I´ve just come back from the opening of an exposition: “Matisse: The Red Studio” in Statens Museum for Kunst, Copenhagen.

In my mind I thought at Walter Benjamin in “The Work of Art in the Age of Mechanical Reproduction”:

The technical reproduction of sound was tackled at the end of the last century. These convergent endeavors made predictable a situation which Paul Valéry pointed up in this sentence: “Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign.” (op. cit., p. 226)

“Auditory images” it´s really a lovely word and definition.

I guess now our needs have, always, more expectations and with hi-fidelty standards: the immersive cinema audio with Dolby Digital, THX and until the new actual Object-based cinema as Dolby Atmos.

In this old paper, I shared time ago about the Dolby Atmos standard, there is written:

Immersive cinema audio is about precision, power, and subtlety.

How can we use, as sound designer for film, these features of precision, power and subtlety in the motion pictures storytelling?