That's when the life - like physics and
sound effects comes in.
The dialogue is frequently inaudible and the atmos is practically non-existent (it's like watching Fritz Lang's M with the eerily silent streets) but then the music and
sound effects come crashing in to deafen us all.
Surround
sound effects come through with musical cues and crowd noises and there are even a few subwoofer effects scattered throughout the film.
The surround
sound effects come into play during the many crowd scenes and when the group is first exploring the old institution.
Almost all of the music and
sound effects come from 3D Land, but World is an overall better game than Land.
All
the sound effects came so well together in the game with wild screen distortions, immense static and eerie music you experienced whilst playing the game.
It made a nice change to have these powerup
sound effects coming through the controller.
Along with
the sound effects came an interesting soundtrack that picked up pace at the right places and delivered an eerie feel in others, giving the game its unique feel.
The graphics are stunning and the general style of the game and it's music and
sound effects all come together to make something really special.
Not exact matches
But instead
comes Easter, which rudely interrupts all the minatory and sententious moralisms of the tragic chorus, just as they are about to be uttered to full
effect, and which cavalierly violates the central tenet of
sound economics: rather than trading the sacrificial victim for some supernatural benefit, and so the particular for the universal, Easter restores the slain hero in his particularity again, as the only truth the Gospels have to offer.
With the minimization of the socializing
effects in voice and
sound, individualism
came into its own.
The imperative «wait», which
sounds awkward in English, could be translated as something like «you can look forward to that» or the cheesy, idiomatic «stay tuned», but the interpreter cleverly translated it as «don't sleep,» which doesn't really distort what Loma was trying to say, and has the
effect of telling the crowd to get hyped up what's
coming up next.
The law will
come into
effect to aimed eliminating the use of unwanted
sounds.
For a more fun experience, this vanity trolley
comes with light and
sounds effects.
Plenty of baby gear
comes with white noise
sound effects, but you can always make your own.
These toys
come with a place for headphones that send
sound effects directly to your ears.
It
comes with three bases, home plate, and a clear ball with
sound effects (more balls inside).
As principals got a better sense this week of their school's budget for the
coming year, officials with the Chicago Teachers Union and privately run charter schools — which rarely agree on anything — both
sounded an alarm over the
effects of potential funding cuts.
Designed to keep food fresh until it's time to eat, it
comes complete with a fun push button
sound effect kids love.
It
comes equipped with Humbucker pickups for that perfect wall - of -
sound effect, as well as all the accessories you need to get started such as a gig bag, patch cable, strap, and picks.
At the same time, e-books often
come with extras like
sound effects and videos that can be distracting, potentially messing with the child's attention and understanding of the story or the task or the lesson they're supposed to be learning.
The argument why each of these food items is not permitted on a Paleo diet
comes with
sound reasoning as their detrimental
effects... Read More»
So all the work that I put into doing my pass really
came in handy, if only for all the
sound effects work I did.
The
sound effects are so realistic that one may wonder if the
sound of geese is
coming from the game or outside their own window.
So I would have to send really detailed lists of
sound effects to the
sound crew such as, «I need the
sound of thumbs
coming out of eye sockets.»
«Shrek's Guide to Parenthood» isn't even remotely as clever as it
sounds, the «Meet the Cast» featurette is little more than EPK fluff, and the visual
effects featurette («Tech of Shrek»)
comes off
sounding like a commercial for Hewlett Packard and AMD.
Warner's confidence in this ambitious film is not unfounded, as Ron Howard has constructed a film that is not only hugely enjoyable, but big on technical achievement, and while the film may not be banging on voters doors over the
coming weeks in the main categories, expect to see nods for the glorious
effects,
sound and the photography.
I have watched the movie three times now, and I have enjoyed it more with each viewing, able to better appreciate the subtle set details,
sound effects, and cameos on repeat viewings, of which I am sure there will be plenty for many Octobers to
come.
As for the audio, while the DC's 5.1 DTS - HD MA track
sounds deceptively tamer than the TC's lossy 5.1 DTS option, after some level - matching the DC
comes out on top again; only with the DC does the voice of Darkness
come close to reverberating with that basso profundo
effect you'd expect.
It doesn't help that Snyder's trademark use of slow motion and dramatic
sound effects to accentuate everything
comes across as so absurdly pompous and pretentious.
It doesn't offer much in the way of immersive surround
sound, but the music,
effects, and dialogue
come through clearly and consistently.
When it
comes to audio, the lighthearted orchestral music and delightful
sound effects as letters pop onscreen and monsters collapse add a great deal of enjoyment to the overall experience.
When it
comes to audio, a pleasant mix of tribal rhythms and cartoon
sound effects blend seamlessly together while always matching the onscreen action.
The editing is deliberately tacky — filled with wipes that
come with their own
sound effects — and the jazzy, funky soundtrack
sounds like public domain music rather than written for the film.
The 5.1 DTS - HD Master Audio track included is another standout aspect on this Blu - Ray edition, and though it's a film that remains light on the explosions and mayhem, the score
sounds terrific, dialogue
comes through very clear and precise, and background noise and
effects are dynamic and well balanced across all channels.
«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.
It's new meets old that not only
comes together well but creates this dynamic and entertaining game for the Switch with cartoon inspired graphics, crazy
sound effects and music that will leave you humming long after you've finished playing.
As a comedy, the majority of the
sound comes from the front and center, but there are ambient
effects and musical tracks that make their way to the rear channels.
But it
sounds like the dinosaurs of Jurassic World: Fallen Kingdom might give them a run for their money, at least when it
comes to the practical
effects in the film.
That's because much of the «scare factor»
comes from the visual imagery and atmospheric
sound effects for the kind of hair - raising experience of playing an interactive adventure game, a la «Myst» only a little darker in theme.
Chris Columbus» un-produced 1985 screenplay Indiana Jones and the Monkey King
comes to life in this full - cast radio drama with
sound effects, original music, and voice work from your favorite Alcohollywood guests!
That girl - narrated backstory at the beginning
sounds like it would have made a more interesting piece of thorny geopolitical sci - fi than the CGI glop we get instead: How do 18 countries, led by the U.S. and China,
come together to battle horrible climate change
effects by installing a galactic safety net of thousands of satellites with the ability to balance extreme weather conditions around the world?
The film's incredibly effective
sound design is also captured quite well in the immersive DTS - HD MA audio track with
effects spread out through the field and the period - correct dialogue
coming through clearly.
The dialogue is crystal clear, the
sound effects are bold and epic without being overpowering, and Randy Newman's beautiful, hauntingly loving score
comes across with harmonious perfection.
There's a weight to these robots and the fights they have, as well, an impressive mixture of computer
effects, practical creations, and some very effective
sound design that all
comes together to give the metal - on - metal clanging the right amount of realism.
The soundtrack is generally made up of repetitive, distorted guitar tracks with overwrought drumbeats; the
sound effects rarely even make their presence felt; and the few bouts of dialogue you're presented with
come from the generally annoying race jockey who hosts the game show, and none of it is very good.
You can take a swing at it for being little more than Counter-Strike with bots - and four years too late - and the graphics and
sound effects all pale in comparison to the calibre of technology we've
come to expect at this stage in 2004, but Condition Zero is still a friendly package for newcomers, offering the perfect training course for the marvellous multiplayer game.
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.
It's not until you get in the editing room and cut it together and find the perfect
sound effect... which by the way, when he hit her in the face, we tried about 50
sound effects before we
came up with Henry Aaron hitting his 715th home run.
Music
sounded full and dynamic, while
effects came across as accurate and clear.