Sentences with phrase «of audio the dialogue»

As far as the technical side of things goes, this sounds fine, with the main source of audio the dialogue and soundtrack.

Not exact matches

Downloadable audio files containing spoken versions of the dialogues presented in each chapter, as well as review conversations, vocabulary, pronunciation, and listening exercises

While largely dialogue - driven, the audio for Se7en makes extensive use of both subtle detail (which is spread across the available channels in a very unobtrusive way) and music, as well as the occasional burst of audio fireworks.

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 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.

Likewise, the 5.1 DTS - HD master audio is hindered by some dialogue being too quiet and much of it being subjected to subpar recordings.

In terms of the original audio, I have watched both the Japanese presentation and English dub and they are quite good with effective surround separation and a focus on the all important dialogue.

The 5.1 DTS - HD Master audio track is equally impressive, delivering the scenes of the tsunami or the bombings with startling presence and immersion while handling the many dialogue - driven ones with clarity and balance.

Scoring and soundtrack cuts are separated pleasingly from the dialogue, and brief lunges of violence are given the audio full court press.

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.

Like the other two, «Behind the Microphone,» a 7 - minute featurette, shows us the challenges of the ADR (audio dialogue replacement) process, as well as the reflections of the English voice cast.

A 5.1 Dolby Digital track is somewhat underutilized and a little quiet, but there is also a lack of any real need for bombastic five - channel audio pyrotechnics in the film; all that you need know is the dialogue sounds clear and the indie soundtrack is appropriately evocative of the Chelsea underground nightlife.

«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 is also up to the task, giving dialogue clarity and weight in addition to distributing a lot of music without drowning out the other elements.

Featuring crisp, audible dialogue and doing well by a relatively modest soundmix that places most of the ambience up front, the Dolby Digital 5.1 audio is equally adept.

The 5.1 DTS HD master audio soundtrack gets the job done, most getting your attention with its distribution of period music, though also keeping dialogue and voiceover full - bodied and crisp.

Deaf & Hard of Hearing Gamers: No audio is necessary for play, all dialogue comes via text, and the entire game was completed with the sound muted.

The dialogue recordings of the 5.1 DTS - HD master audio are clearly dated, but musical numbers inject some life (if not an overwhelming amount of depth).

The 5.1 DTS - HD master audio also delights with crisp, clear dialogue and clear, solid dispensement of tunes from Sandler's beloved late»70s, early»80s era.

A Dolby 2.0 mono audio track reproduces dialogue with clarity but hardly a surplus of richness.

From the clickety - clack of Lego pieces during the assembly sequences to the crystal clear dialogue and action sequences, this is a reference - grade audio presentation.

The 5.1 DTS - HD master audio mix does a fine job of distributing the dialogue and hip hop - laden soundtrack.

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 5.1 DTS - HD master audio soundtrack is largely anchored to the front channels, but it delivers the heavy stream of dialogue with crispness and weight.

Ruzowitzky uses camera angles designed to force audience identification with the prisoners, and one scene late in the film follows suit with subjective audio effects — a very flat soundmix, with muffled dialogue — to put you inside Sol's head, his senses going dull after he witnesses the death of another inmate.

The game has an interesting soundtrack that probably doesn't quite fit the game too well and it literally has not audio dialogue so there's very little in the way of sound to review, you get the generic 2D crafting sound effects which are amusing however and do contribute to the game's humour a little, the gameplay itself is immersive enough that you can sink hours into the game without realising it, though the menus can be a little tiresome to navigate as you have to open a close them to remove a misplaced item or constantly scroll through all the many different items and topics you can choose from.

The disc's Dolby Digital 5.1 audio track sounds fantastic, as it provides clear dialogue and an abundance of surround - sound effects.

The film's sparse dialogue was a bit swallowed up by the music at my screening, perhaps a problem of the theater's audio, or perhaps an intentionally disorienting stylistic device.

The 5.1 DTS - HD master audio mix also warrants praise, with its prominent use of hip - hop and other songs as well as its distribution of dialogue.

As for the film's soundtrack, because it's rendering a dialogue - heavy mix, the DD 5.1 audio is totally adequate — and barely given a workout outside a thunderstorm during the burial of a certain yappy dog.

More problematic is the Dolby Digital 5.1 audio, whose mismatched dialogue and effects levels require a constant riding of the remote control.

There are no signs of extensive digital augmentation and the monaural audio track remains free of distortion, as dialogue and music are balanced and equally mixed.

The perfect video is complemented by an excellent 5.1 DTS - HD master audio soundtrack, which presents the film's steady flow of music capably and at a volume that is compatible with the crisp dialogue.

The DVD features a Dolby Digital 5.1 (192 kbps) audio track which provides clear dialogue and shows no indication of hissing or distortion.

The 5.1 DTS - HD master audio doesn't command much notice, but it does a satisfactory job of distributing dialogue and music.

A hearty collection of deleted and extended scenes, 25 minutes worth, seems to run counter to the assertions of slashed scheduling and fine - tooth comb budget consciousness that Zombie mentions in his audio commentary track (more on that in a moment), but you have that material if you want it; a lot of it is of the slightly tweaked variety, with a couple clipped, inessential (often vulgar) dialogue exchanges within a given scene.

The audio quality of the film is quite nice as well, with attention paid to dialogue, scenery, and soundtrack.

The featured audio is an English DTS - HD MA 5.1 that offers clear dialogue and a well balanced mix of effects and background music.

The Blu - Ray's 5.1 master audio track sounds superb, with dialogue coming through as clearly as you would hope for, punctuated by occasionally beefy sound effects and James Newton Howard's interesting score which tends to downplay, if not outright contradict, the horrors of what's happening on - screen.

A solid English Dolby digital 5.1 track anchors the audio presentation; not only is dialogue ably captured, but the track also impressively highlights the subtle sounds of «cut» snow as White, Haakonsen and others shred the slopes.

The 5.1 DTS - HD master audio is commendable as well, doing a fine job of distributing dialogue and a steady flow of licensed music.

As for the audio mix, dialogue is well - prioritized and the wraparound sound creates an impressive immersion with robust treatment of the superheroic score and explosive action (as expected, the climax proves particularly powerful).

The 5.1 DTS - HD master audio soundtrack also satisfies with its distributing of crisp dialogue and haunting score.

Carried over from the earlier DVD edition are two commentary tracks (one by co-writer Jean Gruault, Truffaut collaborator Suzanne Schiffman, editor Claudine Bouche, and Truffaut scholar Annette Insdorf, the other featuring actress Jeanne Moreau and Truffaut biographer Serge Toubiana), excerpts from the 1985 documentary The Key to Jules and Jim about the author Henri - Pierre Roche, an episode of Cineaste de notre temps from 1965 dedicated to Truffaut, and a segment from the series L'Invitie du Dimanche from 1969 with Truffaut, Moreau, and filmmaker Jean Renoir, footage of Truffaut interviewed by Richard Roud at the 1977 New York Film Festival, excerpts from Truffaut's presentation at a 1979 American Film Institute «Dialogue on Film,» a 1980 archival audio interview with Truffaut conducted by Claude - Jean Philippe, video interviews with cinematographer Raoul Coutard and co-writer Jean Gruault, and a video conversation between scholars Robert Stam and Dudley Andrew.

The Dolby Digital 5.1 audio is equally elegant, if beholden to a dialogue - driven affair in the wake of the masterfully - mixed balloon sequence, with only rainfall making aggressive use of the rear discretes thereafter.

The mix of neighbor - waking bursts of music and softer stretches of dialogue may have you reaching for the remote, but the pop - heavy audio delivers a reasonable good time and doesn't challenge one's hearing acuteness.

As this is a comedy, most of the audio is simply dialogue which comes from the center channel.

The 5.1 DTS - HD master audio soundtrack does a fine job of distributing score and dialogue.

The dialogue sounds like it could be delivered live in your living room (unless it's appropriately conveying a certain environment) and despite being a comedy, there are plenty of active sequences to showcase the techies» clever audio skills.

The audio does seem flat at times, particularly in certain patches of dialogue.