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Having had two theatre shows filmed for cinema release, I haven’t had the
greatest experience engaging with the post production chaps: in both cases I’ve
had to explain that when the cast members exit upstage, door slams shouldn’t be
shoved in the rear speakers. Similarly, with a scene where all
mber
email: j...@johnleonard.uk
phone +44 (0)20 3286 5942
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Ah, forgot about no attachments: I got an Audio Design Pan Rotate unit, an
Audio Design Ambisonic Decoder and something called an AMBI-8, which seems to
link to the Ambisonic decoder.
I’ll be fascinated to see what they can do, but if anyone has manuals, that
would be excellent.
The auction wa
Things may gradually change as new blood comes through.
I have my students produce 'spatial soundscape foley' where they have to
produce an entire environment that is plausible - even to the extent of me
being able to walk around in it (I once had to navigate in pitch black, using
only the soun
I'll happily take those off your hands - I love introducing my students to
dodgy old gear...
Dr. Peter Lennox
Senior Fellow of the Higher Education Academy
Senior Lecturer in Perception
College of Arts
University of Derby
Tel: 01332 593155
From: Sursound [
ts please contact: f...@derby.ac.uk
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On Sat, 6 Feb 2016 12:04:01 +,
John Leonard wrote:
> As for the up-mix to Dolby Atmos that happened for the second film, I
> had no control over how the effects were sourced and the result in
> the cinema was pretty terrible, and totally unnecessary. Rain makes a
> noise when it hits a surfac
c.vt.edu
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--
Bob
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Audio Rents, Inc.
4209 Vanowen Place
Burbank, CA 91505
323-874-1000
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One of the few times that I found surround in a film interesting and valid was
in the original Tron, where it seemed to be perfectly acceptable and to enhance
the on-screen visuals. These days, it’s just mainly annoying and almost always
badly balanced, but we know that’s largely down to the lac
t;>
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