Sentences with phrase «audio effect in»

There are two front facing stereo speakers that are expected to give surround audio effect in the phone.

Choose print books for babies because they may find the animations and audio effects in digital books and story apps very distracting.

The gameplay follows the classic Minesweeper rules with the developer hoping to add multiplayer and audio effects in future updates.

Part of Develop's ongoing Audio Special, Schütze's piece explores how developers today can reap unexpected rewards from adopting modern generative audio methodologies, which allow the audio team to use small «sound building blocks» to create audio effects in real time.

Not exact matches

The mobile app has presets that let users manipulate audio in different ways, from equalizing sound levels at live events to adding effects like bass and reverb that make any listening experience sound like a concert hall.

And in another live - demo, Shanghai - based video game startup Directive Games showed an AR game in which the sound effects generated by digital imagery get louder or quieter depending on where people move in the physical world, underscoring the importance of precise audio in augmented reality.

The neckband doesn't have any inherent effect on audio quality, and although it may look bulky, in most cases it's rather light.

Danny Handke, creative design lead at Walt Disney Imagineering, says with the special effects, the lighting, the audio, the show control and the animation that comes to life in this space is the most complex attraction ever built on a Disney cruise ship.

BEAM SUNTORY also assumes no responsibility, and shall not be liable for any such damages caused by viruses or other forms of contamination or destructive features that may effect your computer equipment, software, data or other property on account of your access to, use of, or browsing in the Site or your downloading of any materials, text, images, video or audio from the Site or any linked sites.

But here's the internet effect — yes, a published transcript is one thing, but listening to the actual audio is more powerful and ultimately more effective (I love how Scott just plows ahead in the face of «Koch's» constant and often obscenity - laced interjections).

e.politics has been fascinated by the effects of portable video and audio recording on politics from the beginnings of the site in the Antediluvian days of 2006, and I'm damn jealous that Dan thought of that one before I did.

In the audio which is in the public domain, ACP Addo Danquah is heard, allegedly, informing the complainant, A-Plus, to withdraw the obviously damning aspects of his allegations he made against the two deputy Chiefs of Staff, Mr. Abu Jinapor and Asenso Boakye in order to limit the effects of the outcome of the investigations referred to her outfit since they are «all from the same stock»In the audio which is in the public domain, ACP Addo Danquah is heard, allegedly, informing the complainant, A-Plus, to withdraw the obviously damning aspects of his allegations he made against the two deputy Chiefs of Staff, Mr. Abu Jinapor and Asenso Boakye in order to limit the effects of the outcome of the investigations referred to her outfit since they are «all from the same stock»in the public domain, ACP Addo Danquah is heard, allegedly, informing the complainant, A-Plus, to withdraw the obviously damning aspects of his allegations he made against the two deputy Chiefs of Staff, Mr. Abu Jinapor and Asenso Boakye in order to limit the effects of the outcome of the investigations referred to her outfit since they are «all from the same stock»in order to limit the effects of the outcome of the investigations referred to her outfit since they are «all from the same stock».

And in a famous illusion called the McGurk Effect, videos of lip cues dubbed with mismatched audio cause people to hear the wrong sound.

Redundancy reduction within the system allows them to cut down the effects of background noise in any given audio recording and so improve accuracy still further.

The audio is well represented in both a solid Dolby Digital 5.1 presentation and a DTS track; the latter's only noticeable differences are slightly rangier music and sound effects.

It's outstanding, and that doesn't even begin to mention the blast of depth charges and battle audio effects later in the film.

EXTRAS: In addition to an audio commentary by director Travis Knight, there's a series of featurettes on making the film (from animating the monsters and water effects to composing the score), a closer look at the Japanese inspiration for the story and more.

EXTRAS: In addition to a pair of audio commentaries (one with director / co-writer Paul Feig and co-writer Katie Dippold, and the other with Feig and various crew members), there's a series of production featurettes covering things like casting, creature design and visual effects, over an hour of deleted / extended scenes, alternate takes and two different gag reels.

Although some might lament the lack of an audio commentary by director Gary Ross and the cast, the ridiculously in - depth making - of featurette «The World is Watching» (which runs just over two hours long) more than makes up for it, covering an array of topics like adapting the script, casting, production and costume design, stunts, special effects and more.

Scenes allude to the band's gloomy inclinations, bass - driven melodies and innovative use of audio effects (one band member uses an aerosol spray can to form a beat), but the story of Joy Division is an afterthought in the movie, replaced instead by a much more routine study of depression and the effects of sudden success and touring on a marriage.

EXTRAS: In addition to cast and crew audio commentaries on four episodes, the Blu - ray set includes «Inside «The Walking Dead»» and «The Making of «The Walking Dead»» featurettes for each episode, some deleted scenes and additional featurettes on the parallels between the comic book and TV series, visual effects and more.

«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.

While this may be disconcerting at first, the filmmakers confirm in the audio commentary that these effects are entirely deliberate.

Quiet music, generic sound effects, and gentle engine whirring are nowhere near as satisfying as the audio in most other similar games.

The audio, rendered in 5.1 Dolby TrueHD, is fairly robust, if a tad monotonous, working every channel and the sub with ambient and environmental sound effects plus a generally rumbly score.

Blu - ray Highlight: In addition to a fairly informative audio commentary by writer Seth Grahame - Smith, the disc also includes a collection of production featurettes (ranging from a basic making - of documentary, to more specific departments like make - up effects and fight choreography) that fans of the movie will definitely want to check out.

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.

Thanks to audio objects originating from specific locations rather than general areas, you'll hear the exact same effect no matter where you sit in the theatre — every seat is the «sweet spot.»

EXTRAS: In addition to a pair of audio commentaries — one with co - writer / director Stuart Beattie and another with producers Gary Lucchesi, Richard Wright, James McQuaide and Kevin Grevioux — the Blu - ray includes a making - of featurette and a behind - the - scenes look at designing the creature effects.

Music, audio and sound effects go hand in hand with the gameplay and I must admit that the professional voice acting really transforms this silly premise into a way to draw the player into the world of our reluctant hero who was stolen from his father's farm.

It felt like watching an old movie on a really battered, well - worn VHS tape and then watching the same movie's director's cut on Blu - ray on the biggest 3D television possible: the change in quality was dramatic in every way, from the video quality to the audio to the acting, writing, direction, special effects — everything.

EXTRAS: In addition to an audio commentary by director Cedric Nicolas - Troyan, there's a trio of featurettes on production, costume design and visual effects, some character profiles, deleted scenes and a gag reel.

The Ultimate Toy Box offered four soundtracks: Dolby Digital 5.1 EX tracks in English and French (encoded at 384 Kb / s), a sound effects - only track in 5.1 (also at 384 Kb / s) and the audio commentary in 2 - channels (192 Kb / s).

DVD special features are ample, anchored by a feature - length audio commentary track with director Alvart and producer Jeremy Bolt, in which the pair discuss Alvart's late - in - the - game, pre-production idea of depicting the effects of years of hyper - sleep via sloughing skin, as well as the special challenges involved for Foster in crafting a performance out of reacting to Quaid's disembodied voice, since more than half of his material was prerecorded, before the younger actor's scenes.

Add in a plethora of sound effects plus a great soundtrack and the audio goes hand in hand with the graphics and gameplay.

Typically, Disney also blows out the stops in the audio department: the DTS - HD Master Audio 7.1 lossless mix is just the ticket to maximize the raging - seas soundscape while also expertly handling subtler shoreside effects, all with the (successful) intent of audience immersion.

Like WB's Maximum Movie Mode, Blu - ray exclusive The Devil's in the Details: Inside the Action with Joe Carnahan is a souped - up commentary with the film's director that includes behind - the - scenes footage, storyboards, animatics, model - building and visual - effects presentations, and an interactive dashboard with info on vehicles and weaponry, as well as a running counter of steps in each plan (at times, Carnahan's audio commentary gives way to video segments with the director as on - screen host for the supplementary video footage.

EXTRAS: In addition to an audio commentary by writer / director Scott Derrickson, there are featurettes on the real - life Ralph Sarchie, the makeup effects designed for Sean Harris» character and a behind - the - scenes look at making the film.

While other Twilight Time discs may leave sound effects or licensed music intact, this track is truly an isolated score, presenting Ennio Morricone's score and nothing else in 2.0 DTS - HD master audio.

In addition to two theatrical trailers, we find a running audio commentary from director Jan De Bont and visual effects supervisor Stefen Fangmeier.

The attendant 5.1 Dolby TrueHD audio makes the stereo effects a little more pronounced than usual but otherwise has a tinny, drive - in movie quality.

EXTRAS: In addition to an audio commentary by director / co-writer Guillermo del Toro, there's a making - of featurette, interviews with the cast, additional featurettes on costumes, make - up effects and production design, a tour of Allerdale Hall and some deleted scenes.

A featurette about the film's 3D effects would have been a nice addition, or at the very least, an audio commentary by John Cho and Kal Penn, but that clearly wasn't in the budget.

While using two speakers of either type will provide a convincing and powerful effect, using four speakers will offer the optimum sense of audio movement and precision in most rooms.

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.

Brian began his career in game audio in 1987 as a composer, sound effects designer and music programmer for Williams Electronic Games in Chicago writing music and creating sound effects for pinball machines and coin - operated video games.

The stereo and surround sound effects are very good, and with all of the superhero shenanigans in the film, there are ample opportunities for the audio to fill the speakers.

There are many notable audio effects here, although the music sounds fine and the crowd noise in the rodeo scene offers some nice surround sound.