Let us assume that I have a group of theaters with an average of ten screens each, and that in each of these ten-plexes, I have the following digital sound systems : 6 Dolby S.R.D., 2 D.T.S, and 2 S.D.D.S. All systems, using dockers, are movable.

Further, let us assume that (for the purposes of this hypothesis) all prints are fortunate enough to have all three digital tracks.

Some houses are bigger than others obviously, and it is in these larger houses, that the prints will first be shown, then moved down to other, smaller houses, as they "play out".

Because the S.D.D.S. system relies on its information being picked up from the outside edges of the film, the very area most likely to first be damaged (due to gate-trap friction, misaligned rollers, ect.) is it not reasonable to suggest that the larger houses be equipped with S.D.D.S systems, the next smaller houses with S.R.D. systems and finally the smallest houses with D.T.S, systems (the D.T.S. relying only on a coarse time-code - not audio, thus being the least susceptible to scratch)?

Obviously, conditions will vary, according to the requirements of each print, thus this is suggested only as a general guideline.

I would appreciate your thoughts on this. Thank you.

The drawback to this approach (given your example) is that it would then leave at least one house as "analog-only."

Real-world:

Largest Houses - Dolby
Midsize - DTS (due to disc delays)
Small Theatres - SDDS

By the time your discs arrive, they'll be in the mid-size DTS houses.

I see your concerns with the potential vulnerability of SDDS data, but my experience was that they held up pretty good (assuming they play right when they're new). Alas, I'm hearing more and more that SDDS experiences dropouts even with new prints nowadays.

An SDDS system is very costly. Frankly, I would "pass" on the format. Use the money to get 3 DTS systems (cost is about the same) and do this:

Largest screen - Dolby + DTS
Next 5 screens - Dolby
Smallest 4 screens - DTS

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~Manny.

Now...where was I ?
Leonard Shelby, MEMENTO.

To further explain, most Art Films come with the Dolby Digital track. Very few come with the SDDS track. And although most films have DTS time code, very few come with discs. So Dolby Wins.

If DTS did more with subtitling and Open Captioning then they would have an advantage. But so far these options are not wide spread.

If money is no object and the staff is good, then I believe that premiere houses should have DTS ready-to-go as the first choice if the discs are available with Dolby Digital as a fallback if DTS isn't an option (or if the discs are late).

DTS is not only an excellent system, it is also the least expensive of the three digital systems available. I'm slowly working my way to having all houses DTS-equipped (with some Dolby's, too).

------------------

~Manny.

Now...where was I ?
Leonard Shelby, MEMENTO.

That being said, SRD has more prints than anything else. Plus the sound is on the film, so there are no discs to have to screw with when they come in missing, scratched or more frequently these days, broken.

If you play a lot of art house films like Ian Price, your decision is pretty much made for you --Dolby Digital is the only way to go since most indie film product has only Dolby Digital, if it has any digital track at all. DTS is just too rarely used. If you played a lot of French films you might be able to justify installing DTS, but otherwise you have to go with DD.

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Sorry that I was not clear in my original post. This situation (6 SRD sets, 2 D.T.S. and 2 S.D.D.S) is not for planned booths, but in existance in many of our existing booths. (I had no part in choosing this set-up, honest!)

I guess what I was asking is, given this combination, the logical set-up to ensure the best chance of proper digital performance.

#1 400 seats
#2 200 seats
#3 150 seats
#4 150 seats
#5 200 seats
#6 400 seats
#7 300 seats
#8 300 seats
#9 300 seats
#10 100 seats

That'll help.

If I wanted a second format for the larger houses, I'd probably go with SDDS for an 8-channel installation or DTS for a 5.1 installation. If I had one or more 70mm-capable houses, I'd go with DTS as the secondary format (with DTS-70 readers and redundant units). Of course, I'd have the 70mm mag stuff, too. (but it would probably never be used)

Again, this is an existing situation in many of our houses, and I am not afforded the luxury of changing the equipment. The 6, 2 and 2 formula I mentioned is what I am stuck with.

Now, the booth personel situation has changed over the last few years such that anyone that has been working in the booth for two years is a "veteran".

Unfortunately,I cannot visit all of our theatres every week to assure the best digital presentation. (Too many times I have gone into booths to find that they are running in optical in maybe half the auditoriums, when a little thinking would have allowed them to present all the features in digital). They are not likely to move these systems around. Such is the world as it presently is and this is beyond my control to change.

It is for this reason that I am looking for a "generic" set-up (or allocation of digital processors) that would acheive the best chance of digital sound reproduction in most of our auditioriums (in other words, "The most digital presentation for the buck").

All this, of course, being done site unseen (by me anyways).

Again, I thank you all for your advice in this matter.

The large majority of major releases (I'd say 19 of 20 on average) get distributed in quad format. In the last couple years I've noticed studios that deal heavily in quad format, such as Miramax, using quad format delivery more and more often. Even the promos for the "Operation Greenlight" film say it is going out in quad format (and this is a film that cost under $2 million to make).