Sentences with phrase «audio mix on»

Not exact matches

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.

It has a middle that's padded, a look that could use a few more light bulbs, a protagonist who never earns our sympathy, and an audio mix that leans much too heavily on the bass, often making it impossible to understand what's being said.

The DTS mix created a marginally more dynamic setting but I didn't think the new disc's audio was a marked improvement on the old disc's track.

A decent 5.1 Surround mix is the only audio option on this disc.

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.

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.

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.

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.

As for the audio, the primary audio track on the DVD is a Dolby Digital 5.1 mix.

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.

The audio mix plays well with what's happening on screen.

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.

Brigadoon was recently released on a made - on - demand Blu - ray from Warner Archive in a beautiful print, using a new 2K scan and the same 5.1 audio mix used on the 2005 DVD release.

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.

«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.

In the remastered edition, players will head back on the open road with the ability to timehop between the classic and remastered modes, and mix - n - match audio, graphics and user interface options as they wish.

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

Unquestionably marvellous is the (anachronistic) 5.1 Dolby Digital audio, featuring more gut - churning bass than Dolby owners will be used to as the robots march on New York City, though this showpiece use of the LFE channel occurs so early in the action that it's a mild letdown when no other facet of the mix proves quite as memorable.

An «Alternate Opening Concept» (8:53) treats us to an ambitious start in a mix of storyboards and previsualization CGI with optional McG audio commentary shedding light on it.

The audio, on the other hand, dazzles, the 5.1 DTS - HD MA track honouring an inventive mix characterized by a grinding bass that sounds generated by friction and, fittingly, gets under the skin like nails on a chalkboard.

Trivia: Joaquin Phoenix has stated that Lynne Ramsay gave him an audio file of fireworks mixed with gunshots to suggest what's going on in Joe's head.

Newman's music has appeared as re-recorded themes, in an original score suite, on a bootleg CD, and on an authorized CD (remixed from dual audio elements in stereo), so this release allows viewers to flip between the final mono mix and original score elements as they appeared in mono in the final mix.

The complete soundtrack is also presented in 5.1 on a separate audio track, offering a more precise mix (though oddly, lacking extra bass present in the regular track) of Cole Porter's naughty lyrics and some impressive orchestra passages (arranged by Andre Previn and Saul Chaplin).

Unfortunately, the sound quality on Race with the Devil isn't all it could be, as the audio mix makes the music and sound effects sound a lot louder than the dialogue track.

The 5.1 DTS - HD master audio mix is full of aggressive and impactful effects above and beyond what teenagers relying on the sound from consumer cameras should secure.

Day & Night's Teddy Newton explains the Wayne Dyer radio audio that appears in his film, while layout artist and stereographer Sandra Karpman touches on the mix of 3D and 2D.

This is not a showy mix but the care lavished on it is obvious in lossless audio.

Joining the video is a surprisingly tame DD 5.1 track; of course, the song selections are so banal that they wouldn't give the speakers a workout under the best conditions, but aside from some decent low - end for the sci - fi components, the mix is as humdrum as the movie itself — although the audio on the DVD is without any serious defects.

The video is well matched by a DD 5.1 audio mix that blows the shingles off the roof: the musical numbers sound as good as they can, though they're so clean that the obviousness that the vocal tracks are laid on a separate channel make the scenes as they play out in crowded pubs seem curiously detached.

On Blu - ray, the movie is presented in 1080P high definition 2.40:1 widescreen; audio comes in the form of 7.1 DTS - HD, with a French language Dolby digital 5.1 mix as well.

English - speaking viewers can choose to watch the movie in 7.1 DTS - HD master audio, 5.1 ES DTS - HD, or plain Dolby Surround 2.0, depending on their home theater setup (the 5.1 mix plays by default).

Of course, we learn a lot about the effects, but we also find info about cast and performances, shooting on location and dealing with weather, real tornadoes and research, story and characters, music and audio design, and a mix of other production topics.

Unfortunately, Universal didn't see fit to include a DTS mix on this DVD - more about that omission later - but I felt very pleased with the high caliber of the Dolby audio.

On this «Platinum Edition» DVD, we find a nice mix of extras, among which are two audio commentaries.

As for audio, it's definitely «reference quality»: the lossless DTS - HD Master Audio 5.1 surround mix is a masterpiece of discrete separation and pinpoint clarity, delivering a potent, immersive experience on par with the theatrical one.

The Blu - ray dispensed with the awful fake stereo track from the DVD and just went with the appealing monaural mix that also appeared on that release; the DTS - HD MA mono was a little warmer and cleaner than the DVD's audio.

Housed in a regular plastic Amaray case with two snap - shut hinges on the inward spine, Midlife Vices comes to DVD presented in 1.78:1 anamorphic widescreen, with a 2.0 stereo audio mix.

Previously released by VCI, the new version comes with a vastly superior transfer and audio mix, and among the generous extras is a nine minute featurette on Ennio Morricone's score.

The primary audio track on the DVDs is a Dolby Digital 5.1 mix.

The primary audio track on the disc is a Dolby Digital 5.1 mix.

However, the audio is a disappointment with still no HD mix on the release.

Once again, the Dolby Digital 5.1 track is one of the best - mixed audio presentations for a sitcom on DVD.

The 5.1 DTS - HD master audio mix features a lot of bass, which may rattle your glasses on occasion.

The 5.1 Dolby TrueHD audio lacks lustre as well — even the jump - scares are curiously sedate, though I suspect the mix was dull to start with as opposed to compromised on its journey to the small screen.

A Dolby 5.1 audio mix is full and vibrant as well, if light, appropriately, on the pyrotechnics.

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.

Ben Burtt, the Supervising Sound Editor on J.J. Abrams» «Super 8,» talks about his connection to the film, the biggest audio moments, and his approach to the mixing process in a more general sense.

As usual, the 5.1 audio mix (here encoded to Dolby TrueHD) is much more robust on disc, expanding the dynamic range beyond what the original telecast allowed and making more aggressive use of the surround channels.

The situation is much better on the audio front: The Dolby Digital 5.1 mix is probably the third - best of the year in the Dolby format (after Finding Nemo and Terminator 3: Rise of the Machines)-- a moment in which you hear guns being cocked in every corner of the room on the Tomb Raider 2 disc (review forthcoming) is magnificently, if anachronistically, expanded upon here to become a gimmick in any scene involving artillery, while the bass from Nemo's Nautilus is almost intense enough to make you sick.