land, and the soundtrack is almost mono, closed, and limiting. On the boat, the soundscape widens dramatically, bringing you emotionally onto the ocean with the characters. It brings huge credibility to the experience.


When the director was in the mixing room hearing things for the fi rst time, he said that it was just as he imagined it.


So technology must earn its place by enhancing storytelling design? Exactly. Artistically, dimensional sound applies to a much wider range of movies than just action productions. It crafts the small, intimate, and naturalistic even better, lending new levels of believability.


[Dolby Atmos] adds value to the movie as an asset, as something with enhanced market potential beyond artistic value.


How does Dolby Atmos add market value to a production? Think about how a movie on DigiBeta with a mono mix would work today as an asset. If you take the perspective of a project not as a one-off deliverable that’s done and forgotten, but as an asset that will live on, and with future value, you have to ensure it remains technically viable. Dolby Atmos preserves that asset in the most exploitable, future-proof way, and once producers realise that, their


perceptionof it changes. It adds a selling point to the movie.


What advice would you give post-production supervisors? Post starts before you shoot. To get the best results from any technology, any tool, you must communicate the decision to everyone and bring them into creative and workfl ow planning.


It’s also really important to have early discussions with the director and producer on creative and workfl ow planning. And don’t forget that conversation with producers about adding value to their assets. If you show you understand their needs and concerns, that makes a big difference.


How do you see Dolby Atmos’ position, now and in the future? [Dolby] Atmos is mature enough that it‘s worth serious consideration. It’s proven artistically and commercially. We are


getting real benefi ts from it now but we’ve still got a lot to learn about its potential, just as the whole industry does.


In fact, we’ll have to learn new or different ways to collaborate with sound design as we move into an era of virtual production.


Dolby Atmos is going to have a major role to play – you shouldn’t use yesterday’s tools to tell tomorrow’s stories. It’s not a box to be ticked, it’s a container to be fi lled.


Find out more about Dolby Vision and Dolby Atmos


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