For what it’s worth I recently attended a Dolby Atmos screening of the most recent Star Wars movie. I ended up in the frontmost left seat, and I have to say that I was surprised that next to all of the sound of the screening for me appeared to come from one and one only speaker just off the screen to the left. I didn’t expect to get the same experience as if seated in the middle, but still t thought that Dolby Atmos mixing and reproduction would be much more resilient to off-centre listening.
But then again, I’m generally pretty underwhelmed with how the Doly Atmos format is being used in most blockbuster Hollywood productions. Apart from a few swishes here and there as a mere audible spectacle, there seem to be a lack of understanding and imagination with respect to how spatial sound can help invite a deeper sense of immersion in the places where the story unfolds. Cheers, Trond > On 05 Feb 2016, at 15:43, jim moses <jmo...@brown.edu> wrote: > > I the state the obvious - something I imagine everyone on this list > understands.. > > The main reason to keep dialogue in the center channel is that panned > phantom images are unstable for most of the audience in a theater. Panning > to a center speaker fixes the location for everyone, instead of moving to > the speaker you are sitting closest to. > > jm > > On Fri, Feb 5, 2016 at 8:29 AM, <florian.came...@orf.at> wrote: > >> Yes, in Gravity this is easily possible in the opening shot: it's a super >> long >> wide shot where Clooney is off picture in the beginning. There is plenty >> of tome to absorb the scene and the >> position of everything. This is an obvious opportunity to pan dialogue as >> it is really underlining the >> dramaturgical intent. And this always is the criteria. >> If the picture cuts are too fast (and this limit is reached soon), >> following the >> perspective panning-wise exaggerates the edits, makes them obvious >> and potentially destroys the seamless flow of the narration. That's the >> main reason >> for keeping the dialogue in the center. If the shots are long enough, >> if there are off-voices, if there is movement or something similar in a >> dramaturgical sense, >> then panning the dialogue to the position on (or off) screen may enhance >> the sense of space >> and the story. More than 90% of all dialogue is in the center, though. But >> yes, sometimes >> it is an improvement. And yes, in animation the voices are super-clean as >> they are recorded >> in a studio - and thus they can be panned easily if wanted. With location >> sound, there may be considerable background sound >> behind the voices - and if such a signal is panned, the (mono-) background >> jumps around as well. Very noticable >> and very disturbing. Location audio is very much used these days by many >> directors (Tarantino, e.g.). >> Robert Altman was famous for insisting on 100% location dialogue. This >> makes panning dialogue almost impossible, >> even if it would enhance the story. >> >> Best, Florian >> >> >> ________________________________________ >> Von: Sursound [sursound-boun...@music.vt.edu]" im Auftrag von >> "Courville, Daniel [courville.dan...@uqam.ca] >> Gesendet: Donnerstag, 04. Februar 2016 18:15 >> An: sursound@music.vt.edu >> Betreff: Re: [Sursound] Dialogue in center channel,,, not always >> >>>>> And which director takes care about stereo compatible picture editing? >>> >>> Alfonso Cuaron is possibly one such director. Both Children of Men and >>> Gravity often panned the dialogue to match the position of the actor on >>> screen. It's very noticeable right at the start of Gravity; first you hear >>> George Clooney's voice coming from far right and as the shot zooms in and >>> you start to see him appear on the far right of the screen, his dialogue >>> moves across to match. >> >> Every Pixar animation movies have panned dialogues. >> >> Since the voices are recorded in individual booth, they start audio >> post-production with separate tracks for every voices, making panning >> easier and more effective, although making the mix more time consuming. >> >> - Daniel >> _______________________________________________ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, >> edit account or options, view archives and so on. >> _______________________________________________ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, >> edit account or options, view archives and so on. >> > > > > -- > Jim Moses > Technical Director/Lecturer > Brown University Music Department and M.E.M.E. (Multimedia and Electronic > Music Experiments) > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://mail.music.vt.edu/mailman/private/sursound/attachments/20160205/3c06e6b7/attachment.html> > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit > account or options, view archives and so on. _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
