Issue link: https://digital.copcomm.com/i/1524736
C I N E M A A U D I O S O C I E T Y. O R G 19 think is often ignored or sacrificed for considerations centered on impressing the client at the expense of real-world, practical mix results. On this related topic, Mark goes on to say, "I don't believe true nearfield dialogue can be achieved in a large room," and I agree. We simply can't perceive the same amount of level variance (and by extension intelligibility) in a big room that we can in a small room. Indeed, I've heard many stories of client playbacks in big rooms that mimic a theatrical experience, replete with champagne and strawberries and cheering at the impressiveness of the mix, only for the mixers to set up a pair of four-inch monitors after everyone leaves and basically remix the show because they are well aware that the version just played back will NOT translate to the home experience. And so, by extension, checking the stereo re-render and accommodating corrective considerations for that format can have positive effects on the Atmos and 5.1 mixes. The vast majority of viewers hear TV mixes in stereo—the figure across all platforms is a bit fuzzy (streaming and broadcast globally is hard to quantify!), but it's commonly stated that 80% of viewers hear the stereo mix in the home. Given that nearfield mix schedules rarely have time built in for a separate stereo pass, the importance of monitoring the derived stereo re-render is further underscored as it's likely that your stereo mix is simply a live re-render of the Atmos mix. Fig. 3 Immersive vs. Stereo mix distribution But even if a dedicated stereo mix is made, the way Atmos for home theater is designed means that the full Atmos stream can and will provide the derived stereo to the listener if that's the only playback system available. Streaming platforms can cue up the stereo file if appropriate, but that won't always be the case and depends on how the end user's equipment is hooked up. In the case of current US broadcast with Dolby Digital or the upcoming ATSC3 "NextGen TV" with Dolby AC-4 in Atmos, the live re-render will be the default for the vast majority of viewers, so making sure the Atmos mix plays back well in derived stereo is a necessity. CONCLUSION? So, what's the conclusion? As I said, I personally think this is a little bit of an overblown problem, but that doesn't mean we shouldn't continue to be vigilant about dialogue clarity and intelligibility. The current state of average home listening is far from ideal, but as technology advances and cost decreases, soundbars and smart speakers are gaining popularity and that is a positive. Aside from our ears and experience, we have more additional tools than ever at our disposal to help us evaluate our mixes for intelligibility and, used wisely, we can stay ahead of potential issues. Get in touch, let me know what you think!