Sentences with phrase «audio mix of»

-- 7 inch double sided picture Vinyl Disc with score from the movie — DVD with 5.1 audio mix of Alexandre Desplat s score and a 7 minute video featurette of the scoring session, along with interviews with Composer Alexandre Desplat and Producers David Heyman and David Barron.

The audio mixing of the main characters voices sound like they were recorded on an old cellphone.

Not exact matches

Still, the idea of Sonos» audio quality and connectivity mixed with the Echo's intelligence is compelling, although the new Echo and Apple's HomePod will give the One some competition.

«I look at it as 18 baseball games played simultaneously and then we choose which of those baseball games you get,» audio mixer Chris Acker observed.

AI Pro will provide a minimum of five weekly podcasts (audio content) for listeners with a mix of Anfield Index podcasters as well as professionals and ex-professionals from the world of football and football media.

The best 12 - inch subwoofers offer a great mix of audio quality and standard size.

They identified the regions of the auditory cortex that contribute to AAD and found that the system decoded the attention of the listener and amplified the voice he or she wanted to listen to, using only the mixed audio.

By the end of the iteration process, our algorithm's estimate of the masking function based on its analysis of the mixed audio is quite close to the actual masking function computed using the true audio signals that made up the mixture.

An eclectic mix of yoga, weight training, cardio intervals, meditation, inspired affirmations, and heart - pumping music into 4, 45 minute audio - guided workouts.

An eclectic mix of yoga, weight training, cardio intervals, meditation, inspired affirmations, and heart - pumping music for an audio - guided workout to move your body and change your life.

There are a number of audio options, including a 7.1 DTS - HD mix in both English and Italian.

The core gameplay is rather uninspired but works well enough, the visuals and audio are both mixed bags, and the campaign is a decent enough length but never really offers a great sense of accomplishment.

I didn't expect much from it because this kind of film doesn't really lend itself to spectacular audio mixes; those seem more the domain of action flicks.

Also, although the soundtrack isn't the «hit - em - over-the-head» variety, it is a great example of well - blended and properly balanced audio mixing, which makes it the perfect complement for the video presentation.

The audio doesn't suffer from any technical problems, as this Dolby Digital 2.0 mix offers clean dialogue, background details and a fair amount of channel separation.

The mix of fetish wear, brilliantly designed cyber punk technology and super cool actors (both Reeves and Fishburne were catapulted into mega-stardom by this film) makes for an audio visual cocktail that influenced virtually every film that followed.

Sound is offered in 5.1 DTS - HD master audio, an upgrade over the original 4 - track stereo mix that, given the lack of an alternative, appears to have earned Altman's blessing at some point.

These scenes (the initial attack on young Conan's village, the final battle, and several others) should have a choral section during Basil Poledouris» «Riders of Doom», but it had been mistakenly omitted from the new audio mix.

Surrounds are used often and most efficaciously to generate a broad dispersion of the audio, with booming LFE adding serious punch to the mix's low end.

In BURDEN, Timothy Marrinan and Richard Dewey look at the artist's works and private life with an innovative mix of still - potent videos of his 70s performances, personal videos and audio recordings, friends, fellows students and colleagues, critics» comments and latter day footage at his Topanga Canyon studio, all peppered with his thoughts and musings through the years.

Meanwhile, the 5.1 DTS - HD master audio mix does a fine job of distributing sounds, period songs, and Silvestri's appealing score.

Further inspiration arrives with an alternate «audience participation» audio track, which mixes the film's normal sound with properly timed screams and cheers from a theater full of fans.

An intense and genre - defying musical journey combining organic electronic music and a live orchestra, recorded and mixed in 3D audio with the Brussels Philharmonic at Galaxy Studios, Belgium, Derivière's score conveys a vast spectrum of emotions whereby all the music is connected directly to the meaning of the game.

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 5.1 DTS - HD master audio soundtrack is surprisingly robust, getting your attention with crisp recordings of proper weight and fittingly mixed and distributed effects and music.

Scroll down to check out the bonus features, including a new 7.1 audio mix (as well as the original mono) and a new commentary tack by John Carpenter and Jamie Lee Curtis, and then let us know what you think of the announcement in the comments!

There's also an English «audio description track» for the visually impaired (in which a woman delivers pithy descriptions of the on - screen action in a hurried voiceover layered atop a Dolby Digital 5.1 mix), plus a French Dolby Digital 5.1 track.

Similarly, Dolby Digital 5.1 used to represent the peak (and standard) of home theater audio, but these discs» mixes feel kind of lackluster, often making limited use of the sound field despite the genre leanings.

Conversely, for better or worse, nothing stands out about the Dolby Digital 5.1 audio, which reproduces a run - of - the - mill comedy mix with adequate clarity.

An atmospheric narrative - platformer about a service robot stranded on a mysterious planet, Planet of the Eyes features a stunning visual mix of puzzle and platforming challenges, an original musical score, and fully voiced audio logs left by another survivor.

The audio track is similarly excellent, especially considering the film's mixing of overlapping dialogue, raucous and noisy crowd scenes, and incidental music — much of which is provided by Frank Zappa and the Mothers of Invention.

For what is in essence a catalogue title, Paramount graciously provides DD 5.1 audio (adapted, one presumes, from the six - track mix that adorned 70 mm prints of the film) that gives all six speakers a surprisingly muscular, multi-directional workout.

Only nine minutes of the sound version exists on film but the entire audio survives and the disc presents a mix of audio only, silent footage synchronized to the discs, and the surviving sound film footage.

Editor / sound re-recording mixer Walter Murch brings some Apocalypse Now flair to the soundmix, presented here in crisp 5.1 Dolby Digital; most of Jarhead is relatively quiet, which was perhaps the rationale for leaving off a DTS option, but one does note the slightest timidity in the explosions and gunfire and wonder if the audio is living up to its potential.

There are four sound options on the Blu - ray, the default of which is a new 7.1 DTS - HD master audio mix.

Additionally complementing a flawless, 2.35:1 anamorphic transfer and thudding Dolby and DTS 5.1 mixes (note that the DTS audio draws gratifying attention to the surrounds) on this Ultimate Mummy are a pair of wisely - deleted scenes; brief lessons in Egyptology and pharaoh lineage; full - motion split - screen storyboard - to - final film comparisons; an extraneous montage of production stills; what appears to be the Electronic Press Kit for this summer's The Mummy Returns; trailers for The Mummy and its upcoming sequel (in Dolby 5.1); cast and crew bios (plus notes); and the following DVD - ROM links to: a soon - to - be live webcast from the premiere of The Mummy Returns; Sommers's script; screen savers; The Mummy's PC game demo; and The Mummy Returns» official website.

Mix tracks, experiment with audio effects, and stream live to your friends over the PlayStation Network by using 4 am's unique Virtual Audio Canvas to control your composition with the PlayStation Move's full range of motion.

- Mixing & Mastering - Stereo & Stem track mixing - Clean up of vocal or instrument tracks - Noise reduction - Post production for TV / film / YouTube - Voice overs, Ad bumpers & Podcast Intros - Sound design - Video gameMixing & Mastering - Stereo & Stem track mixing - Clean up of vocal or instrument tracks - Noise reduction - Post production for TV / film / YouTube - Voice overs, Ad bumpers & Podcast Intros - Sound design - Video gamemixing - Clean up of vocal or instrument tracks - Noise reduction - Post production for TV / film / YouTube - Voice overs, Ad bumpers & Podcast Intros - Sound design - Video game audio

A distortion - free 5.1 audio mix in Dolby Digital and DTS configurations demonstrates a little weakness in its centre channel (which can be compensated for to some extent through equalizing), but for source material of this age, the sound demonstrates a remarkable fidelity.

When it comes to audio, a pleasant mix of tribal rhythms and cartoon sound effects blend seamlessly together while always matching the onscreen action.

All three of these audio tracks sound crisp and well - mixed, and the English dub is especially commendable for the excellent vocal nuances of its ADR cast.

«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 mix also offers an appropriate amount of engagement for a 2015 studio film.

The audio mix makes active use of the Dolby Digital 5.1 soundstage, pumping up the out - of - nowhere scares.

The 5.1 DTS - HD master audio mix is more remarkable, a delicious piece of sound design that uses all the channels to striking effect.

The audio is likewise pristine, the 7.1 DTS - HD MA mix rendering a lively soundstage marked by playful use of the surround channels.

Feed the aggressive audio mix plenty of juice and hold on.

As for the attendant 5.1 Dolby TrueHD audio, it's certainly heftier than the DD track of the DVD, though the mix itself is still only intermittently enveloping.

They include some funny deleted scenes, an eclectic mix of featurettes, a karaoke sing - along (with and without lyrics) and audio commentary from both Favreau and Farrell.

Extras: New Q&A in which Jarmusch responds to questions sent in by fans; new readings of William Blake poems by members of the cast, including Mili Avital, Alfred Molina, and Iggy Pop; new selected - scene audio commentary by production designer Robert Ziembicki and sound mixer Drew Kunin; new interview with actor Gary Farmer; deleted scenes; Jarmusch's location scouting photos; essays by critic Amy Taubin and music journalist Ben Ratliff.