Sentences with phrase «sound audio mix»

Housed in a regular plastic Amaray case, Winnebago Man comes to DVD presented in 1.85:1 anamorphic widescreen, with a 5.1 stereo surround sound audio mix.

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.

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.

Not exact matches

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.

Meanwhile, the 5.1 DTS - HD master audio mix does a fine job of distributing sounds, period songs, and Silvestri's appealing score.

Further inspiration arrives with an alternate «audience participation» audio track, which mixes the film's normal sound with properly timed screams and cheers from a theater full of fans.

The Blu - ray reflects the film's high enough production values, with the sharp 2.40:1 widescreen transfer and potent 5.1 DTS - HD master audio sound mix both satisfying completely.

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.

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 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.

There are four sound options on the Blu - ray, the default of which is a new 7.1 DTS - HD master audio mix.

The 5.1 DTS - HD master audio mix is also without issue, even if there are few moments where you'll notice sound design.

Blu - ray The audio is a lossless DTS - HD Master Audio 7.1 mix that sounds excellent.

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 sharp, clean picture is complemented by potent 7.1 DTS - HD master audio sound, with Warner seemingly recently becoming the first studio to make 7.1 mixes the new standard.

- Mixing & Mastering - Stereo & Stem track mixing - Clean up of vocal or instrument tracks - Noise reduction - Post production for TV / film / YouTube - Voice overs, Ad bumpers & Podcast Intros - Sound design - Video gameMixing & Mastering - Stereo & Stem track mixing - Clean up of vocal or instrument tracks - Noise reduction - Post production for TV / film / YouTube - Voice overs, Ad bumpers & Podcast Intros - Sound design - Video gamemixing - Clean up of vocal or instrument tracks - Noise reduction - Post production for TV / film / YouTube - Voice overs, Ad bumpers & Podcast Intros - Sound design - Video game audio

There is a very fun audio commentary with Writer / Director Daniel Kwan, Writer / Director Daniel Scheinert, Production Designer Jason Kisvarnay, and Sound Mixer / Fartist Brent Kiser... and NO you did not misread that... this film has a fartist.

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.

When it comes to audio, a pleasant mix of tribal rhythms and cartoon sound effects blend seamlessly together while always matching the onscreen action.

All three of these audio tracks sound crisp and well - mixed, and the English dub is especially commendable for the excellent vocal nuances of its ADR cast.

* 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.

«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.

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 5.1 DTS - HD master audio mix is more remarkable, a delicious piece of sound design that uses all the channels to striking effect.

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.

The audio is a DTS - HD Master Audio 5.1 mix that has a really good sound to it.

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 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.

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.

This Blu - ray is a testament to that, with its flawless and detailed 1.78:1 video and noticeably immersive 7.1 DTS - HD master audio sound mix.

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.

You won't mistake the audio here for a more contemporary multichannel mix featuring a plethora of elements and plenty of low - frequency information (a single explosion, for instance, can sound a little thin as it rips through the front and rear channels), but surround - sound mavens shouldn't be disappointed.

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

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!»

Audio - Matching the video quality in terms of futility, the audio mix for Natty Gann sounds like an old worn - out videocassette.

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

DISC 5 — BLU - RAY AUDIO 96kHz 24 - bit 5.1 Surround Sound & Remastered Stereo 5.1 Surround Sound mixed by * Elliot Scheiner and ** Frank Filipetti Previously unreleased

The lossless DTS - HD monaural mix reveals a few audio problems that must have come up in production and post-production, but it also allows the film a fuller sound.

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.

Two audio commentaries: Steven Soderbergh interviewed by Steven Soderbergh; producer John Hardy, actor and casting director David Jensen, production sound mixer Paul Ledford, and actor Michael Malone

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.

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.

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.

The various audio elements of The Shape of Water should get it into Sound Mixing.

Housed in a regular plastic Amaray case, Command Performance comes to DVD divided into a dozen chapters, presented in 2.35:1 widescreen, with English language Dolby digital 5.1 surround sound and 2.0 stereo audio mixes, and optional English SDH and Spanish subtitles.