Sentences with phrase «atmos sound mix»

Not exact matches

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.

(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.

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

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.

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.

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.

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.

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.

This isn't an aggressive sound mix by any means, but the TrueHD audio was already excellent and the Atmos adds just that much more precision and immersiveness.

In the Spring 2017 Windows 10 Creators Update, both Xbox and Windows added support for platform - level spatialized sound: within a single content and programming pipeline, support for both speaker and headphone outputs, for multiple formats (including Dolby Atmos and Windows Sonic for Headphones), and for both channel - and object - based mixes, all enabled for millions of consumers.

Atmos and DTS: X surround soundbars are here to stay, and their effective mix of virtual and physical surround sound dispersion can make for a powerful cinematic experience.

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

Unlike Dolby Atmos and DTS: X, which are object - based, Auro - 3D remains a channel - based immersive audio format, which mixes sounds into specific audio channels.

Utilizing Atmos, content creators like sound mixers, cinematographers and broadcasters can place specific sounds precisely in the soundscape, so you can hear the action as it was intended.

Two things make Atmos different: Object - based sound mixing, and sound coming from speakers placed above you.

Because the object - based audio mix is delivered to home theaters, Dolby Atmos has the ability to adapt to extremely diverse speaker setups, from sound bars to systems with five speakers on the floor and two speakers producing overhead sound to Dolby Atmos supersystems with 24 speakers on the floor and 10 overhead speakers.

Because Dolby Atmos is an object - based sound format, when creating a soundtrack to a film, sound mixers are able to specify the exact place they want the sounds to be, as opposed to «left - channel» or «right rear - channel» of 5.1 surround soundtracks.

Dolby Atmos — and its DTS counterpart DTS: X — represents a revolutionary cinema technology that not only frees sound mixers from the rigid restraints of traditional surround sound mixing, but also adds height speakers to engulf listeners in a hemispheric globe of sound.

The application will then produce surround sound, and Dolby Atmos will mix it to stereo sound for your headset.

Object - based methods like Dolby Atmos add height into the mix via either ceiling - mounted or upward - firing speakers, allowing sound to come from above or below you as well.

It can inject Dolby Atmos spatial sound into your PC and console audio mix with the headphones that you already own.

He told Tech Radar that systems such as Dolby Atmos not only change the way films are experienced, but fundamentally alter the way sound designers think about mixing movies.

In the Tab 2 it's a headphone - only system that mimics a surround sound experience, assuming the source material has been mixed in Atmos.

This audio is then mixed together for any Atmos surround - sound setup in your home at the AV receiver or on your smartphone's processor, while still reproducing the sound accuracy you would hear in the cinema.

All we know for now is two things; it will support Dolby Atmos and MPEG - H (another 3D audio standard), it will up - mix surround sound content, and it already sounds excellent.

Unlike a surround sound setup, in which sounds come from a limited number of channels broadcast through speakers arranged around a room, Atmos broadcasts each object of sound (such as a glass hitting the ground or a person shouting) to a specific place in the room, as designated by the engineers who mixed the soundtrack.

Ribbons of crystal clear treble alongside well - defined mids and ample bass are delivered within a fluid and dynamic pinwheel of hemispheric sound when handling Atmos and DTS: X mixes from your favorite movies and TV series.