Sentences with phrase «atmos mix»

And for the Dolby Atmos mix we did for when the album was played in theaters, we have it left and right, then it shoots toward you in mono, and then it moves outward.

That's how we feel with the Dolby Atmos mix of a traditional surround presentation.

Don't think that a Dolby Atmos mix or height channels make a difference?

The Dolby Atmos mix created a superb sense of space.

While overhead effects are superb, what really seals the deal is the way a Dolby Atmos mix creates a natural, enveloping sense of space throughout the movie.

The Atmos mix is just really impressive.

Primary audio on the 4K disc is available in a fine English Dolby Atmos mix (7.1 Dolby TrueHD compatible) that's impressive as hell.

The LFEs, like the Atmos mix, are throaty from the prioritizing of explosions, the score, and ambient engine noise.

Audio-wise, the new English Dolby Atmos mix is quite good and represents a major upgrade over the original Blu - ray edition's uncompressed PCM 5.1 sound.

Still, the new Atmos mix is certainly improved and remains a reference quality audio experience.

The downmix was still very immersive and spacious, with objects placed at points in space similar to a true Atmos mix (helicopters and drones are the best examples), but lacking some of the location preciseness and, of course, some loss of the height channel experience (although the Dolby TrueHD downmix still produced a better - than - traditional «horizontal» 5.1 or 7.1 channel mix).

Before this review, this reviewer heard the Dolby Atmos mix in a movie theater.

In addition to the excellent video presentation of Transformers: Age of Extinction, what makes this Blu - ray Disc release so significant is that it is the first title that contains a Dolby Atmos mix.

The Atmos mix translates that big movements like the hypnotic ring effects with smooth overhead and sweeping motion.

The stage has Dolby Atmos mixing capabilities and features two Avid S6 mixing consoles, four Pro Tools systems, a Sony 4K digital cinema projector and a variety of other support gear.

Really, this is one of the best Atmos mixes I've heard to date.

The production services firm expands its sound capabilities with a Minkler - designed Dolby Atmos mixing room as it moves toward a merger with IgnitedSpaces.

We have 11 Atmos mixing facilities in India.

Starting with Pixar's Brave in 2012, more than 150 films have now been released with Atmos mixes.

With Ultra HD Blu - rays the situation is different; currently only a handful of titles use DTS - X mixes rather than Dolby Digital or Dolby Atmos mixes.

There are even Dolby Atmos mixes of classic albums.

The sense of height with all the Dolby Atmos mixes we tried was palpable and impressively delineated - by which we mean there were times when we could discern multiple height layers in the vertical effects.

HBO has decided to remaster series one to four of Game of Thrones to include the extra height channels and is putting the Dolby Atmos mixes onto special edition Blu - ray box - sets.

Not exact matches

The film is also mixed in Dolby Atmos but also contains a Dolby TrueHD 7.1 and Dolby Digital 5.1 downmixes for those that do not have a Dolby Atmos setup.

Because I don't have an Atmos - equipped system, this played back as a Dolby TrueHD 7.1 mix, and it was a good one.

I, and I'm sure all of you, were hoping for a new Dolby Atmos for DTS: X mix.

Also, those that do not have a home theater receiver that provides Dolby Atmos or Dolby TrueHD decoding, your Blu - ray Disc player will send out a standard Dolby Digital 5.1 channel mix.

- Theatrical Trailer - Sneak Peek Disc Details 2 - disc sets w / 1 4k UHD and 1 Blu - ray Digital Copy Running Time 89 mins Edition Ratings Rated PG - 13 Region Coding Region A 4k UHD Video Resolution 2160p HEVC / H. 265 Aspect ratio: 1.85:1 Audio Mixes English Dolby Atmos English Dolby TrueHD 7.1 French Dolby Digital 5.1 Spanish Dolby Digital 5.1 Subtitles English SDH French Spanish Blu - ray Video Resolution 1080p AVC MPEG - 4 Aspect ratio: 1.85:1

Opportunities include augmenting studio time for sound design, music recording, mixing, or remixing the film in Dolby Atmos.

Swiss Army Man was one of two recent films to win the Dolby Family Sound Fellowship (Hunt for the Wilderpeople is the other), an award that provides Sundance - bound filmmakers a chance to do their final mix in Atmos.

Similarly, whether enjoyed in Dolby Atmos / TrueHD 7.1 in 2D or in the 5.1 DTS - HD Master Audio mix of the 3D disc, the lively soundtrack should delight while giving your home theater a good workout.

Disc Details 2 - disc set — 1 Blu - ray and 1 DVD Digital Copy Running Time 120 mins Edition Ratings Rated R Region Coding Region Free Video Resolution 1080p AVC MPEG - 4 Aspect ratio: 2.40:1 Audio Mixes English Dolby Atmos English Dolby TrueHD 7.1 French Dolby Digital 5.1 Spanish Dolby Digital 5.1 Portuguese Dolby Digital 5.1 Subtitles English SDH French Spanish Portuguese

(Color, widescreen); editor, Chris Plummer; music, Marius de Vries; feature animation, Industrial Light & Magic; animation supervisor, Kim Ooi; sound designer (Dolby Atmos), E.J. Holowicki; supervising sound editor, Steve Slanec; re-recording mixers, Tom Johnson, Juan Peralta; senior visual effects supervisor, Tony Plett; visual effects supervisor, Nigel Sumner; senior animation producer, Jacqui Lopez; casting, David Rubin, Richard Hicks, Lindsay Perlman.

Audio Mixes English Dolby Atmos English Dolby TrueHD 7.1 Spanish Dolby Digital 5.1 French Dolby Digital 5.1 Portuguese Dolby Digital 5.1 Subtitles English English SDH French Portuguese Spanish

- End of Story Disc Details 2 - disc set w / 1 4k UHD and 1 Blu - ray Digital copy Running Time 104 mins Edition Ratings Rated PG - 13 Region Coding Region Free 4k UHD Video Resolution 2160p HEVC / H.265 HDR: Dolby Vision and HDR10 Aspect ratio: 2.40:1 Audio Mixes English Dolby Atmos English Dolby TrueHD 7.1 French Dolby Digital 5.1 Spanish Dolby Digital 5.1 Portuguese Dolby Digital 5.1 German Dolby Digital 5.1 Japanese Dolby Digital 5.1 Subtitles English English SDH French German Japanese Portuguese Spanish Danish Dutch Finnish Norwegian Swedish Blu - ray Video Resolution 1080p AVC MPEG - 4 Aspect ratio: 2.40:1

The Dolby fellowship allowed the film's team to augment the sound design and to mix the film in Dolby Atmos ®.

You'll be glad to know that the new Dolby Atmos lossless mix that's included on the 4K disc is every bit as good as the image presentation.

Sound designer and mixer Zach Seivers said,» [Dolby] Atmos has really allowed us to elevate our work.

In these videos, the sound mixers and colorist tell how Dolby Atmos ® and Dolby Vision ™ helped add power and atmosphere.

To me, mixing in Atmos is the sonic equivalent of that.

Braveheart has always delivered a great sound experience on disc, but Atmos experiences manages to notch things up a hair with an absolutely thrilling mix.

Mix and output to a multichannel - speaker setup when you work in a Dolby Atmos room, and have that translate into a great - sounding headphone mMix and output to a multichannel - speaker setup when you work in a Dolby Atmos room, and have that translate into a great - sounding headphone mixmix.

The brain of the Dolby Atmos platform, the RMU provides the rendering engine for the mix stage, plus tools for room configuration, management, and print mastering.

Rerecording mixer Mike Hedges, a two - time Academy Award ® winner for his mixes on Peter Jackson's films King Kong and The Lord of the Rings: Return of the King, explained, «The benefits of Dolby Atmos are that it allows you to place sounds wherever you like.

Camera (Technicolor, Panavision widescreen, Arri Alexa digital), Trent Opaloch; editors, Jeffrey Ford, Matthew Schmidt; music, Henry Jackman; music supervisor, Dave Jordan; production designer, Owen Paterson; supervising art director, Greg Berry; art directors, David E. Scott, Greg Hooper; set decorator, Ronald R. Reiss; costume designer, Judianna Makovsky; sound (Dolby Atmos / Dolby Digital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halley Finn.

Camera (color, widescreen), Jo Willems; editor, Alan Edward Bell; music, James Newton Howard; music supervisor, Alexandra Patsavas; production designer, Philip Messina; supervising art director, John Collins; art directors, Robert Fechtman, Adam Davis; set decorator, Larry Dias; costume designer, Trish Summerville; sound (Dolby Atmos / Datasat), Mark Weingarten; supervising sound editors / re-recording mixers, Skip Lievsay, Jeremy Peirson; sound designer, Peirson; visual effects supervisor, Janek Sirrs; visual effects producer, Mitchell Ferm; visual effects, Double Negative, Weta Digital, Method Studios, Rodeo FX, Fuel VFX, Hybride; special effects coordinator, Steve Cremin; supervising stunt coordinator, Chad Stahelski; stunt coordinator, Sam Hargrave; assistant director, Aldric La'auli Porter; second unit director, Chad Stahelski; second unit camera, Robby Baumgartner; casting, Debra Zane.

Review Bonus: Greg P. Russell, Re-Recording Mixer for Transformers: Age of Extinction discusses how the theatrical Dolby Atmos soundtrack was remastered for a home theater setting - Watch Now.

Camera (3D, Deluxe color, widescreen), Lula Carvalho; editor, Bob Ducsay, Jim May, Debra Neil - Fisher; music, Steve Jablonsky; production designer, Martin Laing; art director, Miguel Lopez - Castillo; set decorator, Debra Schutt; costume designer, Sarah Edwards; sound (Datasat / Dolby Atmos), Tom Nelson, Peter Fonda; supervising sound editors, Jason W. Jennings, Nancy Nugent Title; re-recording mixers, Terry Porter, Anna Behlmer; special effects supervisor, J.D. Schwalm; visual effects supervisor, Pablo Helman; visual effects producers, Crystal Dowd, Susan Greenhow; visual effects, Industrial Light & Magic, Ghost VFX, Atomic Fiction, Base FX, Whiskytree Inc., Animatrik, FX3X, Virtuos, Bot VFX, Shade VFX, Lola VFX; stunt coordinators, Spiro Razatos, Jonathan Eusebio; fight coordinator, Jon Valera; associate producer, Lori Scowley, Basil Bryant Grillo, Bret Rowe, Marc Pappalardo; assistant director, Alexander H. Gayner; second unit director, Razatos; second unit camera, Jacques Haitkin; casting, Lisa Fields.

For the first time, Dolby Atmos introduces a hybrid approach to mixing and directs sound as dynamic objects that envelop the listener, in combination with channels for playback.

Dolby Atmos is an end - to - end solution that takes into account the entire content pipeline and brings together mixers, studios, and distributors to create dramatic improvements in the audio experience.