Not exact matches
Courses are designed for youth ages 8 to 14 and include options such as computer and game programming, Minecraft modding, 3 - D printing,
digital art and animation,
sound mixing, media editing and entrepreneurship.
Ortiz - Teissonniere describes the show as a «21st century
mix of video design, 3D scanning technology, music, high - definition photography, light and
sound and special effects is bringing a 15th Century masterpiece to the
digital era.»
Sound Oasis Deluxe S - 5000 noise machine incorporates such significant advancements as 3 speaker (subwoofer enhanced) sound quality, AM / FM digital stereo sound, 145 sound possibilities with patented sound mixing technology, patented Sleep Enhancement ® technology (to help lull you to sleep), a doctor developed «bio-sync» therapy sound, a voice memo recording feature and built - in technology to control your bedside lamp for light the
Sound Oasis Deluxe S - 5000 noise machine incorporates such significant advancements as 3 speaker (subwoofer enhanced)
sound quality, AM / FM digital stereo sound, 145 sound possibilities with patented sound mixing technology, patented Sleep Enhancement ® technology (to help lull you to sleep), a doctor developed «bio-sync» therapy sound, a voice memo recording feature and built - in technology to control your bedside lamp for light the
sound quality, AM / FM
digital stereo
sound, 145 sound possibilities with patented sound mixing technology, patented Sleep Enhancement ® technology (to help lull you to sleep), a doctor developed «bio-sync» therapy sound, a voice memo recording feature and built - in technology to control your bedside lamp for light the
sound, 145
sound possibilities with patented sound mixing technology, patented Sleep Enhancement ® technology (to help lull you to sleep), a doctor developed «bio-sync» therapy sound, a voice memo recording feature and built - in technology to control your bedside lamp for light the
sound possibilities with patented
sound mixing technology, patented Sleep Enhancement ® technology (to help lull you to sleep), a doctor developed «bio-sync» therapy sound, a voice memo recording feature and built - in technology to control your bedside lamp for light the
sound mixing technology, patented Sleep Enhancement ® technology (to help lull you to sleep), a doctor developed «bio-sync» therapy
sound, a voice memo recording feature and built - in technology to control your bedside lamp for light the
sound, a voice memo recording feature and built - in technology to control your bedside lamp for light therapy.
Camera (color, widescreen, HD), Bobby Bukowski; music, Anthony Partos, Matteo Zingales; music supervisor, Michael Hill; production designer, Alex DiGerlando; art director, Christina Kim; set decorator, Monique Champagne; costume designer, Meghan Kasperlik;
sound (Dolby
Digital), Micah Bloomberg; supervising
sound editor, Odin Benitez; re-recording
mixer, Mark Mangini; visual effects supervisor, Tarn Fox; stunt coordinators, Kevin Beard, Danny Cosmo; assistant director, Thomas Deckaj; casting, Douglas Aibel, Tracy Kilpatrick.
Camera (color), Wyatt Garfield; editor, Robert K. Lambert; music, Alexis & Sam; music supervisors, Frankie Pine, Mandi Collier; production designer, Kara Lindstrom; art director, Rosa Palomo; set decorator, Javed Noorullah; costume designer, Ane Crabtree;
sound (Dolby
Digital), Paul Sorohan; supervising
sound editor, Rob Webber; re-recording
mixers, Patrick Ciccone, Joel Catalan; visual effects supervisor, Sean Thigpen; visual effects, Wunderfilm, Stargate Studios; special effects coordinator, Bob Shelley; stunt coordinator, Guss Williams; line producer, Gary Guidice; associate producer, Fritzi Horstman; assistant director, Joe Suarez; casting, Vickie Thomas.
Camera (color, widescreen, HD, 3D), Pablo Plaisted; live action camera, Barry Peterson; editors, David Burrows, Chris McKay; music, Mark Mothersbaugh; production designer, Gran Freckelton; live action art directors, Jay Pelissier, Sue Chan; live action set decorator, Danielle Berman;
sound (Dolby
Digital / Datasat), Brannon Brown; supervising
sound editor / designer, Wayne Pashley; re-recording
mixers, Phil Heywood, Pashley, Greg Fitzgerald; animation supervisor, McKay; feature animation, Animal Logic; head of animation, Rob Coleman; FX supervisor, Carsten Kolve; special effects supervisor, Jimmy Lorimer; 3D conversion, Legend 3D; associate producers, Amber Naismith, Will Allegra; assistant director, Steve Day; casting, Mary Hidalgo.
Camera (color, widescreen), Thierry Arbogast; editor, Julien Rey; music, Eric Serra; production designer, Hugues Tissandier; art directors, Gilles Boillot, Steplane Robuchon, Thierry Zemmour; costume designer, Olivier Beriot;
sound, Guillaume Bouchateau, Stephane Bucher, Didier Lozahic, Shannon Mills, David Parker;
sound designer, Shannon Mills; re-recording
mixer, David Parker; special effects supervisor, Philippe Hubin; senior visual effects supervisor, Nicholas Brooks; visual effects, Industrial Light & Magic, Rodeo FX,
Digital Factory, Savage Visual Effects, Make, Hatch; stunt coordinator, Laurent Demianoff; assistant director, Ludovic Pernard; casting, Nathalie Cheron.
The movie's theatrical Dolby
Digital 5.1
sound mix is reproduced here accurately, with crystal - clear dialogue in the centre channel that's been perfectly recorded, ensuring you don't miss a word of this decidedly dialogue - based film.
Camera (Redlab Canada color, widescreen), Vern Nobles Jr.; editor, Steven Cohen; music, Tree Adams; music supervisor, Sean Fernald; art director, Tudor Boloni; set decorator, John Sporano; costume designer, Justine Seymour;
sound (Dolby
Digital), Kim Ornitz;
sound designer, Ryan Collins; supervising
sound editor, Casey Genton; re-recording
mixers, Rick Ash, Eric Offen; visual effects supervisor, Jack Cloud; visual effects, Cloudesign; special effects supervisor, Elia Popov; stunt coordinator, Pete Antico; line producer, Sanford Hampton; associate producers, Caroline McGorian, William Chaney, Rob Gordon; Easton Thodos; assistant director, Nick Satriano; casting, Iris Hampton.
The Dolby
Digital 5.1 French track applies Phil Spector's wall - of -
sound to a feature - length thriller — it's a bombastic
mix absent of a certain finesse.
Though they are all encoded in Dolby
Digital 5.1, don't expect the soundtracks to betray the basic monaural
sound mixes with which they first took to the airwaves.
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.
Housed in a regular plastic Amaray case, Creation comes to DVD presented in 2.35:1 anamorphic widescreen, with a Dolby
digital 5.1 surround
sound audio
mix, and optional English and Spanish subtitles.
Camera (color, widescreen, Red
Digital Cinema, 3D), Simon Duggan; editors, Matt Villa, Jason Ballantine, Jonathan Redmond; music, Craig Armstrong; executive music supervisor, Anton Monsted; production designer, Catherine Martin; supervising art director, Ian Gracie; art directors, Damien Drew, Michael Turner; set decorator, Beverly Dunn; costume designer, Martin;
sound (Dolby
Digital / Datasat / SDDS), Guntis Sics;
sound designer / supervising
sound editor, Wayne Pashley; re-recording
mixers, Steve Maslow, Phil Heywood, Pashley; visual effects supervisor, Chris Godfrey; visual effects producer, Joyce Cox; visual effects, Animal Logic, Prime Focus, Rising Sun Pictures, Iloura, Industrial Light & Magic, Method Studios; stunt coordinator, Glenn Ruehland; assistant director, Jennifer Leacey; casting, Ronna Kress, Nikki Barrett.
Camera (color, Arri Alexa
digital), Robert Eldwit; editor, John Gilroy; music, James Newton Howard; music supervisors, Brian Ross, Nic Ratner; production designer, Kevin Kavanaugh; art director, Naaman Marshall; set decorator, Meg Everist; costume designer, Amy Wescott; sound (Datasat / Dolby Digital), Shawn Holden; sound designer / supervising sound editor, Scott Martin Gershin; re-recording mixers, Andy Koyama, Martyn Zub; visual effects, relevantVFX, Rain VFX, Artea; stunt coordinator, Mike Smith; associate producer, Juliana Guedes; assistant directors, David A. Ticotin, Richard L. Fox; second unit director, Mike Smith; second unit camera, Christopher Moseley; casting, Mindy
digital), Robert Eldwit; editor, John Gilroy; music, James Newton Howard; music supervisors, Brian Ross, Nic Ratner; production designer, Kevin Kavanaugh; art director, Naaman Marshall; set decorator, Meg Everist; costume designer, Amy Wescott;
sound (Datasat / Dolby
Digital), Shawn Holden; sound designer / supervising sound editor, Scott Martin Gershin; re-recording mixers, Andy Koyama, Martyn Zub; visual effects, relevantVFX, Rain VFX, Artea; stunt coordinator, Mike Smith; associate producer, Juliana Guedes; assistant directors, David A. Ticotin, Richard L. Fox; second unit director, Mike Smith; second unit camera, Christopher Moseley; casting, Mindy
Digital), Shawn Holden;
sound designer / supervising
sound editor, Scott Martin Gershin; re-recording
mixers, Andy Koyama, Martyn Zub; visual effects, relevantVFX, Rain VFX, Artea; stunt coordinator, Mike Smith; associate producer, Juliana Guedes; assistant directors, David A. Ticotin, Richard L. Fox; second unit director, Mike Smith; second unit camera, Christopher Moseley; casting, Mindy Marin.
David Lazan; set decorator, Leslie E. Rollins; set designers, Amy Heinz - Barnett, Sarah Contant, Jeremy Woodward; costume designer, David Robinson;
sound (Datasat / Dolby
Digital), Tom Williams;
sound designer, David Esparza; supervising
sound editor, Mandell Winter; re-recording
mixers, Steve Pederson, Daniel J. Leahy; visual effects supervisor, Sean Devereaux; visual effects, Zero VFX; stunt coordinators, Keith Woulard, Lin Oeding; associate producer, Kat Samick; assistant director, Philip A. Patterson; casting, Mary Vernieu, Lindsay Graham.
The feature presentation shimmers thanks to its
digital restoration, and the
sound resonates with an all - new 5.1 Disney Enhanced Home Theatre
Mix.
Some bass finds its way into the film's Dolby
Digital 5.1 track on DVD, but where the
mix shines is in its approximation of back - country ambience: bird - chirping and other nature effects
sound unsettlingly authentic and transparently directional.
While the Dolby
Digital tracks present the film in its original mono
mix (in English, French, and Spanish), the clarity is fine and the music
sounds as good as mono can.
The Dolby
Digital 5.1
mix reproduces music with utmost clarity and fullness (the aforementioned Mazzy Star tune
sounds as if it's being played live in your home theatre) while bass is reserved for a few licks of literal thunder.
The Blu - ray audio options are anchored by English language 5.1 DTS - HD and 2.0 DVS tracks, as well as Spanish and French Dolby
digital 5.1 surround
sound mixes.
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.
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.
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.
Generally lacking in nuance, the Dolby
Digital 5.1
mix takes a wall - of -
sound approach to the song selections, which have a slightly more immersive character here than they would on CD.
He also continued to work as a recording and
mixing engineer for record projects and to create
digital sound sample offerings for
digital sampling keyboards.
* Minor edge - enhancement issues aside, the image very simply delivers — ditto the Dolby
Digital 5.1 audio: the front - heavy
mix sounds crisp and warm, though Meryl Streep's dialogue occasionally dips so far below reference volume as to be inaudible.
THE DVD Innerspace is available on DVD from Warner Home Video in a presentation that contains a 1.78:1 anamorphic widescreen transfer of the film along with 5.1 Dolby
Digital sound likely based off the six - track
mix that accompanied 70 mm prints.
(Color, widescreen); editors, Matthew Landon, Carole Kravetz; music, Hans Zimmer, Richard Harvey; production designers, Lou Romano, Celine Desrumaux;
sound designer (Dolby
Digital), Tim Nielsen; supervising
sound editors, Nielsen, Christopher Barnett; re-recording
mixers, Nielsen, Barnett; visual effects supervisor, Pascal Bertrand; character designer, Peter De Seve; co-character designer, Barthelemy Maunoury; CG character supervisor, Hidetaka Yosumi; CG animation supervisor, Jason Boose; CG lighting supervisor, Adel Abada; stop - motion creative director, Jamie Caliri; stop - motion production designer and character designer, Alex Juhasz; stop - motion lead animator, Anthony Scott; associate producers, Brice Garnie, Olivier Rakoto; casting, Sarah Finn.
Camera (color, widescreen, HD), Stuart Dryburgh; editors, Joe Walker, Stephen Rivkin, Jeremiah O'Driscoll, Mako Kamitsuna; music, Harry Gregson - Williams, Atticus Ross, Leo Ross; music supervisor, Gabe Hilfer; production designer, Guy Hendrix Dyas; supervising art director, Thomas C. Reta; art directors, Luke Freeborn, Arran Mann; set decorator, Victor J. Zolfo; costume designer, Colleen Atwood;
sound (Dolby
Digital / SDDS / Datasat), Lee Orloff;
sound designers, Tony Lamberti, Victor Ray Ennis; supervising
sound editor, Ennis; re-recording
mixers, Doug Hemphill, Andy Nelson, Lamberti; special effects coordinator, Bruno Van Zeebroeck; visual effects producers, Amber Kirsch, Petra Holtorf - Stratton; visual effects, Upp, Scanline VFX,
Digital Domain, Pixel Pirates; stunt coordinator, Doug Coleman; assistant director, Lisa C. Satriano; associate producers, Bryan H. Carroll, Maggie Chieffo; casting, Bonnie Timmerman.
Better than Turkish Delight, both versions offer English audio tracks in DTS 5.1
Digital Surround
Sound and 5.1 Disney Enhanced Home Theater
Mix, with subtitles in French and Spanish.
Camera (color), Gonzalo Amat; editor, Gregory Plotkin; production designer, Nathan Amondson; set decorators, Teresa Visinare, Julie Ochipinti; costume designer, Marylou Lim;
sound (Dolby
Digital / Datasat), Walter Anderson, Ed Novick, Steve Nelson; re-recording
mixers, Joe Dzuban, Daniel J. Leahy; visual effects supervisor, Woei Hsi Lee; visual effects, Atomic Fiction; special effects coordinator, Mark Gullesserian; stunt coordinators, David Rowden, Charlie Croughwell; assistant directors, Mark Anthony Little, Dale Stern; casting, Carla Hool.
In the
sound department, we once again get English, Spanish, and French
mixes in Dolby
Digital 5.1.
Camera (color, widescreen), Stuart Dryburgh; editor, Chris Plummer; music, Alex Heffes; production designer, Grant Major; art director, Jill Cormack; set decorator, Daniel Birt; costume designer, Ngila Dickson;
sound (Dolby
Digital / Datasat), Fred Enholmer;
sound designer, Tim Prebble; re-recording
mixers, Lora Hirschberg, Gilbert Lake; special effects supervisor, Ken Durey; visual effects producer, Ineke Majoor; visual effects, Iloura; stunt coordinator, Allan Poppleton; associate producers, Satoru Suzuki, Yasushi Akutagawa; assistant director, Toby Pease; second unit camera, Donald Duncan; casting, Yoko Narahashi, June Jenkins.
The Dolby
Digital and DTS 5.1
mixes are a bit of a letdown, despite much ricocheting of bullet effects between the split - surrounds; dialogue
sounds damp, particularly with the DD track, and bass is unusually reserved, if punchy when called to arms.
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 Dolby
Digital 5.1
mix is not very active in the surrounds, although there are a number of
sounds placed subtly, realistically, in the rears (a honking horn, a police siren).
Less impressive is the Dolby
Digital 5.1
mix — a shame that the film looks more ambitious than a comedy but
sounds exactly like the typical example of one: unassuming.
Camera (Deluxe color, Arri Alexa
digital, widescreen), Ben Seresin; editors, Roger Barton, Matt Chesse; music, Marco Beltrami; production designer, Nigel Phelps; supervising art director, Jon Billington; senior art directors, Alan Gilmore, Julian Ashby; art directors, Ben Collins, Matthew Gray, James Foster; set decorator, Jennifer Williams; costume designer, Mayes C. Rubio;
sound (Datasat / Dolby Surround 7.1), Stuart Wilson; supervising
sound editors, Nigel Stone, Ethan Van Der Ryn; re-recording
mixers, Anna Behlmer, Lora Hirschberg; visual effects producer, Robin Saxen; visual effects, MPC, Cinesite, Industrial Light & Magic, Lola VFX; assistant director, Toby Hefferman; second unit director / stunt coordinator, Simon Crane; second unit camera, Igor Meglic; casting, Kate Dowd.
Camera (Deluxe color, Panavision widescreen), Bojan Bazelli; editors, Craig Wood, James Haygood; music, Hans Zimmer; production designers, Jess Gonchor, Crash McCreery; supervising art directors, Jon Billington, Brad Ricker; set decorator, Cheryl Carasik; costume designer, Penny Rose;
sound (Dolby
Digital / Datasat), Lee Orloff; supervising
sound editors, Addison Teague, Shanon Mills; re-recording
mixers, Paul Massey, Christopher Boyes;
sound designers, Teague, Mills, Boyes, Gary Rydstrom; special effects supervisor, John Frazier; special effects coordinators, Jim Schwalm, Jon G. Belyeu; visual effects supervisors, Tim Alexander, Gary Brozenich; visual effects producer, Shari Hanson; visual effects, Industrial Light & Magic, Base FX, MPC, lola VFX, Smoke Donkey VFX, Atomic Fiction, Virtuos; ILM animation supervisor, Kevin Martel; MPC visual effects supervisor, Matt Middleton; special makeup effects, Joel Harlow; animal coordinator, Boone Narr; stunt coordinator, Thomas Robinson Harper; associate producers, Pat Sandston, Melissa Reid, Shari Hanson, Tom Engelman, Morgan Des Groseillers; assistant director, Simon Warnock; second unit director, Charles Gibson; second unit camera, Patrick Loungway; casting, Denis Chamian.
The DVD offers a pleasing Dolby
Digital 5.1 remix, where reprocessed
sound effects and Carpenter's mono music tracks (more prominent than in the original mono
mix) are well balanced, and loud stabs are reserved for their appropriate shocks.
The Dolby
Digital 5.1
mix sounds like a basic surround presentation (which the film offered on its first DVD).
I found the accompanying Dolby
Digital and DTS 5.1
mixes a tad cloudy in the music department and to have less intense bass than some scenes warrant, but the
sound has nice atmosphere and a parrot attack (chapter 10) really takes advantage of the discrete surrounds.
Camera (Deluxe color, 35 mm), Roger Deakins; editors, Joel Cox, Gary D. Roach; music, Johann Johannsson; music supervisor, Deva Anderson; production designer, Patrice Vermette; art director, Paul Kelly; set decorator, Frank Galline; set designers, Mayumi Konishi - Valentine, Aaron Linker; costume designer, Renee April;
sound (Datasat / Dolby
Digital / SDDS), Mary H. Ellis;
sound designer, Tom Ozanich; supervising
sound editor, Alan Robert Murray; re-recording
mixers, John Reitz, Greg Rudloff; visual effects, Pacific Title & Art Studio, Luma Pictures; stunt coordinator, Steven Ritzi; assistant director, Donald L. Sparks; casting, Kerry Barden, Paul Schnee
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.
Camera (color, Arri Alexa widescreen), Reed Morano; editor, Kate Abernathy; music, Dave Eggar, Chuck Palmer, Amy Lee; production designer, Jorge Barba; art director, Victoria Cuevas; costume designer, Liz Lash;
sound (Dolby
Digital), Omar Barraza;
sound designer / re-recording
mixer, Dennis Leonard; visual effects, Outlier Post; stunt coordinator, Massimiliano Ubaldi; line producer, Alex G. Scott; assistant director, Gino Allegro; casting, Samy Burch, Cecilia Maggio.
New
digital transfer (DVD edition); new, restored high - definition
digital transfer, supervised and approved by director Steven Soderbergh and supervising
sound editor and rerecording
mixer Larry Blake, with 5.1 and 2.0 surround DTS - HD Master Audio soundtracks (Blu - ray edition)
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 Halle
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 Halle
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.
Housed in a regular plastic Amaray case in turn stored in a cardboard slipcover, Altitude comes to DVD presented in 2.40:1 anamorphic widescreen, divided into a dozen chapters, with an English language Dolby
digital 5.1 surround
sound audio
mix, and optional English SDH and Spanish subtitles.
The audio is presented in English, Spanish and French language Dolby
digital 2.0 surround
sound mixes, with optional subtitles in the former two tongues.