ATMOS was created to significantly improve three critical elements of the audience experience- sounds originating overhead, sounds originating from discrete sources throughout the auditorium and the ability for “full range” surround reproduction. With the completion of this installation Technicolor Sound is proud to say that we are the only facility in Hollywood that offers two stages with all four of the most popular mixing formats- ATMOS, IMAX, 7.1 and 5.1. By simply flipping a switch our talent can move across all four platforms without missing a beat.
“Our mandate is to support Filmmakers in the ultimate experience of creating their Soundtrack. The Dolby ATMOS system is a very powerful tool that now allows us the ability to do things with sound that we have never been able to do before, ultimately vastly improving the theatrical viewing experience. We are very pleased to include this option to our clients here at Technicolor at Paramount,” says Mixer and Sound Director Scott Millan.
ATMOS required the installation of 23 additional speakers in each room- a combination of 20 JBL 5212 and some JBL 7212 speakers and three dual 18” sub-woofers. The placement and angle of these speakers create a dome effect to enhance those three critical elements of the movie-going experience. This also gives Filmmakers and our creative talent a new realm of possibilities to further immerses the audience in their world.
“ATMOS represents a great step forward in presentation and creativity and what you can bring to the final soundtrack. There’s no barrier between us and the audience now,” said mixer Joe Dzuban who is working with mixer Craig Mann on Technicolor’s first native ATMOS mix, “Insidious: Chapter 2” for Blumhouse Productions.
While the original mix does not need to be in ATMOS, mixing “Insidious: Chapter 2” natively in ATMOS does bring a whole new element of creativity to the table.
“For the Creatives to be able to work with us on stage in real-time in this environment is really incredible. By mixing it natively we have complete control over what flies and how it flies,” says Mann.
So how has the team found working in ATMOS?
“Now that you have this technology at your disposal you want to prep your tracks slightly differently. Operationally and logistically this requires a bit more preparation, as far as thinking what’s going to go where, but again it is opening up this new great realm of creativity,” states Mann.
To learn more about ATMOS, you can read Dolby’s white paper.