Connecting Bluray player to NEC2000C / JSD-60

[Carsten Kurz]

Harold, thank you so much for your advice on the JSD. I set the digital coax to Active Matrix and it now sounds really good. No more 2 channel output. So if anyone needs to run a bluray in a pinch and you have a player with both HDMI and Digital Coax Out along with a JSD processor, its a 5 minute job to set it up. And thanks to all of you for the other guidance about setting up the CP650's as well as advice on other bluray player options that would work. I also got the sound to work through the CP650 (although it doesn't sound nearly as good as the JSD, but would be OK in an emergency)!

While matrix gives you some surround - it is not the same as using the D-84 decoder board. For now and this purpose, you may be okay with that solution. If you get the time, you may play around with this and analyze your various processors for their capabilities. We do not show Blurays too often commercially, but often enough to get this right.

[Mark Gulbrandsen]

This is so easy to set up I find it hard to believe it's gone past a half dozen posts, with Harold's posts being the definitive answer. I set up BR Players for 95% of my customers, or about 300 of them. One also has to create a DVI input with the proper color space, etc as well in order for this to work. Set the lens manually, or make presets for it if you want and tie those to a couple different DVI Macros. I have found BR aspect ratios to be very non standard though. .

[Harold Hallikainen]

Note that on the JSD-60, "Active Matrix" routes the encoded audio through the DI-84 board that can decode Dolby and DTS. It can also take two channel audio and convert it to 7.1 using a method similar to Pro Logic.

"Passive Matrix" on the JSD-60 just drives the surrounds with L-R.

Harold

[Carsten Kurz]

So, if you feed stereo PCM through the Coax/Toslink with Active Matrix enabled, it will do Prologic-Style, and if you feed it bitstream ac3/dts,it will automatically decode it to discrete surround?

Does that also mean, a JSD-60 without the DI-84 can not do Active Matrix (e.g. for Lt/Rt in DCPs)?

- Carsten

[Harold Hallikainen]

Correct! Without the DI-84 (another DSP), the JSD-60 can only do "Simple Matrx" where surrounds are driven by L-R. I don't remember for sure, but I think Simple Matrix just loads the mixer coefficients to give this result.

Harold

[Harold Hallikainen]

Also, regarding Lt/Rt in DCPs (is that permitted?), Lt/Rt are probably on AES pair 1, while the DI-84 is on AES pair 4. It's possible to rewire the AES input and change the mixer coefficients to compensate.

Harold

[Carsten Kurz]

Well, permitted, according to ISDCF and DCI, not. But, there are quite a number of repertoire DCPs which had A/SR Lt/Rt tracks originally in their film masters, and were converted without discrete multichannel surround master tracks. So, I know quite a few projectionists who have set up their systems to decode Lt/Rt.

- Carsten

[Harold Hallikainen]

It really seems that if the master is Lt/Rt, it should be decoded by the studio to 5.1 when making the DCP. I see DCPoMatic has some decoders for that. The "Simple Matrix" in the JSD series is the same as DCP O Matic "stereo to 5.1 upmixer B." The "active matrix" is more Pro Logic like (buried deep in a hard coded DSP).

Harold

[Steve Guttag]

They absolutely SHOULD but as Carsten has indicated...they don't. In fact, you can get classic titles that were mono but they put their standard mono mix on L/R rather than apply it to just C. That is one reason, I have a "DCP 2.0" format on most of our systems (and all QSYS) just to handle such nonsense. Ad companies are also notorious for issuing "stereo" tracks on Left/Right only.

[Carl Martin]

in addition to lt/rt dcps something i've seen (heard) a few times is a dcp from a mono film where the center channel is normal but, as well, the r and l channels are in fact an rt and lt version of the mono track. i suppose the reasoning is that whether the theater uses a "DCP 2.0" format or not, sound will come out one way or another. ms. 45 is the example i remember, because they also fucked up the picture so that the first "reel" used different chip real estate from the rest of the movie. i can't remember if i automated a lens shift or did it on the fly, but it took some fussing to get that right before the show. then when the actual show was on, the audio went out of sync halfway through the third "reel". thinking it somehow had something to do with my running in format 80, i switched back and forth between that and format 88 several times (and had to ride the level to compensate), trying to listen for sync... in a dialog-sparse movie. testing it again later with no pressure, i determined that indeed the dcp audio did go out of sync at that point and it had nothing to do with what sound format i ran it in.

never saw any problems like these with that title in 35mm....