Sentences with phrase «mixed with the sound effects»

The voice acting is perfect as is the soundtrack that when mixed with the sound effects and gameplay, it creates a very entertaining title on the PlayStation 4.

Not exact matches

Honey taken before going to bed, mixed with lukewarm water and warm milk can have a sedative effect on the nervous system and may provide a sound and healthy sleep.

An album that does his low - key legacy well, mixing classic rock - influenced guitar solos and quaint folk sounds with psychedelic effects and high - pitched melodies that put Rush's Geddy Lee to shame.

The idea of a «natural» sound stage is almost at odds with a film in the Star Wars series, but the sound mix team here (led by the incomparable Gary Rydstrom) have created an electrically vibrant, totally involving mix that makes full use of the entire sound stage, with effects happily flying around the room in complete sympathy with what's happening on screen.

The soundtrack preserves the careful mixing of diegetic and non-diegetic effects, most notably in how urban street sounds, particularly of traffic, are used to bridge studio - shot footage with location shooting.

The nominations will begin with the categories cinematography, costume design, film editing, makeup and hairstyling, original score, production design, animated short film, live action short film, sound editing, sound mixing, and visual effects.

Kurzel's solution, to mixed results, is to lay on with crimson and orange color saturations, the bone - crunching and this - knob - goes - to - 11 sound effects.

«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 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.

This mix utilizes the overhead speakers to get the most out of the experience with strong sound effects when needed.

Though a straightforward mono mix, «Thirst» has some marvelous sound design that particularly pays off during a hallucinatory «conversion» sequence of sorts, with wild sound effects by mixer Peter Fenton that beautifully intermesh with Brian May's excellent orchestral score.

The next section is Music & Sound, which begins with «Designing Sound» (5:39)(SD), a standard sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final Sound, which begins with «Designing Sound» (5:39)(SD), a standard sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final Sound» (5:39)(SD), a standard sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final sound design featurette that also includes three versions of the famous scene in which the toys cross the road (score - only, effects - only, and the final mix).

The film's surround audio mix combines a few pulsating songs with Marco Beltrami's synth / orchestral shadings and saturated sound effects, meant to evoke the emphatic «bang!»

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.

Elsewhere, the mix does strive to put the viewer in the action — an early scene with Sam Elliott taking an overly - hot shower uses rear - channel effects to enhance the first - person POV, and a later action scene that takes place outside of the house gains tension from directional sound work after Lewis's score drops away entirely.

Part I participants include Tamahori, Kinberg, Dafoe, producer Arne L. Schmidt, Ice Cube, Sunny Mabrey, Scott Speedman, Samuel L. Jackson, Nona Gaye, production designer Gavin Bocquet, costume designer Sanja Milkovic Hayes, with Part II adding comments from technical advisors Dave Kennedy and Harry Humphries, assistant stunt coordinator Mike Gunther, fight coordinator Marcus Young, 2nd unit stunt coordinator Freddie Hice, Xzibit, score mixer Dennis Sands, composer Marco Beltrami, sound designer / re-recording mixer Christopher Boyes, Farrar, De Qattro, visual effects animation supervisor James Tooley, and visual effects associate supervisor Samir Hoon.

This mix is definitely playing with power, with wraparound high - octane sound effects and impeccable discrete separation of elements in the soundscape.

There we see Emmerich chat along with Chusid, Goulekas, Gordon, Steiger, first AD Kim Winther, sound mixer Don Cohen, costume designer Renee April, and special effects supervisor Neil Corbould.

Cohen's straight approach is also mirrored by BT's bombastic score, which follows the same potent mix of big orchestra sounds integrated with electronic sweetening and enhancement effects.

The original mono mix was beautifully layered with sound effects, and it's worth noting that Anchor Bay didn't upgrade the film with a pseudo-stereo mix, a practice often applied by studios to older films to upgrade their elements for a surround sound setup.

The default English 7.1 DTS - HD MA mix is surprisingly robust for a track from a 1983 film, but a comparison with the lossy DTS 2.0 stereo alternative reveals significant differences in the sound effects.

As with any Mono track, all of the audio comes from the center channel, and the mix of dialogue, mostly - present»70s score, and a few active sound effects is satisfactory and never difficult to distinguish.

Rodriguez takes us «Inside Troublemaker Studios» (11 minutes) to give us a tour of his garage, in which he's assembled a sound mixing stage, along with editing, music, and special effects consoles.

Audio: The audio is the industry standard English DTS - HD MA 5.1, with an accomplished mix and good use of effects speakers to produce logical, directional sound.

A nice bonus, but pretty useless, since the film's Cantonese track is mastered in a robust Dolby 5.1 mix, and the overtly synth score is reduced to a flat mono track, sharing limited headroom with intrusive sound effects.

- a lot of focus was put on sound effects in order to immerse players in the world of Hyrule - the development team worked with Sound Racer, a studio specialized in sound effects - this studio also worked on Xenoblade Chronicles X - they recorded more than 10 000 different sounds for the game - the team used a school bag to simulate the sound of rubbing leather - for the sound of «normal» footsteps, they mixed various kinds of sands - for the sounds of equipment, they had to search for various materials and find ways to use them - they used an actual block of ice to recreate the sound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samplessound effects in order to immerse players in the world of Hyrule - the development team worked with Sound Racer, a studio specialized in sound effects - this studio also worked on Xenoblade Chronicles X - they recorded more than 10 000 different sounds for the game - the team used a school bag to simulate the sound of rubbing leather - for the sound of «normal» footsteps, they mixed various kinds of sands - for the sounds of equipment, they had to search for various materials and find ways to use them - they used an actual block of ice to recreate the sound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samplesSound Racer, a studio specialized in sound effects - this studio also worked on Xenoblade Chronicles X - they recorded more than 10 000 different sounds for the game - the team used a school bag to simulate the sound of rubbing leather - for the sound of «normal» footsteps, they mixed various kinds of sands - for the sounds of equipment, they had to search for various materials and find ways to use them - they used an actual block of ice to recreate the sound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samplessound effects - this studio also worked on Xenoblade Chronicles X - they recorded more than 10 000 different sounds for the game - the team used a school bag to simulate the sound of rubbing leather - for the sound of «normal» footsteps, they mixed various kinds of sands - for the sounds of equipment, they had to search for various materials and find ways to use them - they used an actual block of ice to recreate the sound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samplessound of rubbing leather - for the sound of «normal» footsteps, they mixed various kinds of sands - for the sounds of equipment, they had to search for various materials and find ways to use them - they used an actual block of ice to recreate the sound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samplessound of «normal» footsteps, they mixed various kinds of sands - for the sounds of equipment, they had to search for various materials and find ways to use them - they used an actual block of ice to recreate the sound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samplessound of footsteps on ice - with the ice block, it always ended up melting, or getting cracks when the staff had to walk on it - Link's footsteps were made by a woman - depending on Link's actions and the equipment he's using / wearing, the recorded sounds were separated out individually - the volume is changed as needed to make a particular sound stand out - check out sound effect samplessound stand out - check out sound effect samplessound effect samples here

Audio mixing can be a little off, however, with moments where the dialogue is drowned out by the sound effects occurring more often than I would have liked.

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.

The graphical qualities of the game certainly shouldn't steal the show, though, as Rocksteady have once again provided a stunning level of sound quality, mixing a fantastic score with almost pitch perfect sound effects.

It will also include special effects and filters, along with sound mixing and editing tools.

The less said about the audio the better really, because it is a mixture of repetitive music that tries to sound spooky, mixed in with distorted screaming and annoying sound effects that just don't add anything to the experience.

Metroid: Other M successfully combines music and sounds reminiscent of both the classic Metroid games and the Prime series as well as throwing in some more epic elements into the mix with even a small taste of Mass Effect in there.

A brilliant score mixed with standard sound effects used in the series brings the game to life.

The music is mixed in very well, the sound effects tell the story as well as the voices, and the characters deliver their lines with perfect levels of range and intensity.

Next step is to add some sound effects and mix them with the music and voice over.

«The Secret Garden», Djurberg & Berg's first solo exhibition in Australia, presents a newly commissioned, site - specific installation complete with sculpture, sound and video works mixed to a dazzling effect characteristic of the artists» style.

If you're not listening closely the powerful bass is enough to divert your attention from these sorts of effects, but it also actually compounds the problem, upsetting arrangements and at times even making lead vocals sound almost like incidental parts of a mix when left to compete with a strong bass line.