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Module 11.3 – Dolby Atmos Music Using Black Magic DaVinci Resolve 

  • Updated

Topics covered in this article: 

  • Configuring preferences for using a Renderer external to Resolve 
  • Configuring preferences for using monitoring with the native Renderer 
  • Configuring project settings 
  • Configuring bus format and assignment 
  • Configuring patch input/output  
  • Configuring remote control setting 
  • Configuring track path settings 
  • Creating and applying presets 
  • Importing Dolby Atmos master files 
  • Using groups and VCAs 
  • Viewing audio pan 
  • Viewing automation 
  • Viewing space view scope 
  • Monitoring with the native renderer 
  • Exporting Dolby Atmos master files 
  • Importing Dolby Atmos master files to the NLE timeline for QC 
  • Delivering IMF packages 

Introduction 

Black Magic Design’s DaVinci Resolve consists of multiple components that can perform different functions related to Dolby Atmos.    

With the introduction of version17, Resolve now features a native Renderer for Dolby Atmos licensed from Dolby Labs and the ability to export master files.   This allows for a self-contained Dolby Atmos workflow in Resolve.   

The Fairlight DAW component of Resolve 17 can be used for Dolby Atmos content creation, mixing, monitoring, master file import (.atmos and ADM BWF .wav), and master file export (ADM BWF .wav and IMF IAB .mxf).  

The NLE component can be used to import and playback/QC master files against video all in the same application.  And the Deliver component can be used to output IMF packages. 

The Resolve native Renderer supports speaker layouts up to 7.1.4 with capable output hardware but does not support speaker arrays or onboard EQ. 

Resolve can also connect with the Dolby Atmos Renderer running internally or running externally via MADI on a dedicated RMW. 

A Dolby Atmos Renderer is still needed for monitoring in binaural, authoring Binaural Render Mode settings, loudness measurement, re-renders (including binaural), metadata edits, punch-in/out of existing masters, and MP4 exports.    

Configuring Preferences for Using a Renderer external to Resolve 

Configure the system to use the Dolby Audio Bridge and communicate with the Renderer as follows: 

  • From the menu bar, navigate to Davinci Resolve > Preferences and stay on the System tab.  
  • Click on Video and Audio I/O 
  • In the Speaker Setup pane set the Device to Dolby Audio Bridge. 
  • Leave the Speaker Setup Outputs unassigned, as monitoring will be controlled from the Renderer. 
  • Check Configure Dolby Atmos Mastering Renderer 
  • Enter 127.0.0.1 as the Dolby Atmos Renderer IP Address when using the Dolby Audio Bridge. 
  • The Base audio output will default to the Dolby Audio Bridge 

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  • Click Save 

Configuring Preferences for Using the Native Renderer 

Configure the system to use the native Renderer as follows: 

  • From the menu bar, navigate to Davinci Resolve > Preferences and stay on the System tab.  
  • Click on Video and Audio I/O 
  • In the Speaker Setup pane Set the Device to an audio interface with up to 12 outputs for up to 7.1.4 monitoring 
  • Set the Monitor set format from the drop-down menu to the studio speaker layout appropriate to the Device and the studio speaker layout. 
  • Assign the speakers to specific outputs as needed.  Gain adjustments can also be made. 
  • Un-check Configure Dolby Atmos Mastering Renderer 
  • Click Save 

Configuring Project Settings 

Enable Dolby Atmos: 

  • Access Project Settings from the menu bar File > Project Settings (Shift 9) or the settings icon (cog) located at the bottom right of the user interface. 
  • In the Fairlight tab, check Enable Dolby Atmos under Immersive Audio. 
  • De-select Use fixed bus mapping under Audio Busing Mode. Unchecking this selection in a new project gives you the Flex bus mapping. With Flex bus, you can freely patch tracks to busses, busses to tracks, or bus to bus. If setup with Flexbus, imported Dolby Atmos master files are automatically patched and assigned to Bed and Object tracks. 

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  • Click Save 

Configuring Bus Format and Assignments 

When working with a new timeline busses needs to be created for each Bed and the Bed audio tracks need to be assigned to the Bus.   

Switch to the Fairlight workspace.  From the menu bar navigate to Workspace>Switch to Page>Fairlight or press Shift+7 

  • Create a new timeline to reveal the Bus Format and Bus Assignment selection and add tracks to the timeline.   From the menu bar navigate to File>New Timeline or press Cmd+N. 
  • Access the Bus Format window from the menu bar Fairlight > Bus Format. 
  • The Main bus should be the width the Bed used.  If only a single Bed is used the Format should be 7.1.2.   
  • Add addition buses for every Bed that will be used in the timeline.  If importing a Dolby Atmos master file (.atmos or ADM BWF .wav) additional buses will automatically be used instead of the Main bus. 

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  • Click OK. 
  • Access the Bus Assignment window from the menu bar Fairlight > Bus Assign. 
  • This window will display any buses created in Bus Format window in the top pane and Available Tracks in the timeline.    A Bed create from a track added in the timeline should be assigned to the B1 Out.   Multiple Bed tracks can be assigned a composite Bed bus or multiple Bed buses can be configured. 
  • Assign the Bed by clicking on the bus in the Buses pane and then clicking on Bed track in the Available Tracks pane.  The Bed track will display the assignment to B1o.   
  • Assign the Object tracks to B1o (the main output) 
  • Clicking Assign All will assign all timeline tracks to the main output for a single 7.1.2 Bed and Objects workflow 
  • Alternatively, clicking and dragging from below the available tracks will highlight multiple selections.   

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  • The assignment should match the Renderer input configuration if a Renderer external to Resolve is being used. 
  • If importing a Dolby Atmos master the Beds in the file will be created and Objects assigned to imported Bed creating its own bus. 

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  • Click Close 

 

Configuring Patch Input/Output 

Bed and Object audio routing to the Renderer is done via the Patch Input/Output window.   Additional routing required is also performed from the Patch Input/Output window.   Most functions will be auto-populated if a Dolby Atmos master file is imported.    

The Patch Input/Output window is accessed from the menu bar Fairlight > Patch Input/Output.  Patching is done from the default grid view.  The Patch Input/Output displays Sources on the left side and Destinations on the right.    

To perform manual patches: 

  • The type of source is selected from the Sources drop-down menu. 
  • Sources are highlighted on the left side by clicking on them individually or click dragging to lasso a range of Sources.   Sources inadvertently lassoed can be deselected by clicking on them. 
  • The type of destination is selected from the Destination drop-down menu. 
  • Destinations are highlighted on the right side by clicking on them individually or click dragging to lasso a rage of Destinations.   Destinations inadvertently lassoed can be deselected by clicking on them. 
  • Clicking Patch makes the assignments  
    • Sources will display the Destination patched 
    • Destinations will display the Sources patched    
  • Click Un-Patch removes assignments.  

 

There are a few use cases addressed from the Patch Input/Output window: 

  • Renderer external to Resolve 
    • The Patch Input/Output window configuration is as follows: 
      • The Source for Bed(s) assigned to B1o or additional busses in the Bus Assign window is Bus Out 
      • The Source for Objects assigned to B1o in the Bus Assign window is Track Direct 
      • The Source for Timecode selected is System Generator 
      • The Destination for Beds and Objects and Timecode is Audio Outputs. This will be the Dolby Audio Bridge or other Device set in Preferences under Video and Audio I/O/Speaker Setup.  Timecode should be assigned to output 129 if using the Dolby Audio Bridge and 128 if using the Renderer running on a RMW. 

 

  • Native Renderer used for monitoring 
    • The Patch Input/Output window configuration is as follows: 
      • The Source for Bed(s) assigned in the Bus Assign window is Bus Out 
      • The Source for Objects assigned in the Bus Assign window is Track Direct 
      • The Destination for Beds and Objects is Dolby Atmos Send 
      • The Source for monitoring is Control Room Monitor Out 
      • The Destination for Control Room Outputs is Audio Outputs.   This will be the Device set in Preferences under Video and Audio I/O/Speaker Setup. 

 

  • Master File Export 
    • The Patch Input/Output window configuration is as follows:  
      • The Source for Bed(s) assigned in the Bus Assign window is Bus Out 
      • The Source for Objects assigned in the Bus Assign window is Track Direct 
      • The Destination for Beds and Objects is Dolby Atmos Send 

This can be set when using a Renderer external to Resolve for monitoring. 

The example pictured below show the Source and Destination highlighted and then patched for Bus Out, Direct Out, and Timecode to the Audio Outputs – Dolby Audio Bridge. 

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Once patched the line view of the Patch Input/Output window selectable in the top right provides a more visually concise overview. 

Configuring Remote Control Settings 

If using the timecode generator with a Renderer external to Resolve it still needs to be enabled once it has been patched to generate timecode.  This is done in the Remote Control Settings: 

  • Access the Remote Control Settings window from the menu bar Fairlight > Remote Control Settings. 
  • Enable SMPTE Timecode with the radio button. 

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Configuring Track Path Settings 

Fairlight audio tracks used as Objects need to be configured to use the Direct Outputs: 

  • Access the Path Setting from the Mixer.  
  • Click on the Input field to access the Path Settings window. 

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  • In the Path Settings window, set Direct Out to On. 

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  • This must be done for each audio track used for an Object. However once done on one track, it can be set as a track preset and quickly added to all other Object audio tracks. 
  • This will be done automatically when a master file is imported. 

 

Creating and Applying Presets 

The presets library makes it easy to set up one track, save the preset, and apply to all other tracks as needed. You can also save an entire timeline setup including tracks, busses, and patching (like a template) and apply to a new timeline before adding clips, etc. 

To apply Direct Out set to On for all tracks:  

  • Start with one track 
  • Open the Path Settings window, and set Direct Out to On.  

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  • Open Presets Library via Fairlight > Presets Library and in the Filter By drop-down menu, choose Global Track Presets. 

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  • Select the track with the Direct On in the tracks list. Then click Save New. Name the preset something obvious Track Direct Output On for Objects. (Keep in mind this global preset will save other things as well such as plug-ins, EQ, color, etc.)  

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  • Click OK 
  • Once the new Global Preset appears in the list, select the preset.  
  • Select all of the tracks that need the setting  

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  • Click Apply.  

To create a pre-configured Dolby Atmos timeline. Start by creating and patching tracks as needed for the desired configuration. Once finished: 

  • Open Presets Library via Fairlight > Presets Library and in the Filter By drop-down menu, choose Fairlight Configuration Presets. 

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  • Name the preset to match the current timeline. (Be sure to note the type of bussing used for the template.) If creating a Flexbus template, it will only be available for Flexbus projects, and a Legacy Fixed bus template for Fixed bus projects.  

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  • Close the Presets Library. 
  • Create a New Timeline from the menu bar File>New Timeline or by pressing Cmd+N (Mac) or Cntl+n (Windows). In the New Timeline dialog, check the box to Use Fairlight Configuration Preset. 

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  • Choose a preset from drop-down menu. 

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  • The Fairlight Configuration Preset is also available in the Presets Library. 

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  • New Timeline configured based on Preset 

 

Importing Atmos Master Files 

Dolby Atmos master files can be imported into the Fairlight component of Resolve.  ADM BWF (.wav), .atmos, and IMF IAB (.mxf) files can be imported. 

Importing an immersive file will auto-configure the Fairlight workspace as follows: 

  • A new timeline will be created 
  • Any input descriptions present in the master file will become the track names in the new Fairlight timeline 
  • Bed(s) will create unique busses and be assigned to those busses 
  • Objects will be assigned to the main bus 
  • Beds and Objects will be automatically patched to the Dolby Atmos Sends as well as Audio Outputs if using the Dolby Audio Bridge 
  • Any group names and assignments from an imported master file will be reflected in Object group assignments in the Fairlight mixer as shown in this example 

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  • Groups from an imported master will also create VCA’s in the Fairlight mixer with all Beds and Objects assigned to the group assigned to the corresponding VCA as shown in the following example. 

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To import an immersive file. 

  • Switch to the Fairlight workspace.  From the menu bar navigate to Workspace>Switch to Page>Fairlight or press Shift+7 
  • Access import immersive audio from the menu bar Fairlight > Immersive Audio > Import Master File. 
  • Browse to the master file location. 

Using Groups and VCAs 

Groups names and assignments and VCAs can be manually configured or modified from an imported immersive file as needed. 

To assign a timeline track to a group or reassign to another group:  

  • Click within the Group row of the corresponding mixer channel strip 
  • The Group dialog will appear 

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  • Click on the group desired group assignment.   If groups were created when importing an immersive file they will be pre-named.   Other groups will be named numerically.   Only the first ten groups will be visible from this dialog. 

To change the name of a group: 

  • Scroll right and/or expand the mixer output section 
  • Double click within the Group row of the Highlight within the corresponding mixer output strip 

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  • When the group name field is bordered in orange enter the desired group/VCA name.  Note that names with more than 8 characters will be truncated 
  • Click outside the field to set 

Assigning timeline tracks to VCAs: 

  • To bring up the VCA Assign window click within the Group row of any mixer input channel strip 
  • When the Group dialog appear Click on VCA Assign 
  • The VCA Assign window will be revealed 
  • Any existing assignments will be shown 
  • To make or change an assignment  
    • Select the VCA/Group (up to 64) to be used by clicking on the desired VCA listed in the top pane  
    • Click on an available track in the lower pane 
    • Clicking on an available track that already has an assignment will clear it 
    • Make as many changes as needed 
    • Click close 

Note that the Group Assignment dialog and the VCA Assign window are interactive.   

Viewing Audio Pan 

Panning is done in the native 3d panner: 

  • Access the panner from the Mixer.  
  • Click on the Pan field on any Object track. 
  • The Audio Pan for the Object is revealed. 
  • Enable the panner with the radio button. 

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Viewing Automation 

Pan automation is visible and editable in the Fairlight timeline view. 

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Automation is enabled from the menu bar Fairlight > Automation and can also be controlled from the top of the timeline. 

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Viewing Space View Scope 

Fairlight has a Space View Scope that can be used to view all Bed and Object activity. 

Access the Space View Scope from the menu bar Fairlight > Immersive Audio > Space View Scope. 

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Monitoring with the Native Renderer 

The native Renderer will be used for monitoring if configured by selecting a device other than the Dolby Audio Bridge and de-selecting Configure Dolby Atmos Renderer.   Beds and Objects must also be patched to the Dolby Atmos Sends in the Patch Input/Output window. 

 

The controls for monitoring with the native Renderer in the timeline toolbar to the right of the transport and automation controls. 

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When the Dolby logo is displayed the native Renderer is being used for monitoring.   This can be deselected to monitor the bed only.    

Clicking to the right of the Dolby logo will display a drop down menu to monitor downmixes. 

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Exporting Dolby Atmos Master Files 

Resolve can also be used to output Dolby Atmos master files directly from the Fairlight component. In order to export a master, the Patch Input/Output Destination – Dolby Atmos Send must be configured as described above. This will be automatically configured when a Dolby Atmos master file is imported. If a single bed is used, the Fairlight main output can also be used. 

The track names from the Fairlight timeline will be exported as the input descriptions in an exported master file. 

Group names and assigned Beds and Objects will also be exported. 

Prior to export of a master file the Renderer settings should be examined for any adjustments required for Trim and Downmix controls.    

  • The Renderer settings window is accessed from the menu bar Fairlight>Immersive Audio>Renderer Settings. 

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  • Once verified access the Export Immersive Master window from the menu bar Fairlight > Immersive Audio > Export Immersive Window. 

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  • Enter a File Name 
  • Tags can be used in addition to the Timeline name. 
  • Exports can be either ADM BWF or IMF IAB. 
  • Set an FFOA if need 
  • Click Export 

Importing Dolby Atmos master files to the NLE timeline for QC 

The NLE component of Resolve can be used to QC master files against video in the timeline.   Master files can be also be trimmed for export. 

 

To import a master file to the NLE timeline follow these steps: 

  • The Preferences should be configured for monitoring using the native Renderer as described above.  
  • Switch to an NLE view that displays the timeline from the menu bar Workspace>Switch to Page>Edit (or Cut) or press Cmd+4 (Mac) or Ctrl+4 (Windows) 
  • Create a New Timeline from the menu bar File>New Timeline or by pressing Cmd+N (Mac) or Cntl+n (Windows). 
  • To import a master file (.atmos or ADM BWF wav) navigate to File>Import>Media or press Cmd+I (Mac) or Ctrl+1 (Windows). 
  • The master file will be displayed in the master bin window.   Ctrl (or right click) on the file and select Clip Attributes. 

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  • From the Audio tab select the Dolby Atmos Format the matches the studio/edit room speaker layout. 

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  • Import the corresponding video file. 
  • Drag the video clip to timeline or insert the clip to the timeline 
  • If the video file has audio it should be muted or cut from the timeline and the audio track deleted. 
  • Drag the Dolby Atmos master file to an adjacent audio track 
  • It will appear as a single track with the format set in attributes as a single waveform. 

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  • Switch back to the Fairlight workspace from the menu bar Workspace>Switch to Page>Fairlight or press Cmd+7 (Mac) or Ctrl+7 (Windows) 
  • The master file will be displayed in the timeline with a Dolby logo on each track to make clear that this a pre-Renderer Dolby Atmos master file. 

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  • The clip attribute audio format cannot be changed once it is in a timeline no are downmix modes available.   The clip attributes audio format can be changed for placement in a new timeline 
  • Volume changes, automation, crossfades and effects are not allowed on a Rendered master file  
  • Perform QC 

 

Delivering IMF packages 

  • An IMF package for delivery to streaming services can be exported from an NLE timeline with video and a Dolby Atmos master file 
  • Switch to the Deliver workspace from the menu bar Workspace>Switch to Page>Deliver or press Cmd+8 (Mac) or Ctrl+8 (Windows) 
  • From the Deliver window select IMF 
  • From the Audio tab select Timeline Track 
    • Check Export Audio 
    • Select Timeline Track 
    • Check Export as Dolby Atmos IMF IAB 
    • Add to the Render Queue 
    • Click Render 

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Note that there a multitude of other settings needed to meet delivery specifications for IMF.  The above is for illustrative purposes only. 

 

Navigation 

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Previous: Module 11.2 – Dolby Atmos Music Using Steinberg Nuendo