Surrounded by Darkness and Oblivion

21st May 2013

With an opening weekend box office result in the U.S. of $70.2 million, Star Trek Into Darknesshas already proven it is a massive movie.
Captain Kirk returns to lead a manhunt to a war-zone world to capture a one man weapon of mass destruction – and the audience are immersed into the movie from the outset.
The cast of the hugely successful 2009 re-boot of the Star Trek franchise create another heart-stopping sci-fi blockbuster, directed once more by J.J. Abrams, who creates visuals that are out of this world and an audio soundtrack which is equally stunning.

The soundtrack was mixed in 7.1 using the AMS Neve DFC Gemini console on the Hawks stage at Fox by Academy Award winner Andy Nelson and Will Files.  Will, who also worked on Disney Pixar’s Brave – the first movie released with a Dolby Atmos up-mixed soundtrack, then took the automation data from the DFC Gemini session at Fox and created the native Dolby Atmos mix for Star Trek Into Darknessat Skywalker Sound using one of their AMS Neve DFC Gemini consoles.

Oblivion was the first movie with a Dolby Atmos soundtrack to be mixed natively.  Directed by Joseph Kosinski and starring Tom Cruise, the futuristic epic has an Atmos soundtrack which was mixed at Skywalker Sound by Academy Award winner Garry Rizzo using the AMS Neve DFC Gemini console.  The U.S. box office has gross ticket sales for Oblivionshowing $85.6 Million so far, and ticket sales are showing no signs of fading, proving the quality of the movie is real and by no means science fiction.  The soundtrack to the film was the first to be exclusively mixed in Dolby Atmos – no 5.1 or 7.1 soundtracks were mixed at all.  All other required formats were derived in the RMU as a down render afterwards and the DFC was the host for the entire project (including Atmos metadata automation) from day one of the pre-mix through the final mix concluding with the Atmos Print-master.

The AMS Neve DFC Gemini console is one of only two consoles which can record Dolby Atmos Metadata during the mixing process in real-time.  Dolby’s own Atmos Plug-in can also create Atmos data but without the sheer processing power and multi-channel flexibility that the DFC Gemini delivers.  The DFC simply feeds the Dolby RMU unit with the necessary object tracks and metadata while mixing and once the mix is finally fed into the Dolby RMU unit at the print-mastering stage, the Atmos multi-surround audio soundtrack is finalised.