Planetariums seem to exhibit originated content or license acquired productions from distributors or stock availabilities from various resources. Since syndicating a full dome production can go to the worldwide market, or as originated from a single market theater production, how important is the need for Narration in produced show soundtracks? Is language a consideration if distributing the production to many countries? Does it make sense to work with a strategic localization partner in soundtracks if many languages of the narration are needed? Does English with known narration talent suffice as English is the World's Second Language?

A full dome experience is 360 degree is scope so how about the audio soundtracks themselves? Are you using stereo L-R mix, or 5.1 Surround and multiple speaker placement? The three-dimensional (3D) sphere of human hearing can be virtually achieved with audio channels that surround the listener. To that end, the multichannel surround sound application encircles the audience with left-surround, right-surround, back-surround), as opposed to "screen channels" (center [front] left, and [front] right), i.e. ca. 360° horizontal plane (2D). Is is important to work with a sound house who knows bass management and driving EQs set for maximum rumble in the theater seats?

These are questions we ask in providing voiceover, narrators, and FTP'd Music and Effects tracks to anyone producing film and digital media; and in the full dome environment, we wonder how relevant these questions are to maximizing the production value of your full dome content and productions. 

Ron Knight

Brand Extended Media, Soundtracks Supervision, Narration and Audio/Video Post

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