Netflix has updated their guidance on Dolby Atmos workflows including publishing their own step-by-step guide on setting up and using the new Dolby Audio Bridge feature added by Avid in Pro Tools 2019.10. In addition, Netflix has stated that it is not necessary to have Dolby Atmos certification to work on Netflix titles.

Mastering Home Theater Atmos Natively

Scott Kramer (Manager, Sound Technology, Creative Technologies & Infrastructure at Netflix) has let us know that they have published an article with step-by-step instructions on how to set up and use the new Dolby Audio Bridge introduced in Pro Tools 2019.10 together with the Dolby Atmos Production Suite to be able to create Dolby Atmos content.

Netflix Recommend Using Dolby’s DARDT

For speaker selection and placement, Scott has told us that Netflix recommends working with the DARDT (Dolby Atmos Room Design Tool). Check out this video from Dolby for more info on how to use DARDT.

They also recommend working with Dolby on speaker calibration too.

Netflix Do Not Require Dolby Atmos Certification To Work On Netflix Titles

Scott also confirmed what is in the Netflix Originals Delivery Specifications Version OC-3-3 that “Dolby Certification is not required for Home Atmos mix rooms”

Here is the section in full on Near Field Atmos Mix - Mastering and Archive from the Netflix delivery specifications…

The Dolby Atmos Home Mix must meet the following requirements:

• At a minimum, must be mixed in a 7.1.4 room

• Dolby Certification is not required for Home Atmos mix rooms

• This is a nearfield mix. The most common monitoring levels for nearfield are 79dB or 82dB

• Must conform to Netflix loudness spec (-27db LKFS +/- 2 LU 1770-1 dialog-gated)

• Peaks should not exceed -2dBFS true-peak. To achieve this, we recommend setting true-peak limiters on all beds and objects at -2.3 or lower. Loudness and peaks should be measured via a 5.1 rerender

• For native Atmos mixes, the 5.1 and 2.0 rerenders must conform to Netflix loudness and Peak specification

• All beds and objects are encoded and will always be audible. A printmaster may utilize a composite of all bed material OR multiple beds, but not both

• For all series/doc/unscripted/comedy content, beds and objects must be separated by Dialog, Music and Effects. For film content, DME separation should be maintained whenever possible

• If an 85dB reference theatrical mix is created, two complete sets of deliverables are required. One for theatrical, one for nearfield

• Atmos files shall match final IMF picture length exactly as long-play and not separate reels. Leader and sync pop shall be removed

• FFOA must be left at default - leave “Add FFOA” box unchecked. For pre-3.0 renderer software, leave red dashes in FFOA value

• Final Home Theater Print Master or Localized Mix

  • Dolby Atmos BWAV ADM File

    • Single or multiple LCR, 5.0, 5.1, 7.1 or 7.1.2 bed(s)

    • Tracks 11-128 may be used for Objects or beds

    • 48 kHz, 24-bit