IMAX Enhanced

[PeterTHX]

Originally Posted by FilmFreakosaurus

DTS was behind the Eight Ball with Dolby already having a working home version of their theatrical Atmos format, so they rushed a half baked product to market. The rest is history.

Not just behind the 8-ball, they got taken completely by surprise. They had nothing to compete with, so they bought the SRS Labs, who were working on an object type format. They bolted that onto their theatrical and home formats and in the process were trying to get a square peg in a round hole.

On the flipside, their theatrical DTS: X format uses a different process altogether with working 3D objects. The problem was that it would have made the tracks too large to fit on a standard Blu-ray. Dolby had the same issue with their theatrical Atmos format. If we had had a consumer media format with enough storage capacity, then we could have had commercial grade immersive audio for the home.

DTS:X theatrical and home are totally incompatible since theatrical uses a PCM based format with their codec and the home is built on DTS-HD codecs.

Dolby Atmos can be directly translated for home however, if there are too many objects then they can be coded together/joined. The formats are still compatible with the PCM base layer being encoded to TrueHD. This is another reason for its popularity at home, it's pretty quick & simple to encode from existing masters. And time is money.

[Tok]

Didn’t dts also exit the theatrical market with it becoming branded Datasat?

I haven’t been impressed with them as a company since the early days of 5.1.

Also I got tired of the newbs believing it was a superior format. Much of that was because of their overcooked original 5.1 mixes that were usually done in house. By the time the content creators started using the tools correctly there’s no perceptible difference between tracks that are encoded in dts:MA and TrueHD and level matched.

[LexInHD]

Originally Posted by Tok

Didn’t dts also exit the theatrical market with it becoming branded Datasat?

This is a visual representation of someone trying to explain the history of DTS to someone who has no real idea about what happened or who owns what....




In 2008, DTS sold of it's Cinema division and all Cinema tech to Datasat, who renamed the tech Datasat Digital Sound, which is what it's also called today. It's believed that this is also when Steven Spielberg walked away from DTS ownership.

In the 2010's, DTS restarted it's own Cinema division to go with their growing consumer division that was bolstered by the rapid adoption of DTS-HD in Blu-Ray and later UHD-BD, offering DTS:X to compete with Dolby Atmos. Datasat still - currently - operates the former DTS Cinema division in it's holdings and licenses DTS:X and whatever else DTS poops out, for it's own cinema and home hardware offerings, while DTS also has consumer offerings and licenses their DTS tech to hardware companies who use it in AVRs and processors for home and cinema.

At this point DTS and Datasat have a small global cinema footprint, mostly built around single DTS:X installs in premium cinemas, while Dolby is dominant in cinemas and every other market segment, except Blu-Ray and UHD-BD releases, which have DTS-HD variants as the dominant main audio track codec and Dolby Digital for additional audio tracks.

[PeterTHX]

Originally Posted by LexInHD

UHD-BD releases, which have DTS-HD variants as the dominant main audio track codec and Dolby Digital for additional audio tracks.

I think Atmos has leveled the playing field here, with most new cinema releases. Sony, Disney, and Lionsgate will often remix their catalog titles in Atmos, with the coin flip Atmos titles from Warner and Paramount and Universal (like Jaws and Smokey and the Bandit). Paramount is also not averse to using previous TrueHD encodes from their Blu-rays (because why bother wasting bits and money?). It's the boutique labels that don't do remixes that are usually DTS-HD MA like Kino, Shout (who will also occasionally do an Atmos remix), Vinegar Syndrome, Arrow (again, like Shout with Atmos) and Criterion (once again, if it was native Atmos they'll have the track). DreamWorks Animation has gone Atmos as well.

[sapiendut]

Just had a quick call with Xperi. Turns out Sony and Hisense TVs already have the extra processing chip in order to receive and convert the lossy streaming DTS (just like what I said earlier). As I mentioned, the signal will then be converted and seen and understood by soundbars and receivers as DTS-HDMA or alternatively as PCM+DTS:X

As I don’t use TV apps, I can’t listen to the lossy DTS:X. Plus I’m not paying extra money for a lossy format anyway.

[lgans316]

Profile 2 support is very limited. Also the audio is limited to 448 Kbps and locked to 5.1.4.

https://www.flatpanelshd.com/news.ph...&id=1715859331

Aforementioned my Sony 77A80J is IMAX Enhanced certified but my Soundbar is not.

[FilmFreakosaurus]

Originally Posted by lgans316

Profile 2 support is very limited. Also the audio is limited to 448 Kbps and locked to 5.1.4.

https://www.flatpanelshd.com/news.ph...&id=1715859331

Aforementioned my Sony 77A80J is IMAX Enhanced certified but my Soundbar is not.

IMAX Not-So-Enhanced.

I told you guys it was all BS.

[lgans316]

Originally Posted by FilmFreakosaurus

IMAX Not-So-Enhanced.

I told you guys it was all BS.

What's funny is the DTS fanboys on social media are going gaga about it lol without even realising their equipments won't support it.

[FilmFreakosaurus]

Originally Posted by lgans316

What's funny is the DTS fanboys on social media are going gaga about it lol without even realising their equipments won't support it.

Originally, they touted that DTS: X allowed them to encode the theatrical 12-Track IMAX mix. Though, Dolby Atmos could have done the same thing with a fixed print-out.

Now, it can't even do that, and at a really low bitrate. An added bonus is that you have to buy new gear for this junk.

[sapiendut]

Originally Posted by lgans316

What's funny is the DTS fanboys on social media are going gaga about it lol without even realising their equipments won't support it.

Nothing new there. I got so many hate comments on the topic on my channel for saying that most current equipments are not compatible. Most don’t even have a proper arguments (they’re countering my video with IMAX Enhanced video as opposed to audio), a handful of the comments were telling me that I should just off myself. Real mature. Hehehe

[Chad Rouch]

Originally Posted by lgans316

Aforementioned my Sony 77A80J is IMAX Enhanced certified but my Soundbar is not.

My soundbar does IMAX Enhanced but my TV does not. I have one such UHD Blu-ray with the format, a space station IMAX doc that I got just to try out the format. It didn't impress me very much. Like most DTS discs, it just seemed louder, not better. That's about it. I can't imagine going out of my way to equip for IMAX Enhanced.

[Waboman]

My processor is IE, but my ATV is not. So the Queen concert on Disney+ was Atmos for me. Which was fine.

[Geoff D]

So they didn't actually have a low bitrate lossy version of DTS:X before? After all the palaver it caused having that lossy DTS-HD HR variant on the UHDs of Furiouses 6 and 7 (where some hardware needed an update to decode it properly) you'd have thought they would've sorted it before now. And now you need new hardware entirely, just to play some shitty low bitrate streaming version? That's just

[Geoff D]

Originally Posted by PeterTHX

I think Atmos has leveled the playing field here, with most new cinema releases. Sony, Disney, and Lionsgate will often remix their catalog titles in Atmos, with the coin flip Atmos titles from Warner and Paramount and Universal (like Jaws and Smokey and the Bandit). Paramount is also not averse to using previous TrueHD encodes from their Blu-rays (because why bother wasting bits and money?). It's the boutique labels that don't do remixes that are usually DTS-HD MA like Kino, Shout (who will also occasionally do an Atmos remix), Vinegar Syndrome, Arrow (again, like Shout with Atmos) and Criterion (once again, if it was native Atmos they'll have the track). DreamWorks Animation has gone Atmos as well.

Yeah, no way is DTS-HD/X the dominant audio format on UHD, not at as far as the 'main' audio track is concerned. Prolly more of a balance between Dobly and DTS this time around.

[sapiendut]

Originally Posted by Geoff D

So they didn't actually have a low bitrate lossy version of DTS:X before? After all the palaver it caused having that lossy DTS-HD HR variant on the UHDs of Furiouses 6 and 7 (where some hardware needed an update to decode it properly) you'd have thought they would've sorted it before now. And now you need new hardware entirely, just to play some shitty low bitrate streaming version? That's just

That is correct. They never had lossy DTSX (thus the name profile 2.0). At least they don’t have the lossy version that can easily be streamed as effectively (read: small enough bandwith) as DD+ Atmos. Also the DTSX IE lossy stream is locked to 5.1.4. So it’s not object based at all but channel based.

[PeterTHX]

Originally Posted by Geoff D

So they didn't actually have a low bitrate lossy version of DTS:X before?

The DTS-HD HR in DTS:X tracks previously released was pretty high bitrate to begin with. I'm pretty sure someone at the authoring house clicked the wrong button when encoding them (instead of DTS-HD MA).

This streaming version is a whole different kettle of fish, and since DTS lossy is already compromised at 768kbps I can't imagine what 448kbps must sound like...with the extra 4 height channels on top of that (no objects unlike Dolby Digital Plus with Atmos at 768kbps). They must have come up with some other codec and that's why the hardware has to support the "Profile 2" decoding. I'm guessing if you find 192kbps MP3 audio "good enough" you won't mind streaming DTS:X. They got their clock cleaned with the ATSC 3.0 bake off with Dolby showing AC-4 in 7.1.4 at 288kbps (with 5.1 @192kbps). DTS then withdrew themselves from consideration and AC-4 is a mandatory ATSC 3.0 format.

So let's see how long this little eXperiment lasts.

[lgans316]

The one theory that keeps DTS fans excited is these lossy DTS-X could be a super compressed version of the theatrical mix and not a near-field mix (meaning it could still sound better than Atmouse). Don't shoot the messenger btw.

[FilmFreakosaurus]

Originally Posted by lgans316

The one theory that keeps DTS fans excited is these lossy DTS-X could be a super compressed version of the theatrical mix and not a near-field mix (meaning it could still sound better than Atmouse). Don't shoot the messenger btw.

But by the very fact it's only 5.1.4, you are not getting the 12 channel IMAX audio anyway.

[PeterTHX]

Originally Posted by sapiendut

That is correct. They never had lossy DTSX (thus the name profile 2.0).

DTS-HD HR (High Resolution) is lossy, it was their version of DD+ to allow greater than 5.1 channels and bitrates higher than 1536kbps - and DTS:X data could be added. Unlike DD+ it was never meant for streaming or lower bitrates. Hence the new profile 2.0.

New hardware to decode it though? That's going to be a huge dealbreaker. It'll take years and years to get in enough households.

[sapiendut]

You’re not reading my post properly (ie in the context of this discussion). Please show me where they have had DTS:X lossy that can work with streaming bandwith limitations. I absolutely hate it when people deliberately taking word out of context simply just to prove themselves that they are “right”.

What you’re posting is 100% identical to my post. SMH.