ATMOS HE
AUDIO POST
Save Me Too and Riviera (S2 & S3) for Sky Atlantic. “Creatively, Atmos gives you many more
options. There is definitely more experimenting you can have with the sound,” says Nick Fry, head of audio at The Farm. “There are more opportunities to play with the sound, converting audio to objects and moving them around the room. You can give the objects height rather than leaving them static, which subsequently benefits the downmixes. “But giving sound height doesn’t mean what’s
being watched has to have height. You can use it as an effect, such as putting it on planes that are going overhead,” he continues. “In the recent BAFTA Craft Award winning
series, Formula 1: Drive to Survive S3, all the in-car commentary is in the centre of the room, rather than the centre channel. That’s something that the viewers have noticed very often; they love that effect. We also put the sound of the engine in the centre of the room so as soon as the drivers jump into the car, that’s what the viewer gets.
It’s
a brilliant effect that you wouldn’t achieve just by adding sound effects alone.”
“Working with immersive audio from the
start of the mixing process is an initial challenge, but we quickly came to appreciate the creative freedom and benefit this way of working can be for all delivery requirements,” says Brian Hardman. “It can help productivity on projects with multiple delivery re-quirements.” “Overheads are great for describing all sorts
of spaces both inside and out and being more specific in the way things move around spaces is really nice,” says Cooper. “Bringing music a bit more off the screen is great for allowing space for dialogue and effects in busy sequences and generally feels more immersive anyway. “In terms of productivity it’s a challenge to
make the most of Atmos when time is short but with recent improvements in Pro Tools functionality decisions about which specific sound events require object panning can be taken earlier which will help” he continues. “Atmos delivery tools are great in terms of creating re- renders of stems and masters but they all need checking and there isn’t really a single fold down law which works for everything when going to 5.1 let alone stereo. Those things are extremely
you can give objects height rather than leaving them static
important given the variety of formats that people will listen to these shows in.”
Set up for sound “Dolby were instrumental in the measurement
and layout of our first Atmos suite,” says Domaille. “HHB and Digital Garage installed a mix of RMU, and MTRX to go alongside our current HDX3 Pro tools systems, with SPQ cards taking care of all of the speaker management,” says Domaille. “Where we originally had high surrounds, the side and wide surrounds have been integrated into the walls which is really neat. We’re really happy with the MTRX Dante route and are buying a MTRX Studio for one of the smaller theatres. Originally we had a 7.1.3 layout which was a format that we had set up for a particular project before Atmos HE came along. This had to expand it to 9.1.4, so there was a fair bit of speaker moving and
Summer 2021
televisual.com 97
Black Mirror
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