1.
|
|
| 2. |
- Sound and picture can never be separated
- The cinema always gets the right soundtrack
- Prints can be rotated easily within a multiplex
- Digital and analog features, trailers, and commercials can be played in any order
- No extra burdens on cinema staff
- No delays while sound and picture synchronize
|
| 3. |
- Sound and picture can never be separated
- The cinema always gets the right soundtrack
- Prints can be rotated easily within a multiplex
- Digital and analog features, trailers, and commercials can be played in any order
- No extra burdens on cinema staff
- No delays while sound and picture synchronize
|
| 4. |
Not necessarily. While it can take longer, and thus cost more, to mix soundtracks taking full advantage of the extra channels, some titles don't require the extra channels and their attendant costs.
|
| 5. |
No. More powerful DSP chips and other advances have lowered the cost of current Dolby Digital processors, and projectors are now available with cost-effective soundheads that read both digital and analog soundtracks.
|
| 6. |
For a first-time digital installation, the rest of the playback system, such as amplifiers and speakers, may need upgrading to take advantage of the higher performance of digital soundtracks.
|
| 7. |
- Long-term prospects
- Title and print availability
- Local trained personnel to assist film production
- Trained personnel available to ensure proper cinema installation worldwide
In these respects, as well as in the number of equipped cinemas worldwide, Dolby Digital is far ahead of any other digital format.
|
| 8. |
Every Dolby Digital print, because it has an analog Dolby SR track as well as a digital track, can play in any 35 mm cinema regardless of its sound system.
|
| 9. |
Extensive testing and thousands of hours of commercial exhibition confirm that it is not. If damage does occur, the Dolby Digital processor automatically switches playback to the analog SR track, and then back to digital after the damaged area has passed.
|
| 10. |
Almost all laboratories, including facilities in the US, Canada, Mexico, South America, western and eastern Europe, Japan, China, India, and Southeast Asia.
|
| 11. |
- A single sound negative is used to print both digital and analog information.
- Technology for modifying Westrex and Albrecht optical recorders to record both tracks simultaneously is readily available.
- No change in existing sound negative development practices is required.
- Optical transfer facilities can be found in all major production centers.
|
| 12. |
No. Dolby Digital release prints are made on standard Eastman, Agfa, and Fuji stocks with excellent results.
|
| 13. |
Free promotional materials are available from Dolby Laboratories, including posters, trailers, marquee signs, and advertising logos. New trailers are issued regularly to help exhibitors maintain audience interest. Cinemas should contact us for availability.
|
| 14. |
No. A coding system that uses a lower data rate is not automatically inferior to one using a higher rate.
Digital movie soundtracks save space by storing only the data that's necessary to portray the original sound. This technique, called perceptual audio coding, is intended to capture the mix with just enough precision to sound the same as the original.
The more powerful and well-designed the coding system, the more precisely it can shave bits without affecting the perceived sound quality. This means that some technologies such as Dolby Digital can sound just as good as others that use from two to four times as much data.
|
| 15. |
Dolby Digital is now bringing 5.1-channel sound into the home on laser discs, DVD-Video and DVD-ROM discs, digital TV broadcasts, digital cable, and direct satellite broadcasts.
|
| 16. |
Dolby Digital Surround EX is an audio technology that adds another surround channel to the Dolby Digital format. The third surround channel is reproduced by rear-wall surround speakers, while the left and right surround channels are reproduced by speakers on the side walls.
|
| 17. |
- More realistic flyover and fly-around effects.
- More effective movement of sounds onto screen or off to the sides of the screen.
- More stable image for atmospheres and music.
- More of the audience experiences optimum surround sound.
|
| 18. |
Dolby Digital Surround EX provides more lifelike atmospheres and quiet effects, as well as "big" effects. With its more precise positioning of all sounds, Surround EX is more like real life, not just louder or bigger.
|
| 19. |
Thousands of cinemas have equipped for Dolby Digital Surround EX, making it the most rapidly adopted new sound format in cinema history.
|
| 20. |
It costs very little, if anything, more:
- There is no increase in the fee charged by Dolby Laboratories.
- Some effects may require some extra time to take advantage of the extra channel, but others may actually take less time to achieve a desired effect.
- There is no change in the optical transfer process or in print manufacturing.
|
| 21. |
No, Dolby Digital Surround EX prints can play in any cinema. The rear surround information is matrix-encoded onto the left and right surround channels, so it is not lost in conventional 5.1 cinemas. Also, as with conventional Dolby Digital prints, Surround EX prints carry a Dolby SR track for compatible playback over all analog systems.
|
| 22. |
- Any 5.1-channel rerecording console can be configured for Surround EX.
- A Dolby EX-EU4 encoder is supplied to the approved mixing facility for the duration of the mix as part of the Trademark Agreement with Dolby Laboratories.
- Monitoring requires a Dolby SA10 or EX-DU4 decoder and a playback system configured with three surround channels.
- Dolby Laboratories ensures that the mixing facility is properly set up when notified of a production's intent to mix in Surround EX.
|
| 23. |
No, additional effects tracks are not needed for Surround EX mixes. The mixer simply directs the available sounds to the appropriate channels to ensure that the audience hears Surround EX's greater directional precision.
|
