Issue link: https://digital.copcomm.com/i/1491103
C A S Q U A R T E R L Y I S P R I N G 2 0 2 3 45 planetarium uses Meyer speakers. The dynamics of the mix matched pretty well but I had to adjust and add more low end. The reverbs felt bigger in the dome since there were more speakers delivering the reverbs, so we toned those down a bit. Were you bringing your Pro Tools session to make final adjustments and did the planetarium have the same setup for outputting your final stems? Yes, I would bring my drive with the full session, along with the 28.1 bussing and I/O configured. The planetarium had a full Pro Tools rig which was housed in their machine room downstairs. The techs would run cables for me so I could have control through my trackball/ keyboard, Avid S3, CPU monitor, and projector. We projected a 16:9 image onto the dome so we could start and stop to work on sections. When working with the full dome setup, it would take approximately two minutes each time we would stop and start to sync the projectors up visually. Once we started locking down the mix with the temp VO in the dome, we started to have a live narrator come in so we could adjust and work through the scenes and their timings. It helped having the single 16:9 projector because we could start and stop and make adjustments quickly. Once we got it to the point of locking all of the timings for the narrator's performance, we would run the show using the six Christie projectors collectively and project the show at 8K 60 fps on the dome. At this point, we could start adjusting the balances and pans of the objects. While the show was running, we would move around and listen at different seats to see what was working and what needed adjusting. Obviously, not every seat is going to be the optimal listening position, but we would average it out as best as we could. I guess after this project, it makes going back to an Atmos show seem relatively simple! Ha, yes, in a way, but this was a dream project to work on, though it came with a bunch of challenges. It was such a pleasure to work with such a smart, creative collective focused on getting the same end result. It was also such a unique experience at times. For example, leaving the Observatory at 3 a.m. and seeing deer hanging out on the front lawn while hearing packs of coyotes howling in the distance. "While space may be silent, our show relies on sound. Signs of Life has a highly cultivated sound mix for its music, effects, and narration to immerse the audience in the story." —MARK PINE, DEPUTY DIRECTOR, GRIFFITH OBSERVATORY Signs of Life is currently playing at Griffith Observatory. Others who worked on the project include the audio production team: sound designer Jon Schell; composers Dan Radlauer, Alan Ett, and Scott Liggett; and producers Bob Niemack and Dawn Fidrick. To learn more about the immersive exhibit, visit: https://griffithobservatory.org/planetarium/signs-of-life/ Michael with the Zeiss Universarium Mark IX star projector.