HEY EVERYONE! I know this video is a little technical and different BUT I just wanted to kind of try to de-mystify the process of Encodes & Atmos...when it comes to the work computers are doing, there isnt one place that can do things lightyears different than others and when it comes to "why didnt we get Atmos", I wanted to try and show the reason because it isnt always just the boutiques are cheap and lazy! Merry Christmas!
@AVAPopCulture it's appreciated. You're that rare type of nerd who knows how to explain things in layman's terms. Those were always the best teachers when I was growing up.
@@Azrael138Chase has that rare gift of book smarts and street smarts. My boss is like this, and it is really rare. 😅 And Chase knows how to communicate everything, so he trumps my boss in that regard. My boss would be the teacher who isn't seeing the forest for the trees... very typical in the history world. 😅 And this is probably why Chase is the first person to ever actually help me understand how I should approach owning physical media. 😊
This was super informative! Kudos to you sir! 👍 Regarding the audio, I presume it's more or less the same rationale on why some older movies only get a mono audio track and not a Dolby/DTS 5.1 (or at least stereo), in that they essentially would have to "rescore" the movie and sound effects? I would presume that it would cost less though than say Atmos though.
@SilverSamurai12 thank you! And yes, a very similar circumstance...it is all going to come down to what source materials they have and how much new work they are willing to do to alter the original audio with new sound fx and music
Actually, some people have a better feel for encoding than others. It’s very similar to having an audio mastering engineer. Technically, they are all using software to fit the audio into certain parameters for the target platform. But, in a similar manner, the skill and experience of the engineer turns the robotic parameter setting you describe into an art form. Like any other profession, the software and task may be the same, but using it well to achieve the desired result involves an artist’s touch. I think you’re off the mark here. Merry 🎄 Christmas!
LOL ok... I mentioned there is a little bit of tweaking you can do, but in the end, it is a pretty limited set of parameters...I literally showed them to you so, I encourage you to make a video and show me how I am wrong since I have done it for 20yrs... I mentioned the secret sauce but that is very very very limited on what you can change - they literally listed the 3 codecs they use, there is a very limited number of changes that can be made under them...now, if you've been doing it a long time, you can say "I did encoded Rambo with and HEVC codec with XYZ settings and now I have this other action movie I need to do on a 66gb limit disc and I know the credits and menu are going to take up a certain amount of room and this is a 220gb action movie and I am being told to use HEVC codec and I can do this with the same settings and get the best result" where as someone else needs to figure that out for the first time but in the end you are limited by the codecs and space, doesnt matter who you are and how long you've done it...there are only a few things that can be changed...that is just a fact.... Merry Christmas
@@AVAPopCulture I get, and appreciate what you’re saying. But brilliant programmers came up with the software encoders use. At the high end, don’t you think that more engineering goes into encoding than simply setting a few parameters on a piece of off the shelf software? If that was the case, why would you send your finished track to another company to be encoded? It would be much cheaper to do the encoding in house. Where I will agree is that this process makes much less of a difference than the quality of the mastered source file. The main complaints I see (other TH-cam videos) about releases on 4K discs are from steps before the encode, especially concerning overuse of DNR (think James Cameron). However, there is a special case involving movies made in the early digital filmmaking era, where 2K masters were produced. In these cases, you have to upscale to 4K. While this upscaling is done in the mastering process, the encoding of an upscale master has more potential to show or mask the flaws of the mastering process in this case, since it is essentially compressing a file that is “lossy’ (not a correct use of that term, sorry). Some 2K shot movies look fantastic on 4K, mostly due to better mastering and use of HDR. However, I am not an insider and don’t know what goes on at the highest levels of entertainment tech. I can only guess that getting these masters to look great on a 4K disc takes more than just a few parameter tweaks and pushing a button. I appreciate you sharing your experience. In the end, as in your switch of microphones in order to demonstrate the software, it’s very much a garbage in, garbage out scenario. If the source material is good, the disc will be good, and if not? There’s nothing a different encoding can do to hide severe flaws in the source material. I wish you well in your endeavors.
Waaaaaay over my head. 😅 Merry Christmas. I might not have reception for the next few days, I'll be in an area where my phone fades out, so might not be able to see your show. Enjoy your holiday. 😊
This is some interesting info. I've seen a little bit of this before, but never explained like this in a way that I could understand it. I do have a question about this disc size thing. Is there any reason a company could not just record to a 100GB disc but not use any more space than they did when it was put on a 60GB disc? What I mean is, could it possibly be a marketing strategy instead of using the extra space? Just wondering if there is a way to determine how much of the disc space was actually used? I know this is out of left field but I've been wondering since I heard about the different disc sizes. "Oh this one is on a 100GB disc, it's better" does seem like something they could capitalize on w/o re-encoding or whatever.
Love it! Told you I see the teacher in you! Now you are in my territory sts. Lol I also am in the Adobe realm but am starting to use DaVinci soon since it is available for my students. I got a Mac Studio M1 with 64GB RAM memory. Works well! Fun to see you in teaching action!👍 Cheers!
I'm just really glad you understand what you are doing. Most of what you are talking about just went right over my head. Lol. Please just keep letting me know if the 4K transfers are good or not. That's enough for me😊
LOL will do my friend! I just wanted to kind of try to de-mystify the process...when it comes to the work computers are doing, there isnt one place that can do things lightyears different than others and when it comes to "why didnt we get Atmos", I wanted to try and show the reason because it isnt always just the boutiques are cheap and lazy!
This is awesome stuff! Being a musician I understand some of this stuff. And I have gone and updated my knowledge with regards to atmos but the video side of things I don't know so well. I understand some of it. Basics. But have questions with the more advanced stuff. My favorite videos you've done is when break things down. This video, the Elm Street review. Reading some of the comments here people are saying professor Chase. I agree. I'm just loving it! Thank you so much. 👍👍👍👍👍👍
depends on what they put on them but it shouldnt be too much...if it is static screens of short clips, it wouldnt be very much BUT it all has to be accounted for - same with end credits scroll
they cant do anything about this source lol...I had to use camera scratch audio for part of the video, nobody can make that lossless because the quality never existed to improve or restore in the first place ;)
oh yeah I thought Atmos was sold as specifically NOT being assigned to any specific channel, the spatial audio thing was supposed to be a new technology, makes me wonder how they are getting it to work so well
google says it better than I can, not sure what this means really but it says "With an object-based format like Dolby Atmos, you don't route and pan a track in your mix to specific output channels. Instead, on each track (the so-called object tracks), you can freely position and move the signal around in a virtual three-dimensional space."
Also, I know a guy that records his own music and he was saying that in order to put your music on iTunes now you had to have an Atmos mix? Basically he was framing it as a ploy by the major labels to put "releasing music" out of reach for the home recording artists, i.e. in order to create the Atmos mix you needed some insanely expensive software maybe? Just remembered that, but it sounds plausible. The record business definitely took a hit since people quit buying CD's and records and do-it-yourself artists started gaining popularity. (I know you said you're not a sound guy but just wondering if you've heard anything about this).
I cant imagine how it can be done without assigning it to a channel...now, it can be assigned to every channel and your system can split it out - that is 100% possible
that would be the system deciding where to send the signal but at some point, to do an encode, you have to tell the editing system where the sound needs to come from so it can create the digital code for the system to read...that is why you have to have a Receiver and Speakers and Player and Disc that are all Atmos capable, so that they can decode that info and allow it to move around the space BUT you have to assign it something on the encode or there is no data for those to decode....now, as I said, those systems may be able to decode it and send that signal to different speakers for atmos but it has to be assigned something in the encode, even if it is every channel! if that makes sense....if you dont assign the track something, it wont even be on the encoded track
I enjoyed this because I used to something like this when I was traveling with & filming the band when they played! But NOT on the scale you do! Lol. I never got to learn as much as I hoped on all that but I can say editing can be a headache at times. I’m not even going to talk about sound! That can be awful to work with.
My Christmas Eve started with a bang with a free lesson from Chase. Thanks man! So I’m guessing this stage of the disc production used to be handled in house at the major studios? Or has it typically been outsourced to companies like Fidelity In Motion? Guessing the latter in more recent years, but curious as to how it was most commonly done in the early years of DVD and Blu Ray?
LOL If passing on what I know helps people understand a little bit better, maybe it will help bring a little more positivity to the physical media world towards boutiques and releases...btw, I just got your package and I am absolutely blow away...blown away...amazing gift...more to say but amazing! Merry Christmas and thank you so much
![DOLBY ATMOS "Epic Sequences in Atmos" FREE DOWNLOAD 7.1.4 Picture the Sound Vol.2 [4KHDR] DEMO in DV](http://i.ytimg.com/vi/qxXxq8JW8Go/mqdefault.jpg)
HEY EVERYONE! I know this video is a little technical and different BUT I just wanted to kind of try to de-mystify the process of Encodes & Atmos...when it comes to the work computers are doing, there isnt one place that can do things lightyears different than others and when it comes to "why didnt we get Atmos", I wanted to try and show the reason because it isnt always just the boutiques are cheap and lazy! Merry Christmas!
Nice, 40 minutes. watching this on the treadmill for a 5k.
I planned it for you lol
Dude, you are the only regular guy making videos like this and I love it. Thank you!
thanks man! I just try to pass on what I know!
@AVAPopCulture it's appreciated. You're that rare type of nerd who knows how to explain things in layman's terms. Those were always the best teachers when I was growing up.
@@Azrael138Chase has that rare gift of book smarts and street smarts. My boss is like this, and it is really rare. 😅 And Chase knows how to communicate everything, so he trumps my boss in that regard. My boss would be the teacher who isn't seeing the forest for the trees... very typical in the history world. 😅 And this is probably why Chase is the first person to ever actually help me understand how I should approach owning physical media. 😊
Awesome video, Chase! Thanks for the knowledge bomb!
@MyFireVideos thank you! Glad you enjoyed it and I hope you got a little something out of it!
Dolby Atmos and Movie Encodes EXPLAINED! They Are NOT What You Think! Pop that tape in, let's go do this!
Merry Christmas. Thanks for explaining. 😊😊😊😊
@popey129 merry Christmas! I don't know everything but I like to share what I do know and hope it helps people!
This was super informative! Kudos to you sir! 👍
Regarding the audio, I presume it's more or less the same rationale on why some older movies only get a mono audio track and not a Dolby/DTS 5.1 (or at least stereo), in that they essentially would have to "rescore" the movie and sound effects? I would presume that it would cost less though than say Atmos though.
@SilverSamurai12 thank you! And yes, a very similar circumstance...it is all going to come down to what source materials they have and how much new work they are willing to do to alter the original audio with new sound fx and music
Thank you, Professor Chase! 🎬
Actually, some people have a better feel for encoding than others. It’s very similar to having an audio mastering engineer. Technically, they are all using software to fit the audio into certain parameters for the target platform. But, in a similar manner, the skill and experience of the engineer turns the robotic parameter setting you describe into an art form. Like any other profession, the software and task may be the same, but using it well to achieve the desired result involves an artist’s touch. I think you’re off the mark here. Merry 🎄 Christmas!
LOL ok... I mentioned there is a little bit of tweaking you can do, but in the end, it is a pretty limited set of parameters...I literally showed them to you so, I encourage you to make a video and show me how I am wrong since I have done it for 20yrs... I mentioned the secret sauce but that is very very very limited on what you can change - they literally listed the 3 codecs they use, there is a very limited number of changes that can be made under them...now, if you've been doing it a long time, you can say "I did encoded Rambo with and HEVC codec with XYZ settings and now I have this other action movie I need to do on a 66gb limit disc and I know the credits and menu are going to take up a certain amount of room and this is a 220gb action movie and I am being told to use HEVC codec and I can do this with the same settings and get the best result" where as someone else needs to figure that out for the first time but in the end you are limited by the codecs and space, doesnt matter who you are and how long you've done it...there are only a few things that can be changed...that is just a fact.... Merry Christmas
@@AVAPopCulture I get, and appreciate what you’re saying. But brilliant programmers came up with the software encoders use. At the high end, don’t you think that more engineering goes into encoding than simply setting a few parameters on a piece of off the shelf software? If that was the case, why would you send your finished track to another company to be encoded? It would be much cheaper to do the encoding in house.
Where I will agree is that this process makes much less of a difference than the quality of the mastered source file. The main complaints I see (other TH-cam videos) about releases on 4K discs are from steps before the encode, especially concerning overuse of DNR (think James Cameron). However, there is a special case involving movies made in the early digital filmmaking era, where 2K masters were produced. In these cases, you have to upscale to 4K. While this upscaling is done in the mastering process, the encoding of an upscale master has more potential to show or mask the flaws of the mastering process in this case, since it is essentially compressing a file that is “lossy’ (not a correct use of that term, sorry). Some 2K shot movies look fantastic on 4K, mostly due to better mastering and use of HDR. However, I am not an insider and don’t know what goes on at the highest levels of entertainment tech. I can only guess that getting these masters to look great on a 4K disc takes more than just a few parameter tweaks and pushing a button.
I appreciate you sharing your experience. In the end, as in your switch of microphones in order to demonstrate the software, it’s very much a garbage in, garbage out scenario. If the source material is good, the disc will be good, and if not? There’s nothing a different encoding can do to hide severe flaws in the source material.
I wish you well in your endeavors.
Waaaaaay over my head. 😅 Merry Christmas. I might not have reception for the next few days, I'll be in an area where my phone fades out, so might not be able to see your show. Enjoy your holiday. 😊
Merry Christmas Ben!
@stickywicked447 thank you. You too! Merry Christmas 🎁 to you too!
My ears are burning again! 😂 - watching this when I get home!
@@whysoblutube lol
This is some interesting info. I've seen a little bit of this before, but never explained like this in a way that I could understand it. I do have a question about this disc size thing. Is there any reason a company could not just record to a 100GB disc but not use any more space than they did when it was put on a 60GB disc? What I mean is, could it possibly be a marketing strategy instead of using the extra space? Just wondering if there is a way to determine how much of the disc space was actually used? I know this is out of left field but I've been wondering since I heard about the different disc sizes. "Oh this one is on a 100GB disc, it's better" does seem like something they could capitalize on w/o re-encoding or whatever.
Thanks Prof. Chase 🤙
lol! hope you enjoyed it and got something out of it!
Love it! Told you I see the teacher in you! Now you are in my territory sts. Lol
I also am in the Adobe realm but am starting to use DaVinci soon since it is available for my students.
I got a Mac Studio M1 with 64GB RAM memory. Works well!
Fun to see you in teaching action!👍
Cheers!
I'm just really glad you understand what you are doing. Most of what you are talking about just went right over my head. Lol. Please just keep letting me know if the 4K transfers are good or not. That's enough for me😊
LOL will do my friend! I just wanted to kind of try to de-mystify the process...when it comes to the work computers are doing, there isnt one place that can do things lightyears different than others and when it comes to "why didnt we get Atmos", I wanted to try and show the reason because it isnt always just the boutiques are cheap and lazy!
This is awesome stuff! Being a musician I understand some of this stuff. And I have gone and updated my knowledge with regards to atmos but the video side of things I don't know so well. I understand some of it. Basics. But have questions with the more advanced stuff. My favorite videos you've done is when break things down. This video, the Elm Street review. Reading some of the comments here people are saying professor Chase. I agree. I'm just loving it! Thank you so much. 👍👍👍👍👍👍
How much room is taken up on the disc by the title screen and menu selection? I'm sure that limits them a bit more as well.
depends on what they put on them but it shouldnt be too much...if it is static screens of short clips, it wouldnt be very much BUT it all has to be accounted for - same with end credits scroll
3:37 If you only had Fidelity in Motion do your voice encode, you wouldn’t suffer the loss of audio quality😉.
they cant do anything about this source lol...I had to use camera scratch audio for part of the video, nobody can make that lossless because the quality never existed to improve or restore in the first place ;)
@ I was joking, of course! Cheers.
@skeller61 can't do that to me before I've had my coffee 😂🤣😂🤣
oh yeah I thought Atmos was sold as specifically NOT being assigned to any specific channel, the spatial audio thing was supposed to be a new technology, makes me wonder how they are getting it to work so well
google says it better than I can, not sure what this means really but it says "With an object-based format like Dolby Atmos, you don't route and pan a track in your mix to specific output channels. Instead, on each track (the so-called object tracks), you can freely position and move the signal around in a virtual three-dimensional space."
Also, I know a guy that records his own music and he was saying that in order to put your music on iTunes now you had to have an Atmos mix? Basically he was framing it as a ploy by the major labels to put "releasing music" out of reach for the home recording artists, i.e. in order to create the Atmos mix you needed some insanely expensive software maybe? Just remembered that, but it sounds plausible. The record business definitely took a hit since people quit buying CD's and records and do-it-yourself artists started gaining popularity. (I know you said you're not a sound guy but just wondering if you've heard anything about this).
I cant imagine how it can be done without assigning it to a channel...now, it can be assigned to every channel and your system can split it out - that is 100% possible
that would be the system deciding where to send the signal but at some point, to do an encode, you have to tell the editing system where the sound needs to come from so it can create the digital code for the system to read...that is why you have to have a Receiver and Speakers and Player and Disc that are all Atmos capable, so that they can decode that info and allow it to move around the space BUT you have to assign it something on the encode or there is no data for those to decode....now, as I said, those systems may be able to decode it and send that signal to different speakers for atmos but it has to be assigned something in the encode, even if it is every channel! if that makes sense....if you dont assign the track something, it wont even be on the encoded track
@@AVAPopCulture I do love the tech info! Merry Christmas Chase!
I enjoyed this because I used to something like this when I was traveling with & filming the band when they played! But NOT on the scale you do! Lol. I never got to learn as much as I hoped on all that but I can say editing can be a headache at times. I’m not even going to talk about sound! That can be awful to work with.
I have the complete series of Subspecies, and it's not in English, does anyone know if I can find the series in English?
@@josephwing2758 that I am not sure about
Lecture time :) will there be a test? 😂 Demystifying film restoration process
@@salmanmunawar1 a test with full essay questions lol
@@AVAPopCulture long form i knew it... i got the xmas package from you today :) Thank you!
@salmanmunawar1 awesome!! Glad you got it!!
My Christmas Eve started with a bang with a free lesson from Chase. Thanks man! So I’m guessing this stage of the disc production used to be handled in house at the major studios? Or has it typically been outsourced to companies like Fidelity In Motion? Guessing the latter in more recent years, but curious as to how it was most commonly done in the early years of DVD and Blu Ray?
it varied but much more stuff was done "in-house"....the usually would mostly only outsource the physical production of the discs
Professor chase in the house.
LOL If passing on what I know helps people understand a little bit better, maybe it will help bring a little more positivity to the physical media world towards boutiques and releases...btw, I just got your package and I am absolutely blow away...blown away...amazing gift...more to say but amazing! Merry Christmas and thank you so much
. . Questions, ya think. . 🤪 . . 😎
I dont own dolby atmos equipment so i could care less if they dont include it. Maybe one day ill get it but unlikely.