Dolby Atmos has a future in niche markets for cinema and games, among some small audiophile-targeting labels that create immersive productions specifically for the Dolby Atmos format from the tracking stage. Beyond that, consumer response has generally been indifferent to Atmos for general use. More critically, the only ones who have generated additional revenue from the format are Dolby, a few artists who received Apple editorial preference for their releases because of it, and some early adopter studios with ties to major labels that managed to secure work bound for cinema release or remix classic albums into the format. Regarding the latter part, my evaluation is that there are about two to three more years of the majors releasing remixes in the Dolby Atmos format before the accountants realize there is no real return on investment for this. Then, they will pull the plug on those projects.
