Issue link: http://digital.copcomm.com/i/1351516
42 S P R I N G 2 0 2 1 I C A S Q U A R T E R L Y b y B o b B r o n o w C A S Overcoming Atmos Anxiety GARY BOURGEOIS CAS When did you begin mixing television in Atmos? I started mixing Atmos in features and then broadcast when it became a delivery requirement. I remember thinking, "There's nothing wrong with 5.1. A great 5.1 mix can really tell the story." Doing some pretty good-sized features in Atmos, I said to myself, "You could overdo this in a second!" I realized that it applied to broadcast even more so. How do you approach a broadcast mix in Atmos? For broadcast Atmos, I start with the beds. I do a 7.1.2 dialogue bed and a 7.1.2 music bed. In my template for the dialogue and music, I only have maybe six objects. I want the effects mixer to have as many objects as they want. So, I can Since its inception in 2012, Dolby Atmos has made its way from the big screen to music, video games, and home theater. Home systems with up-firing speakers have made it easy to get Atmos into your living room without mounting speakers on the ceiling. As a result, more and more streaming services are asking for Atmos mixes on their episodic series and movies. Even those that aren't currently streaming in Atmos are heading in that direction. A skillset that was once the purview of theatrical mixers is now being asked of nearly all episodic television mixers. Just the thought of this can create "Atmos Anxiety." But even the most accomplished mixers, at one point, had to do their first Atmos mix. We're going to find out how three of them, Gary Bourgeois CAS, Matt Waters CAS, and Adam Jenkins CAS, transitioned from traditional speaker-based formats to an object-based format. They'll also share how they set up their sessions so that immersive mixes can be completed on a tight television schedule.