5.1 Question

[El Director]

After reading through the stickies, I'm confused. I'd like to do a 5.1 mix for my next feature. I'm cutting and mixing on Sony Vegas 9 and I'm able to export an AC-3 with all the surround data. It plays back just fine on my surround system. My point of confusion is that I think I read that I can't have a surround mix unless I pay Dolby? I don't care about putting their logo on the DVD or anything like that, I just want a surround mix for my film. Can I legally do this? I realize that using my NLE isn't the best method for mixing my movie, but that's not what I'm concerned about. I just need to know if I'm 'allowed' to do it.
Thanks!

-El

 

[gpforet]

Dolby

Dolby

It is my understanding that the Dolby Digital codec is the item protected by copywright as well as the Logo. It is also my understanding that in order to compile a dolby digital soundtrack, you must either have in your posession a hardware encoder supplied by and persnally managed by Dolby Digital. So, if you are not in posession of a Dolby encoder, you do not have the ability to create a DD file and are, therefore, completely safe. Of course, do not use the DD icon, legend, symbol, and to not make any reference to dolby digital.

At least that's how I understand it.

After reading through the stickies, I'm confused. I'd like to do a 5.1 mix for my next feature. I'm cutting and mixing on Sony Vegas 9 and I'm able to export an AC-3 with all the surround data. It plays back just fine on my surround system. My point of confusion is that I think I read that I can't have a surround mix unless I pay Dolby? I don't care about putting their logo on the DVD or anything like that, I just want a surround mix for my film. Can I legally do this? I realize that using my NLE isn't the best method for mixing my movie, but that's not what I'm concerned about. I just need to know if I'm 'allowed' to do it.
Thanks!

-El

 

[El Director]

It is my understanding that the Dolby Digital codec is the item protected by copywright as well as the Logo. It is also my understanding that in order to compile a dolby digital soundtrack, you must either have in your posession a hardware encoder supplied by and persnally managed by Dolby Digital. So, if you are not in posession of a Dolby encoder, you do not have the ability to create a DD file and are, therefore, completely safe. Of course, do not use the DD icon, legend, symbol, and to not make any reference to dolby digital.

At least that's how I understand it.

That makes sense. Thanks!

 

[Noiz2]

There are a bunch of ways to have a 5.1 track. I will first go on record saying I think it's a complete waste of time on your part to do a 5.1 track. But you can do it. You could go discrete, though the DVD player would probably choke. You can also go Pro Logic II which does 5.1 or 7.1 I can't remember, maybe both.
You two have been talking about Dolby Digital. What's confusing is that there are two Dolby Digital 5.1 systems. The little d is for DVD's and such. If you bought software that lets you encode the AC3 stream then you have a license o use it. How far that goes I have not gotten a clear answer out of Dolby on. But you can certainly make the disk. And it seems you can play it in public, ie festivals. It appears that you can also sell disks and play for a paying audience. I don't believe you can put the Logo on anything with out a licensing agreement, but it may be REALLY cheap.

Also I don't know where you can use it other than on DVD's, I'm guessing nowhere but?

The big D is for theatrical 35mm prints and that is a different story. Only Dolby encodes that. You have to mix on a Dolby certified stage and they send a guy with the magic box. He taps into your system and records the 5.1 desecrate tracks into a special format. They take it away and create the optical negative for the sound and that and your cut negative go to a duplication house where they get married in the final prints. Ten years ago a Dolby Digital (big D) license cost $12,000 and the stage would run you around $450 - $650 an hour.

And this goes right back to my point. There is currently no good looking theatrical playback format that you can affordably put a 5.1 mix on. Combine that with how rare it is to have a film that actually gets any benefit from 5.1 and toss in that it takes twice the time to do a decent 5.1 mix VS a stereo or 4.0 mix (4.0 is Dolby Surround, also known as Dolby Stereo, and ProLogic and is the "surround" format that most people get in the theatre) and it adds up to a big waste of time and money. You would be better served by doing a better stereo mix.