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Gravity is a stunner of a movie in large measure because of what it doesn’t do — it’s restrained and elegant in the way that most big space epics aren’t. Here’s a great behind-the-scenes look at how the film makes the vacuum of space sound terrifying — even at times when sound is impossible.
Tucked in a corner of Soho Square, cosied up against ad agencies and seemingly every media firm in London, is the London HQ of Dolby, who you may remember from the title credits of just about every film ever. Hiding in the heart of this otherwise-ordinary building, though, is arguably the coolest cinema in the country, created at enormous expense to demonstrate the next gen of cinema tech.
Even if changes in audio quality on products aren’t quite as perceptible is big jumps in pixel density on screens, the sound of movies might have way more of an effect on how you experience it. In short, good audio ain’t just for audiophiles. Here’s the sound technology that changed the aural universe this year.
The Hobbit: An Unexpected Journey is shaping up to be a groundbreaking event for film technology. First, we heard that Director Peter Jackson shot the film at 48 frames-per-second, and now he’s telling us that the film’s sound will be mixed for Dolby’s ultra-intense new Atmos system.
This weekend, the world will get its first chance to experience the latest sounds from the cinema audio nerds at Dolby. Pixar’s new animated feature, Brave, is the first film to use Dolby’s new Atmos technology, which makes 7.1 sound on Toy Story 3 seem pathetic.
It will take a few years before the technology trickles down to home theatres, but at CinemaCon this year Dolby introduced a new surround sound system called Atmos that promises to create the illusion that sounds are coming from everywhere inside the theatre.
You can go on and on about how great the flatscreen TV in your home theatre is, but I guarantee it won’t hold a candle to the image, brightness and colour quality of Dolby’s $US40,000 reference monitor.