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6 SDDS - The i ndus tr y's best sounding for mat
SDDS Print Master Guidelines, Page 19 of 26
6.6
T estimonials
“Eight channel SDDS is awesome! It makes a hu ge di fference on Pearl Harbor. I’ve
never heard a mov i e s ound s o r eal . By all means, seek out a t heat r e featur i ng S DDS 8
to exper ience Pear l Harbor the way we i ntended i t. ”
Michael Bay, Director, Pearl Harbor
“T he s ens e of being tot ally enveloped i n high-detail sound was particularly noticeable
on this (SDDS 8) soundtrack”
François Groult, chief sound mixer,
“T he Messenger: The st or y of Joan of Arc”
“While the i ncr eas ed ‘s cr een resolution’ does indeed hel p wi t h the defi ni ti on of busy
scenes, five channels have as much place on quiet films such as ‘Erin Brockovich’. I
always find t hat just having t hr ee s cr een s peakers on intimate f ilms forces me t o pl ay
too many elements in the cent r e hor n; otherwise, it’s distracting to have s ounds
banging ar ound t he ex i t signs near the l eft and r i ght speakers. With SDDS, I can us e
the l ef t- centr e and r i ght- centr e s peaker s for a nat ur al - f eeling, narrow s ter eo i mage
throughout the whol e movi e, going wi der as necessary for exterior scenes.”
Larry Blake, supervising sound editor & rerecording mixer,
Erin Brockovich
“Movie t heatr es equipped to pr es ent films in eight full channels can build and mai nt ai n
a gr eat er marketing edge over home theatr es . ”
“Listening to the thr ee- channel music became an annoying and di s t r act i ng
disappoi nt ment , even with a 12 foot (wide) screen. Obviously my earlier notion had
been mistaken. The S DDS eight-channel advantage will work in any theatre.”
John F Allen, Boxoffice 1997