Dolby Atmos
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michelpladur
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Tremendo el audio de esta peli logrado total en atmos ...
Y otra para el dia 19 junio
el destino jupiter 5484 kbps 7.1
Y otra para el dia 19 junio
el destino jupiter 5484 kbps 7.1
Dr_X
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The Best Dolby Atmos Blu-ray Demos
I’ve been fortunate enough to watch nearly every Dolby Atmos encoded Blu-ray disc that has been released so far. While some of the movies are terrific (Gravity) others are more just things you suffer through (Jupiter Ascending). To save you some time trying to find the best scenes to demo, I’m gonna pinpoint each film’s marquee Atmos audio moment! (Some spoilers ahead…)
Teenage Mutant Ninja Turtles
Near the end of the film during the climactic final battle, a tower is collapsing with bits of metal and debris crashing down all around and overhead. And in a scene that nicely displays the use of sound, while our ninja turtle heroes are having one of those impossibly long falling moments that no mortal being could possibly survive, Raphael maintains a running, “I love you guys!” dialog with all this mayhem and music going on, when the music abruptly stops and there is this sudden moment of just silence with bits of building debris falling around the room.
John Wick
This is a perfect role for Keanu Reeves because it requires very little talking on his part. The film is slick, cool and brutal. At 41 minutes in Wick visits a club and there is a ton of ambient club music and conversations and dinner plates and glasses clinking. Minutes later at another private club, the music plays an important role in letting you know which level or area of the club you’re in and the overhead speakers do a great job of filling in the room space and setting the difference moods as characters move through the differences spaces. This scene is punctuated by blasts of silenced pistol fire as Wick moves through the club fighting and taking out bad guys and finishes with two loud blasts from Wick’s unsilenced back-up weapon.
The Hunger Games: Mockingjay - Part 1
Sonically, much of this film is dialog driven and takes place inside the cramped, indoor, underground concrete, missile silo-esque bunker of District 13. The mix does a great job of relaying the claustrophobia and closeness of the acoustic rooms and spaces, providing lots of reverberation and background mechanical, generator, and air circulation sounds that really help to place you inside District 13 with Katniss. At 43 minutes, Katniss flies into District 8 and the jet hovers, stirring up lots of ground debris and then flies off overhead to disappear off in the sonic distance. This sets up the film’s first big action sequence at 48 minutes as Katniss and her team walk around outside. Creating the larger open space is the sounds of atmospheric and nature sounds swirling through the overhead speakers. This relative calm is broken by air raid klaxons and the chatter of anti-aircraft machine gun fire. Several explosions and debris blasts fill the room, as does the swirling audio from the attacking jets. The scene ends with the crackling or roaring fire as it burns in the new rubble as fire is catching.
Gravity
More than any film I’ve watched so far, Gravity does the best job of taking advantage of the four discreet overhead speakers. Where most times these speakers almost seem to be used as one channel to create space, or ambience, or just echo the music, here they are frequently used independently to bounce, swirl and shift the audio environment around the space of ceiling. The music continually does a great job of matching the onscreen tension, swirling and spinning to mimic Stone’s on-screen disorientation. When the order to abort the repair mission comes from Harris back in Houston, it’s mixed full and loud up to the ceiling speakers, moving around through all four of the channels. This loud interruption gives urgency to the on-screen action. Moments later as the shuttle is bombarded with Russian satellite debris, there is heavy music from the overheads and Kowalski’s voice swirling around the room as he tries to locate Stone as she floats away off structure. While Stone is floating away out into space, the speakers are filled with static that drifts in and out as she tries to orient herself and reach Houston.
American Sniper
Disappointingly, the ceiling speakers are rarely used at all during this movie. In fact, there are literally only six scenes in the entire film that have any audio going to the ceiling speakers. Even still, there is a lot of great ambience and sound mixing on the floor speakers and the best audio comes in the film’s climactic finale battle sequence, where Kyle and other soldiers set up observation on the roof, with dust and wind swirling around the room. A lengthy gun battle breaks out at the 1:45, culminating at around 1:50 with the howling winds of a blinding sandstorm, as gunfire pelts and explosions erupt around the room. Only at the very end of the scene, as the camera pulls back from Mustafa’s body, do the ceiling speakers finally kick in, filling the overheads with the swirling sounds of desert winds.
Jupiter Ascending
At 26 minutes, we get the best demo scene in the entire film. In fact, sonically it is probably one of the best Dolby Atmos demo clips from a movie yet. It lasts a little over five minutes, making it absolutely terrific demo room fodder, short of an “Oh sh--!” bit of profanity at the very beginning making it less family friendly. The entire scene really demonstrates the swirling and object tracking of Atmos, with all the floor and ceiling speakers fully engaged throughout. It begins with Caine and Jupiter ascending outside the Sears Tower, where ships suddenly materialize overhead. The scene kicks into high gear when Caine’s ship is blown up overhead, causing lots of debris to rain down on the pair. They take off in Caine’s gravity boots and are chased around the tower by multiple alien ships, with lots of swirling audio overhead and around the room with really aggressive pans and tracking and things blowing up off to the side, overhead, and in back. Caine hijacks a ship and heads into the water, with the aliens in pursuit plunging in and out of water, with audio constantly rocking overhead and crisscrossing around the room, all amidst a constant backdrop of laser fire and explosions.
http://www.soundandvision.com/content/best-dolby-atmos-blu-ray-demos
I’ve been fortunate enough to watch nearly every Dolby Atmos encoded Blu-ray disc that has been released so far. While some of the movies are terrific (Gravity) others are more just things you suffer through (Jupiter Ascending). To save you some time trying to find the best scenes to demo, I’m gonna pinpoint each film’s marquee Atmos audio moment! (Some spoilers ahead…)
Teenage Mutant Ninja Turtles
Near the end of the film during the climactic final battle, a tower is collapsing with bits of metal and debris crashing down all around and overhead. And in a scene that nicely displays the use of sound, while our ninja turtle heroes are having one of those impossibly long falling moments that no mortal being could possibly survive, Raphael maintains a running, “I love you guys!” dialog with all this mayhem and music going on, when the music abruptly stops and there is this sudden moment of just silence with bits of building debris falling around the room.
John Wick
This is a perfect role for Keanu Reeves because it requires very little talking on his part. The film is slick, cool and brutal. At 41 minutes in Wick visits a club and there is a ton of ambient club music and conversations and dinner plates and glasses clinking. Minutes later at another private club, the music plays an important role in letting you know which level or area of the club you’re in and the overhead speakers do a great job of filling in the room space and setting the difference moods as characters move through the differences spaces. This scene is punctuated by blasts of silenced pistol fire as Wick moves through the club fighting and taking out bad guys and finishes with two loud blasts from Wick’s unsilenced back-up weapon.
The Hunger Games: Mockingjay - Part 1
Sonically, much of this film is dialog driven and takes place inside the cramped, indoor, underground concrete, missile silo-esque bunker of District 13. The mix does a great job of relaying the claustrophobia and closeness of the acoustic rooms and spaces, providing lots of reverberation and background mechanical, generator, and air circulation sounds that really help to place you inside District 13 with Katniss. At 43 minutes, Katniss flies into District 8 and the jet hovers, stirring up lots of ground debris and then flies off overhead to disappear off in the sonic distance. This sets up the film’s first big action sequence at 48 minutes as Katniss and her team walk around outside. Creating the larger open space is the sounds of atmospheric and nature sounds swirling through the overhead speakers. This relative calm is broken by air raid klaxons and the chatter of anti-aircraft machine gun fire. Several explosions and debris blasts fill the room, as does the swirling audio from the attacking jets. The scene ends with the crackling or roaring fire as it burns in the new rubble as fire is catching.
Gravity
More than any film I’ve watched so far, Gravity does the best job of taking advantage of the four discreet overhead speakers. Where most times these speakers almost seem to be used as one channel to create space, or ambience, or just echo the music, here they are frequently used independently to bounce, swirl and shift the audio environment around the space of ceiling. The music continually does a great job of matching the onscreen tension, swirling and spinning to mimic Stone’s on-screen disorientation. When the order to abort the repair mission comes from Harris back in Houston, it’s mixed full and loud up to the ceiling speakers, moving around through all four of the channels. This loud interruption gives urgency to the on-screen action. Moments later as the shuttle is bombarded with Russian satellite debris, there is heavy music from the overheads and Kowalski’s voice swirling around the room as he tries to locate Stone as she floats away off structure. While Stone is floating away out into space, the speakers are filled with static that drifts in and out as she tries to orient herself and reach Houston.
American Sniper
Disappointingly, the ceiling speakers are rarely used at all during this movie. In fact, there are literally only six scenes in the entire film that have any audio going to the ceiling speakers. Even still, there is a lot of great ambience and sound mixing on the floor speakers and the best audio comes in the film’s climactic finale battle sequence, where Kyle and other soldiers set up observation on the roof, with dust and wind swirling around the room. A lengthy gun battle breaks out at the 1:45, culminating at around 1:50 with the howling winds of a blinding sandstorm, as gunfire pelts and explosions erupt around the room. Only at the very end of the scene, as the camera pulls back from Mustafa’s body, do the ceiling speakers finally kick in, filling the overheads with the swirling sounds of desert winds.
Jupiter Ascending
At 26 minutes, we get the best demo scene in the entire film. In fact, sonically it is probably one of the best Dolby Atmos demo clips from a movie yet. It lasts a little over five minutes, making it absolutely terrific demo room fodder, short of an “Oh sh--!” bit of profanity at the very beginning making it less family friendly. The entire scene really demonstrates the swirling and object tracking of Atmos, with all the floor and ceiling speakers fully engaged throughout. It begins with Caine and Jupiter ascending outside the Sears Tower, where ships suddenly materialize overhead. The scene kicks into high gear when Caine’s ship is blown up overhead, causing lots of debris to rain down on the pair. They take off in Caine’s gravity boots and are chased around the tower by multiple alien ships, with lots of swirling audio overhead and around the room with really aggressive pans and tracking and things blowing up off to the side, overhead, and in back. Caine hijacks a ship and heads into the water, with the aliens in pursuit plunging in and out of water, with audio constantly rocking overhead and crisscrossing around the room, all amidst a constant backdrop of laser fire and explosions.
http://www.soundandvision.com/content/best-dolby-atmos-blu-ray-demos
Dr_X
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Dolby Atmos Continues to Impress
A lot has been written over the past few months about Dolby’s new home theater surround format, Atmos. Virtually every receiver manufacturer and many speaker companies have embraced Atmos-capable systems, both with in-ceiling and Atmos-enabled module speakers.
One of the perks of working at a custom installation firm with a showroom is having a playground to install and experience the latest technologies firsthand before installing them into someone’s home. Our showroom’s main demo theater offered the perfect Atmos test bed with dimensions of roughly 17 x 24 feet, with a 10-foot-high drop tile ceiling that allowed for positioning of all the speakers perfectly to Dolby’s recommendations.
We made the Atmos upgrade this last Fall to include Marantz’s new AV7702 Atmos-equipped preamp along with adding a new five-channel Marantz amplifier to go along with our existing seven-channel amp. (Having 12 total amp channels means we still have one free channel available if Auro—the competing 3D sound format that includes a Voice of God channel placed directly over the listeners—catches on.) Completing the Atmos install were four new Definitive Technology DI-series in-ceiling speakers voiced to match our existing 7.1-channel Definitive Technology floorstanding speakers and bringing the demo room to a full 7.1.4 Atmos system.
Over the past several months, I’ve had many opportunities to demonstrate and listen to Dolby Atmos material, and I’ve watched virtually every Blu-ray Disc released with Atmos audio so far. While hundreds of Atmos-encoded films have been released theatrically, the Blu-ray rollout has been…slow. Available titles include Transformers: Age of Extinction, Teenage Mutant Ninja Turtles, Step Up All In, The Expendables 3, John Wick, On Any Sunday: The Next Chapter, The Hunger Games: Mockingjay—Part 1, Unbroken, and Gravity.
Beyond Atmos Blu-rays, I’ve also watched a good bit of TV and movies, as well as listened to music with the Marantz’s Atmos renderer “upsampling” non-encoded content to the in-ceiling speakers. What continues to impress me is the precise localization of sounds—called audio objects in Atmos-speak—as they travel around the room. The Atmos renderer seems to do a far better job of moving sounds around the room, letting you precisely track and locate sounds as they relate to the onscreen action.
While audio mixers are showing some restraint with what is mixed up to the ceiling speakers—mainly reserving them for big action scenes or subtle atmospherics to create ambient space—those overhead speakers do a terrific job of immersing you in the audio and are used aggressively with a film’s music score. The Atmos renderer also does a terrific job creating ambience from non-Atmos-encoded titles without impacting dialogue clarity or sounding gimmicky. I imagine most people will leave the processing on for much of their listening as they do with Dolby Pro Logic II now on stereo content.
The best, most innovative and immersive Atmos mix I’ve heard to date is from Warner Brothers’ re-released Diamond Luxe Blu-ray edition of Gravity. For a movie that spends most of its time in the noiseless vacuum of space, Gravity shows off the full potential of Atmos and is a reference home theater demo disc in every way. The creative and aggressive mix uses the ceiling speakers extensively, doing a terrific job of floating and moving voices around the listener and shifting music and effects through all four in-ceiling speakers, matching the disorienting effect of floating out in space.
Much like the slow roll-out of Dolby Digital-encoded Laserdiscs back in the ’90s, Atmos is coming, and it is the future of home theater surround. And the future sounds awesome.
http://www.soundandvision.com/content/dolby-atmos-continues-impress
A lot has been written over the past few months about Dolby’s new home theater surround format, Atmos. Virtually every receiver manufacturer and many speaker companies have embraced Atmos-capable systems, both with in-ceiling and Atmos-enabled module speakers.
One of the perks of working at a custom installation firm with a showroom is having a playground to install and experience the latest technologies firsthand before installing them into someone’s home. Our showroom’s main demo theater offered the perfect Atmos test bed with dimensions of roughly 17 x 24 feet, with a 10-foot-high drop tile ceiling that allowed for positioning of all the speakers perfectly to Dolby’s recommendations.
We made the Atmos upgrade this last Fall to include Marantz’s new AV7702 Atmos-equipped preamp along with adding a new five-channel Marantz amplifier to go along with our existing seven-channel amp. (Having 12 total amp channels means we still have one free channel available if Auro—the competing 3D sound format that includes a Voice of God channel placed directly over the listeners—catches on.) Completing the Atmos install were four new Definitive Technology DI-series in-ceiling speakers voiced to match our existing 7.1-channel Definitive Technology floorstanding speakers and bringing the demo room to a full 7.1.4 Atmos system.
Over the past several months, I’ve had many opportunities to demonstrate and listen to Dolby Atmos material, and I’ve watched virtually every Blu-ray Disc released with Atmos audio so far. While hundreds of Atmos-encoded films have been released theatrically, the Blu-ray rollout has been…slow. Available titles include Transformers: Age of Extinction, Teenage Mutant Ninja Turtles, Step Up All In, The Expendables 3, John Wick, On Any Sunday: The Next Chapter, The Hunger Games: Mockingjay—Part 1, Unbroken, and Gravity.
Beyond Atmos Blu-rays, I’ve also watched a good bit of TV and movies, as well as listened to music with the Marantz’s Atmos renderer “upsampling” non-encoded content to the in-ceiling speakers. What continues to impress me is the precise localization of sounds—called audio objects in Atmos-speak—as they travel around the room. The Atmos renderer seems to do a far better job of moving sounds around the room, letting you precisely track and locate sounds as they relate to the onscreen action.
While audio mixers are showing some restraint with what is mixed up to the ceiling speakers—mainly reserving them for big action scenes or subtle atmospherics to create ambient space—those overhead speakers do a terrific job of immersing you in the audio and are used aggressively with a film’s music score. The Atmos renderer also does a terrific job creating ambience from non-Atmos-encoded titles without impacting dialogue clarity or sounding gimmicky. I imagine most people will leave the processing on for much of their listening as they do with Dolby Pro Logic II now on stereo content.
The best, most innovative and immersive Atmos mix I’ve heard to date is from Warner Brothers’ re-released Diamond Luxe Blu-ray edition of Gravity. For a movie that spends most of its time in the noiseless vacuum of space, Gravity shows off the full potential of Atmos and is a reference home theater demo disc in every way. The creative and aggressive mix uses the ceiling speakers extensively, doing a terrific job of floating and moving voices around the listener and shifting music and effects through all four in-ceiling speakers, matching the disorienting effect of floating out in space.
Much like the slow roll-out of Dolby Digital-encoded Laserdiscs back in the ’90s, Atmos is coming, and it is the future of home theater surround. And the future sounds awesome.
http://www.soundandvision.com/content/dolby-atmos-continues-impress
Dr_X
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En una entrevista promocional que le hizo Dolby a Santiago Segura sobre el uso de Dolby Atmos en Torrente 5, Segura aseguró haber flipado con el resultado de la mezcla 5.1 sacada de Atmos añadiendo que posiblemente era mejor que si hubiesen hecho un 5.1 nativo. Quizá sea consecuencia de la mezcla nativa de sonidos en 3D para luego generar una pista de canales discretos.
El tema es que la vi anoche y noté que los surround y los surround traseros servían para algo, no como en otras películas, porque llevo una racha de películas que... psá. Tampoco cuesta mucho hacer sonar un 5.1 o un 7.1 con un poco de creatividad y si esto es "por culpa" de Dolby Atmos, pues bienvenido sea.
Sonix
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Lo malo es que las distribuidoras siguen empeñadas en recortar frecuencias en los doblajes en castellano, y en parte, Europa tiene culpa tambien por las ediciones europeas que distribuyen..
De todas formas, para escuchar un ATMOS en estado puro hará falta 34 altavoces distribuidos por toda la habitacion mínimamente, creo recordar que eran 34, no lo sé seguro.
De todas formas, para escuchar un ATMOS en estado puro hará falta 34 altavoces distribuidos por toda la habitacion mínimamente, creo recordar que eran 34, no lo sé seguro.
¿Como es eso del recorte de frecuencias? ¿Sobre qué exactamente? ¿Sobre la voz?. Yo no he notado nunca eso que dices.
Para escuchar ATMOS necesitas mínimo dos altavoces en el techo. Es obvio que cuantos más metas, mejor será el efecto logrado. Pero te sorprenderías de como suena un ATMOS@HOME con la configuración mínima.
Yo que tengo altavoces nuevos y un simple 5.1, probando las demos de Atmos (en 5.1) tienen una espacialidad brutal. No parece que tuviese un 5.1, sinceramente. Si le añades dos altavoces arriba, tendrías el set completo.
En cualquier caso, en ninguna película se suele usar ATMOS en toda ella. Digamos que un 10 o un 20% de la misma, y no siempre en la misma intensidad. Eso te lo garantizo. El 90% del sonido sale siempre por delante
Para escuchar ATMOS necesitas mínimo dos altavoces en el techo. Es obvio que cuantos más metas, mejor será el efecto logrado. Pero te sorprenderías de como suena un ATMOS@HOME con la configuración mínima.
Yo que tengo altavoces nuevos y un simple 5.1, probando las demos de Atmos (en 5.1) tienen una espacialidad brutal. No parece que tuviese un 5.1, sinceramente. Si le añades dos altavoces arriba, tendrías el set completo.
En cualquier caso, en ninguna película se suele usar ATMOS en toda ella. Digamos que un 10 o un 20% de la misma, y no siempre en la misma intensidad. Eso te lo garantizo. El 90% del sonido sale siempre por delante
michelpladur
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Pues estas algo equivocado en atmos y yo con mi marantz 7009 en emulado la trayectoria de matadatos atmos es increíble lo bien que lo hace este av ...no e probado otro y al mar de contento
sobre altavoz atmos yo tengo 4 y posible pase a 6 y es una maravilla
actualmente lo tengo en 7,4,4
saludos
sobre altavoz atmos yo tengo 4 y posible pase a 6 y es una maravilla
actualmente lo tengo en 7,4,4
saludos
Dr_X
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Mientras siguen apareciendo y anunciándose nuevos títulos con Dolby Atmos como The Gunman, Lucy, Insurgent, San Andreas ó Mad Max Fury Road, hay 3 títulos para destacar por encima del resto:
- HBO ha anunciado una reedición de Juego de Tronos con el sonido remasterizado en Dolby Atmos, convirtiéndose en la primera serie que utiliza este formato. Las dos primeras temporadas llegarán en octubre y las siguientes un poco más adelante.
- Sony Pictures ha anunciado su primer título con Dolby Atmos: una nueva edición remasterizada del Drácula de Francis Ford Coppola que saldrá en octubre. Es el primer título con Atmos de Sony por lo que las únicas grandes compañías que aún no han dado el paso de editar Blu-ray con Dolby Atmos son Fox y Disney pese a que ambas lo utilizan en cines.
- Cameo va a editar el primer titulo mezclado en España en Dolby Atmos a finales de septiembre, la película documental Guadalquivir.
- HBO ha anunciado una reedición de Juego de Tronos con el sonido remasterizado en Dolby Atmos, convirtiéndose en la primera serie que utiliza este formato. Las dos primeras temporadas llegarán en octubre y las siguientes un poco más adelante.
- Sony Pictures ha anunciado su primer título con Dolby Atmos: una nueva edición remasterizada del Drácula de Francis Ford Coppola que saldrá en octubre. Es el primer título con Atmos de Sony por lo que las únicas grandes compañías que aún no han dado el paso de editar Blu-ray con Dolby Atmos son Fox y Disney pese a que ambas lo utilizan en cines.
- Cameo va a editar el primer titulo mezclado en España en Dolby Atmos a finales de septiembre, la película documental Guadalquivir.
michelpladur
Miembro habitual
Esto pinta estupendo gracias
michel, especifica un poco más lo que tienes montado. Tu ampli es un 11.2, con dos canales más preamplificados.
Significa que puedes poner como máximo, qué? Si tienes un central , dos frontales, dos o cuatro traseros y un sub, eso viene a ser un 7.1.
O sea que con los 4 atmos que tienes sería un 9.1 y podrás añadir dos atmos más con las salidas adicionales preamplificadas. Es asi? Porque me pierdo. El .2 significa que se pueden poner dos subs, no?
yo tengo un ampli pionner vsx 920, 7.1: Lo puedo upgradear a atmos?
Significa que puedes poner como máximo, qué? Si tienes un central , dos frontales, dos o cuatro traseros y un sub, eso viene a ser un 7.1.
O sea que con los 4 atmos que tienes sería un 9.1 y podrás añadir dos atmos más con las salidas adicionales preamplificadas. Es asi? Porque me pierdo. El .2 significa que se pueden poner dos subs, no?
yo tengo un ampli pionner vsx 920, 7.1: Lo puedo upgradear a atmos?
Dr_X
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Una configuración 7.1.4 de Atmos significa 7 canales horizontales (los de toda la vida), 1 subwoofer y 4 canales verticales. El 7.4.4 de Michel significa que tiene 4 subwoofers.
Para la configuración más básica de Atmos, 5.1.2, se necesita un receptor 7.1 compatible con Atmos, que no es el caso de tu Pioneer. Solo algunos receptores de 2014 y 2015 son compatibles con Dolby Atmos, y tampoco puedes aprovechar la amplificación de tu receptor con un procesador o receptor adicional si no tienes entradas de previo.
Si quisieras algo más fastuoso que un 5.1.2 como por ejemplo un 7.2.4 entonces se requiere un receptor 11.2 de los cuales 7 canales irán en los laterales y 4 en el techo u orientados al techo.
El receptor que tiene Michel es capaz de manejar un 11.2 apto para Atmos en 7.2.4 pero solo tiene amplificación interna para 9 canales (los subwoofer ya llevan su propia amplificación) por lo que para llegar a ese 11.2 ó 7.2.4 se necesita un amplificador estéreo adicional conectado a la salida de previo del receptor.
Para la configuración más básica de Atmos, 5.1.2, se necesita un receptor 7.1 compatible con Atmos, que no es el caso de tu Pioneer. Solo algunos receptores de 2014 y 2015 son compatibles con Dolby Atmos, y tampoco puedes aprovechar la amplificación de tu receptor con un procesador o receptor adicional si no tienes entradas de previo.
Si quisieras algo más fastuoso que un 5.1.2 como por ejemplo un 7.2.4 entonces se requiere un receptor 11.2 de los cuales 7 canales irán en los laterales y 4 en el techo u orientados al techo.
El receptor que tiene Michel es capaz de manejar un 11.2 apto para Atmos en 7.2.4 pero solo tiene amplificación interna para 9 canales (los subwoofer ya llevan su propia amplificación) por lo que para llegar a ese 11.2 ó 7.2.4 se necesita un amplificador estéreo adicional conectado a la salida de previo del receptor.
michelpladur
Miembro habitual
En el marnatz que tengo tengo asi
7,4,4
y como etapa adcon multicanal 7 canales
bien tengo 4 sub hum pasado por la etapa
resto 3 que faltan tengo el central y dos de los atmos traseros que lo piden el marantz asi
saludso
Mete fotos
michelpladur
Miembro habitual
De todo tu montaje
michelpladur
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Dr_X
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Gravity: 5.1 vs Atmos 7.2.4
https://www.avforums.com/article/gravity-a-dolby-atmos-comparison.11767
https://www.avforums.com/article/gravity-a-dolby-atmos-comparison.11767
Discord Pie
iOS Developer
Lo peor es que el Ultra HD Blu-ray no lo solucionará porque en su estándar no se contempla nada de 3D.
michelpladur
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Donde este un atmos que se quite la imagen 3d ...le e visto en atmos y una pasada.