Video Mixing Renderer 9 __HOT_

In terms of both performance and breadth of features, the Video Mixing Renderer (VMR) filter represents the next generation in video rendering on the Windows platform. The VMR replaces the Overlay Mixer and Video Renderer, and adds many new mixing features.

To ensure backward-compatibility, the VMR-9 is not the default renderer on any system. To use the VMR-9, you must explicitly add it to the filter graph using the IFilterGraph::AddFilter method, and configure it before connecting it to any upstream filters.

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To maintain backward compatibility, the VMR-9 is not the default renderer on any system. To use this filter, add it to the filter graph explicitly and configure it before connecting any of its input pins. The VMR-9 uses its own set of interfaces, structures, and enumerations, which are not always identical to the corresponding data types used with the VMR-7.

my experience so far is that some mixing between openGL and Renderer

is possible with some care. For instance you can render an SDL texture

and then render directly some openGL quads onscreen. For this to work

you need to reset things like shader programs at every frame. However

I have never tried to use openGL to render directly onto and SDL

texture. This might be impossible at this point. I hope that SDL can

evolve in this direction in the future.

To elaborate, when mixing with Headphones the Dolby Renderer can be set to sound dry with the Binaural modes set to off, rather than Far, Near etc.

With the Apple Renderer the headphone mix always sounds like ti has a short reverb on it, and i have tried in vain to get it to sound dry and i can not. Perhaps this is just part of the Spatial Audio sound?

You can now render and monitor Dolby Atmos mixes within Pro Tools without having to roundtrip to an external renderer. A new window provides comprehensive visualization of your Atmos mix from various perspectives and enables you to quickly switch between multi-speaker and binaural headphone monitoring. And a new I/O Setup tab simplifies the configuration of beds, objects, groups, trim, and downmix settings and saves them as part of your session for easy recall. For customers mixing Atmos for larger cinematic workflows, needing to monitor additional speaker configurations, or use the Dolby Atmos Music Panner plugin, Pro Tools Studio and Ultimate still support the external Dolby Atmos renderer application.

Avid announces an update for its Pro Tools software that introduces new capabilities for both music and audio post workflows, including a new integrated Dolby Atmos renderer to streamline immersive mixing.

The new integrated Dolby Atmos renderer is included free in Pro Tools Studio and Ultimate and improves the efficiency of immersive mixing workflows with simplified setup, mixing, and monitoring. Users can now render and monitor Dolby Atmos mixes within Pro Tools without having to roundtrip to an external renderer. A new window provides visualization of Dolby Atmos mixes from various perspectives and enables quick switching between multi-speaker and binaural headphone monitoring. Additionally, a new I/O Setup tab simplifies the configuration of beds, objects, groups, trim, and downmix settings and saves them as part of the session for easy recall.

One needs to understand the RMU before I can get to the local renderer. The RMU (short for Rendering and Mastering Unit) is what gives the whole Atmos Magic. It is a 19inch rack unit that is a system running windows. It houses 2 MADI IO cards from where it takes the input and sends output. In addition to rendering the Pans in the speakers, it also takes care of the Studio Calibration and creating Room configuration for the Mix stage. It is this unit that is also used to create the Atmos Print Master. Room calibration is based on SMAART V7 that is pre installed on the RMU and helps with the Auto calibration. Once the calibration is done, another app called the Dolby Atmos Designer is used to set up the Room Configuration, where the engineer can input the number of speakers in the room walls, screen, ceiling, the distance between the speakers, the number of subs, the kind of speaker model, etc.

The Renderer Input plugin sends signals from Pro Tools to the local renderer. The Renderer output plugin takes the rendered signals from the Local Renderer and is used to input back to Pro tools so that you can send it to the required hardware outputs.

hi am new in the game all i do for the past few years is mixing in stereo till present when the need arise for a 5.1 mix for a particular movie in my locality i need to know if i can use X32 desk along side with Atmos app

Is it possible to use the AAX plugins without the local renderer to work inside ProTools as I cannot see how to use it fully without a Dolby license on an iLok.

Do you have any further advise you could offer on the Dolby Atmos Monitor / Dolby Atmos Panner (Stereo) when used within ProTools HD software.

Is there any way to set Blender 2.8 up in this way - Eevee as the viewport renderer but Cycles as the actual final render engine - without needing to keep manually switching render engines every time?

Just finished project in where i needed more than a 10 renderlayers for each shot. Decided to try 2.8 for it. New collection system is a killer feature, saved lot of time. But i still couldnt rid of having multiple scenes for each shot as for some layers eevee worked best and for some cycles. Having different renderers assigned to layer is an absolute must. More than that, we realy need to have different render settings for each layer.

I assume this comes from a bug in the rendering code when it needs to handle mixing the image volume rendering and a closed surface representation, but it is well beyond my ability to figure out how to fix this bug.

If you use a step-function-like scalar opacity transfer function in the volume renderer (as you do in the attached screenshot) then you may just as well apply the same threshold range in segment editor to create an opaque surface mesh. You can then visualize everything without the need for volume rendering.

The switch to/from raster mode was made in Axes.draw, where the artists for each axes are looped over. In the artist loop, I check if the artist to be rendered is listed in the draw_raster attribute on the renderer instance. If so, the appropriate calls are made to start and stop rasterizing.

Hi Eric, thanks for the patch. There are a couple of aspects of the

design here that I am not comfortable with, but I think with a few

changes this will be useful (though Michael, who implemented the mixed

mode renderer, will surely have important comments). The primary

thing that bothers me is that one of the core aspects of the

matplotlib backend design is that the renderers know nothing about

artists -- artists know about renderers, but not the other way around.

So I don't like using the renderer to store the rasterized artists.

It makes more sense to me for the artist to have has a property set

("set_rasterized" which could be True|False|None where None means "do

the default thing for the renderer"). Then you could do:

Doing this in the axes.draw method may not be the most natural place

to do this since it could be done in the artist.draw method, but it

may be the most expedient. This is an area where having support for

before_draw and after_draw hooks might be useful. One potential

problem with either of these approached is it looks like the mixed

mode renderer is set up to handle multiple rasterized draws before

dumping the aggregate image into the backend on a stop_renderer, so

doing the start/stop in any of the approaches above would obviate this

efficiency. The axes could aggregate the rasterized artists before

rendering and then do them all together, but making this play properly

with zorder will be tricky. It does something like this already with

the "animated" artists so you may want to look at that. For animated

artists in the current implementation, zorder is ignored (the animated

artists are drawn on top). Chaco does something a bit more

sophisticated than this, since they have separate rendering levels and

buffers.

Another, less critical, aspect of the patch that bothers me is

tagging the renderer with the undocumented attribute "draw_raster"

and then checking this with a hasattr in axes.draw. python let's you

do this kind of stuff, and I've done plenty of it myself in

application building, but in my experience it makes for code that is

hard to maintain once the code base grows sufficiently large.

Although the mpl setters and getters are not the most pythonic

approach, they do make for code that is fairly readable and,

importantly, easily documented.

The switch to/from raster mode was made in Axes.draw, where the artists for

each axes are looped over. In the artist loop, I check if the artist to be

rendered is listed in the draw_raster attribute on the renderer instance. If

so, the appropriate calls are made to start and stop rasterizing.