DOLBY’S INTERNATIONAL FILM SOUND CONSULTANTS

Dolby SR

In 1986, Dolby Laboratories introduced a new professional

Enter the world of
Dolby Film Sound
recording process called Dolby SR (Spectral Recording). LEFT CENTRE RIGHT
This was used on the analogue soundtrack on 35 mm film
to provide more than twice the noise reduction, plus a
wider frequency response and lower distortion than its
predecessor, Dolby A-type. As with Dolby A-type, Dolby SR
is a mirror-image encode/decode process where the encod-
Bruce Emery Steve Murphy Kate Wu Pavel Stverak Francis Perreard Michel Monier
ing takes place in the mixing studio and the decoding in
the cinema.
Australia
be@dolby.co.uk
Australia
sm@dolby.co.uk
China
kw@dolby.co.uk
Czech Republic
stverakp@dolby.co.uk
France
fp@dolby.co.uk
France
monierm@
Throughout Dolby’s history, the company
1989 Academy
dolby.co.uk has focused on a single mission: to develop
A Dolby SR soundtrack features four channels with left,
centre, and right speakers behind the screen, and a single
MONO SURROUND
technologies that improve sound recording Award of Merit
surround channel used for ambiences, atmospheres, and
and reproduction. When Dolby entered the
special effects. Because there isn’t enough room for all
four channels to be printed separately, Dolby matrix
Dolby SR channel layout
motion picture business in the early 1970s, for continuing
technology adds these four channels together to be printed (Dolby Cinema Processor) then re-creates these original
on the 35 mm film as two channels, known as Left total
a new era in sound technology was born.
four channels, using advanced matrix decoding technology,
(Lt) and Right total (Rt). The cinema decoding equipment and feeds the sounds to the appropriate loudspeakers. Since then, Dolby film sound formats have contribution
Dominique Schmit Hubert Henle Norbert Zich Anirvan Ghose Vi. Kishore Bhaskar Pal evolved to provide the finest possible motion
Dolby Digital
France
schmitd@dolby.co.uk
Germany
hh@dolby.co.uk
Germany
nz@dolby.co.uk
India
ag@dolby.co.uk
India
vk@dolby.co.uk
India
bp@dolby.co.uk picture experience. But the real success of the
to motion
formats lies in the beginning-to-end service to
Introduced in 1992, this system uses Dolby’s powerful picture sound
audio coding technology to fit 5.1 channels of high-quality LEFT CENTRE RIGHT
the industry provided by Dolby Film Sound
digital sound into the space between the sprocket holes on Consultants who give technical support and help
35 mm film, enabling the digital soundtrack to co-exist
with the analogue soundtrack. SUBWOOFER to filmmakers, mixing studios, laboratories,
The improvements over analogue sound offered by Dolby distributors, and cinemas.
Digital apply not just to loud dramatic effects (like crashes,
explosions, and aircraft passing overhead) but in much Vikram Joglekar Max Puccio Jae Kyung Kim Mario Faucher Carlos Klachquin Jaume Puig
Italy Italy Korea South America South America Spain
subtler ways such as: vj@dolby.co.uk mp@dolby.co.uk jkk@dolby.com mzf@dolby.com cxk@dolby.com jap@dolby.co.uk
• clearer positioning of sounds at all times © A.M.P.A.S.
• cleaner dialogue
• more lifelike atmospheres and quiet effects LEFT SURROUND RIGHT SURROUND What is a Dolby soundtrack?
• more accurate musical reproduction. Dolby Digital channel layout
Dolby Digital delivers five full-range channels (Left, All Dolby film sound formats are backwards- Analogue
sound signal
Centre, Right, Left Surround, and Right Surround), and the limited frequency range of this channel, it is referred compatible, enabling cinemas to play films to
also provides a separate Low-Frequency Effects (LFE) to as “.1” when describing the Dolby Digital 5.1-channel
channel for reproduction through a subwoofer. Because of format. the standard to which they are equipped. Both

Ricardo Sittiporn Michael Denner Graham Keith Fawcett Alex Hudd the analogue and digital soundtracks are on
Digital sound
Dolby Digital Surround EX Viñas Sanz Srisanguansakul UK Edmondson UK UK signal
Spain Thailand mjd@dolby.co.uk UK kf@dolby.co.uk adh@dolby.co.uk the same piece of film, providing the most
rvs@dolby.co.uk sxs@dolby.co.uk gce@dolby.co.uk
cost-effective and practical way of making
Co-developed and co-owned by Dolby Laboratories and
Lucasfilm THX, the Dolby Digital Surround EX format was superb audio available to every cinema. The
LEFT CENTRE RIGHT
developed in 1998 to provide sound mixers with greater
tens of thousands of cinemas worldwide Light-sensitive
flexibility in creating film soundtracks. devices convert
transmitted light
The format is an enhancement of the Dolby Digital SUBWOOFER equipped for Dolby Digital playback can into electrical
signals
format and adds a third surround channel to improve the LEFT
SURROUND
RIGHT
SURROUND deliver this superb digital sound to their
positioning of the surround effects (such as front-to-back
panning of sounds) and allows the ambient sound audiences without needing extra disks or
John Iles Mark Kenna Julian Pinn James Seddon Nick Watson Richard Welsh
reproduction to be more uniform throughout the cinema. UK UK UK UK UK UK different inventories.
ji@dolby.co.uk mak@dolby.co.uk jpp@dolby.co.uk jps@dolby.co.uk nrw@dolby.co.uk rjw@dolby.co.uk Lenses in projector
The format still uses the same digital data blocks between sound reader capture
Light from two and focus the projected
the sprocket holes and remains fully compatible with the BACK SURROUND
separate sources Direction of film
For further information, please visit www.dolby.com shines through through projector
soundtrack image
Dolby Digital 5.1-channel system. The optical transfer and
the analogue and
laboratory printing process remain identical, so using this Surround EX channel layout Dolby Laboratories, Inc. • Wootton Bassett, Wiltshire SN4 8QJ, England digital soundtrack
format incurs no extra costs. Cinemas installed with Telephone (44) 1793-842100 • Fax (44) 1793-842101 areas

Dolby Digital Surround EX decoding equipment are able
to re-create the three surround channels, thus adding the
extra realism and excitement this format offers to an For information related to Dolby Film Services in the United States, please contact the Los Angeles office:
audience. Dolby Laboratories, Inc. • 3601 West Alameda Avenue, Burbank, CA 91505-5300, USA Sound reader (in the projector)
Telephone (1) 818-823-2800 • Fax (1) 818-557-0890
Dolby, Pro Logic, and the double-D symbol, are registered trademarks of Dolby Laboratories. AC-3 and Surround EX are trademarks of Dolby Laboratories.
All other trademarks remain the property of their respective owners. © 2001 Dolby Laboratories, Inc. W01/001
 DOLBY’S INTERNATIONAL FILM SOUND CONSULTANTS
Dolby SR

In 1986, Dolby Laboratories introduced a new professional

Enter the world of
Dolby Film Sound
recording process called Dolby SR (Spectral Recording). LEFT CENTRE RIGHT
This was used on the analogue soundtrack on 35 mm film
to provide more than twice the noise reduction, plus a
wider frequency response and lower distortion than its
predecessor, Dolby A-type. As with Dolby A-type, Dolby SR
is a mirror-image encode/decode process where the encod-
Bruce Emery Steve Murphy Kate Wu Pavel Stverak Francis Perreard Michel Monier
ing takes place in the mixing studio and the decoding in
the cinema.
Australia
be@dolby.co.uk
Australia
sm@dolby.co.uk
China
kw@dolby.co.uk
Czech Republic
stverakp@dolby.co.uk
France
fp@dolby.co.uk
France
monierm@
Throughout Dolby’s history, the company
1989 Academy
dolby.co.uk has focused on a single mission: to develop
A Dolby SR soundtrack features four channels with left,
centre, and right speakers behind the screen, and a single
MONO SURROUND
technologies that improve sound recording Award of Merit
surround channel used for ambiences, atmospheres, and
and reproduction. When Dolby entered the
special effects. Because there isn’t enough room for all
four channels to be printed separately, Dolby matrix
Dolby SR channel layout
motion picture business in the early 1970s, for continuing
technology adds these four channels together to be printed (Dolby Cinema Processor) then re-creates these original
on the 35 mm film as two channels, known as Left total
a new era in sound technology was born.
four channels, using advanced matrix decoding technology,
(Lt) and Right total (Rt). The cinema decoding equipment and feeds the sounds to the appropriate loudspeakers. Since then, Dolby film sound formats have contribution
Dominique Schmit Hubert Henle Norbert Zich Anirvan Ghose Vi. Kishore Bhaskar Pal evolved to provide the finest possible motion
Dolby Digital
France
schmitd@dolby.co.uk
Germany
hh@dolby.co.uk
Germany
nz@dolby.co.uk
India
ag@dolby.co.uk
India
vk@dolby.co.uk
India
bp@dolby.co.uk picture experience. But the real success of the
to motion
formats lies in the beginning-to-end service to
Introduced in 1992, this system uses Dolby’s powerful picture sound
audio coding technology to fit 5.1 channels of high-quality LEFT CENTRE RIGHT
the industry provided by Dolby Film Sound
digital sound into the space between the sprocket holes on Consultants who give technical support and help
35 mm film, enabling the digital soundtrack to co-exist
with the analogue soundtrack. SUBWOOFER to filmmakers, mixing studios, laboratories,
The improvements over analogue sound offered by Dolby distributors, and cinemas.
Digital apply not just to loud dramatic effects (like crashes,
explosions, and aircraft passing overhead) but in much Vikram Joglekar Max Puccio Jae Kyung Kim Mario Faucher Carlos Klachquin Jaume Puig
Italy Italy Korea South America South America Spain
subtler ways such as: vj@dolby.co.uk mp@dolby.co.uk jkk@dolby.com mzf@dolby.com cxk@dolby.com jap@dolby.co.uk
• clearer positioning of sounds at all times © A.M.P.A.S.
• cleaner dialogue
• more lifelike atmospheres and quiet effects LEFT SURROUND RIGHT SURROUND What is a Dolby soundtrack?
• more accurate musical reproduction. Dolby Digital channel layout
Dolby Digital delivers five full-range channels (Left, All Dolby film sound formats are backwards- Analogue
sound signal
Centre, Right, Left Surround, and Right Surround), and the limited frequency range of this channel, it is referred compatible, enabling cinemas to play films to
also provides a separate Low-Frequency Effects (LFE) to as “.1” when describing the Dolby Digital 5.1-channel
channel for reproduction through a subwoofer. Because of format. the standard to which they are equipped. Both

Ricardo Sittiporn Michael Denner Graham Keith Fawcett Alex Hudd the analogue and digital soundtracks are on
Digital sound
Dolby Digital Surround EX Viñas Sanz Srisanguansakul UK Edmondson UK UK signal
Spain Thailand mjd@dolby.co.uk UK kf@dolby.co.uk adh@dolby.co.uk the same piece of film, providing the most
rvs@dolby.co.uk sxs@dolby.co.uk gce@dolby.co.uk
cost-effective and practical way of making
Co-developed and co-owned by Dolby Laboratories and
Lucasfilm THX, the Dolby Digital Surround EX format was superb audio available to every cinema. The
LEFT CENTRE RIGHT
developed in 1998 to provide sound mixers with greater
tens of thousands of cinemas worldwide Light-sensitive
flexibility in creating film soundtracks. devices convert
transmitted light
The format is an enhancement of the Dolby Digital SUBWOOFER equipped for Dolby Digital playback can into electrical
signals
format and adds a third surround channel to improve the LEFT
SURROUND
RIGHT
SURROUND deliver this superb digital sound to their
positioning of the surround effects (such as front-to-back
panning of sounds) and allows the ambient sound audiences without needing extra disks or
John Iles Mark Kenna Julian Pinn James Seddon Nick Watson Richard Welsh
reproduction to be more uniform throughout the cinema. UK UK UK UK UK UK different inventories.
ji@dolby.co.uk mak@dolby.co.uk jpp@dolby.co.uk jps@dolby.co.uk nrw@dolby.co.uk rjw@dolby.co.uk Lenses in projector
The format still uses the same digital data blocks between sound reader capture
Light from two and focus the projected
the sprocket holes and remains fully compatible with the BACK SURROUND
separate sources Direction of film
For further information, please visit www.dolby.com shines through through projector
soundtrack image
Dolby Digital 5.1-channel system. The optical transfer and
the analogue and
laboratory printing process remain identical, so using this Surround EX channel layout Dolby Laboratories, Inc. • Wootton Bassett, Wiltshire SN4 8QJ, England digital soundtrack
format incurs no extra costs. Cinemas installed with Telephone (44) 1793-842100 • Fax (44) 1793-842101 areas

Dolby Digital Surround EX decoding equipment are able
to re-create the three surround channels, thus adding the
extra realism and excitement this format offers to an For information related to Dolby Film Services in the United States, please contact the Los Angeles office:
audience. Dolby Laboratories, Inc. • 3601 West Alameda Avenue, Burbank, CA 91505-5300, USA Sound reader (in the projector)
Telephone (1) 818-823-2800 • Fax (1) 818-557-0890
Dolby, Pro Logic, and the double-D symbol, are registered trademarks of Dolby Laboratories. AC-3 and Surround EX are trademarks of Dolby Laboratories.
All other trademarks remain the property of their respective owners. © 2001 Dolby Laboratories, Inc. W01/001
 PRODUCTION DISTRIBUTION EXHIBITION FILM SOUND Dolby SR and frequency weighting to sent to the optical sound camera.
(Spectral Recording) produce an LEQ(m) measurement For Dolby Digital, this takes the
GLOSSARY The most powerful analogue Dolby
recording system, currently still
of film sound. form of an MO disk.

used on film soundtracks, offers LFE (Low-Frequency Effects) Pro Logic

Pre-production meetings Mastering a soundtrack Controlling the soundtrack quality Film trailers Training programme for approved installers Assistance at festivals greater noise reduction and a wider The channel used for sounds such 4:2:4 matrix technology, when
at the printing laboratory 4:2:4 Matrix frequency range than Dolby A-type. as explosions that are fed into the applied to domestic formats such
A Dolby technology that enables a subwoofer loudspeaker. Often as video, broadcast, and DVD.
Producing a film with a high-quality, multichannel Dolby Dolby Sound Consultants should always be present at the studio The Motion Picture Service & Worldwide Trademark & To achieve Dolby’s target of establishing a worldwide set of Dolby Laboratories has long provided technical assistance at referred to as a “.1” channel,
four-channel L, C, R, S mix to be Domestic Version
soundtrack should be planned from start to finish. Our for the final stage of a mix, when the printing master is Laboratories printing Dolby Digital soundtracks must have the Standardization Agreement signed by the film’s production replay standards for film sound, it is vital that every cinema is film festivals around the world. Such screenings are very matrix-encoded to two channels to The original language soundtrack hence Dolby Digital 5.1. Pullups
international team of Sound Consultants can discuss any stage generated. This is normally a mixdown from individual Dolby Quality Control (QC) system installed. This software company also covers a film trailer soundtrack mix, which must aligned to the same high specifications. All our sound decoding important to many first-time filmmakers and seasoned be transmitted either by film, of a film, often used in comparison see Overlaps.
broadcast, video, etc. The original tests with a foreign language Lt, Rt (Left total, Right total)
of the production process, from location and music recording, dialogue, music, and effects premixes and, if necessary, small analyses many of the printing parameters of the digital data be in the same sound format as the feature film itself. There is equipment (Dolby Cinema Processor) is sold to cinemas through professionals alike. Our Sound Consultants are there to provide
four channels are re-created after version of the same film. A four-channel L, C, R, S mix, QC (Quality Control) System
through studio postproduction and film printing, to cinema technical and artistic changes can be made at this time. For a blocks between the sprocket holes on an entire reel of film and a fixed fee for Dolby Digital trailers that covers the necessary approved installers. Each year, Dolby invites these installers to technical support, ensuring the films are presented under the matrix-encoded to two channels to
matrix decoding. A software-based system used in
exhibition. Our Consultants can be reached by phone or email Dolby Digital or Dolby Digital Surround EX mix, the Dolby provides a report on its findings. The laboratory can use this transfer costs. The Film Department at Dolby Laboratories in attend training courses covering all aspects of the installation best possible conditions. Double Head/Sep Mag be transmitted either by film,
film laboratories to analyse the
and are happy to answer any queries. encoding equipment in the studio produces a Magneto Optical tool to identify any problems and quickly correct them, plus, Wootton Bassett should be contacted for further information of cinema sound systems, from the Dolby processor itself to The practice of running a separate broadcast, video, etc. The original
5.1 Mix print quality of Dolby Digital data
reel of magnetic film containing four channels are re-created after
(MO) disk containing both the six-track digital mix and the a print-out of the QC report sheet can always be available for about the transfer procedures. If a Consultant is required to room acoustics. A six-channel Dolby Digital blocks and provide a summary of
Cinema advertising the soundtrack in sync with the matrix decoding.
discrete mix. The “.1” is used for all parameters.
two-track analogue mix. the customer on request. QC attend the mixing studio, this is charged as quoted in the optical film containing the picture.
Arranging the contract the sixth channel, as the LFE
M & E (Music & Effects)
systems should be maintained Service Agreement. At the cinema channel has a limited bandwidth Often used for special screenings Release Print
Dolby Sound Consultants check the alignment of the mixing Dolby is the one company that can provide cinema commercials An original film soundtrack that
and checked by Dolby up to 125 Hz. before a married (combined) print The actual film played in the
A production company wishing to make a film with a Dolby studio’s acoustics and equipment before the printing master is in digital sound, enabling advertisers to reach their audience in is produced. has had all dialogue removed
Consultants to ensure their After support from Dolby through the postproduction, printing, cinema. A release print consists of
soundtrack must first enter into a straightforward standard made, and can offer technical and creative advice for the best Foreign language versions the finest cinema conditions. The technology within the before being distributed to foreign
accuracy; we are always and distribution phases of producing a new film, the final stage Cross-Modulation Test language studios for a new
reels approximately 20 minutes
Motion Picture Service & Worldwide Trademark & use of the Dolby film formats. This process also allows our cinema processor automatically switches to the correct format A test signal recorded on optical
Dubbing Studio long which are played
pleased to assist with technical is to ensure that the audience fully appreciates the filmmaker’s See Mixing Studio. language dub to be added.
Standardization Agreement with Dolby Laboratories. To start Consultants to become familiar with the mix, which is Every film originally produced with a Dolby soundtrack can be when a Dolby Digital commercial is playing, thus ensuring that film to ensure the correct density consecutively without interruption,
printing questions or problems. vision and receives the best possible presentation of the film in match between a sound negative either by alternating between two
the process, the following details should be faxed to the invaluable if tests and checks are necessary later in the process. remixed into any foreign language. The local Dolby Consultant the audience benefits from the same superb sound quality and DVD (Digital Versatile Disc) Married Print
the cinema. and a print, thus producing a projectors, or by splicing the
Wootton Bassett office (44 1793-842111): provides the same technical services with the same level of care can enjoy an entire film presentation in Dolby Digital. A domestic release medium widely A film print that contains both the
correct reproduction of a studio individual reels together into one
QC software used for feature films. Dolby Digital picture and the sound, i.e., the
• production company contact details and attention, and seeks to ensure that the foreign versions are Dolby Consultants are nor- print master. large reel mounted on a film
As with feature films, all cinema commercials must be contracted is the standard audio format used sound negative is “married” to the
platter.
• film details (title, running length, format, etc.) an exact match of the original soundtrack. Our comprehensive mally involved in important with options for each disc to picture negative onto the same
Testing the soundtrack at Dolby Laboratories with Dolby Laboratories. At many studios, this can be arranged Cyan Dye Track piece of print film.
network of Sound Consultants, covering almost all corners of screenings such as premieres contain multiple language versions. SPL (Sound Pressure Level)
• mixing studio to be used directly, through a simplified and quick procedure. Again, we A new development in optical
the globe, is detailed on the back page. and press screenings, to verify sound printing that eliminates the A measure of the loudness of sound
• expected date of the mix. Given sufficient notice, Dolby Consultants will check or analyse can provide an up-to-date list of studios approved for mixing Effects Mixing Studio
and optimise replay condi- need for the problematic silver at a particular point in an
a print in Dolby’s own Wootton Bassett screening room facility. A separate Motion Picture Service Agreement must be completed Dolby cinema commercials. Sound effects, i.e., the non-musical A special theatre equipped for
As soon as we receive the signed agreement and fee, the redeveloping process. To be played auditorium. All cinemas and
tions, assist with the rehearsal elements on a soundtrack other mixing film soundtracks. These
They can provide both a technical report on all quality issues by for each additional foreign language version produced with a correctly, the soundtrack requires a mixing studios are aligned to the
authorisation to use Dolby equipment is sent to the appropriate of the screening, and provide For several years, Dolby Laboratories has been researching the than dialogue. rooms contain the necessary Dolby
using the analysis tools installed in the lab, as well as artistic Dolby soundtrack. The fee for additional languages is lower red LED soundhead on the same SPL to ensure the audience
studio for this specific production. encoding and decoding equipment
backup support during the subject of excessive loudness, especially in film commercials projector. hears the film soundtrack at the
and subjective feedback by listening to the mix in the screening than for the original version. Film Platter/Tower and are calibrated and aligned to
screening itself. and trailers. With Dolby’s guidance, industry bodies and level the director intended.
Our Motion Picture Service & Worldwide Trademark & Equipment used in the cinema to meet Dolby specifications and
room itself. Discrete Mix
Consultant aligning cinema cinema commercial sales houses have now implemented join separate reels of film together standards.
Standardization Agreement details A term used for the Dolby Digital Stems
regulations to ensure the audience does not suffer from for continuous play through a Final stage premixes, fully
• services provided by Dolby Laboratories (for which a fee is mix that uses six (often called 5.1) projector. MO (Magneto Optical) Disk
uncomfortably high-volume sound. For current information on discrete audio channels. balanced and positioned, which
payable before the start of the mix) and clarification of A computer disk used in Dolby
worldwide standards, please contact the Film Department at still contain the individual
responsibilities Final Mastering Digital mastering equipment to
Film mixing studio Dolby AC-3 elements (music, dialogue, and
Dolby Laboratories in Wootton Bassett. The mixing stage at which all the record both the six-track mix and
• correct usage of the Dolby trademarks and logos (for which effects) separately. Stems are
Print Checking Service The multichannel coding separate elements and premixes the Lt, Rt mix. The whole sound-
combined to produce the final
no fee is due) Optical transfer technology used on Dolby Digital are mixed together to produce the track is therefore mastered onto
printing master and other delivery
film soundtracks, DVD, and printing master recording that is this one disk which is then sent to
• technical specifications for the soundtrack. With so much investment made by film exhibitors to ensure requirements.
broadcast applications. sent to the optical transfer stage. the optical transfer stage for the
A current list of approved optical their audiences enjoy excellent digital sound and a bright, sound negative to be produced.
transfer facilities is available from Dolby clean picture, it’s only natural that the distributors also Stereo Variable Area (SVA)
Selecting a mixing studio Dolby Digital Foley
Laboratories. We provide information Dolby Digital Double-Head A high-quality, six-channel (often Optical Sound Camera A matrixed stereo optical
want to supply high-quality prints to each and every Sound effects, such as footsteps,
Screening Service soundtrack used in the Dolby
and training to these facilities in order called 5.1) audio system using rustling clothes, traffic noise, etc., Equipment used to transfer the
Dolby Laboratories maintains a current list of all studios cinema. analogue formats. The variable
Dolby AC-3 coding technology. recorded by specialists during the printing master from the mixing
to maintain Dolby requirements and area for each matrixed track is
worldwide approved to produce Dolby film soundtracks. These With a high degree of postproduction sound-dubbing studio (normally a Dolby MO disk)
procedures. Camera operators must Our Print Checking Service is designed for film distributors With most mixing studios currently working with digital used to change the amount of light
transparency and data rates as low process. (Named after one of the to an optical sound negative. The
studios have met the high specifications of acoustics and to ensure that bulk prints from the laboratories are all of dubbers, we now offer a service for playing back mixes in passing through the film to the
coordinate with the printing laboratory as 320 kbps, Dolby Digital is used first such specialists.) sound camera exposes the raw
equipment, calibration and alignment required to produce a sound head on the projector. Two
to establish correct density matching the highest quality. This is performed by technicians with any cinema directly from digital dubbers. for applications including 35 mm sound negative stock using a
independent variable tracks are
Dolby soundtrack. They provide an environment in which a experience of quality presentation in both film production film soundtracks, DVD, and Hi 8 combination of light from LEDs,
before the film soundtrack is transferred. This service is ideal for special presentations of mixes-in- used for the Lt and Rt signals,
director can produce a soundtrack that will play back around broadcast. An eight-track DAT master, as used valves, and/or laser.
and exhibition. Print checking may be done either at the which are then decoded to become
Once this has been established, the progress for clients, festival screenings, and audience- by the Tascam DA-88 and Sony
the world as faithfully as local cinema conditions allow. Wootton Bassett screening room or at the printing Left, Centre, Right, and Surround
transfer itself should be relatively reaction screenings, and is run by Dolby Consultants who Dolby Digital Surround EX PCM-800 machines. For film Overlaps channels.
laboratory’s own screening room. After check prints have The technology co-developed and mastering, the track layout is often A short section of sound from the
Dolby equipment has been installed in the approved studios to straightforward and a Dolby Sound also verify the alignment of the cinema and the equipment
been approved, random co-owned by Dolby Laboratories L, C, R, Ls, Rs, SW, Lt, Rt. beginning of a reel added to the end
provide the encoding and decoding needed for the creation of a Consultant is not normally required to before the film screening of the previous reel. Due to the offset
Subwoofer (SW)
and Lucasfilm THX that adds a
samples are taken from The loudspeaker used to reproduce
Dolby film soundtrack. Use of this equipment by the studio is be present. For a Dolby Digital film, the is rehearsed. The use of third surround channel in the High Magenta Track between picture and sound on the
the bulk prints, and print, this must be done to ensure the signal from the low-frequency
permitted only after a film production company has completed the optical transfer is made from the Dolby digital dubbers for these cinema while retaining A method of printing optical
there are no gaps in the sound effects (LFE) channel.
both image and all compatibility with regular Dolby sound that enables correct
Service Agreement, as detailed in “Arranging the Contract” above. MO disk produced in the mixing studio. screenings eliminates the when the reels are joined together.
soundtrack formats Digital channel systems. playback on both white light
need for expensive trans- readers and red LED readers on THX
The studios should be contacted directly for their rates and tested and analysed for A technical specification for the
fers to magnetic tape and Dolby Noise Reduction projectors. The track is still Premix
availability. Optical sound camera flaws or complications. redeveloped, but uses a different A mix (usually six or eight tracks) entire playback environment,
the rental of large, bulky The signal processing system that
colour balance to accommodate containing only one of the three picture and sound, regardless of
Problems with the bulk reduces the inherent noise in
magnetic playback units, both light source wavelengths. elements of a soundtrack film format.
printing can quickly be recording media without affecting
while providing higher- the sound. Dolby A-type and, (dialogue, music, or effects).
detected and rectified subsequently, Dolby SR were LEQ (Loudness Equivalent) May be used to produce stems (see X-Curve
quality audio in any
by the laboratory originally used on commercial Measurement below) or the final printing master. A standard replay characteristic
chosen cinema. that makes it possible for cinemas
before prints leave for music recordings and later on film A method of measuring the
the cinema. The Sound of a Great Picture Digital dubbers
soundtracks. Dolby B-type, C-type,
and S-type were designed for the
consumer audio cassette.
perceived loudness of a section of
audio material. The Dolby Model
737 LEQ meter uses time averaging
Printing Master
The master tape of the final mix
produced in the mixing studio and
of different sizes to sound similar
by compensating for the different
reverberation characteristics.
DOLBY’S INTERNATIONAL FILM SOUND CONSULTANTS

Bruce Emery Steve Murphy Kate Wu Pavel Stverak Francis Perreard Michel Monier
Australia Australia China Czech Republic France France
be@dolby.co.uk sm@dolby.co.uk kw@dolby.co.uk stverakp@dolby.co.uk fp@dolby.co.uk monierm@
dolby.co.uk

Dominique Schmit Hubert Henle Norbert Zich Anirvan Ghose Vi. Kishore Bhaskar Pal
France Germany Germany India India India
schmitd@dolby.co.uk hh@dolby.co.uk nz@dolby.co.uk ag@dolby.co.uk vk@dolby.co.uk bp@dolby.co.uk

Vikram Joglekar Max Puccio Jae Kyung Kim Mario Faucher Carlos Klachquin Jaume Puig
Italy Italy Korea South America South America Spain
vj@dolby.co.uk mp@dolby.co.uk jkk@dolby.com mjf@dolby.com cbk@dolby.com jap@dolby.co.uk

Ricardo Sittiporn Michael Denner Graham Keith Fawcett Alex Hudd

Viñas Sanz Srisanguansakul UK Edmondson UK UK
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John Iles Mark Kenna Julian Pinn James Seddon Nick Watson Richard Welsh
UK UK UK UK UK UK
ji@dolby.co.uk mak@dolby.co.uk jpp@dolby.co.uk jps@dolby.co.uk nrw@dolby.co.uk rjw@dolby.co.uk

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