Issue link: http://digital.copcomm.com/i/551510
43 SUMMER 2015 / CINEMONTAGE waypoints to identify the 'shape' of the Atmos Field using the X [left-right], Y [front-rear] and Z [height] coordinates. I could then develop various Atmos Field Profiles — directions through which sound moved, according to the waypoints I had created — that were specific for sound effects, design, backgrounds and music. An examination of these shapes proved that different Field Profiles provide different experiences." Unlike hardware-based digital consoles such as Neve DFC Gemini and the Harrison MPC Series, on which on-surface panners and joysticks can be used to develop routing and pan automation data for the Atmos 9.1-channel bed and up to 118 discrete mono/stereo objects, the Avid ICON available to Bender only enables pan data to be derived from the console's joysticks controlling the Atmos plug-in, which then sends data to the RMU. Automation of output routing currently is not supported, although it can be conformed in editorial, along with the audio. (See sidebar on page 45 for additional information.) "Despite the lack of automated buss routing on our ICON consoles, I realized that I could use the send busses instead of the auxiliary outputs to send the pan data to the Atmos Fields, a technique that offered several operational advantages," Bender says. "In addition to providing simple access to unlimited regions to the Atmos Fields, it carries Pro Tools panning developed during editorial to the re-recording stage, 'fooling' Pro Tools through the use of dummy output busses. It also provides dynamic bussing to the Atmos bed, object fields and panners using just six send busses, which utilize Pro Tool's Follow Main Pan/FMP settings to allow the panning to move sounds through the Atmos Fields, and hence eliminates the need for dedicated Atmos Tracks." Bender used color-coding in existing tracks All Atmos Objects used on the film, categorized into delivery- requirement stem locations. Doug Hemphill.