By Mark Kerins
In view that electronic encompass sound expertise first seemed in cinemas two decades in the past, it has unfold from theaters to houses and from video clips to tv, song, and games. but while 5.1 has develop into the traditional for audiovisual media, its impression has long past unexamined. Drawing on works from the earlier 20 years, in addition to dozens of interviews with sound designers, mixers, and editors, Mark Kerins uncovers how 5.1 encompass has affected not only sound layout, yet cinematography and enhancing in addition. past Dolby (Stereo) contains specific analyses of struggle membership, The Matrix, Hairspray, Disturbia, The Rock, Saving deepest Ryan, and pleasure experience, between different movies, to demonstrate the worth of a really audiovisual method of cinema stories.
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Extra resources for Beyond Dolby (Stereo): Cinema in the Digital Sound Age
Dolby’s matrixing setup offered limited mixing possibilities compared with a fully discrete four-channel system or even the matrixed Quintaphonics system. 51 Compounding matters further, to ensure backward compatibility with monophonic theaters, no sounds crucial to a film could be encoded in the surround channel, as Dolby’s matrixing process ensured they would vanish upon playback in a mono theater. ”52 The system’s limitations made some sense at the time. 55 Recording and mixing films for the new (pseudo-) four-channel system was more expensive than making monophonic films, and “probably would not have been sustained—after all, it cost more,”56 if not for the bevy of sound-intensive films that quickly followed Dolby Stereo’s 32â•… ·â•… P roduc t io n a n d S t y l e introduction.
The Problem of Dolby Stereo Dolby Stereo deserves credit for being the first format to supplant monophonic optical sound as a viable standard for theatrical exhibition. 62 Not surprisingly given these strengths, the format enjoyed a success unrivaled by any previous multi-channel system, with tens of thousands of theaters around the world eventually installing Dolby Stereo systems. And although Dolby Stereo’s multi-channel capabilities were far from perfect, having any multi-channel format as a standard was crucial to accustoming audiences to experiencing all types of movies in some form of stereo.
In 1940, after over a decade of “pure” monophonic cinema, Warner Brothers’ Vitasound became the first standardized multi-speaker system. Like the music/dialogue switching system described above, Vitasound was not a true multi-channel system but rather a multispeaker one. It had, however, two major differences from its forerunner. First, it employed speakers surrounding the audience. Second, instead of relying on a projectionist to switch the sound between the two tracks, Vitasound used a control track between the sprocket holes of the filmstrip to turn these surround speakers on and off; a similar method would be used by multi-channel systems of the 1950s.
Beyond Dolby (Stereo): Cinema in the Digital Sound Age by Mark Kerins