Design and Application of a Native-D Recording Format for Optimal Dolby Atmos Reproduction

Kobayashi Ritch A. Design and Application of a Native-D Recording Format for Optimal Dolby Atmos Reproduction. In: AES Convention 149. Audio Engineering Society; 2020. Paper 619. Available from: https://aes.org/publications/elibrary-page/?id=20905

@inproceedings{KobayashiRitch2020_20905,
  author = {Kobayashi Ritch, Aron},
  title = {{Design and Application of a Native-D Recording Format for Optimal Dolby Atmos Reproduction}},
  booktitle = {AES Convention 149},
  note = {Paper 619},
  year = {2020},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=20905}
}

TY  - CPAPER
TI  - Design and Application of a Native-D Recording Format for Optimal Dolby Atmos Reproduction
AU  - Kobayashi Ritch, Aron
T2  - AES Convention 149
M1  - Paper 619
PY  - 2020
DA  - 2020/10/06
UR  - https://aes.org/publications/elibrary-page/?id=20905
PB  - Audio Engineering Society
LA  - en
AB  - In this paper I will propose a Native-D format immersive microphone system made specifically for mixing and reproduction within the Dolby Atmos framework. While there are a number of immersive recording systems in use today, most have been designed for reproduction within listening environments that use sub 90° angled height channels such as Auro-3D. The microphone system proposed in this paper aims to take advantage of the native 90° height-to-main layer angle found in Atmos speaker systems by combining a non-coincident main layer with a corresponding near-coincident, 90° directional microphone for each height channel. This system excels in its high-fidelity capture of both group and individual sources, and benefits from a high level of decorrelation from channel to channel. An additional advantage of the system is its capture of Native-D format signal, which ensures that no format conversion or complex matrixing must be done, avoiding a loss of fidelity from recording to mixing stages. A case study of this system, consisting of multiple recording sessions, has been done in order to establish the validity of a system of this type, ultimately resulting in a final mix using Dolby Atmos. Both a “native immersive” and a “non-native” recording approach were taken in order to exemplify the system’s versatility.
ER  -