Gary Rydstrom is a seven-time Oscar winning Sound Designer and Re-Recording Mixer at Skywalker Sound, and has been in the business since his big break as an audio technician on Indiana Jones and the Temple of Doom in 1984. He captures the sonic subtlety between memorable moments that makes a film truly memorable.
From the beginning of cinema, there have been attempts to merge audio and visual entertainment
nearly 40 varieties, many one-offs, before the talkies hit the scene.
- In the 1920s, sound-on-film became the industry standard until the digital revolution
- The goal was to make sound more directional and enveloping, so Dolby created Dolby Stereo and Dolby Atmos
- With Atmos, sounds become objects that can be choreographed around a space, and placed in particular spots at specific moments to maximize everything
So, what’s next?
For every Atmos experience engineered to give you goosebumps, there’s an equally thrilling renaissance happening in the work of crazy ambitious projects by indie auteurs utilizing a tool you’ve got in your pocket right now.
- The democratization of technology, as well as any number of ubiquitous online platforms to share work with the world, is giving those without the backing, financial or otherwise, to see their own visions realized.
Inside Out is nominated for Best Animated Feature Film at the Oscars
Director Pete Docter and Producer Jonas Riviera discuss the challenges of locating the voices in your head and articulating that to an audience
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How does movie sound sausage get made?
Dolby has been a mastering process
- With Atmos, they created a plug-in to move sound in this environment
- They created a new mastering box
- These developments are always bringing the sound experience for movies closer to how we hear real life
- Paying close attention to the sounds in your life can have an emotional effect
- For modern animation-capturing voices is key
- All of the actors are recorded before they perform
