Sentences with phrase «in audio mixes»

There's a noticeable sense of height to the SJ9's delivery, so where Atmos is used to its most extreme in audio mixes you'll be able to sense audio objects placed in the room around you.

I know the Limited Edition version of the game comes with an audio soundtrack, but it would have been nice to hear the background music be more prevalent in the audio mixing.

It would have been amazing for the gameplay and replay camera angles to include a helicopter camera angle from high above the circuit following the action with the sound effect of the helicopter in the audio mix.

A nice touch is their ability to raise the volume for a home driver's success during the race such as Lewis Hamilton performing overtakes and driving past grandstands at Silverstone, while you can hear the engines of the cars positioned around you on track as everything is appropriately balanced in the audio mix.

A nice touch is crowd's ability to raise the volume for a home driver's success during the race such as Lewis Hamilton performing overtakes and driving past grandstands at Silverstone, while you can hear the engines of the cars positioned around you on track as everything is appropriately balanced in the audio mix.

The power and scale of its sound beggars belief considering how attractive and compact the system is, while the sense of height in the audio mix is uncanny.

Dolby Atmos, you see, is a technology that utilises extra height channels in an audio mix yet, unlike other technologies such as Dolby Pro Logic IIz, the audio doesn't feel like it's coming from the front stage.

Speaking of clear sound, the independent volume levels for game and chat let you fine tune the audio balance better than the Xbox One's built - in audio mixer.

To work as a sound designer in an audio mixing company where I would be given ample chances to do what I am best at - sound designing.

Fyi, I reuploaded the video because there was an error in the audio mixing in the first version, here's the updated one: https://youtu.be/5NImZQCCebo

Not exact matches

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

The audio has been mixed in 5.1 Dolby, highlighting Ennio Morricone's Oscar - nominated score.

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.

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.

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.

Disney was generally doing 5.1 mixes for their direct - to - video films back in 2002 and you'd think this would get one now, or at least an uncompressed two - channel DTS - HD master 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.

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.

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.

The single Dolby Digital 5.1 audio track here presents the film's original matrixed surround mix, but in discrete channels; as a result, the surrounds are mono (though they're encoded as two separate channels).

The mix stays largely in the front, but the audio is appropriately divided among the three channels there.

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.

Your other choices are restored original English audio in Dolby Surround 2.0 and French and Spanish Dolby Digital 5.1 Disney Enhanced Home Theater 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.

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.

The Polish - language audio, presented in LPCM 2.0 stereo, was supervised by the original sound mixer (Michal Zarnecki) and is impressive given the film's vintage.

The DTS - HD master audio 5.1 track that anchors the Blu - ray release is solid in its tone and breadth, but honestly seems mixed a bit low across the board.

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.

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.

«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.

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.

The audio mixes do nothing to confirm that they're prepared with five distinct channels in mind.

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.

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

A DD 5.1 audio mix is roomy and professional — sedate almost, though it'll occasionally surprise with the bass refrain and the stray atmospheric in the rear channels.

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).

A Dolby 2.0 stereo audio mix is fine, given over for the most part in a reproduction of Newman's score but showing off a nice baby rumble during a key thunderstorm.

In short, Tarzan II may be a direct - to - video feature, but its audio presentation gives the impression of a full theater - worthy sound mix.

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.

The 2.40:1 transfer shows off the sharp, interesting filmic look, while sound is offered in both DTS X (7.1 DTS - HD master audio for those who can't support it) and in a DTS Headphone 2.0 mix.

Beginning with a 2.35:1 anamorphic video transfer that reproduces the picture's lurid, saturated colour palette (all deep reds and greens), Cobb looks as good as it probably can look and sounds, in its booming Dolby Surround audio mix, as good as it probably ever has.

Additionally, the Blu - ray includes four iconic GN» R music videos that have been newly sync'd to both remastered stereo audio and new 5.1 surround sound mixes, plus a brand - new video for «It's So Easy» that was shot in 1989 by the band but was never completely finished — until now in 4K HD from 16 mm film transfers.

Supports up to 128 simultaneous independent audio objects in a mix for rich, realistic, and breathtaking sound

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).