has changed since the olden days when film sound was recorded and played on
a single optical track. Today it can easily be more than a hundred dialog,
soundeffect, ambiance and foley tracks that we prepare for a cinema feature
film - to be mixed down in the dubbing process to a discreet 5.1 or one of the new sound formats like Dolby Atmos or Auro 3D.
We, the sound designers, are enthusiastic about the possibilities of new editing
systems, fancy plug-ins and online data transfer.
But we do not forget that one task has allways been the same, now and 70 years
ago: To have the right sound at the right place to help the movie tell its