Comments on: Dialogue on the move – panning in Gravity, Cars and Strange Days https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/ Art and technique of sound design Wed, 06 Jul 2016 17:07:32 +0000 hourly 1 https://wordpress.org/?v=6.2.8 By: Ed D https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-417968 Mon, 29 Jun 2015 16:36:46 +0000 https://designingsound.org/?p=25994#comment-417968 In reply to Douglas Murray.

Interesting indeed. Working predominantly in Imax since 1995, we’ve been panning all dialogue as long as I’ve been involved. Granted they were mostly documentaries, but the screen is 80ft wide, so having the narration up the centre is expected, but spec fx and voices in the bg are always screen specific. Some of the more dramatic 70mm films have benefitted from panning the dial, but only in so much as it wasn’t distracting – then panning was cheated so there was some directionality, but it wasn’t violent.

]]> By: Strange Days – FMP Research | Year 3 https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-405549 Fri, 08 May 2015 21:15:53 +0000 https://designingsound.org/?p=25994#comment-405549 […] Donnely, C (2014). Designing Sound [online]. Available from: <https://designingsound.org/2014/01/d&#8230; […]

]]> By: Designing Sound article – Dialogue on the move | Restrike Studios https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-266265 Sun, 31 Aug 2014 08:10:08 +0000 https://designingsound.org/?p=25994#comment-266265 […] Article I did for Designing on dialogue panning in film, focusing on Gravity, Cars and Strange Days. Hadn’t seen Strange Days for years so was great catching up with it again. Read more here […]

]]> By: ASSG – Dialogue on the move – panning in Gravity, Cars and Strange Days https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-211538 Tue, 20 May 2014 00:58:38 +0000 https://designingsound.org/?p=25994#comment-211538 […] Click here to view the embedded video. […]

]]> By: Great Article: Dialogue on the move | https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-154297 Fri, 14 Feb 2014 09:32:26 +0000 https://designingsound.org/?p=25994#comment-154297 […] https://designingsound.org/2014/01/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#mor… […]

]]> By: Randall Smith https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-153159 Wed, 12 Feb 2014 18:27:23 +0000 https://designingsound.org/?p=25994#comment-153159 In reply to Douglas Murray.

I might be mistaken, but I believe that the ISOSONO panning plug in is supposed to take the precedence effect into consideration. I haven’t used it much though.

Randall

]]> By: Cormac Donnelly https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-149617 Wed, 05 Feb 2014 16:46:13 +0000 https://designingsound.org/?p=25994#comment-149617 Fitting a Cloverfield viewing into my schedule Douglas, thanks for the pointer. Got me wondering about the POV sequence in DOOM as well? Can’t remember if it took the opportunity to pan or not?

Regarding the sound smearing I seem to remember using one of the older Dolby Pro Logic processors to help spread mono signals but I doubt it was as sophisticated as the ARL plug-in. Pity it’s no longer supported.

]]> By: Douglas Murray https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-148544 Mon, 03 Feb 2014 21:49:31 +0000 https://designingsound.org/?p=25994#comment-148544 In reply to Rob.

You are right, Rob. It takes a certain amount of smearing of the sound to spread it across more than one speaker to make it sound good for all in the room. On Cloverfield, I used a plug-in called ARL Sound Stage (which is no longer supported, sadly) to spread the sound across the LCR speakers, and adding some time related manipulation to the panned sounds (similar to the way HRTF creates the binaural effect) to give a precedence effect to the source channel, while not fully eliminating the sound from the center speaker. This really helps preserve the stereo image for everyone in the theater. It would be nice if there were a reliable multichannel plug-in that could do this today in AAX. perhaps SPAT will do the trick, I’ve just made a mental note to play with that.

]]> By: Rob https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-147853 Sun, 02 Feb 2014 19:28:07 +0000 https://designingsound.org/?p=25994#comment-147853 In reply to Rob.

…bollocks. Hear.

]]> By: Rob https://designingsound.org/2014/01/30/dialogue-on-the-move-panning-in-gravity-cars-and-strange-days/#comment-147852 Sun, 02 Feb 2014 19:26:44 +0000 https://designingsound.org/?p=25994#comment-147852 Though I can see it’s artistic merit I wonder how much extreme panning degrades the experience of those watching in less than ideal positions in the auditorium? The predominate use of the centre channel for dialogue, and largely the reason for it’s existence, was to make sure the whole audience could here the words.

Indeed in the analogue days being able to tweak centre was a life saver when showing films mixed in perfect conditions by people who knew all the words when the actual cinema had average acoustics, ventilation rumbling away, sweet wrappers rustling etc.

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