With 1917, Sam Mendes came close to perfection in terms of a single sequence movie (the rare cuts are hidden thanks to digital effects or are subtly masked, in the manner of Hitchcock’s Rope). In fact, it received the Oscar for best sound editing in 2020.ĤK Blu-ray, French edition – Dolby Atmos, DTS-HD MA 2.0 (original version) – DTS 5.1 (French) 1917, by Sam Mendes (2019) Never disjointed, the audio storytelling of Ford v Ferrari is a true reference. Then there is the moment when the sound design focuses on Miles’ breathing, a quiet moment in the middle of the action. In the wide shots, the sound precisely materializes the trajectory of the cars as they progress on the screen or skid on the track. The soundscape sometimes tries to convey the faintest breath of the pilot played by Christian Bale, a protagonist as brilliant as he is unsympathetic. The opportunity to rediscover Elton John’s song Rocket Man remixed in Atmos, of a phenomenal complexity. The team was able to experience this during its visit to the iconic Guillaume Tell studio equipped with Dolby Atmos. This type of 3D audio architecture is also being applied to the music industry. In the hands of a great sound designer, this tool provides the ideal flexibility to create soundscapes that can sweep you away, terrify and/or move you. Not only does the Dolby Atmos/DTS:X immersive sound boost and enrich action scenes, it also increases overall immersion through effects and music. This creates a richly enveloping soundstage.

In addition to the traditional combination of up to 9.1 channels, 3D sound can handle up to 118 simultaneous sonic objects. This technology allows sound designers to carefully map out the acoustic field, placing each sound and voice in very specific locations.

Dolby Atmos sound is now used by filmmakers and their teams right from the mixing stage.

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