We as a community are lucky to have a number of amazingly informative resources available to us, and podcasts count among the most popular. Well, add a new one to your listening list: the Dolby Institute, in conjunction with SoundWorks Collection, is presenting a limited number of podcasts in a series entitled “Conversations with Sound Artists”. For the first episode, released a few days ago, they speak to Randy Thom of Skywalker Sound. Read more info on the podcast on SoundWorks Collection’s page.
In a recent video, SoundWorks Collection speaks to Sound Designer (and Designing Sound Contributing Editor) Peter Albrechtsen and Sound Rerecording Mixer Lars Ginzel about their work on the Danish film “The Idealist”. In the video, they discuss their uniquely sonic approach to the film, which concerns a journalist who exposes the biggest political scandal in Danish history. They also discuss the film’s use of Dolby Atmos and the opportunities it afforded them.
Indiewire has published a guest post by Dolby Institute’s director Glenn Kiser in which he talks to filmmakers about the importance of sound design from the beginning of production.
Making a movie is a never-ending series of compromises, and nothing is as good as the original concept you had in mind. But if you’re really lucky, there’s a moment of alchemy that can happen in the editing room when you put the right piece of music or the right sound effect into the cut. Suddenly something magical happens, and the thing comes to life. You forget about the perfect location you couldn’t secure and the cold your lead actor had on the day you shot the emotional scene. It stops being a maddening litany of disappointments and becomes a movie.
Let’s talk about surround sound systems for a quick second, shall we?
A modern surround sound system, in its simplest form, consists of six channels; Left, Center, Right, Left Surround, Right Surround, and the Low Frequency Effect channel. The first five channels are all fairly self-explanatory, denoting the location of the speaker itself and the channel’s location in the sound field. That last one, the LFE, is a little bit more complicated.