The EDCF Guide to ALTERNATIVE CONTENT in Digital Cinema

Audio Interfacing
Gilmour opening the show as in the Odeon Leicester Square,
the DVD was played out and then a question and answer section.
This event was broadcast to cinemas in the US.
Prior to the events we all travelled down to Bow Tie Television,
who were providing all the trucks and broadcast support, in
Kent. This trip allowed for the audio mixing section of the truck
to be calibrated and to ensure that the Dolby broadcast equipment
was correctly integrated into the trucks. It also gave us the
opportunity to talk to Andy Jackson, who would be mixing the
live events. Like the Genesis event, we discussed cinema monitoring,
EQ curves and mix details.
For both of the live events the calibration on the monitors in the
trucks was checked, along with the B-Chain of the cinemas and
we were on hand during both events for consultation and support
with the integration of the audio into the cinemas.”
Take That: live from the O 2 Arena
“This event was very similar to the Genesis event. As with
Genesis, Take That were performing the night before so this
was used as a test of the whole system. We also recorded the
event and in the morning before the live cinema transmission
Toby Alington, who was mixing this event, and I took the mix
from the test transmission and played it back in Dolby’s screening
room. This gave Toby the chance to hear exactly what the
audience in the cinemas would be hearing.”
Summary
The development of audio for cinema and the development of
audio for non-cinema applications have taken quite separate
paths. In particular:
• cinema requires a Centre channel;
• stereo means Left - Centre - Right as a minimum placed
behind the screen; and
• the listening environment between motion-picture studios and
cinemas is highly standardised with wide adoption of 5.1: L - C
- R - Ls - Rs - LFE.
Whilst the cinema presents a number of challenges in achieving
good quality sound reproduction, it also presents opportunities
that, with understanding, can be exploited to achieve
excellent quality sound reproduction.
There is a number of useful SD and HD broadcast standards
that enable the transmission of multi-channel audio and can be
used in the transmission of sound for insertion and reproduction
into cinemas with the correct mix conditions, coding equipment,
and cinema interfacing equipment.
Preparation: planning, testing, and consultation from broadcast
and cinema specialists are paramount in obtaining the
required results and making full use of the cinema sound system
available and providing the audience with an alternative
content experience as good as the being there.
References
1 ISO 2969 — Cinematography — B-chain electro-acoustic response of
motion-picture control rooms and indoor theatres — Specifications and
measurements
2 ISO 22234 — Cinematography — Relative and absolute sound pressure
levels for motion-picture multi-channel sound systems —
Measurement methods and levels applicable to analog photographic
film audio, digital photographic film audio and D-cinema audio
3 ETSI TS 101 154, Digital Video Broadcasting (DVB); Implementation
guidelines for the use of Video and Audio Coding in Broadcasting
Applications based on the MPEG-2 Transport Stream
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