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This is the first of it's kind objective measurement tool for comparing the bass in movies - it's totally apples-to-apples.  (The measurement methodology AND content below 2.5 Stars is at the bottom o

Kong: Skull Island (Dolby ATMOS) Level - 4 Stars (111.38dB composite) Extension - 5 Stars (1Hz) Dynamics - 5 Stars (28.84dB) Execution - TBD Overall - TBD Notes - This fi

Hacksaw Ridge: Dolby ATMOS   Level - 4 Stars (111.4dB composite) Extension - 5 Stars (1Hz) Dynamics - 4 Stars (26.67dB) Execution - TBD   Overall - TBD   Notes - Terrific LF and infrasonic ef

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Here's a sneak peak at The Martian.  Just giving a heads up on this one: it's unfiltered.  Haven't run across anything that is at a crazy high level yet but there seems to be a lot of 10 and under rumble for extended periods that might get some folks into trouble if you run things hot. 

 

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Yup. It's got the good but fairly low level throughout. Some good effects. Turn this one up.

 

 

Yea totally dug this one. And the storyline was great IMO! It's a definite re-watch for me, once my family gives it back when they are done with it...

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Been very busy.  I'll get Martian measured, and start to compile a list of 2015 Best films.  Good to see Martian not filtered.  I do not mind low level at all as long as dynamics were preserved.  You can always turn it up.  24-bit sound has such a low noise floor that it makes turning up then level a lot not a big problem.

 

JSS

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I actually posted the numbers for The Martian on the last page but I'll repost here since they kinda got buried by the Star Wars/2012 discussion:

 

 

The Martian-20th Century Fox

 

DTS-HD Master Audio 7.1

 

Sound Design/Supervising Sound Editor: Oliver Tarney

Sound Design: Michael Fentum

Mixing: Paul Massey, Mark Taylor, Dafydd Archard

 

Level - 3 Stars (109.29dB composite)

Extension - 5 Stars (1Hz)

Dynamics - 5 Stars (33.46dB)

Execution - TBA

Overall - TBA

 

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Ridley Scott's newest Sci-Fi soundtrack is a lot like Prometheus in that the bass is restrained and often subtle, but unlike Prometheus it makes up for it's low level with some semi strong ULF rumbles down in the 10Hz region.  These rumbles appear to be deliberately placed as they accompany most of the 'uncomfortable' scenes in the movie (such as when Matt Damon operates on himself).  Most of the 'big' effects (such as they are) are full bandwidth and extend all the way into single digits with virtually no rolloff.  No clipping on any channel and the dynamic range is pretty good, so if the low level is an issue, just bump your sub by a few dB.

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As threatened

 

Super 8-Paramount Pictures

 

Dolby TrueHD 7.1

 

Sound Design: Ben Burtt, Gary Rydstrom

Supervising Sound Editors: Ben Burtt, Matthew Wood

Re-Recording Mixers: Anna Behlmer, Andy Nelson, Tom Johnson, Christopher Scarabosio, Juan Peralta, Jim Bolt

 

Level - 4 Stars (112.46 dB)

Extension - 2 Stars (21 Hz)

Dynamics - 5 Stars (33.77 dB)

Execution - TBD

Overall - TBD

 

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There's always been a lot of discussion and controversy over Super 8's low end and whether it was filtered, mainly due to some underwhelming effects during the train derailment scene.  Well, the graphs don't lie, and Super 8 is indeed steeply filtered starting around 28 Hz.  In fact, it is so steeply filtered that it's -10dB extension point is only 8 Hz below that.  That's some heavy duty EQ'ing.  To be fair there are some solid impact effects in the 25-30 Hz region that really light up the spectrum (see below), but they aren't backed up by any real ULF so they end up being a bit of a missed opportunity.
 
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To add insult to injury, the track clips heavily during any loud section:
 
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It pains me to say that this is a great.......ly depressing preview of the same clipped, ULF-less mess that graced ST:ID a few years later.  It's even more depressing when you realize that most of the sound crew for Super 8 also worked on JJ's first Star Trek and it's five star MWB soundtrack.  Why they decided to chuck out their solid technique from that movie and embrace the "Death Magnetic" style of mixing for this one is a mystery.
 
Bonus observation: Those that hate bass ramp sound FX will have a seizure over this movie.  They are all over the place and occur frequently.
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I love Super-8 as a film but bottom end is a letdown :(

 

Will look forward to the Martian getting cheap so I can buy it! :P lol

 

 

EDIT:  Ooh, I forgot - I watched Automota the other night.  Pretty good film and I liked the sound design.  I don't think it's been measured yet (although I can't see the GoogleDocs spreadsheet on this laptop as, you know, I might be trying to give away all my workplace data so can't possibly be allowed to even look at a file sharing site :rolleyes:).

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Been very busy.  I'll get Martian measured, and start to compile a list of 2015 Best films.  Good to see Martian not filtered.  I do not mind low level at all as long as dynamics were preserved.  You can always turn it up.  24-bit sound has such a low noise floor that it makes turning up then level a lot not a big problem.

 

JSS

 

Depends on the level of said low level dynamics.  I'd prefer the sound engineer to realize when they leave a 6 Hz fundamental in the mix and it is 10dB hot.  <*COUGH*> Lone Survivor <*COUGH*>  Maybe if more people owned subwoofers capable of reproducing those levels...yeah...that's how we can solve this problem. :D

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Thanks for the digits caps, Paul. I just made an animation of the MAV liftoff mic'd vs the digits version. We LOVED the movie, glaring plot holes and all. This scene at reference with the subs bumped +5dB made the experience truly awesome. It was exactly like being in the MAV with Watney.

 

The animation is a slow fade from the mic'd version to the digits version. Notice the dip in response at the mic between 60-70 Hz and what I'm missing <4 Hz from digits to seats. I can't imagine what having that strong 2-4 Hz content would add to the experience in my HT, but getting everything to 4 Hz was stunning, PQ, visual FX and audio.

 

0c82a3c7f0fb013b818e564d7a087fbf.gif

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