Sound, then vision.

The soundtrack for the film is complete! Make that soundtracks: the theatrical version will have a three-channel soundtrack (left-center-right) while the “home video” (i.e. streaming) version will be in stereo. All the original live sound for the film was, of course, mono. But the music and effects are stereo. So why make a three-channel mix for the DCP? My sound designer Matt Trifilo explains: “For the multi-channel spacing, the dialog is predominantly in the center channel with the left and right channels having about 4 dB less gain of dialog. The opposite gain structure is used for the music channels. This will allow for a wider sound stage for the non-diagetic music, which is dominant in the left and right channels, while allowing more breathing room for the dialog in the center.” In other words, it’s going to sound really cool when viewed in a theater.

Now, on to the color correction. The precious media drive that contains the entire movie is on its way to Nicholas Coyle in Colorado. (And you better believe I have a backup.) Later this week we’ll make our initial assessment of the work ahead.

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