Cinema immersive sound is upside down. Technology providers invest in intellectual property for immersive sound rendering engines, but they compete on the availability of content. Trading on content has been counterproductive to growth, contributing to a lackluster immersive sound installation count that is less than two percent of worldwide screens. Immersive sound has more moving parts to address than distribution, but the industry is fixated on a design from scratch, do-everything, distribution standard that’s two and a half years in the making and at least as many years from finding its way into cinemas. A deeper look shows that the key friction point of production for competing systems has been addressed. It’s time to put immersive sound right side up and grow the format.
When Two Worlds Collide, winner of the World Cinema documentary prize for Best First Feature at this year’s Sundance Film Festival, focuses on the alarming and sad conflict between indigenous people of the Peruvian rainforest and corporations bent on exploiting the region through mining, drilling and clear cutting.
Veteran supervising sound editor and sound designer George H. Anderson has joined Sony Pictures Post Production Services. Anderson brings a deep and varied resume in sound with more than 75 credits in film and television. He has completed several recent projects at Sony Pictures, including Popstar: Never Stop Never Stopping, Pee-wee’s Big Holiday and Trainwreck.
Alchemy Post Sound provided Foley services for The Bandit, director Jesse Moss’ exhilarating documentary about Burt Reynolds, the late director and stuntman Hal Needham and the making of the iconic 1977 action-comedy Smokey and the Bandit. Working under the direction of supervising sound editor/re-recording mixer Tom Paul, Foley artist Leslie Bloome and his crew recreated the sounds of brawling stuntmen, a rocket-propelled car and 100-foot body falls to accompany the film’s mind-blowing stunts and action scenes.
Warner Bros. Pictures’ Batman v Superman: Dawn of Justice was released last month in Dolby Cinema. That process begins with the filmmaker’s vision. The technical wizards behind the film recently sat down for an interview to discuss their roles in bringing it to the big screen.
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatre. This trend has only increased the demand that the audio match, or even surpass, the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part six of this ongoing series, I spoke with Chuck Mulhearn, sales manager worldwide, cinema, SLS Audio to get his perspective.
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatre. This trend has only increased the demand that the audio match, or even surpass, the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part five of this ongoing series, I spoke with Tom Back, Alcons Audio’s co-founder and managing director to get his perspective.
Roundabout Entertainment provided sound design, sound mixing and DCP services for Seth, director Zach Lasry’s short film screening at this month’s SXSW Film Festival. Lorenzo Gutierrez was the sound designer and re-recording mixer for the dark comedy about a man’s desperate attempt to impress his father. Seth will screen as part of SXSW’s Midnight Shorts Competition.
The Motion Picture Sound Editors presented the 63rd MPSE Golden Reel Awards at a black-tie ceremony Saturday evening at the Bonaventure Hotel in Los Angeles. Golden Reel Awards recognizing outstanding achievement in sound editing were presented in 24 categories encompassing feature films, long-form and short-form television, animation, documentaries and other media. Re-recording mixer Marti Humphrey and sound designer/supervising sound editor Jussi Tegelman presented the annual MPSE Filmmaker Award to director Sam Raimi. Picture editor Lee Smith and re-recording Mmxer Doug Hemphill presented the Career Achievement Award to supervising sound editor and sound designer Richard King.
Sound artists from Sony Pictures Entertainment are among the nominees for 2016 Motion Picture Sound Editor Golden Reel Awards and the 52nd Cinema Audio Society Awards. Sony Pictures talent are nominated in six categories of the MPSE Golden Reel Awards for work on the films Southpaw and Hotel Transylvania 2, and the television series Homeland, Saints and Strangers and True Detective. Sony Pictures talent also received eight nominations for CAS Awards for work on the film The Hateful Eight and Hotel Transylvania 2, and the television series True Detective and Silicon Valley.