While this does avoid technical problems it only uses one speaker in the theatre and most films will sound quiet and “thin”. All sounds play through the one position, from the screen. 1.0 sound only uses the one Center channel speaker. The easiest option is to combine both the stereo tracks together to make a single Mono track. So what are the options for a filmmaker who only has a stereo mix for their film but needs to create a DCP?
My Movie Only Has a Stereo Mix, What Can I Do? Most awards programs, festivals, theatre chains, and distributors require DCPs that meet this requirement. To be valid DCPs need to have Mono (1.0), L/C/R (3.0), or Surround (>5.1) audio. What are the official audio layout options for DCP Trying to play stereo properly in a surround theatre is usually a very frustrating experience for a filmmaker (and for an audience too)! While most equipment will attempt to play it – 2.0 audio is not a valid option under the DCP technical specification. That’s why dialogue always should always exist only on the center channel. However our brain is very picky about human speech and phased dialogue can sound very distorted and be extremely difficult to understand. In some types of sound (music and sound effects) this is usually not noticeable (or sounds like a slight echo or reverb). Phasing occurs when there are small delays between two or more speakers playing the same signal. It can sound like dialogue is coming from two (or many) places at once, even from behind the audience.Įven worse stereo DCPs also suffer from “phasing” problems. But in some cases (especially smaller multiplex cinemas, or multipurpose theatres often used by festivals), the Left and Right speakers can actually be on the side walls (or split across several speakers, in various locations).Ī DCP with a stereo mix can be confusing in those venues. In many theatres, the Left, and Right speakers are also behind the screen with the Center speaker.
Stereo (or 2.0 sound) only uses two Channel – “Left” and “Right”. However, they don’t have to worry about where exactly the audience is sitting. This lets sound mixers create an immersive space which can fill the theatre. The other speakers are usually only used for music and sound-effects. (Creative commons photograph by Kenneth Lu, used with permission.) With this setup speech and other key information, always seems to come right from the screen (where the audience is looking). These speakers are usually behind the screen (which has holes for sound to get through). Typically in a film, all the dialogue is only on the “Center” channel. So just counting speakers doesn’t tell you how many channels of sound a theatre is actually using. For example, many theatres use several small speakers for “left surround” and “right surround” – even though they’re all playing the same sounds. It’s also important to note that while we say “speaker”, we actually mean “channels.” Each channel can use more than one speaker. Some new systems (like Dolby ATMOS) have even more flexibility, and allowing for various numbers of speakers. Other setups (like 7.1 or 11.1) have more speakers (like “side”, or “ceiling” positions). This “Low-frequency effects” speaker handles things like explosion sound effects. The “.1” refers to a special speaker only used to make low rumbling noises. Two are at the back (A “Left Surround”, and “Right Surround”). Three speakers are at the front of the theatre (A “Left”, “Center”, and “Right” speaker). The vast majority of theatres in the world are set up for “5.1” Surround sound. And they should never be in stereo in most cases. Digital Cinema Packages do not demand surround sound audio, but it’s a good idea.