Sentences with phrase «audio dialogues in»

Listen Spanish audio with transcript & practice how to speak Spanish fluently by listening audio dialogues in Spanish.

Listen Spanish audio with transcript & practice how to speak Spanish fluently by listening audio dialogues in Spanish.

Listen Spanish audio with transcript & practice how to speak Spanish fluently by listening audio dialogues in Spanish.

Listen Spanish audio with transcript & practice how to speak Spanish fluently by listening audio dialogues in Spanish.

Not exact matches

Downloadable audio files containing spoken versions of the dialogues presented in each chapter, as well as review conversations, vocabulary, pronunciation, and listening exercises

While largely dialogue - driven, the audio for Se7en makes extensive use of both subtle detail (which is spread across the available channels in a very unobtrusive way) and music, as well as the occasional burst of audio fireworks.

The often - stilted dialogue (Montgomery bemoans in the commentary that he wishes they'd, he and Bigelow, spent more time on the screenplay) and amateurish biker - boy performances blown out of the water by Dafoe's oily naturalism are reproduced in three audio mixes: DD 2.0 mono, DD 2.0 stereo, and the preferred DD 5.1, the latter of which does a remarkable job of distributing information across the soundstage.

The default 5.1 DTS - HD master audio soundtrack has some obvious limitations in its dialogue recordings, but it still fares okay.

In terms of the original audio, I have watched both the Japanese presentation and English dub and they are quite good with effective surround separation and a focus on the all important dialogue.

In a film with almost no dialogue, you may think that audio isn't as important as the rest.

The Dolby 2.0 audio, offered up in barely - distinguishable stereo and mono options, crisply delivers the jazzy score and dialogue without distortion.

The accompanying audio, in not - dissimilar 7.1 DTS - HD and 5.1 Dolby Digital EX configurations, mainly adds low - end to the original mono mix (also on board) and broadens its dynamic range so that the dubbed dialogue, for example, sounds less squelched.

A 5.1 Dolby Digital track is somewhat underutilized and a little quiet, but there is also a lack of any real need for bombastic five - channel audio pyrotechnics in the film; all that you need know is the dialogue sounds clear and the indie soundtrack is appropriately evocative of the Chelsea underground nightlife.

«One of the final stages of the process was having a print of the film prepared with the music stripped out for the live mix; the mix in the rehearsals and concert being a constant conversation between the on - stage performances, the film's audio and the room's acoustics, requiring a huge amount of skill and awareness of the moments where a particular element (be it the music, dialogue or sound effects) needs to come to the fore, or be shaded off to make way for another layer.

The 5.1 DTS - HD master audio is also up to the task, giving dialogue clarity and weight in addition to distributing a lot of music without drowning out the other elements.

DD 3.0 audio decorates A Farewell to Arms, showing some fairly impressive channel separation but exhibiting a noticeable hollowness in its many distended dialogue sequences.

The 5.1 DTS - HD master audio mixes are more than adequate, keeping dialogue crisp and atmosphere lively in each film.

The default audio is an English dub (credibly voice cast and overseen by Mike Schlesinger of the Americanized Godzilla 2000) in rich, transparent Dolby Digital 5.1, and while it sounds technically fantastic, purist that I am, I will always watch Time and Tide in Cantonese (5.1, too, with dialogue mixed a bit quieter).

The high - fidelity audio here just makes it more obvious than ever when, e.g., the dialogue in exterior scenes has clearly been recorded inside a studio.

Ruzowitzky uses camera angles designed to force audience identification with the prisoners, and one scene late in the film follows suit with subjective audio effects — a very flat soundmix, with muffled dialogue — to put you inside Sol's head, his senses going dull after he witnesses the death of another inmate.

The game has an interesting soundtrack that probably doesn't quite fit the game too well and it literally has not audio dialogue so there's very little in the way of sound to review, you get the generic 2D crafting sound effects which are amusing however and do contribute to the game's humour a little, the gameplay itself is immersive enough that you can sink hours into the game without realising it, though the menus can be a little tiresome to navigate as you have to open a close them to remove a misplaced item or constantly scroll through all the many different items and topics you can choose from.

The film's incredibly effective sound design is also captured quite well in the immersive DTS - HD MA audio track with effects spread out through the field and the period - correct dialogue coming through clearly.

The DD 2.0 stereo audio isn't anything to write home about, either; the centre channel, in particular, is a disappointment, necessitating constant volume adjustments to keep up with the fluctuating dialogue levels.

The 5.1 DTS - HD MA audio leaves spoken dialogue in the front while throwing score and Foley around the room.

The DD 5.1 audio is focused almost entirely in the front channels, with dialogue regrettably clear throughout.

More objectively flawed is the Dolby Digital 5.1 audio: dialogue is mixed much too low (there's hushed and then there's inaudible), necessitating a boost in volume well past reference level, at which point Max Avery Lichtenstein's inventive score sounds intrusively loud.

A hearty collection of deleted and extended scenes, 25 minutes worth, seems to run counter to the assertions of slashed scheduling and fine - tooth comb budget consciousness that Zombie mentions in his audio commentary track (more on that in a moment), but you have that material if you want it; a lot of it is of the slightly tweaked variety, with a couple clipped, inessential (often vulgar) dialogue exchanges within a given scene.

The 5.1 DTS - HD master audio is largely restrained, with the monaurally - recorded dialogue remaining clear in the front channels and being surrounded and complemented by Cliff Martinez's ethereal, understated score.

The 2.40:1 visuals remain sharp, clean, and well - defined, while dialogue stays crisp and carefully - chosen (on a budget) music lively in the 5.1 DTS - HD master audio soundtrack.

The Dolby Digital 5.1 audio is equally elegant, if beholden to a dialogue - driven affair in the wake of the masterfully - mixed balloon sequence, with only rainfall making aggressive use of the rear discretes thereafter.

The DVDs Dolby Digital 5.1 audio track works very well as it offers clear dialogue and, more importantly, does a great job with the music in the film.

The dialogue sounds like it could be delivered live in your living room (unless it's appropriately conveying a certain environment) and despite being a comedy, there are plenty of active sequences to showcase the techies» clever audio skills.

The audio does seem flat at times, particularly in certain patches of dialogue.

Deaf & Hard of Hearing: The game can largely be played without audio — major events in the gameplay and all dialogue is subtitled.

Comparatively disappointing, the 2.0 DTS - HD MA mono audio sounds flat and thin, with Terry Alexander's dialogue, in particular, full of sibilant s's.

The DD 5.1 audio is somewhat underwhelming in its handling of the music — problematic considering the many hard - rock interludes — but does just fine with dialogue.

The 5.1 DTS - HD master audio soundtrack, on the other hand, is full of peaks and valleys to an annoying degree, forcing you to watch with a remote in hand, ready to lower the volume for powerful action effects, then raise it again to hear the dialogue.

Likewise, the 5.1 DTS - HD master audio has some kick to it in explosive action scenes while keeping the oft - crude dialogue crisp and as intelligible as the accents allow.

The intentional cacophony of the soundtrack, which mixes grating music with loud and overlapping dialogue, sounds appropriately dizzying in either the original 2.0 audio or a 5.1 surround mix.

With its dialogue muted and mushy and its score booming in a way that suggests what it might sound like if a ghetto blaster playing bad fright music were wrapped in a wool scarf and thrown into a metal well, the Dolby 2.0 mono audio lacks the aesthetic excuse the image has for its dreadfulness.

The 5.1 DTS - HD master audio soundtrack matches it in energy, complementing the crisp dialogue with prominent but not overpowering music.

In addition, Vacuuming looks dreadful, shot on shaky, bleary video by Dogme 95 veteran Anthony Dod Mantle (The Celebration, julien donkey - boy), and even with two audio mixes, it's difficult to understand some of the dialogue (helpful English subtitles are nowhere to be found).

This disc's Dolby Digital 2.0 Stereo track does a capable job with the film's workmanlike audio design - dialogue is clear and natural, «Death and the Maiden» sounds nice as a result of accurate fidelity, and although there's very little in the way of exciting audio moments, the few gun shots and loud crashes come through smashingly.

The oddest aspect of the DVD's multiple audio tracks lies in the Spanish dub track, which often features no music in scenes where there's score in the French and English tracks and completely different cues elsewhere, making one believe that all elements had to be recreated for the Spanish print, relying on awfully sparse sound effects, Spanish dialogue recorded in a sterile environment, and stock music in place of Newman's original score.

If necessary add in a stop time, in total seconds for the start of the audio track, to remove the highlighting earlier if there is a pause in the audio dialogue.

Bill to limit Amazon's advantage moves forward in France; Reading Group Choices» 2014 guide out now; National survey details reading habits; NRF predicts modest growth during holidays; Consumers use smartphones, tablets to shop; California Bookstore Day website live; NCAC in New York Times Sunday Dialogue; Thurber Prize goes to Dan Zevin; Penguin Random House merges audio; HarperCollins joins Scribd's e-book subscription service; Chronicle Books goes green; BISG announces new mission statement, industry award winners, F+W Media partnership

DMG: I think the idea of dialogue is really interesting, because there is no voice work in The Empty Kingdom and my gut feeling is, once you start putting spoken audio into a comic, it's too time based, and it will take you too away from the comic from.

The game audio is completely in Japanese and all of the menus and dialogue are subbed in English.

As part of his role as Slightly Mad's unofficial dialogue consultant for Project CARS, Oli Webb's voice will be featured in the game's pit - to - car audio during races.

Blu - ray episodes are presented in full 1080p HD, 16 × 9 video and stereo audio featuring English and Japanese dialogue options.