OSWALD SCHWANDER
A lot
has changed since the olden days when film sound was recorded and played on
a single optical track. Today it can easily be more than a hundred dialog,
soundeffect, ambiance and foley tracks that we prepare for a cinema feature
film - to be mixed down in the dubbing process to a discreet 5.1
or one of the new sound formats like Dolby Atmos or Auro 3D.
We, the sound designers, are enthusiastic about the possibilities of new editing systems, fancy plug-ins and online data transfer.
But we do not forget that one task has allways been the same, now and 70 years ago: To have the right sound at the right place to help the movie tell its story.
or one of the new sound formats like Dolby Atmos or Auro 3D.
We, the sound designers, are enthusiastic about the possibilities of new editing systems, fancy plug-ins and online data transfer.
But we do not forget that one task has allways been the same, now and 70 years ago: To have the right sound at the right place to help the movie tell its story.