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Dolby E in theatrical presentation
Anyone here have much experience with this?
I know, Dolby E is not meant to be a presentation format - it's a transport format for post-production, the greatest interest being you can transport a full 5.1 (or even 7.1) bitstream on a single AES-3 pair, through one BNC connector. But as HDCAM production increases, I am seeing more and more screening rooms and auditoria presenting Dolby E from HDCAM cassettes, and I'm wondering what is the best quality method to get the 5.1 sound to the 'B' chain : 1) Decode the Dolby E bitstream with a DP572, then send the three AES streams to a DP570, to use the analog monitoring output. Send the analog signals to the External 6-track input of the Cinema processor CP500 or CP650. 2) Decode with the DP572, then convert to a Dolby Digital bitstream, to use the Dolby Digital input of the CP500 or CP650 (5.1 encoding may induce delay). 3) Some are advocating decoding with a DP572, and sending the three AES streams directly to digital inputs of a Yamaha DME 24 (or32/64) then directly to the B chain Anyone doing this type of decoding for presentation on a daily basis, or have a clear opinion on which architectuire will provide the best quality result for playback? Thanks, G Faris |
#2
Posted to rec.arts.movies.tech,rec.audio.pro
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Dolby E in theatrical presentation
Greg Farris wrote:
But as HDCAM production increases, I am seeing more and more screening rooms and auditoria presenting Dolby E from HDCAM cassettes, and I'm wondering what is the best quality method to get the 5.1 sound to the 'B' chain : 1) Decode the Dolby E bitstream with a DP572, then send the three AES streams to a DP570, to use the analog monitoring output. Send the analog signals to the External 6-track input of the Cinema processor CP500 or CP650. This would probably be my first choice. The limiting factor is the converter in the DP570. I believe Dolby makes a box with Dolby E in and out and analogue ins and outs on the other side as well. 2) Decode with the DP572, then convert to a Dolby Digital bitstream, to use the Dolby Digital input of the CP500 or CP650 (5.1 encoding may induce delay). Delay, plus you're transcoding. Dolby E is generally designed for clean transcoding to AC3, but why do it if you don't have to? This would seem the worst of all the alternatives. 3) Some are advocating decoding with a DP572, and sending the three AES streams directly to digital inputs of a Yamaha DME 24 (or32/64) then directly to the B chain This would be a good thing if the converters in the DME 24 (or what have you) are better than the converters in the DP570. I can't say for sure so you will probably need a listening test. But there are plenty of ADC boxes out there with AES/EBU inputs that sound excellent. Anyone doing this type of decoding for presentation on a daily basis, or have a clear opinion on which architectuire will provide the best quality result for playback? I have experienced the problem once at a film festival that I work, and the solution we came up with involved using a couple handy DAT machines as converters and ignoring the surround channels entirely. We probably could have come up with something better if we'd have been warned the day before the showing.... --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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