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for Films . "Mike gave me a lot of freedom to experiment with the sound; some scenes in the film contain no dialogue but Rhoda's (Brit Marling) face says a thousand words," he says. "I attempted to empha- size her internal struggle along with the shifting dynamics between Rhoda and John (William Mapother) using sound design that comple- mented their great performances. Combined with the score from 'Fall On Your Sword,' I am happy to say I believe it was achieved." Gear used included an Avid Pro Tools|HD 3 Accel system running Pro Tools 8. The console was a dual-position ICON, and plug-ins included Waves Dia- mond Bundle, Cedar DNS One and TL Space. Sound Lounge (www.soundlounge.com) credits for include supervising dialogue editor In NYC, Sound Lounge's Ryan Price worked closely with director Mike Cahill while creating sound design and providing final mix for the sci-fi film Steve "Major" Giammaria; dialogue editor Sasha Awn; Foley artist Sebastian Henshaw; ADR engineer Patrick Christensen; and the En- tertainment Division's executive producer Samara Levenstein. a comic vampire movie that's very tongue in cheek, we could have fun with it," explains Minkler. "We decided to go with the 7.1 Dolby release format for the digital cinema houses.With the 7.1 format, and being the kind of movie it was,we were able to spread the music very differently than I'd ever done before. I had a lot of control in doing that. I was working with 10 different musical stems, and I was able to place them in different speakers and utilize certain movement within the room with the music.We worked with the composer and he was all for it. It re- ally made the music stand out." Having control of the different parts of the orchestra, guitars, piano, strings and per- cussion allowed Minkler to place these things in the room in a way that sounded good to the team."Having two more chan- nels means having two more channels of clarity. It's like you're right in the middle of the orchestra because you feel different parts of the orchestra discretely all around you. I had the low percussion in the front, the high percussion in the sides and the echo of the low percussion in the rear sur- rounds. I had the piano in the front and sides, and I had the organ in the sides and in the back. Just trying to experiment with the spatiality of it, we came up with a formula that seemed really cool. I wouldn't want to do that as a rule of thumb on every picture because I know that when you start to pull apart the orchestra it can fall apart. But the composer was there and we came up with something that he was very happy with and so we went with it.On another movie I may not do that." When it came to mixing the sound ef- fects, the 7.1 format also played a key role in helping to enhance the 3D visuals, says Min- kler."For sound effect,we were able to move things through the room in a three dimen- sional manner a little bit better with the 7.1. In 5.1 you jump from the front to the back. In the 7.1, with the middle speakers added, the sound doesn't jump through the room. It moves more smoothly through the room." They wanted to make it scary and spec- tacular at the same time."There were lots of explosions, and cars crashing, and screaming, yelling, and burning. Right from the beginning of the movie, you get into it right away.We wanted to pull the action off the screen as Another Earth Another Earth