Following extensive development and consultation with the post-production community, Nugen Audio today announced Loudness Toolkit 2.
Sundance Institute and the Dolby Institute, along with the Ray and Dagmar Dolby Family Fund, announced today that Last Days in the Desert, written and directed by Rodrigo García, has been selected as the second recipient of the Dolby Family Sound Fellowship.
Glenn Kiser, its founding director, believes the Dolby Institute's mission is straightforward: "The Dolby Institute engages artists by providing education, inspiration, and support throughout the creative process.”
Barco’s Auro 11.1 immersive cinema sound format made its debut in the Taiwanese movie industry with the action blockbuster Black and White: The Dawn of Justice.
In a technology tour that covered several U.S. cities last week, Dolby executives provided an overview on the evolution of its Atmos sound platform in both professional and home markets. Among the highlights was the news that Dolby has developed two new technologies for home theatres and this year will unveil the first loudspeaker to carry the Dolby logo.
Killer Tracks is expanding and broadening the scope of its groundbreaking Artist Series with a focus on emerging talent. The company is releasing a number of new tracks from breakout artists, including work from Portland alt rockers Rare Monk and the L.A.-based quartet Misun.
Since 2007 Warsaw-based Dreamsound (www.dreamsound.pl) has been one of Poland’s top film post-production studios, offering a complete range of services from recording sound on set through sound editing, mixing and audio mastering. Since its inception Dreamsound has been committed to offering its clients the very latest in film sound technologies, as evidenced by the fact that it’s the first post-production house in Poland licensed to produce film soundtracks using the Dolby Atmos surround-sound system, heard at its full potential thanks to a system based around Harman’s JBL ScreenArray loudspeakers and Crown DSi and XLS DriveCore Series amplifiers.
With all the attention focused on a film’s visuals, its audio sometimes receives insufficient attention. The best cinematography and visual finish can be ruined by inadequate audio post-production, an outcome that separates the amateur from the professional filmmaker.
Kundo: Age of the Rampant will be mixed and released in the Dolby Atmos cinema sound format. Filmmakers use Dolby Atmos to place and move sounds anywhere in the movie theatre, including overhead, to make film audiences feel as if they are inside the movie and not merely watching it.
As an expedition-style-documentary sound mixer, David Ruddick has worked in some of Earth’s most extreme environments. From scorching heat to blistering cold, Ruddick knows the importance of having reliable gear on location.