06-2012 02:09 PM
This was discussed previously in this thread Mono sound in Universal legacy movies . I awoke Universal to the same problem in the audio mastering of their legacy movies, as they were being rendered in to digital (d-cinema) versions. My guess is that the audio tracks created for DVDs were simply being applied to the DCP, which was wrong. Those DVD (?) two-channel tracks were, similarly, L and R, and no center.
To their credit, Universal saw the error of their ways and will subsequently render out mono tracks on C channel only. And they will, they say (and we hope) re-do the ones they've already done incorrectly, which, FWIW, includes all the original Marx Brothers movies. Center channel mono will be in center channel only.
But that case was for old mono tracks. Your situation is more contemporary stereo. Same problem, different situation.
These post-production houses (just as in the case of Universal) didn't pay attention in class, and don't seem to understand that d-cinema is not the same as film sound. DCI specs are quite clear on the subject: there is no such thing as matrix-decoded audio. It's discrete tracks only. Left is left. Right is right. Center is center. Etc. If these post houses send out DCP material with two channel tracks (LT/RT), they are NOT going to play back as proper stereo! NO! It is NOT the same as Dolby SR, or any other analogue process.
And, you are quite right: the sound field feel, in that mode, will be somewhat strange in the seating area, because there will be no C (Center) channel. The room will feel (depending on where one is sitting) like the sound is off to the far left, or far right, and nowhere near where sound "should" be coming from, i.e., the center. Dolby techs would describe it as being "left heavy", or "right heavy". The sole seats in the venue that would hear anything approaching a semblance of correct stereo sound would be those along the precise centerline of the theatre. One seat per row of seats! Quite ridiculous!
Wake up, you post-production houses! LT/RT is not what you are supposed to put on d-cinema tracks! It's like putting square tires on a car -- it doesn't work! You can NOT simply apply the same master track that you're going to throw on the film print! It's a whole 'nother type of sound! Wake up!!
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Manny Knowles
"What are these things and WHY are they BLUE???"
![](http://www.film-tech.com/ubbmembers/1171i.jpg)
Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002
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posted 10-04-2015 12:48 AM
I also use DSS200 serial cues to trigger sound format changes (that are not part of the built-in capabilities).
Lately, I've taken to using the "U1" input of the CP650 for Master Digital In with Pro-Logic decoding, instead of re-wiring to use the DMA8plus. I have to re-assign U1 when I'm showing 16mm, but that's become something of a rarity, compared to how many DCP's I'm getting with 2.0 sound. In the end, I realized it is easier to assign/reassign U1 as-needed, rather than rewire as-needed.
Even so, I still need to use serial commands to control the (QSC) DCP-300 processor, for handling things like:
Dual Mono -- with/without Academy roll-off Stereo -- wide versus narrow Surround -- 5.1 versus 7.1
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