What is Dolby?
To be able to use these encoders, the production company has to hire a license. The final mastering called Print Master is done onto an Magneto-Optical Disc (MOD)
How to hire a Dolby License?
On Dolby's request we are not allowed to publish license costs but we can help you if you reach us by mail, phone or Skype.
Once this is completed, Dolby sends us the authorization for the use of the encoders.
The last thing to do is call Dolby Consultant Mario Faucher and coordinate his visit to the studio. He has to be present at the moment of the Print Master for QC control.
We normally arrange things for the convenience of the producers.
What is UltraStereo?
Print Master is done onto an DA-88 timecoded tape.
What picture do we need to work with?
For editing, ADR and foley recording we also playback Full HD videos.
In order to have the best possible picture to work with, we prefer to receive a full HD (1920x1080) Quicktime file, encoded with Apple ProRes (proxy), reel by reel and with academic (or SMPTE) leader and sync pops.
Why is a telecine needed?
So we mix and edit against a full HD video but only do Print Masters against telecines.
Asking the lab for a SD one-light telecine is very cheap compared to reprinting all sound negative.
When is a telecine needed?
How to order a Telecine
Telecine done at 25 fps onto a PAL recording system, with screen Time Code and feet and frames counter. All counters must start with 0s in the Start Picture. Time Code hour must follow reel number.
Please deliver in a Quicktime file, encoded in Apple ProRes (Proxy) 720x576. Some other codecs are also accepted but H264.
This is valid for any film had it been shot or postproduced at any picture speed.
For foreign clients in the NTSC world who cannot telecine to PAL standards, do it the usual way at 23.976 (29.97 fps video). We know how to deal with it.
Formulario para Festivales
If sound was mixed in 5.1 and encoded with Dolby Digital and Dolby Stereo sound, then choose "SRD"
Dolby
Dolby is a firm that develops audio and video related technologies besides selling own-brand devices. In 35mm films, Dolby has two available systems: Dolby Digital and Dolby Stereo.Dolby Digital
Is a system that enables the possibility of recording 6 digital and discreet audio channels (a.k.a. 5.1) in a 35mm print. It delivers great audio quality, allows very precise panning and has a wide dynamic range.To be able to use these encoders, the production company has to hire a license. The final mastering called Print Master is done onto an Magneto-Optical Disc (MOD)
Dolby Stereo
Is a system that allows to analogically record 2 audio channels onto a 35mm print. After this, at the theatre, a Dolby Stereo decoder –or a compatible one- converts these 2 channels into 4 (Left, Centre, Right and Surround). This system is used in every print even those with Dolby Digital. In the need of projecting the print in a theatre not equipped with digital readers, the analog sound will be played back.Dolby License
In order to be able to use Dolby technologies, the production company must contact Dolby office. Sueli Soares is the person who you want to contact at cinelatino@dolby.com The formalities include the signing of some contracts and the payment of the royalty.On Dolby's request we are not allowed to publish license costs but we can help you if you reach us by mail, phone or Skype.
Once this is completed, Dolby sends us the authorization for the use of the encoders.
The last thing to do is call Dolby Consultant Mario Faucher and coordinate his visit to the studio. He has to be present at the moment of the Print Master for QC control.
We normally arrange things for the convenience of the producers.
UltraStereo
The UltraStereo system is an alternative way to Dolby Stereo. It is encoded with another device made by a firm who does not charge for the use of their encoders. It is compatible with Dolby Stereo (SR).Print Master is done onto an DA-88 timecoded tape.
What picture do we need to work with?
In the rerecording studio we have a dedicated video server with a Full HD video projector.For editing, ADR and foley recording we also playback Full HD videos.
In order to have the best possible picture to work with, we prefer to receive a full HD (1920x1080) Quicktime file, encoded with Apple ProRes (proxy), reel by reel and with academic (or SMPTE) leader and sync pops.
Why is a telecine needed?
It could happen –in fact, it often does- that we find differences between the offline picture editing done in Final Cut or Avid, and the final 35mm film Master (either film cutting or via digital intermediate).So we mix and edit against a full HD video but only do Print Masters against telecines.
Asking the lab for a SD one-light telecine is very cheap compared to reprinting all sound negative.
When is a telecine needed?
The ideal is that the telecine is sent to the sound editing studio some days before the mix starts. In this way, the sound editor has enough time to compare the new picture version against the old one and notice any difference. He or she can also have ready sync pops and markers.How to order a Telecine
Please ask to conform to the following specifications:Telecine done at 25 fps onto a PAL recording system, with screen Time Code and feet and frames counter. All counters must start with 0s in the Start Picture. Time Code hour must follow reel number.
Please deliver in a Quicktime file, encoded in Apple ProRes (Proxy) 720x576. Some other codecs are also accepted but H264.
This is valid for any film had it been shot or postproduced at any picture speed.
For foreign clients in the NTSC world who cannot telecine to PAL standards, do it the usual way at 23.976 (29.97 fps video). We know how to deal with it.
Festival application forms
Whenever the producer is applying for a festival he is usually asked what type of sound does the print has. If the 35mm print has only analog sound (UltraStereo) then choose "SR".If sound was mixed in 5.1 and encoded with Dolby Digital and Dolby Stereo sound, then choose "SRD"
