Iniciado por tatoadsl

Al hilo de cambios, imagen y demás yo tengo una pregunta:

¿Que opinais de que se presente con sonido 5.1? Os recuerdo que esta película NO tenia originalmente sonido 5.1, pero oye, quejemonos por la imagen porque esa no es la imagen de Terminator 2, pero del sonido no digamos nada, que es 5.1 y oye, mola mucho.

Pues... ¿Y si te digo que te equivocas y que T2 sí se estrenó con audio 5.1?

Como corresponde a los gustos de Cameron en general y las ambiciones de esta película en especial por aprovechar los últimos adelantos técnicos de la época, el sonido de T2 se grabó en 6 pistas analógicas y se mezcló en CDS 5.1 para su proyección en las escasas salas selectas dotadas de equipos de Cinema Digital Sound (CDS), un sistema de audio multicanal digital precursor del Dolby SR-D.

Otra cosa es que, sin embargo, el audio 5.1 que se ha utilizado en las recientes ediciones en DVD y BD no es esa pista CDS 5.1 original, sino una nueva mezcla (parece que el audio CDS 5.1 se utilizó para la edición en LD y, al parecer, para la primera edición en DVD, pero luego ya nunca más).

Y, en cualquier caso, vista la preferencia de la mayoría de los foreros por el audio doblado, la inclusión o no del audio original es una cuestión casi retórica...

Edito para añadir esta clarificadora información (lo siento, en inglés):

The first T2 DVD of the theatrical cut from Artisan uses the same 5.1 channel mix that was prepared for the 70mm Kodak/ORC Cinema Digital Sound prints (the DVD of Dick Dracy uses the CDS 5.1 mix too). Although T2 was also release in 6-track mag 70mm, the CDS 5.1 mix was completely unlimited I'm dynamics and had deeper bass since 70mm mag can't go lower than about 30 Hz in the bass and can only have peaks about 16db or so above reference level. The CDS mix had peaks +20db above reference and bass to below 20 Hz. Because CDS was basically brand new, the CDS mix for T2 was prepared separately from the 70mm 6-track mag version to take advantage of the CDS system. (Dick Tracy, the very first CDS film, also had a seperate CDS mix done)

For the DVD, Artisan used the CDS 5.1 digital master, which had been archived on the S-VHS ADAT format. CDS was a lossless 44.1kHz sampling, 16-bit system that used a modified form of Delta Modulation to pack the audio into a total bitrate of just over 5mbp/s, and it stored on the film with absolutely no analog back up - In addition to no mag backup on 70mm, Kodak/ORC even eliminated the optical soundtrack on the 35mm version of CDS. Lack of audio backup (which the engineers designing the system fought Kodak and ORC over) meant that if the digital system failed - and due to CDS' high bitrate and packing densities, it did fail, often - the audience was greeted with dead silence. It also caused nightmares in shipping replacement reels since CDS reels couldn't be used at all if a non-CDS theater accidentally got one. The lack of analog backup and poor system reliability - plus Dolby's vapor ware announcement of SR-D a full 18 months before they had even started working on a digital sound film system, meant that sales of CDS systems were very poor - its high cost of over $20,000 per screen didn't help. And Steven Spielberg's public statements that he would never use the system caused heads to roll at the CDS company and the system was discontinued the next day - Spielberg had wanted to use CDS on his film Hook, so he had CDS encode several reels, which kept dropping out during the test screening - Spielberg walked out in the middle of the screening and said he'd never use the system (this happened several years before DTS was invented, so that had noting to do with it). Other studios and filmmakers who were planning on using CDS for their films suddenly pulled out and Kodak/ORC began frantically looking for a buyer - none was found. So, until Dolby officially premiered Dolby SR-D with Batman Returns in late 1992 (there had been a few test screenings of prototype SR-D equipment), digital sound in theaters was kind of a dead issue.

Anyway, back to T2 - when the DVD was released I called Artisan and asked them what sound master they had used for the 5.1 Dolby Digital soundtrack - it took them a day or so to get back to me but they confirmed that it was the unlimited mix created for the Cinema Digital Sound prints. And as I stated in my earlier post, no other DVD or Blu-ray has used the CDS mix - the later discs have all had massive remixes - the CDS mix has a more "quadraphonic" soundfield to it with lots of side-wall phantom imaging. You can hear the dramatic difference in the first few mi utes of the film. Now, some may prefer the later Surround EX and DTS-ES mixes, but I think the CDS mix is the best both in overall fidelity and in the amazing sound imaging - its almost holographic. It's just a shame the video transfer is so over enhanced on the DVD.

Fuente: Laserdisc Database