While still considered a collection of formats in their infancy, Immersive Sound—as represented by the object-based Dolby Atmos and the 11.1 channel-based Auro-3D—grew by leaps and bounds, buoyed by the success of last year’s Oscar winner for Best Sound and Best Sound Editing, Gravity, a movie renowned re-recording mixer Andy Nelson called “a gift from Heaven” in showcasing the young Dolby Atmos format.
It was also a big year for Mix and its coverage of film sound. In September, in conjunction with Sony Pictures Post-Production Studios, we hosted our first annual Sound for Film event, Immersive Sound: From Production to Playback. In a jam-packed day, nearly 500 professionals attended panels, exhibits and presentations on the technology and creative applications of the immersive sound experience. You can read about it in the following collection of articles, along with an excerpt from Larry Blake’s comprehensive breakdown of the technologies.
And finally, the films. The creative teams that bring the best to film sound. Take a look and then go hear the films we consider contenders for this year’s awards.
And see them in theaters. Your ears will thank you.
—Tom Kenny, Editor-in-Chief, Mix magazine