By Mark Kerins
Since electronic encompass sound know-how first seemed in cinemas two decades in the past, it has unfold from theaters to houses and from video clips to tv, track, and games. but while 5.1 has turn into the traditional for audiovisual media, its impression has long gone unexamined. Drawing on works from the earlier 20 years, in addition to dozens of interviews with sound designers, mixers, and editors, Mark Kerins uncovers how 5.1 encompass has affected not only sound layout, yet cinematography and enhancing besides. past Dolby (Stereo) contains exact analyses of struggle membership, The Matrix, Hairspray, Disturbia, The Rock, Saving deepest Ryan, and pleasure journey, between different motion pictures, to demonstrate the price of a really audiovisual method of cinema studies.
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Additional info for Beyond Dolby
2 Other sound pioneers continued to play with the effects of two-channel audio transmission, but cinema would first be invented and then “find its voice” with 1927’s The Jazz Singer before the first multi-track recordings were made. 7 The experiment was a success—“various orchestral sounds seemed to come from the appropriate places, and a moving source such as a man walking across the stage and talking seemed at the receiving end to move about”8—but left unresolved a question of major interest to those concerned with the deployment of multichannel sound into film theaters: what was the best way to utilize a multi-channel configuration as part of a motion picture?
61 Apocalypse Now (1979), which birthed the term “sound designer,” even used an entirely different multi-channel configuration that more closely resembled Quintaphonics but was marketed simply as Dolby Stereo. 1. Even early in the Dolby Stereo era, some filmmakers found that system’s multi-channel capabilities too limiting and modified its configuration to fit their own needs. Superman (1978) split the single surround channel of Dolby Stereo into “left surround” and “right surround” so its hero could sonically fly around the auditorium space.
Just such a good reason soon appeared, in the form of audience preferences. 2. A frame from Twilight (2008) shows the multiple soundtracks included on modern 35mm prints. Immediately to the right of the image is the DTS timecode track (the dots and dashes), which keeps the film synched to the DTS soundtrack on a CD-ROM. Just right of the timecode track is the two-channel analog Dolby Stereo track. The Dolby Digital soundtrack is encoded in the blocks of digital data between the right set of sprocket holes; each data block has a tiny Dolby logo at its center.