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With the launch of tvOS 12, support for the Dolby Atmos surround sound format is finally coming to the Apple TV 4K. Apples streaming solution launched last year with support for the Dolby Vision HDR video format right out of the box, but in the ever-messy array of streaming devices, set-top devices, and competing formats, it couldnt claim bragging rights as a solution for customers looking for a way to experience their favorite movies and TV shows with the absolute cutting edge in home presentation. As of today, thats changed. While Atmos support is a welcome addition for Apple TV, it can still be hard for some customers to understand why they should care about any given surround sound option in the first place. In the case of Dolby Atmos, which first debuted in movie theaters in 2012, thats even more true than usual. The format only started entering the home-entertainment space four years ago, and consumers may not have had the chance to experience it for themselves. But the number of ways Atmos can be experienced at home is growing rapidly, and the addition of the format to the Apple TV will increase that momentum, at the exact same time the entertainment industry is turning more toward Atmos as its finishing format of choice. Why does it matter? Lets dig in. What is Dolby Atmos? Like most Dolby technologies, Atmos started in movie theaters. Historically, cinema surround sound has used a fixed number of audio channels. For example, 5. 1 systems use left, right, and center channels along the front of the theater, plus two rear surround channels and a low-frequency effects channel (the “. 1” in 5. 1. Newer formats, like the Dolby Surround 7. 1 format that the company debuted with Toy Story 3, add additional channels to an audiences left and right. Theyre all more than enough to envelop listeners in audio, but they lack a certain precision: no matter how many speakers are in a theater, sound designers and mixers can only use a set number of pre-established channels. Dolby Atmos, on the other hand, does away with the concept of fixed channels entirely. Instead, its built around the concept of audio “objects. ” Each sound is a discrete object that mixers and sound designers can place anywhere inside the theater, including above the audience, via ceiling-mounted speakers. Later, when a film is screened, Atmos then maps that mix to the speakers in a given auditorium to recreate the filmmakers original intent. It allows for a degree of precision and creative flexibility that simply wasnt possible before. The system is also designed to be much more scalable across different theater sizes, as well. In a 7. 1 mix, the filmmakers are only working with seven main channels of audio. Atmos, however, can support up to 64 discrete speakers in a theater, each able to serve as its own unique location for a sound. The result is a sonic experience that actually delivers on the much-hyped term “immersive. ” Rain can sound like its falling from directly overhead. When a car zooms by the camera, the sound can actually match that movement from the front of the theater to the back. And the larger soundstage allows sound designers to create richer, denser, more naturalistic environments than ever before. “Dolby Atmos and these immersive sound systems work brilliantly when you can move things through the spaces throughout the room, and you can actually hear them, ” supervising sound editor Glenn Freemantle told me back in 2013, about his Oscar-winning work in Gravity. “And also, Atmos then creates this smooth transition around [the theater] and over the top. Like when George is going around and he looks up at the stars. He looks at Earth, and the voice is crisp, and they twist right around and come back out the other side. But its seamless. So sound becomes real emotional, because youre contacting the characters and youre moving with them. ” Since the formats launch, Atmos theatrical releases have steadily become more common, especially on big-budget films where the creators are hoping for a flashy theatrical experience. Blockbusters like Avengers: Infinity War, Star Wars: The Last Jedi, and Blade Runner 2049 have used the format, but Atmos has also been used on smaller films like The Boy and 10 Cloverfield Lane, as the technology has grown increasingly omnipresent. Its rapid growth has been particularly bolstered by Dolby Cinemas partnership with AMC Theatres. The resulting theaters combine Atmos with the Dolby Vision HDR laser-projection system for one of the best moviegoing experiences available. Atmos in the home Dolby Atmos started as a cinematic innovation, but like other surround sound formats, it has migrated to the home as well. On the premium end of the spectrum are full-fledged multi-channel home theater setups, complete with ceiling-mounted speakers. But systems like that are costly and out of reach for most consumers, so Dolby has also worked with hardware manufacturers to introduce alternative options into the marketplace. Standalone speakers and some soundbar packages from companies like Vizio and Samsung try to simulate the full Atmos experience with “up-firing” speakers: basically, speakers that bounce audio off the ceiling to create the illusion of sound raining down from above. The results can vary based on the geography of the room being used, but its a viable workaround for those who want to step up from current surround systems. Some TVs from manufacturers like LG also offer a “virtualized” version of Atmos, using their own internal speakers, though at that point, youre no doubt getting pretty far away from the core concept. TLDR: Dolby has tried to make sure there are as many hardware options out there to allow customers to utilize Atmos as possible. But speakers dont matter unless consumers own a device that can actually spit out Atmos audio in the first place — which is where tvOS 12 comes in. Though Blu-rays have been a logical destination for Dolby Atmos releases, streaming services have become increasingly aggressive adopters of the format. Netflix and Vudu offer some content in the format, and Amazon Prime recently jumped into the Atmos fray with its new series Tom Clancys Jack Ryan. But a streaming service can only be as good as the device its being run on, and as with most living-room entertainment options, the effort to optimize audio is dependent on the mix-and-match situation between services, devices, and content capabilities. My colleague Micah Singleton surveyed the landscape earlier this year, and its a mess. The Roku Ultra supports Atmos and the high-dynamic range HDR10 format, but not Dolby Vision HDR. Same with the Amazon Fire TV and Nvidia Shield. The Chromecast Ultra supports all three formats, but it requires users to cast to the device, rather than operating on its own. With tvOS 12, however, the Apple TV 4K becomes the uber-device many home-theater enthusiasts have been waiting for: capable of supporting Dolby Atmos, Dolby Vision, and HDR10 with a variety of services out of the gate, including iTunes, Netflix, and Vudu. Its now the standalone streaming box that can, in the words of Verge editor-in-chief Nilay Patel, “light up all the lights” on premium AVRs. And with Apple regularly upgrading previous iTunes purchases with the most up-to-date, highest-resolution option possible, its a device that will give many customers an Atmos-enabled movie collection if they just install a software update. The Atmos Ecosystem Play Most of the Atmos material is coming from theatrical releases that were mixed in the format, with the final mixes made for movie theaters largely transferring over for home use. “The difference between theatrical Atmos and home-entertainment Atmos is just resolution, ” sound mixer Andy King tells me over the phone. King has a varied career across film and television, working on everything from the Michael Mann film Blackhat to TV shows like Altered Carbon and his Emmy-nominated work on Westworld. “The theatrical Atmos is more scalable, meaning the movie theater, depending on the budget that they have for their Atmos setup, theyll install more speakers in the cloud space and around the room. ” Atmos home installations, on the other hand, simply use four ceiling speakers configured like a traditional 5. 1 or 7. 1 setup. “The resolution isnt as much as a theatrical, but the print masters we create for Atmos theatrical [releases] do downmix to home entertainment. ” Part of Dolbys larger strategic play is to make Atmos the default finishing format for filmmakers, by making it easy to translate those mixes into the various other formats required for media distribution around the world. “It folds down really, really well from theatrical to home entertainment, ” King says, “and then to the other deliverables, being the traditional 5. 1, or a 2. 0 LtRt [matrixed surround mix] or a 2. 0 stereo, or even mono. Dolbys done their homework, and I, as a mixer, am confident in their technology, and I can convey that to producers and showrunners alike when we get into the home entertainment space. ” That strategy seems to be working. Netflixs Altered Carbon is an Atmos title, and King also mixed the most recent season of Westworld in Atmos — even though the initial HBO broadcast doesnt even support the format. (The Atmos mix will be available on the Blu-ray release of the season later this year. ) “Its a great format, because like on a show like Altered Carbon and even Westworld, theres a lot of design elements, meaning tones, and things that actually are almost more musical and have harmony to them, ” he says. “Its a challenge when you have those sound design elements for dream sequences, or stylistic sequences, to get them to play nice with the music. The one thing Atmos lends is space, so if we were doing a 5. 1 mix, you run into the challenge of putting those elements either in the screen channels or in the surround, and you may run into conflicts with the music … I think Atmos lends itself to be able to make a lot of that stuff live and exist without having to remove it. ” The broader soundstage the format provides also allows filmmakers to approach the sound work in a much more active, dynamic fashion, enhancing the cinematic feel of many modern television shows with audio to match. “In a show like Westworld, theres not a lot of big sci-fi spaceship moments that you would have in a big action sci-fi movie, ” King explains. “Youre out on the plains, or youre out and about in the park, or even on some of the interiors, and the] ambiences come alive. I like to mix very live. Whether it be a 5. 1 or an Atmos mix, I like to pull elements off the screen as much as I can and utilize the surround. Atmos is fantastic for that, so I can really pinpoint things, and have movement so that the audience member feels like theyre in the experience. ” Thats a combination of factors at work, all of which make it an exciting time for high-quality presentation in the home. Over-the-top streaming services, which are able to move much more nimbly in adopting newer formats compared to their broadcast counterparts, are finishing their original film and TV shows in premium formats like Atmos to distinguish themselves. More theatrically released films are embracing Atmos, providing for another incoming stream of content. And with a device like the Apple TV now in play, a turnkey solution for all premium formats is simpler to get than ever. Many TV viewers will probably be just fine with watching traditional stereo sound, of course, but as with a lot of format adoption, momentum is half the battle. As of today, Dolby Atmos is one step closer to hitting stride for mainstream consumers.
On tvos hdr theatrical rabid movie. On tvos hdr theatrical rabid movies. On tvos hdr theatrical rabid 2017. On tvos hdr theatrical rabid man. #1 Hi! I just updated to tvOS 12 beta. Where can I find Atmos content to test the Atmos support? I can't find anything online. Thanks for your help. Gus #3 Pretty much every iTunes 4k Dolby Vision will get the added Dolby Atmos in the Fall. You can only experience it on a 4K Apple TV. Currently setting up the home theater for this. I'll be ready by the end of July. #4 Out of interest can a 4K HDR iTunes film carry Dolby Atmos or is it only Dolby Vision iTunes film that can carry this? Also wondering why some studios change from Dolby Vision to HDR instead. The Fifty Shades is an example. The first two are 4K Dolby Vision on iTunes but the latest release is 4K HDR on iTunes even though the cinema showing was Dolby Vision and on the end credits there is the Dolby Atmos logo. [doublepost=1529971301] doublepost] According to FlatPanels HD they are appearing... #5 Not sure how it will play out in the end. Best guess is that in the end all 4K will have Dolby Atmos. But that is totally a guess. #6 The Vudu is playing Atmos content. I have tested Wonder Women and Justice League. #7 I got Atmos on Vudu. No iTunes yet. I tried BR2049 and got no audio at all in iTunes movies #9 Thank you buddy! Let's hope so #10 Are you saying, that Vudu app already plays back Dolby Atmos in current tvOS 12 beta? You can get a iTunes compatible DD+ Atmos file directly from Dolby site: Thanks, I have plenty of Atmos content. I am able to play it via other devices (i. e. Xbox One X. I updated to the public beta on TVos last night and did some quick tests: There is now a Atmos setting in the audio section, and it was turned on. I saw zero mention of Atmos in the Movie section of iTunes (or TVos, not sure what it is called. I tried the following titles that I know have Atmos support somewhere: Supes v Bats, Pacific Rim and Alien Covenant. These played like before, multi channel PCM (Alien came up with 7. 1 channels. I tried Blade Runner 2049 and my receiver read "no streaming" and was basically silent. Next I tried Vudu with Pacific Rim and Dolby Atmos fired right up. I didn't look for any Netflix content nor did I try any file content with Infuse since that hasn't been updated yet. #11 Funny thing, when I play Vudu content, I don't get the Atmos notification in my soundbar (LG SK10Y. I wonder if I have to plug it directly, even thou my TV (LG OLED C7) has Atmos passthrough. #12 I wasnt seeing any indication of Atmos support when connected the way Ive been doing. So I changed to directly connecting to my Samsung Atmos soundbar and then I see Atmos support in settings. Oddly my Xbox One does Atmos just fine via my connections as they were. Hope whatever checks Apple is doing will be fixed to support my preferred connections. #13 What format is the atmos audio in those movies? Vudu is online streaming and constrained to DD. As it looks now, Apple will also only be supporting DD+ because they like Vudu offer only streaming service. Hoping for lossless formats is wishful thinking in my opinion. #14 4K and ATMOS have not bearing on each other. I have a few standard blu-rays that have ATMOS tracks. #15 Dolby Atmos is an audio ‘format. Dolby Vision is a video standard for HDR encoding/reproduction. HDR10 (often just called HDR) is another. Films can feature one, the other or both. One isnt dependent on another. Most 4K BluRay discs feature HDR10 video and Dolby Atmos audio. #16 I will just ad that 4K blu-rays are required to have HDR10 as the base layer, so even if it is a DV disc, it still has HDR10. The same is not required for streaming. #17 So, last night I figured out why this could be happening. I have all of my devices including an Apple TV 4K on the new TVOS 12 Beta going through my Sony STR-DN1080 receiver. When I was streaming some titles on Vudu, my receiver is reporting Dolby Atmos on Linear PCM, not DD. I didn't think this was possible but after reading Dolby's white paper on Atmos, it is indeed possible to include the Atmos metadata on top of another audio container. So the Apple TV is still decoding the DD+ stream but passing through the Atmos data. #18 This video shows you can get Dolby Atmos in the Infuse app after updating to TVos 12 beta. #19 This video is just click bait, it has been commented many time this does not work yet. If you watch the video carefully the movie starts playing showing HDR but as the camera pans down to the receiver you see it change to Dolby Atmos, this would be showing as soon as the movie starts playing. It seems like he starts playing another Dolby Atmos source to show Dolby Atmos on the receiver. I may be wrong and I hope I am as I cant wait to have Atmos and pass through sound available on the ATV. #20 My Dolby Atmos setup will be complete mid July. I'll report back the findings. #21... reading Dolby's white paper on Atmos, it is indeed possible to include the Atmos metadata on top of another audio container. Atmos objects and metadata can be added (in backwardly compatible manner) to exactly 2 audio codec formats: DD+ lossy) and TrueHD (lossless. No more, no less. Non-Atmos decoder will be able to play the streams back without the audio objects. So the Apple TV is still decoding the DD+ stream but passing through the Atmos data. This is simply not possible for 2 reasons: 1) aTV does not know your speaker configuration. Your Atmos decoder does (needs to. 2) it is impossible to piggyback Atmos metadata to PCM stream (see above. In PCM decoding mode your AVR does not expect any metadata. Last edited: Jun 30, 2018 #22 Pretty much every iTunes 4k Dolby Vision will get the added Dolby Atmos in the Fall. Yes and no. If the streaming version supports Atmos then it should be there. But: 1. The number of releases that support Atmos is relatively small. See the list of Dolby Vision and Atmos theatrical releases. Only handfuls of releases 2016 and earlier: 2. This list for theatrical releases. A subset of these (maybe a very large one. released on Blu-Ray include it. 3. Streaming versions are again a subset of (2. #23 Dolby ATMOS and Dolby Vision have nothing to do with each other. An SD movie could have Atmos if Apple wanted to. Atmos is a data stream tied to the Dolby Audi bitstream and is completely separate from HDR or Dolby Vision Metadata. Youd have to ask the studios what these logic is for this. I doubt anybody here could do better then a guess. [doublepost=1530275249] doublepost] The only movie I have found that will play with Atmos from iTunes directly is Blade Runner 2049. [doublepost=1530275400] doublepost] Yeah this is a bug in the bitstream alignment. I have been able to get Blade Runner 2049 to play with Atmos, but Ive had to go out of the movie and back in again to get the bitstream to send its signal again. #24 The following is a section in the Dolby Atmos for the Home Theater white paper: Dolby Atmos in Dolby MAT The Dolby Metadata-enhanced Audio Transmission (Dolby MAT) encoder resides in a Blu-ray player to pack the variable bit-rate Dolby TrueHD bitstreams for transmission over the fixed bit-rate HDMI connections. A MAT decoder is subsequently employed in an AVR to unpack the Dolby TrueHD bitstreams. With the introduction of Dolby Atmos, we have expanded this technology to support encoding of Dolby Atmos content as lossless pulse-code modulation (PCM) audio. A key benefit of Dolby MAT 2. 0 is that Dolby Atmos object-based audio can be live encoded and transmitted from a source device with limited latency and processing complexity. Among the possible sources are broadcast set-top boxes, PCs, and game consoles. The Dolby MAT 2. 0 decoder in an AVR outputs the object-based audio and its metadata for further processing. 0 container is scalable and leverages the full potential of the HDMI audio pipeline. " This is where I got the idea that Atmos can be packed with PCM, but I admittedly am not a Dolby engineer so I could be misunderstanding this. From my understanding a Dolby ATMOS stream, regardless if it's packed with DD+ or TrueHD, still has either a 5. 1 or 7. 1 base (for backwards compatibility. My theory still stands that the ATV is decoding the base DD+ stream, sending it as PCM 5. 1, while passing the Atmos on top. The Atmos object renderer is then able adapt the audio to the connected speaker config. I'm certain that my Sony STR-DN1080 receiver reports Atmos on Linear PCM. I will take a picture or video of it on the display tonight and post it. #25 WOW! I have seen that whitepaper, must admit I must have skipped over the MAT section. Please do! I have the same receiver, and I have not yet come across this experience. Output from tvOS 12 beta is just PCM 5. 1 (3/2. 1) or PCM 7. 1 (3/4. 1) depending on if DD or DD+ is played back on aTV. Someone in the forum claimed BR2049 in iTunes store plays back in Atmos sound, I do not see it happening. On our store page it is described as having DD 5. 1 sound. Maybe in US store? So I would love to learn about new capabilities of my receiver. Last edited: Jun 30, 2018.
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Former ' CM Punk' of WWE-ROH-TNA Wrestling, is in this David Cronenberg remake and oh boy, I was not ready by his intensity. Directed by the Soska Sisters, they did what others don't with remakes, and that's make it better. Back in the 70s, i thought it was an okay movie, but miss many opportunites. Here, they make it more understandable and with great chemistry between actors.
at the end of the day, i'm chanting event more ' CM PUNK, CM PUNK, CM PUNK' or ' MR BROOKS, MR BROOKS, MR BROOKS'
Solid B flick. The 1977 original is still a gory favourite of mine so I was quite keen to see this remake.
Whilst not perfect by any means it's not as bad as some of the one star reviews its garnered here. The film tips its hat to Cronenberg. Theres even a funny homage to his other movie Dead Ringers. There's far worse contemporary horror films floating about than this.
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Good remake from the soska sisters, but couldve been better.
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On tvos hdr theatrical rabid video. On Tvos HDR Theatrical rapid weight. Noticed her face injury moved from left in the hospital to right when she arrived home. In what was perhaps not the event filled with earth shattering announcements many were predicting, at this years WWDC Apple introduced advanced functionality to enhance workflows for both Mac and iOS, along with more unity, including running iOS apps on macOS. Although primarily aimed at developers, WWDC18 has frequently served as a platform for launches such as new MacBooks and iPad Pros, but that wasnt to be this year. This year went by the book with all the focus on the 2018 iterations of watchOS, tvOS, iOS and macOS. Developer builds are already available and public betas usually follow, with the full release in the Autumn around the time new iPhones ship. As had been leaked months ago, Apples focus in 2018 is on stability above all - a Snow Leopard style focus on streamlining code and reliability rather than grand new features. So this wasnt a WWDC to wow consumers. The ultra-wide stage featured a superbly presented video backdrop, cameras swooped and panned with slick video sequences interspersed, but the content was mostly low key. There was no ‘one more thing hardware launch, but there was still a clever theatrical reveal to end with. Craig Federighi squarely faced up to rumours about macOS and iOS merging and bluntly refuted that any such thing would happen. But then as the animated dust settled, he officially revealed the initiative weve covered before: technology to make it much easier to port iOS apps onto macOS. The Frankenstein nature of Android apps on ChromeOS have given this concept a very bad reputation, but threaded through the two hour plus presentation were enhanced iOS apps - News and Stocks - plus Voice Memo and Home which were all coming to Mac for the first time. These obviously arent the most heavyweight apps around, but their careful presentation earlier showcased them as attractive, full-screen native Mac apps that looked absolutely first class. So phase I of this project is Apple ‘dog-fooding the process with its own apps prior to providing the polished technology to app developers in 2019. Dark mode is one of the new features of the forthcoming macOS update Mojave macOS Mojave Any paranoia about this technology side-lining the Mac was comprehensively ameliorated by the Mac being an unexpected star of this particular WWDC. Tim Cook rather oversold it with ‘professional features coming to consumers and a ‘huge step forward, but this was a rare occasion when the Mac closed out the show with a set of enhancements that werent simply last years iOS features. Dark Mode has long been on the iOS wish list, but Mac gets it first and sold in as ideal for professional photographers. The demo showed off Calendar, Mail and Xcode in dark mode to impressive effect. Theres also a dynamic desktop mode which subtly changes during the day - and while that seemed familiar, we also got desktop stacks that automatically group anything dropped there into groups as you prefer - e. g. file type, date etc. Finder gets a gallery view, similar to Cover Flow but with much more focus on the dominant file type image. Theres also contextual quick actions, so you can rotate a photo or even trim audio/video in Finder itself, plus the option to customise quick actions to suit your workflow. One obvious example being to watermark a photo with your logo via a single click in Finder. These kind of features have been available before through third-party apps of course, but integration into the OS is welcome. In terms of innovation, there was an intriguing demo of screen capturing a live video and dropping directly into a document. Continuity video allowed for an iPhone to be powered on as a camera source with a single click as well as an option for directly scanning in a file. There was also a tantalising showing of Epics Day of the Dead photorealistic graphics demo running in real time on a MacBook Pro using an eGPU. Apple also shared the latest development in its Machine Learning initiatives, including a new app called Create ML enables users to benefit from machine learning for vision and natural language, as an example, without being experts simply by using Swift. We also received a first look at the rejuvenated Mac App Store with a slick new look reminiscent of the excellent iOS App Store, with integrated preview videos and editorial content. The Mac App Store has faltered over recent years due to rigid sand boxing limiting app functionality, alongside an inflexible pricing policy that made upgrade fees difficult. So just as impressive as the visuals was news of Microsoft (Office 365) Panic (Transmit) Lightroom CC (Adobe) BBEdit (Bare Bones Software) and more coming aboard as a reversal of the steady desertion weve seen previously. Sadly, there was no MacBook Pro with Intels six-core i7-8750H and 32GB of DDR4 RAM. Not yet, at least, but professional Mac users can feel optimistic about whats to come. iOS 12 promises huge speed boosts, even on older phones such as the 5S iOS 12 The focus is on speed and stability with target devices being exactly the same as iOS 11. Although internally stability and reliability is key, the presentation focused on speed with bold claims for performance improvements on an iPhone 6: apps launching up to 40% faster. Federighi suggested speed alone was enough to justify iOS 12, but of course there were some new features with ARKit 2 demonstrating impressive shared experiences with multiple people viewing the same scene using individual devices. One example showed two people launching a ball at each others wooden block defences. It looked a fun demo, which will come included for developers today. There was also a simple Measure app that mimicked the functionality of the third-party MeasureKit iOS app. An extensive Lego demo showed a real play-set being extended out in AR and providing an environment for up to four people to explore with their Lego characters. An amusing firefighting exercise included a helicopter and a neat ‘save animation where the virtual toys disappeared into the physical set. That said, as with almost all AR apps, however light an iPhone or iPad might be, its not going to provide the convenience or field of view possible with dedicated AR glasses (something Apple is more aware of than anyone, of course. We shouldnt forget that Pokemon Go has already provided Apple with a monster AR hit, but right now it seems the exception to the rule of AR being mainly for keynote demos rather than practical utility. Apple also introduced a new file type specifically developed with Pixar for AR. USDZ (universal scene description) allows for the integration of all sorts of data from video to 3D objects into AR. An example given was a book with an illustration of a fish. Using the new file type, you could open this illustration up into 3D and explore its animation. An Adobe VP appeared on stage to say the company was ‘all in on this format with full support via Creative Cloud so PhotoShop CC and Dimension CC can directly export to the format for use on iOS devices. Adobe are also working on new authoring tools with its Project Aero. By comparison, updates for the News app (side bar) and iBooks (renamed Apple Books) had limited stage time. iOS notifications will also receive an update with grouped notifications receiving particularly enthusiastic applause. Siri Retuned Weve previously heard about Siri automatically suggesting apps based on its observation of your daily routine. In iOS 12 that will be extended, one example being Siri prompting you with an order for your favourite coffee at the appropriate time in the morning. Siri is also being opened up with third-party app access using something called Siri Shortcuts. Open up a compatible third-party app and youll be prompted to enable a short cut so Siri has access to that apps functionality. The underlying technology isnt limited to Siri and looks to be Apples reworking of the Workflow app is acquired in March 2017. Designed to string together various apps and tasks using drag and drop functionality, its now been re-imagined by Apple. One workflow demod was ‘going home which showed a string of actions invoked with a single click; maps for directions home, favoured radio station on, home thermostat adjusted and fan turned on. The examples on show were very lightweight and consumer oriented, but the potential on iPad Pros will be interesting to test. Taking control Theres been a lot of concern about screen time, particularly for children, and it was impressive to see Apple engaging so comprehensively in this area. The approach pivoted on insight and control, with the former providing a visually attractive overview of how much youve used your iOS device during the day, which apps and so on. Following on from this, theres comprehensive control options so you can put limits on certain apps - Instagram was a showcase for a timer with reminders of how much time youve allocated yourself. Its easy enough to override the limit if you choose, but its a helpful, attractive tool. Plus theres the option to impose limits on children in a family and the granularity of control seemed well thought out. Back on the fun side, we had Memoji which allowed for extensive customisation of 3D emoji to provide your own personal avatar. Hair style, colour, eye colour, skin colour, glasses etc. Etc. The personalisation was impressive, while the real-time 1-to-1 animation of Memoji to mirror your facial expression looked superb. This was all taken up the next level with FaceTime being upgraded for group calls with up 32 people, all of whom could use Memoji. In group FaceTime, theres a roster of faces at the bottom that scrolls through all participants, plus more prominent tiles at the top of the screen for active participants. Quite what bandwidth is needed to make it work as smoothly as in the demo wasnt addressed... tvOS 12 The big news here was Dolby ATMOS. Apparently Apple TV will be the only streaming box with ATMOS Vision and Audio, while iTunes will host the largest collection of ATMOS content anywhere plus, as before with 4K HDR, any existing content you have that becomes available in ATMOS will be upgraded for free. In addition to content deals, Apples working hard to bring onboard cable operators such as Canal+ and Charter Spectrum wholl offer Apple TV instead of a cable box, with a particularly nice feature being zero-sign-in. On those supported cable networks, Apple TV can automatically grab your subscription details and activate them without any sign in at all. The new WatchOS 5 marks a turning point for the original Apple Watch, which will no longer be supported by the new update watchOS 5 There were two key themes for the new watchOS: staying active and being connected. In the former, we got a fun new 7-day competition with friends option, new workouts such as yoga, plus enhanced existing workouts such as running with pace alerts, cadence and more. Most welcome for existing users was the ability to auto-detect workouts starting and even retroactive recognition for calories earned in a workout youd forgotten to trigger. For connected, we had a fun ‘walkie-talkie mode - which had previously been shown but not released. Netflixs Stranger Things may make it more attractive this time around. Siri Watch face has been enhanced to support Siri Short Cuts, which means third party app integration, plus ‘Hey Siri is no longer needed to access Siri - simply raising the watch to your face will do. One other thing to note, the new watch OS wont run on the original Apple Watch which was retroactively dubbed Series 0 by Apple to implicitly denote its limited processing power. Wrap-up WWDC18 has been dismissed as something of a snooze fest lacking in exciting features and hardware. In a professional environment, however, theres a need for reliability and stability that many feared Apple was losing by constantly chasing glitzy new features. Early feedback on developer betas is already encouraging for stability, so this might be a very useful course correction ahead of the 2019 Mac Pro and iOS to Mac apps which could significantly freshen up the Mac platform.
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The subject of HDR (high dynamic range) has become almost ubiquitous in any discussion of production or post-production, especially given that many TVs now claim to display HDR, but some confusion remains about what it is and how it might affect a particular project. Its more than just brighter pictures – the image is crisper, clearer, more colorful and has more apparent sharpness. It more closely matches the dynamic range that can be seen by the human eye, which can reach 14 stops. Standard dynamic range is between six and ten stops, but HDR opens us up to seeing around 13 stops. Todays digital cinema cameras (ARRI ALEXA family, Sony Venice, etc. can capture between 11 and 15 stops, and film also has more than enough dynamic range. Until HDR displays, display technology was limiting the dynamic range that could be seen. Now HDR displays are available that can both increase the luminance levels of shadows, mid-tones, and highlights, while also retaining a solid black level. Unlike, 4K vs. HD, when most people see HDR for the first time, they notice a definite improvement. There are a few HDR formats out there now. Dolby is a pioneer, introducing Dolby Vision a few years ago for both the home and for theatrical release. Dolby Vision isnt just about HDR though – it uses dynamic metadata (scene by scene information) to ensure that content creators creative intent is delivered to the consumer no matter if they are watching in the cinema, at home on a television or a mobile device. It provides a variable peak brightness, depending on the capability of the display. In the cinema, Dolby Vision increases the contrast range from 2000:1 for DCI to around 1 million:1. Streaming services such as Netflix support Dolby Vision with popular shows like Altered Carbon, Birdbox and Black Mirror available to view. HDR10 is an open source format introduced prior to Dolby Vision. Unlike Dolby Vision, there is no dynamic metadata involved, so the brightness doesnt vary based on the capability of the display. Every HDR television supports HDR10, whereas Dolby Vision requires a license. Dolby Vision is also brighter, supporting up to 10, 000 nits peak brightness. The two more recent formats are HDR10+ and Hybrid Log Gamma (HLG. HDR10+ has some of the same features as Dolby Vision, dynamic metadata for example, but is an open standard and requires no licensing fee. Unlike Dolby Vision, which is 12 bit, HDR10+ is only 10 bit (like HDR10. In April 2017 Samsung announced that it was partnering with Amazon Prime Video to support HDR10. Amazon already has shows like The Marvelous Mrs. Maisel, The Man in the High Castle and The Grand Tour showing in HDR10+ with two shows ( Tom Clancys Jack Ryan for example) available in both HDR10+ and Dolby Vision. Finally, HLG was co-developed by the BBC and NHK and is royalty-free. Unlike the other HDR formats, it was developed for live broadcast. There is probably room for both Dolby Vision and HDR10+ to become the standards, but for a while, there will be televisions supporting legacy formats too. The plethora of formats is more of an issue for post-production and distribution, but HDR delivery must be considered from on-set onwards. Monitoring on-set is a challenge, partly because until now HDR monitors have been prohibitively expensive and also because the viewing environment on-set is not optimal. However, shooting a well exposed negative - avoiding under and overexposure to prevent clipping or high levels of noise in the final image - remains the most important factor no matter the final delivery. Cinematographers may make subtle changes - David Mullen ASC, cinematographer on The Marvelous Mrs. Maisel, now in production on its third season, points out that he might knock down a bright window or light near actors in the frame, because it could be distracting in HDR – but really nothing should be that different from the pre-HDR world. One question that often comes up in post-production for HDR is whether the HDR or SDR version should be graded first. Ideally, the HDR should be the master grade, and then the SDR should be a trim pass. Knowing your distribution channel is critical. If we use Netflix as an example, they require a Dolby Vision VDM (video display master. Mastering for Dolby Vision requires a color grading tool that is Dolby Vision compatible (Filmlights Baselight, BMDs DaVinci Resolve are two examples) and an HDR reference grade mastering monitor that meets the Dolby Vision minimum specifications. The delivery to Netflix is a single-source IMF master which contains the HDR master, along with the “trim pass” metadata to derive SDR streams. When you stream a Netflix show to your home, Dolby Vision-certified TVs handshake with the streaming service and deliver the best-looking image possible, based on the capabilities of that specific TV model. Theres bound to be a lot of new HDR displays for professional use at NAB this year, at lower prices than before, which means that HDR displays will be more practical to have in a near set and editorial environment. HDR, whether its HDR10, HLG, HDR10+ or Dolby Vision will make the pictures on consumer displays (cinema, home or mobile) brighter and more colorful. And perhaps more importantly, the dynamic metadata of HDR10+ and Dolby Vision can ensure that the artistic intent of the creator gets transmitted through to the home. Thats a big step forward and one that PIX fully embraces because we are committed to building tools that communicate creative intent. See how PIXs online collaboration system can help your next project. Call or email us at +1 (415) 357-9720 or to set up a demo and learn more.
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