Sitting there as credits rolled after a Dolby Atmos presentation of Brave this past summer, I felt excited for the potential of this budding format. Before the film, a few seated moms and dads were even verbally excited as the usher announce that we would be watching the film in a new sound format. During the film, the theater was saturated with sound, I truly felt immersed at times. Yet as I watched the credits fly by, I couldn’t help feeling that until sound crews sink their teeth into the format, we won’t really hear Atmos fully realized. For the format to really sparkle, films need to be designed, edited, and premixed with Atmos in mind or as Dolby would like it, premixed IN Atmos entirely. After reading about the impression Atmos left on Shaun at AES and trying to find a way to contribute to an already excellent month of ambient discussion, I decided I should contact a few sound crews that mixed in Atmos, ask how backgrounds are handled, and with that initial experience how they would approach BGs in their next Atmos mix.Read More
Home » Posts Tagged "taken 2"
- charles maynes on Turbocharging and its effect on our soundscape
- IvnOs on Car Engine Approximation In Max
- 025 – Vehicle Recording Roundtable | TonebendersPodcast.com on Rob Nokes Special: Guide to Recording Cars
- Dolby Atmos – Taking cinema sound to a whole new level! | Fortress Square on My Impressions of Dolby Atmos
- Planes, Trains and Automobiles …and tanks and bikes and boats and… » Aviation Blog on Planes, Trains and Automobiles …and tanks and bikes and boats and…
advice article community competition editing exclusive featured field recording films film sound foley frank bry game audio gear hiss and a roar implementation interview libraries library mixing music online plugins post production randy thom recording ric viers sfx sfx independence software sound sound design sound editing sound effects soundworks collection techniques the recordist tim prebble tips tools tutorial video video games videos webinar