ATMOS HE
AUDIO POST
visual feedback. The suite uses the Avid MTRX interface connected via Dante to the external Dolby renderer which offers massive capability both in scale and functionality, easily controlled through Pro Tools and the S6 console. All of our configurations put the mixer at the centre of the desk to maximise the listening position. “We are up and running at full pace and have
a number of Dolby Atmos productions hitting our new studio in the coming months,” adds Hardy. “Everyone who has visited the new suite for a listen has called it a truly cinematic experience!”
re-amplification. We were determined to keep hold of our soft cone speakers so and the screen speakers have remained Dynaudio.” HHB also helped dock10 build a fully
specified and fully compliant Atmos HE theatre. “This is based around a ProTools S6 console, with Dolby Mastering Suite configuration. The suite also includes the Sony VPL-VZ1000ES 4K Projector and full Genelec Monitoring,” says Hardman. “We are keen to keep full technical and acoustic compatibility with the other Dubbing Theatres within the facility.” Atmos HE came first to The Farm at its
Newman Street building in London. “We were working closely in the early days with Dolby because [HE] certification was required,” says Fry. “The studios were reasonably new, so we already had the backend Avid MTRX boxes installed, therefore the upgrades were smooth. We did need some more speakers, extra acoustic panels in the studios, some ceiling work to accommodate the speakers themselves, and a hardware RMU for each room too.” ITN’s Post Production facility is another
adopter of Dolby Atmos HE, but the pandemic
temporarily put some productions on hold for a few months. “From the beginning, we decided to have
a room that fully meets Dolby’s certification requirements and that utilised the Dolby RMU as a benchmark – a specification that is proving attractive for high-end work,” says Sam Hardy, ITN’s acting head of post production. “The Dolby Atmos HE suite was designed for both in-house and external customers to work on a range of work; from tracklay and premix all the way through to deliverables creation. We are now able to accommodate them in this fully specified and fully approved studio.” Hardy says ITN sought Dolby Atmos HE
certification when it started designing the studio. “We wanted to have a Dolby Atmos HE 7.1.4 specified room that would sound and look amazing and appeal to all clients,” he adds. “We already had a very well specified Avid S6 console that everyone loved and it made sense to utilise this, especially when we added the joystick panner module. It’s a 24-fader console with the TFT metering screens allowing us to get great hands-on control of mixes and awesome
Sound decisions “The growth of Dolby Atmos [HE] in post
production is on the increase as more and more streaming platforms adopt the format, and their respective libraries of content build,” says Matt Desborough, director content services EMEA, Dolby. Desborough says HE Atmos studios are
optimised to produce content in an environment that is representative of a home TV based viewing experience, “although these days it should be noted that this takes in a wide area of playback options from smartphone to home cinema setups,” he adds. Resellers have been reporting steady sales of
Atmos kit to post-production facilities, with the key component being the Dolby Atmos home entertainment rendering and mastering unit (HE- RMU). “Currently we’ve sold Atmos RMUs to 70
companies in total, and they’ll often have multiple Atmos studios,” says HHB CTO, John Johnson. Those companies include The Farm, Molinare, Goldcrest, Aquarium, Platform Post, Evolutions,
Summer 2021
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F1: Drive To Survive
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