AUDIO POST
ATMOS HE
Pip Studios and Pinewood. “We are seeing increasing engagements with
customers, and this is expanding beyond mix rooms to affordable QC environments,” says Matt Ward, Head of Audio at Jigsaw24. “We can’t imagine this growth settling – most new facilities for Post are being constructed with Atmos in mind even if it doesn’t get implemented in the initial build.” Jigsaw24 has seen consistent year-on-year
growth for Atmos deployments, constructing over 25 so far, including for Encore / Company 3, Boom (two rooms), Liquid Violet, Deluxe, Halo, Leeds Beckett University, Netflix, Pixelogic, Sound 24, Splice, Twickenham Film Studios, VoiceArchive UK and Amazon.
Authenticating Atmos Dolby initially offered an Atmos HE certification
and advisory process for early adopters. However this ended in December 2020. “The scale of adoption of Dolby Atmos for
home entertainment content creation became such that it became impractical to continue to work with studios on the high touch basis needed for certification,” says Desborough. “Instead we have focused our energies on creating self-service tools based at
professionalsupport.dolby.com which include an update version of Dolby Atmos Home Entertainment Studio Technical Guidelines and Dolby Audio Room Design Tool (DARDT). “Regardless of certification or not, there are
certain factors that should be considered when upgrading to Dolby Atmos, including room height and looking to create a sense of separation between overhead and standard plain speakers,” he adds. “You can plumb your room dimensions [into
the DARDT], and it allows you to select what loud-speakers you either have already, or have a preference for, and it will give you a traffic light system - yes, maybe or no - as to whether it will meet the criteria,” Johnson says. “That allows us to make sure, before anyone rips fabric off the walls or has made any purchasing decisions, that this is going to be the right speaker for that position in that room.” “The specified minimum layout height is 2.4m
– and this is to the acoustic centre of the ceiling speakers – so depending on the room height and how you plan to suspend the speakers this can get tricky,” says Snow. “Some manufacturers have dedicated mounting hardware, some require more custom solutions. Furthermore, it’s important to know that the ceiling can handle the
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additional weight loading.” Snow says a lot of attention needs to be
paid to the subwoofer(s) and low-frequency design. “To get 10dB of clean headroom above reference level usually requires a larger and more expensive sub than most people are expecting. Frequently we’ve had to use multiple units positioned in just the right way to get the performance required. “Atmos puts a lot of sound energy into your
room; it is worth paying a lot of attention to the acoustic isolation and sound reduction qualities of the build,” he adds. There are also certain pieces of technology
the facility has to have to deliver Atmos HE. “You have to be able to achieve the full object
count, which means being able to provide 128 channels from your DAW into the renderer and that renderer has to be the Atmos HE RMU,” says Johnson. “That’s already a £6-10K barrier to entry for some people. You have to have a minimum of a 7.1.4 system, so that’s LCR, side surrounds, rear surrounds and four overheads and a subwoofer. You can have larger studios, so you can scale up to a 9.1.4, a 9.1.6 and 11.1.6 and so on.”
“The subwoofer needs to have enough
headroom to cover the additional 10dB gain that should be in the LFE repro channel,” says Snow. “There should be bass management for any loudspeaker channels that do not have full- range speaker, as well as a competent Atmos- enabled DAW, and enough returns to drive your monitoring and any re-renders / downmixes you wish to capture in real-time. “All bar one of the Atmos production
installations we’ve delivered has been based around Pro Tools as a primary DAW,” he adds. “We tend to work with our customers to find the most suitable loud-speaker solution for their project. We’ve worked with Atmos speaker systems from JBL, Focal, PMC, Neumann, Genelec and Adam, and are currently working with some facilities based around Dy-naudio. “Concerning monitor control, the MTRX and
MTRX Studio are immensely powerful in that regard as they can also function as your main audio interfaces for the facility, although there are times when an outboard monitor controller such as a JBL Intonato or Grace Designs m908 is required.”
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