6 SDDS - The i ndus tr y' s best sounding for mat
SDDS Print Master Guidelines, Page 19 of 26
6.6
T est imonials
“Eight channel SDDS is awesome! It makes a h u ge di fference on Pearl Harbor. I ’ve
never heard a movi e s ound s o r eal . By all means, seek out a t heat r e f eat ur i ng S DDS 8
to exper i ence Pear l Harbor the way we i nt ended i t . ”
Michael Bay, Director, Pearl Harbor
“T he s ens e of being t ot ally enveloped i n high-detail sound was particularly noticeable
on this (SDDS 8) soundtrack”
François Groult, chief sound mixer,
“T he Messenger: The st or y of Joan of Arc”
“While t he i ncr eas ed ‘s cr een res olution’ does indeed hel p wi t h the def i ni t i on of busy
scenes, five channels have as much place on quiet films such as ‘Erin Br ockovich’. I
always find that just having t hr ee s cr een speakers on intimate f ilms forces me t o pl ay
too many elements in the cent r e hor n; otherwise, it’s distracting to have s ounds
banging ar ound t he ex i t signs near the l ef t and r i ght speakers. With SDDS , I can use
the l ef t - cent r e and r i ght - cent r e s peaker s for a nat ur al - f eeling, narrow s ter eo i mage
throughout the whol e movi e, going wi der as necessary for exterior scenes.”
Larry Blake, supervising sound editor & rerecording mixer,
Erin Brockovich
“Movie t heatr es equipped t o pr es ent films in eight full channels can build and mai nt ai n
a gr eat er marketing edge over home t heat r es . ”
“Listening to the t hr ee- channel music became an annoying and di s t r act i ng
disappoi nt ment , even with a 12 foot (wide) screen. Obviously my earlier notion had
been mistaken. T he S DDS eight-channel advantage will work in any theatre.”
John F Allen, Boxoffice 1997
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