Commercial and Interstitial, Music | Dolby Laboratories DP571

Dolby Laboratories DP571, DP572 Commercial and Interstitial, News and Local Programming, Music

Dolby E Multichannel Distribution System User Manual	Common Dolby E Applications

2.2Commercial and Interstitial

Although current commercial and interstitial material is primarily two-channel stereo, this fast-growing broadcasting sector will almost certainly catch up to film practice, thereby ensuring smooth transitions between commercial and feature programs. See Section 2.1 - Film for the settings to use for two- and 5.1-channel material.

2.3News and Local Programming

News and local programming is either two-channel stereo or two-channel mono. The Dolby Srnd Mode metadata parameter should be set to Indicated. Programs that are Dolby Digital encoded at the DTV station, then decoded by the consumer result in mono programming directed to the Center channel, while stereo programming is mapped to the L, C, R channels. During Pro Logic decoding, dialogue emanates primarily from the Center channel in both cases. This channel placement most closely matches a 5.1- channel program and provides smooth transitions between mono, stereo, and 5.1-channel programming without operator intervention. Line Mode Pro and RF Mode Pro in both programs should be set to either Speech or Film Light depending on the type of program. Film Light is a good general purpose setting for programs with speech and music.

2.4Music

Film and DVD have introduced 5.1-channel music to the general public and these both require the 5.1 + 2 program configuration. The predominant music format, however, remains the two-channel compact disc; use the 2 + 2 program configuration. Since music is generally recorded at a much higher level than film audio, it may be necessary to increase the dialnorm value (i.e., closer to 0) to apply more attenuation at the Dolby Digital decoder. Line Mode Pro and RF Mode Pro should be set to either Music Standard or Music Light depending on the music. See Section 3.2.4 - Metadata Params.

2.5Live Events

Live events can require encoding techniques from each category mentioned in this chapter. The most distinguishing feature of a live event is that, although a VTR may record the event for later broadcast or storage, the tape cannot normally be stopped to alter encoding parameters and then restarted. This is not an issue for postproduction but is a serious concern for live events.

Using Presets is an excellent method of changing Program Configs during an encoding session to match the metadata to the source material being encoded. Pick the most appli- cable program configuration for a specific task and store it as a Preset. During the live event, simply recall the Presets as the encoding requirements change and all associated metadata parameters follow automatically.

See Section 3.2.3 - Presets, Using the Status Port to Select Presets on page 3-4and Using the Status Port to Select Voiceover and Switched Modes on page 4-4for more detailed information.

2-2

DP571, DP572 specifications

Dolby Laboratories has long been a pioneer in audio and video technology, continuously pushing the boundaries of entertainment experiences. Among their range of innovative products, the Dolby DP572 and DP571 audio processors stand out as powerful tools for commercial cinema and installation applications. These devices are designed to enhance the overall sound experience in theaters, auditoriums, and other large venues, making them crucial for delivering high-quality audio.

The Dolby DP572 is a multi-channel audio processor that supports 7.1 surround sound configurations. It is equipped with advanced Dolby technologies, including Dolby Digital, Dolby Digital Plus, and Dolby TrueHD. This versatility allows filmmakers and sound engineers to create immersive soundscapes that bring an added layer of realism to the viewer's experience. One of the salient features of the DP572 is its advanced processing capabilities, which include automatic calibration, loudness control, and extensive equalization options, ensuring that the sound quality is optimized for any environment.

On the other hand, the Dolby DP571 is a companion processor designed primarily for applications that require flexible audio routing and management. It features the same high-quality audio processing as the DP572 but focuses more on signal management, making it ideal for venues that may need to adapt their audio setup frequently. The DP571 supports both analog and digital audio inputs and outputs, providing versatility for various sound systems. Both units feature user-friendly interfaces, making them accessible for system integrators and operators alike.

In terms of connectivity, both processors boast multiple inputs and outputs, allowing seamless integration with existing audio systems and peripherals. They also support industry-standard audio formats, making them compatible with a wide range of content sources. Signature Dolby technologies, such as dialogue enhancement and surround sound synthesis, ensure that even the most complex audio tracks are rendered with precision.

In summary, the Dolby DP572 and DP571 audio processors are essential components for any cinema or professional audio setup. Their advanced features, compatibility with multiple audio formats, and the legendary sound quality synonymous with Dolby make them invaluable tools for creating immersive audio experiences that captivate audiences. Whether used in conjunction or independently, these processors deliver the high-fidelity sound that is key to modern entertainment.