Dolby Xp Event Code

[Kiliano Ratha]

DolbyTheatre asks that you turn off or silence all noise-making electronics, text-messaging devices and cell phones during the performance. Taking pictures and video recording is prohibited inside the theatre.

Dolby Theatre had no formal dress code, and we encourage you to wear whatever makes you feel comfortable. As types of performances vary, there is no standard dress code for patrons, though shirt and shoes are required at all times. However, please note that chains and spiked jewelry are not permitted inside the theatre. When in doubt, business casual is always appropriate. In addition, please consider the effects of strong perfumes and colognes on those seated around you.

There are bars located in each lobby of Dolby Theatre where various soft drinks, mixed drinks, wine and beer may be purchased. Additionally, several menu items such as popcorn, candy, sandwiches and cheese & crackers are available. Food & beverage is permitted inside the theatre during most events. Dolby Theatre is proud to partner with Wolfgang Puck Catering as its exclusive food & beverage provider. Outside food & beverage, including water, is not permitted.

Late seating is at the discretion of the House Manager and may not be possible for some performances. If you arrive late, ushers will seat you at the earliest appropriate time during the performance, usually at the end of a scene or piece. Out of respect for the performers and other audience members, you will be asked to wait in the lobby with an usher until the appropriate seating break. Video monitors are located in the theatre lobbies for latecomers to use until the seating hold has been lifted. If you need to leave a performance early, we ask that you leave at a point in the performance when moving around would be a minimal disturbance to those around you, such as during applause.

The following items are not permitted in Dolby Theatre. Bag checks are regularly conducted, and any guest attempting to enter the facility with such items will be asked to return that item to their vehicle.

- Outside food & beverage.

- Any type of weapon or item that can be used as a weapon (including pocket knives, chains and spiked jewelry.)

- Laser pointers or any other item that may be considered disruptive to the performers or other audience members.

Flash forward 12 months and my company DC Color, Ott House Audio and our friends from Dolby are hosting an open house event for 150 network executives, producers, DPs, and editors showing off Dolby Atmos & Dolby Vision.

The Dolby Vision process analyzes your HDR grade (in the grading software), creates some metadata, and a Dolby Content Mapping Unit (CMU) reads the metadata produced by the analysis process. The metadata is embedded over SDI and in real-time the CMU creates a Standard Dynamic Range (SDR) version of the project.

In addition to some new gear I had to purchase/lease, I also had to consider the yearly Dolby Vision Mastering & Playback Service Agreement paid to Dolby enabling the use of the CMU (more on that in a bit) and other Dolby software tools.

However, one night over some after work beers with my colleagues Cheryl and Jeremy, I was reminded that I had the same feelings about building a remote grading workflow, and over the years investing in computers, controls surfaces and other bits of gear.

As I mentioned, our sister company Ott House Audio had invested in Dolby Atmos abilities and as the first Atmos nearfield suite outside of L.A. or New York has been thriving on Atmos work. No other company in my market was offering Dolby Vision HDR mastering, so being first in the market was the last thing that sold me on investing in Dolby Vision.

The Content Mapping Unit or CMU for short is hardware [NAB 2018 update: It looks like software CMUs are on the way]. The CMU is a 1RU rackmount computer that you must purchase from a Dolby Authorized System Integrator. This computer runs the CMU software, which is responsible for mapping HDR content to SDR. In other words, the CMU takes an incoming HDR signal (that also contains the metadata generated in the grading software) and maps it to a chosen SDR target and outputs the mapped signal to a SDR reference monitor in real-time.

The CMU can run headless (no monitor or keyboard/mouse), but for the initial setup, you need a VGA monitor and a USB mouse/keyboard. After the initial setup (logging into the server and configuring a static IP), the CMU functions are controlled via webpage hosted on the CMU and then can run headless.

After initially logging into the CMU and configuring a static IP with a VGA monitor & USB mouse/keyboard connected, the CMU is run headless. Everything you need to do with the CMU in a Dolby Vision workflow can be accomplished by accessing a web page hosted on the CMU, which is accomplished by typing the IP you configured for the CMU into a web browser (bookmark the page!).

The CMU needs to have an active license installed to work properly. So, your first stop should be the Licensing Tab on the top menu bar of the CMU web page. A CMU license is obtained from Dolby after you supply Dolby with the Host ID of the CMU machine, which is also displayed on this page.

Back on the top menu bar, clicking on the home page option shows you the current operational status of the CMU, as well as allows you to change how the CMU is operating. You can choose between normal operation (the CMU is mapping incoming signal) pass-thru (no mapping is happening) or outputting various test signals. You can also restart the installed Kona card(s) if things are acting up.

Finally, clicking on the configuration tab of the top menu bar allows you to configure a name for the CMU (useful if you have more than one) as well as configure the SDI connectivity to and from the CMU.

Make sure the tab for configuring System preferences is selected and click on the Advanced category on the left-hand side of the window. As part of your Dolby Vision Mastering & Playback Service Agreement, Dolby provides you with three lines of code that get pasted into this window.

While you can target other displays, the 100-nit option is generally the best bet. By defining a 1000-nit mastering display and a 100-nit target monitor at the end of the Dolby Vision process when your content is encoded and streamed, the Dolby Vision chip in a TV can figure out how to best display content for that particular TV inside of that range.

By no means do you have to limit your target choice to just a 100-nit display. Dolby Vision supports multiple simultaneous targets. So, if you know that a 600-nit LG OLED is going be an important monitor for your audience, you could also target that display and make specific trims for it alongside trims for standard 100-nit displays.

Dolby Vision (and all HDR) is all about the highest fidelity footage possible. As such, to get best results your footage needs to be at minimum 10-bits. Raw files and lightly compressed log encoded footage are ideal. Because of the way PQ works, 8-bit sources are likely to have issues with banding.

With the Projects Settings Window still open, navigate over to the Master Project Settings tab. You can configure the Timeline format options as you normally would but in the video monitoring section there a few things to configure.

HDR projects are easiest when you setup Resolve to use either Resolve Color Management or ACES. For simplicity, the steps below are for RCM. I may cover using ACES in a Dolby Vision/HDR workflow in a later Insight.

While it might seem that setting up a project for Dolby HDR grading is tedious, after you do it once, saving (and exporting it for later use) a Resolve configuration is a great way to handle the multiple setup steps.

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A webinar use case is defined at Dolby.io as one or more users talking about a topic with a number of listeners (audience members). The number of listeners can be in the hundreds or in the hundreds of thousands. Listeners can be in real time or watching with a delay. A webinar can be interactive when the host asks questions (polls) to the audience and answer questions in real time. An audience member can also be promoted and join the host on stage and become a user who can speak and be seen. These events can also be recorded and replayed at a later time.

Hosting the audience on the Dolby.io Communications platform is limited to 10,000 divided by the number of users or simultaneous number of guests invited on stage (see the Conference Capacity guide). It allows a developer to use a single SDK to build the service and keep the latency very low. Bringing an audience member on stage is possible with a good user experience. Questions from the audience can be answered in real time using a chat messaging system, a raise your hand feature built on top of the CommandService, and then bringing the audience member on stage.

Using Dolby.io Real-Time Streaming, the latency is generally under one second and allows for an audience member to be invited on stage without having to travel in time (as the delay between the users and the audience is very short). Using Dolby.io Real-time Streaming allows for the audience size to reach 60,000. What the audience sees is a mix (composition) of the host (and eventual guests). This composition can be automatically generated with a with a simple REST API call.

When the audience size grows past 100,000 or if there is no need for listeners to be in real time, the use of an RTMP provider is recommended, as the cost is usually lower. The Dolby.io platform will mix the conference and send an RTMP stream, with a simple REST API call, to the provider of your choice (Youtube, Mux, Wowza...) and it will transcode the stream into an HLS stream. Using RTMP will increase the delay for the listeners. An HLS stream can add an extra 12 to 30 second delay. This makes it difficult to have any kind of interaction between the host and the audience.

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