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Dolby Atmos takes you racing
On Any Sunday: The Next Chapter, a modern take on the iconic documentary about motorcycle racing, brings you the thrills of motorcycles and action sports like you've never seen or heard before. And its Dolby Atmos soundtrack gives you the adrenaline rush of being there.
Get the inside scoop on Dolby's collaboration with Red Bull Media House and writer-director Dana Brown.
From dirt track to desert, motocross to cross-country, you'll experience the excitement of the events and the passion of motorcycle riders everywhere. Using the latest camera and sound technologies—4K Ultra HD cinematography and Dolby Atmos®—writer-director Dana Brown has created a movie experience both visceral and insightful.
Continuing the Brown family legacy, Dana takes his talent for storytelling to the next level by teaming up with industry leaders: Red Bull Media House in association with Freeride Entertainment and Dolby Laboratories. On Any Sunday: The Next Chapter opens in theatres across the United States on November 7, 2014.
In the cinema, at home, and on the go, Dolby Atmos transports you from an ordinary moment into an extraordinary experience with breathtaking sound that moves all around you.
Discover Dolby Atmos
Dana Brown, Writer-Director, On Any Sunday: The Next Chapter
In one of many dramatic moments of On Any Sunday: The Next Chapter, Robbie Maddison jumps his bike off the 120-meter Olympic ski jump in Park City, Utah. In this video clip, Dolby mixing engineers John Loose and Jurgen Scharpf go through how mixing the scene in Dolby Atmos delivers all the excitement—and tension—of the moment. Get the whole story, through any pair of headphones or earbuds.
Dolby sound engineers discuss their approach to mixing Robbie Maddison's "big jump."
Dana Brown's father, the legendary action sports filmmaker Bruce Brown, created the original On Any Sunday documentary, an award winner that put motorcycle culture on the map. In the making of The Next Chapter, Dana Brown takes a modern look while keeping to the spirit of the original. And today's technology has dramatically changed what's possible in filmmaking. Here are a few of the differences.
The Bell® helmet was one-size-fits-all, so riders had to add extra padding or wear multiple stocking caps to make it fit.
To keep the helmet balanced, the camera was mounted on one side and the battery on the other. The combination weighed about 15 pounds.
Shooting 16 mm, the camera could capture only a few laps before running out of film.
Bruce Brown, the director of the original On Any Sunday, made the camera helmet himself, so it's the only one in existence. Here it's being modeled by Gary Nixon, AMA National Champion in 1967 and 1968.
During the filming of the original On An Sunday, Bruce Brown and crew had to hold the camera while leaning out of the car to capture action shots. If a shot was too tough to get from the ground, they used helicopters with the first nonvibration mounts.
Although plenty fast, the Cayenne was not as quick as cycle rider Robbie Maddison, who had to slow on curves to allow the camera to capture footage.
The camera itself is a RED EPIC®, mounted on the roof and remote controlled by a joystick inside the car.
A specially outfitted Porsche Cayenne carries the camera and controller, two monitors, and a five- or six-person crew.
can be difficult to capture in these environments, so the team worked to
craft the story around usable material.
Dialogue scenes on the set were shot on a RED EPIC camera in 4K at 24 frames per second.
The sound engineer recorded most of the dialogue using a boom mic. However, to capture a real feel for the environment, many other mics were mounted on riders, bikes, and other locations around the set.
In the original, all sound was recorded in mono on a high-quality reel-to-reel tape machine. Also, a “wild track,” recorded separately, was later synchronized with the film.
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