Eleven speakers plus subwoofer, four of them above head height, calibrated. That way I hear what reaches the cinema and the headphones later on.
An Atmos mix can be laid out on screen. Whether it holds up is something I only hear over the eleven speakers. Where a voice sits, when a movement travels overhead, whether an effect helps or merely draws attention: no headphone simulation settles that for you.
Delivery to cinemas requires a Dolby Atmos theatrical licence. It sits with a partner studio I work with closely: premix and mix are made here, the final encoding is done by the licensed studio.
Every creative decision is made here in this room. The licence question changes nothing about how the work runs.
Delivery comes in whatever format the distribution route asks for. The stereo and binaural versions come out of the same mix. Nothing is done twice.
Formats
Atmos mix for the streaming services, and Apple Spatial Audio with it.
Mix and mastering, delivered in whichever versions are required.
A spot in Atmos rather than stereo before the feature. Mixed here, encoded at the licensed partner studio.
Spatial mix for titles that run on headphones and home systems.
Streaming, cinema, game or headphones. Where the mix is going decides the format and the way the work runs.
info@pangramaudio.com