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Jurassic Park went on to win Academy Awards for Best Sound and Sound Effects editing, as well as Visual Effects. Oscar-winner Gary Rydstrom told HCC back in 1997 that the starting point for his sound design was always to create an immersive experience. 'The most obvious thing we do is pan the sound to fit the image on screen,' he said. 'A lot of what we do with surround is to encompass the audience, to make it seem like an interactive experience wrapped around your head. ' Rydstrom added that an enormous amount of prep went into JP’s mix, a routine he adopts for most projects.
2001’s Jurassic Park III (which saw Spielberg hand over directing duties to Joe Johnston) is altogether more frothy; fun while it lasts but less memorable. Spielberg says he simply became too busy to develop more sequels – but his interest never waned. 'Jurassic World is almost like seeing Jurassic Park come true,' he stated earlier this year. 'We wanted to fulfil this dream in Jurassic World: to have a truly working theme park devoted to this miracle of ‘Jurassic Park is unique for many reasons, not least because it was the first film to usher DTS into movie theatres’ creating dinosaurs from DNA.
Where the latter would generate a spectacular and impressive wall of sound, the Marantz manages to get deeper into the chaos, revealing effects that I hadn’t previously even realised were there. The overall width, depth and height of the soundstage seems huge. This film's audio is horrifically compressed to the point where voices are as loud as gunfire, and it can feel like you’re simply being battered by your own speakers after a while. Yet the Marantz seems to recreate something of the missing dynamic range purely by its ability to highlight each and every component.
STC MTR10-191 VHF FM Mobile Radiotelephone Equipment
by Mark
4.4