Issue link: http://digital.copcomm.com/i/610602
ate the initial sound design. Both Babcock and Henighan reiterated that the sound that tells the story is still the chief inspiration. Babcock explains, "During the initial inventing process, or what I call the 'scary proverbial blank sheet of paper,' it's slightly changed how I design elements. I always have, in the back of my mind, the possibility of more real estate both spatially and with having full-range surrounds, going farther dynamically and sonically. I can say for certain that immersive technology is inspiring creativity!" While Henighan also describes a different awareness, he also doesn't imagine where he will put things in merely a literal way. "You are just thinking differently. Initially, you are just thinking about the sounds. I don't think about if I am going to put this out in the ceiling. I actually just try to get the right sounds in there that are correct and as that is happening, the evolution of where those sounds go is kind of a natural kind of path." Both Barco Auro and Dolby Atmos arrive at an immer- sive sound field via different theories, implementation, and theater installation. Knowing this, Babcock leverages each design room, it's a mini-theater, so to speak. So, we are really able to kinda zone in on how loud stuff is and how it plays, what the perspective is as far as reverbs … All this groundwork you are able to do, so when you get to the dub stage, you are not scrambling around just to organize things." Babcock continues, "Workflow and technology changes have been pushing those jobs closer for a while if people have the desire." Naturally, mixing using these two immersive technolo- gies does require a particular knowledge and mastery of the technology. But, having a clear picture of how these tools work and what they can do from the mix chair has neither drastically changed the way they imagine nor cre- This Fox sound design/pre-mix room is fully equipped with a projector and a full Dolby Atmos installation.