It’s hard to believe that it’s been 10 years since Disney, Pixar and Dolby launched the Atmos format at the El Capitan Theater with the release of Brave (amid competition from Auro 3D and DTS:X). It was the Wild West, with re-recording mixers exploring the creative possibilities of the new formats while at the same time figuring out the strengths and weaknesses of objects and beds. Does dialog travel, or does it stay in the center? How far up and back can you go with an orchestral score? Can you go too far with bullet-bys? Here, some of Hollywood’s top mixers talk about what they’ve learned these past ten years, including thoughts on the sometimes competing realities of the cinema and home environments.
Tony Cariddi - Appward
Tim Hoogenakker - Signature Post
Gregory King - King Soundworks
Tony Lamberti - Sony Pictures Studios
Mathew Waters - Independent
SoundWorks Collection