CINEMA PRODUCTION LONDON If you’re running a commercial in the cinema just give us a call, send over a Quicktime or MPEG of the spot and we’ll advise you on the amount of studio time needed. Bookings will help you with all the admin.
Once your session is booked we will need the picture and split audio elements. Cinema requires a complete remix so ask the studio that created your TV mix to speak to our Transfer department so that they can acquire the separate elements.
We will produce a Dolby Digital and Dolby Stereo analogue mix and a set of WAV files at the correct loudness for cinema presentation.
Once your test print is ready we’ll attend your screening free of charge for one final check of the sound.
Producing a mix for cinema can be a daunting task but with over 20 years experience in Dolby Surround we will make the experience as painless as possible for you. If you would like to talk about any aspect of your cinema requirements please feel free to call us.
Cinema sound requires a different mix from TV for a number of reasons; there are more channels, it is carried on a different medium, it has a much greater dynamic range and runs at 24 frames per second whereas TV runs at 25 frames per second.
Elements A normal stereo mix of VO, music and SFX together is not useable in cinema as Dolby state that you must have some control over each of the separate mix elements when producing a 5.1 mix for use with their equipment. This is why it is important to supply all the elements separate. If you have been supplied with pre-mixed elements, please make sure that the following mix stems are made available as a bare minimum…
Stereo music only
SFX or separate sound design only
VO and dialogue only
If you are unsure what it is you’ve been supplied with then call us and we’ll be happy to help.
The Frame Rate Challenge. Film runs at a slower frame rate than video so if you were to play your original 25fps TV mix in a cinema at 24fps the pitch of everything would be lower which is not good.
The Picture Stretch Solution. Although we can mix your spot at 25 fps to the original 25 fps picture, then digitally pitch up the whole mix to compensate for the slowing down which occurs when it’s transferred to film, we feel that this system is fundamentally flawed. This is because you don’t see the pictures and hear the sound running at the actual speed they’ll be running in the cinema. You may find that, for example, you feel that the music is running too slow all of a sudden, by which time you’ve paid for a print. What we do is digitize your 25fps picture and create a new digitally stretched picture which runs to the same length as the 24 fps film copy. We can now position all the separate elements against this 24fps picture and you’ll now hear exactly how it’ll sound when it’s printed.