|
|
Post by FilmMixer on Jul 31, 2014 13:57:01 GMT -5
And you are wrong... where do you get this stuff?  People I know that work in the industry. They told me they are mixing for it in Pro Tools using some new plugin even though at this point they are not releasing in Atmos. I know the mixers and sound supervisor on GoT, so I have a fairly good idea of what they are doing in regards to Atmos. I only mention that show because you stated HBO was doing two shows in the format, and AFAIK at this point, GoT is the only one mixing in the box... my company does True Blood, and it is not a PT workflow. I assume you live in Wash/Oregon area, so maybe you know Onnalee.... No offense, but most of your information about how films are mixed and delivered have been off base.. If you know people who are indeed insiders and are feeding you information they should have no issues with you saying who they are. But stating false information and then being indignant when I correct you doesn't help those trying to educate themselves on these forums.... |
|
|
|
Post by solidstate on Jul 31, 2014 15:55:16 GMT -5
People I know that work in the industry. They told me they are mixing for it in Pro Tools using some new plugin even though at this point they are not releasing in Atmos. I know the mixers and sound supervisor on GoT, so I have a fairly good idea of what they are doing in regards to Atmos. I only mention that show because you stated HBO was doing two shows in the format, and AFAIK at this point, GoT is the only one mixing in the box... my company does True Blood, and it is not a PT workflow. I assume you live in Wash/Oregon area, so maybe you know Onnalee.... No offense, but most of your information about how films are mixed and delivered have been off base.. If you know people who are indeed insiders and are feeding you information they should have no issues with you saying who they are. But stating false information and then being indignant when I correct you doesn't help those trying to educate themselves on these forums.... Sorry for being indignant in saying it's BS that no films have been released to theaters at 96 kHz and that some releases are 96 kHz. I bow to your insider knowledge as mine is strictly third party and obviously I'm not involved in any of this stuff on a professional level. I guess in thinking GOT is a PT workflow using the new ATMOS tools I made some mistaken assumptions. I honestly thought I was told another production was doing the same but I guess I'm wrong. I've heard the work Park Road Post is doing is now ATMOS forward and I honestly thought Skip Lievsay's Gavity work was at 24bit 96kHz not 16bit 48kHz. I do realize the now that the majority of content is 48 kHz through the pipeline but I just assumed it's all 24bit thus why I thought Gravity is not a bit perfect master on BR. Again I stand corrected I guess. I just assumed the DCP MXF files being 24bit meant that the workflow to DCP would also be 24bit but I guess with Gravity it was 16bit. huh I'd also like to apologize for my perceived indignant tone as it wasn't my intent. |
|
|
|
Post by FilmMixer on Jul 31, 2014 16:28:59 GMT -5
ss... what is on the disc is a bit perfect match for the master it was made from when using lossless encoding. That doesn't mean it will be exactly what was released into the theaters... There can be many reasons for this.. indeed some studios have been bit truncating their HT masters... The reasons behind doing so aren't important. A 16 bit track which was converted from a 20 or 24 bit master should be fairly indistinguishable from the original. Keeping the bit rate and sample rate up are much more important during production, and truncating consumer releases at lower rates (16 bit word length or 44.1/48k) has been discussed many times, and many agree there is little to complain about. As I stated earlier, 96 and 192 can be beneficial in the recording and capture of live sound. It's also helpful when doing sound design as it maintains quality as you process the audio, be it time or pitch changing, etc. From a mixing standpoint, it is a huge tax on available resources... it directly cuts in half your averrable processing... For example, our mixing consoles have 270 channel inputs on the dialog music side and 320 on the sound effects side... On bigger shows they are almost all used all of the time.. Switch to 96k and its ~140 and ~160.... not enough to do the job. And the jury is still out on if it makes an audible difference in large venues (commercial cinemas..) Even at the home, studies have shown very little harmonic content above 24kHz in 96 and 192 recordings... Just want to keep the perspective clear... Again... don't feel cheated when you see a disc with a 16 bit track... I've heard very little reason to complain.  Here is an interesting read.. just one persons opinion, but I've talked with many in my business much smarter than I who agree.. people.xiph.org/~xiphmont/demo/neil-young.html |
|
Timster
Sensei
Posting from Scarsdale, Vic, Australia
Posts: 140
|
Post by Timster on Aug 1, 2014 7:04:27 GMT -5
Excellent Article, thanks for posting. Makes a whole lot of sense. Should be mandatory reading. Cheers Tim |
|
|
|
Post by frenchyfranky on Aug 1, 2014 9:16:53 GMT -5
+1 I second, very interesting article and studies.
|
|
