|
Post by Sherwood Sound on Jan 4, 2018 12:05:34 GMT
The audio CD is just be stereo mix (encoded into Dolby Surround). Cheers Tony Actually the CD isn't taken from a stereo mix. The original master, which was produced natively in 5.1 surround through the entire production, is encoded into Dolby Pro Logic II giving true surround sound steering decoded from the standard stereo CD if you have an amplifier or player with Dolby decoding. The CD can still be played in stereo as normal. It's all done with clever Dolby phasing manipulation to encode surround and center speaker information in a stereo source.
|
|
|
Post by Ela on Jan 7, 2018 20:14:00 GMT
The audio CD is just be stereo mix (encoded into Dolby Surround). Cheers Tony Actually the CD isn't taken from a stereo mix. The original master, which was produced natively in 5.1 surround through the entire production, is encoded into Dolby Pro Logic II giving true surround sound steering decoded from the standard stereo CD if you have an amplifier or player with Dolby decoding. The CD can still be played in stereo as normal. It's all done with clever Dolby phasing manipulation to encode surround and center speaker information in a stereo source. I'm assuming it's possible to copy the mp3 version included with the DVD to a portable player for listening while traveling? That's when I do most of my audio story listening.
|
|
|
Post by Sherwood Sound on Jan 8, 2018 10:38:50 GMT
Actually the CD isn't taken from a stereo mix. The original master, which was produced natively in 5.1 surround through the entire production, is encoded into Dolby Pro Logic II giving true surround sound steering decoded from the standard stereo CD if you have an amplifier or player with Dolby decoding. The CD can still be played in stereo as normal. It's all done with clever Dolby phasing manipulation to encode surround and center speaker information in a stereo source. I'm assuming it's possible to copy the mp3 version included with the DVD to a portable player for listening while traveling? That's when I do most of my audio story listening. Of course.
|
|
|
Post by acousticwolf on Jan 10, 2018 18:58:11 GMT
Latest update puts downloads for the initial backers on or around January 14th. Fingers crossed they make it.
Cheers
Tony
|
|
|
Post by Sherwood Sound on Jan 10, 2018 20:58:51 GMT
Latest update puts downloads for the initial backers on or around January 14th. Fingers crossed they make it. Cheers Tony In retrospect, I should have never set any release dates what-so-ever until we were close to finishing because of the huge technological effort that is required for this specific production, but kept getting emails and comments asking for firm release dates and trying to keep everyone happy under such pressure...I put up release dates. We all make mistakes. We then learn, develop and improve. Sorry to keep disappointing everyone. Hopefully, when you listen to it, you will understand how much hard work has gone into this to make it so special and faithful to the 1897 story.
|
|
|
Post by eric009 on Jan 25, 2018 1:37:29 GMT
updatethe link has the image of the dvd cover Release Update - "Give her the lot!" 6 Comments 6 likes Hi all, Work is currently being done on the big Thunderchild battle scene, which has taken quite a lot of time. This scene is almost finished and is the last one of production to be completed. Download versions will be sent out very soon while manufacturing of physical products is in progress. I'm not announcing exact release dates because that was stupid on my behalf due to fan pressure and I should not have kept announcing dates that were unrealistic for such a technological production. However, around 2 or 3 days from the download being distributed I will update here to let you all know... And that will be the next update, so look out for it. When audio work is impossible, as this isn't a production I can listen to with headphones due to the surround monitoring environment required, I've been busy designing and writing the inlays and covers for the discs and USB. Here is what the print for our Special Edition DVD digipak exterior looks like: A few items are not yet included on the print and the interior and booklet are based on the Collector's USB Edition booklet design but with fewer pages, smaller size, less written material and without the heavy laminated cover image. As announced previously, the Limited Edition DVD is a CD size digipak case release. Until next week, Martin, Producer
|
|
|
Post by eric009 on Jan 25, 2018 1:48:50 GMT
was hoping to have this before the BF version came out
|
|
|
Post by gregm on Jan 27, 2018 10:18:21 GMT
I've had an email from Sherwood Studios today, which any other pre-orderers should also have received.
The email indicates that downloads should be sent in the last week of January up to the 1st of February.
The manufacturing of physical products will commence during this period.
So it sounds like the end is in sight - next week for downloads and not too long thereafter for CDs, DVDs and USBs.
|
|
Deleted
Deleted Member
Likes:
|
Post by Deleted on Jan 27, 2018 16:20:26 GMT
I got the e-mail too but I'm not going to jinx Martin, the CD will arrive when it arrives! So say nothing and keep your fingers crossed.
|
|
|
Post by acousticwolf on Jan 27, 2018 16:35:28 GMT
I didn't receive an email Cheers Tony
|
|
|
Post by agentten on Jan 27, 2018 17:21:46 GMT
I got two emails about it. Apparently some people didn't get the first email so it was re-sent.
|
|
|
Post by acousticwolf on Jan 27, 2018 19:53:45 GMT
I got two emails about it. Apparently some people didn't get the first email so it was re-sent. Apparently you received mine as well then as I haven’t received any (but normally do receive the kickstarter updates). Cheers Tony
|
|
Deleted
Deleted Member
Likes:
|
Post by Deleted on Jan 27, 2018 20:08:27 GMT
I got two emails about it. Me too.
|
|
|
Post by Sherwood Sound on Jan 27, 2018 21:37:01 GMT
I got two emails about it. Apparently some people didn't get the first email so it was re-sent. Apparently you received mine as well then as I haven’t received any (but normally do receive the kickstarter updates). Cheers Tony I think an update direct to customers, rather than Kickstarter backers, was long overdue. There's nothing in the email that hasn't already been said on Kickstarter, but I will include it in the download release update so you won't be missing anything.
|
|
|
Post by acousticwolf on Jan 28, 2018 11:52:01 GMT
Apparently you received mine as well then as I haven’t received any (but normally do receive the kickstarter updates). Cheers Tony I think an update direct to customers, rather than Kickstarter backers, was long overdue. There's nothing in the email that hasn't already been said on Kickstarter, but I will include it in the download release update so you won't be missing anything. No problem with that Martin, just making sure I wasn't missing anything important. Cheers Tony
|
|
|
Post by agentten on Jan 29, 2018 6:58:51 GMT
Glad this is so close to being heard. I'm excited to get my CD in the mail and really savor all of the production work that's gone into it.
|
|
|
Post by Sherwood Sound on Jan 29, 2018 18:41:27 GMT
I think an update direct to customers, rather than Kickstarter backers, was long overdue. There's nothing in the email that hasn't already been said on Kickstarter, but I will include it in the download release update so you won't be missing anything. No problem with that Martin, just making sure I wasn't missing anything important. Cheers Tony Tony, Here is the email...
Dear pre-order customer, We are in the final stages of production on The Coming of the Martians our audio adaptation of H. G. Wells 1897 story The War of the Worlds. Download versions of the production should be sent in the last week of this month up to first Sunday in February for you to listen to the story while manufacturing of the physical products is in progress. I will not provide an exact date because I have, many times, set unrealistic release dates due to pressure from fans. This was a silly move and I sincerely apologise for missing these dates and the delays that followed. I’d like to take this opportunity to thank those of you that have shown so much support via email or social media during a very long production period and all of you for waiting patiently during this time. It hasn’t been easy. Delays have been for good reason, apart from a Windows 10 Update issue in December that put us back quite a bit, and I’d like to explain why it took so long… • The Coming of the Martians began as a Kickstarter project which funded only half of the final production costs. The rest was funded by myself and your generous pre-orders and without you we couldn’t have made this project possible. • We are not making standard audio drama as heard from other outlets. I consider the majority of stories from the top producers in the UK and worldwide to sound a bit too in-your-face and over-the-top. They still sound like radio plays - a sound that hasn’t changed in 25 years. This is of course just my personal opinion and it’s not what I want to produce. First, I think audio drama should sound more realistic and immersive. I can’t tell you how many times I’ve heard the same sound effects over and over. For example, the Martian heat-ray should sound like a metal box throwing extreme heat out of an opening. You should hear the screaming metal as it heats under pressure and the hiss of the air being set alight. What is shouldn’t sound like is a 70’s sci-fi hum followed by some kind of ‘pew-pew’ fx. Yes, I spent a week getting our heat-ray sounding realistic. • Slightly unrelated, I also have an issue with mastering for loudness, often referred to as ‘The Loudness War’. Audio dramas tend to be mastered this way to push the volume higher towards the digital threshold. Most music producers today do this too. You get a louder mix but you lose the clear dynamic range between the loudest sound and the softest sound. Our production, unless stated on alternative mix files, will retain the original master volume as heard in the studio. • Our production is mixed in 5.1 surround sound from the outset. This means there are an extra 4 channels of sound that require attention. We are not simply upconverting a stereo mix to 5.1. Even the stereo CD/download is encoded in Dolby Pro Logic II, which is a stereo signal containing the original 5.1 surround information and even gives surround effects if you don’t have a Dolby Audio decoder. Mixing in 5.1 surround sound is a huge technological challenge for an audio drama and this is the bulk of the reason for the delays. • Another reason for the delays is that the majority of the work in 2017 was done in my spare time while working a rather exhausting day job, and apart from my director I am the only person working on this production. As a start-up business I don’t have the resources to hire staff, so I’ve produced the story, edited it, done the sound design, the music, created the original poster/cover image, designed all the inlays, booklets and products, created content and menus for the DVD and USB. I’ve also kept Kickstarter backers up to date while providing exclusive extras during production, performed the usual admin on website and social media plus the behind-the-scenes admin duties. It’s has been a little stressful to say the least, but I love The War of the Worlds as H. G. Wells envisioned it and I know the end product, and hopefully your views on it, will be worth the effort. Anyway, Thank you for taking the time to read this email, it took a while for me to get around to figuring out mass emails, and once again thank you for your amazing support. If you haven’t heard it yet, here is the opening theme for The Coming of the Martians: youtu.be/iraWcEcU-fU ...and some extras including a teaser scene: soundcloud.com/sherwoodsoundYou can also keep up to date on Twitter or Facebook. Best regards, Martin Johnson ProducerSherwood Sound Studios
|
|
|
Post by charlesuirdhein on Jan 29, 2018 19:03:48 GMT
No problem with that Martin, just making sure I wasn't missing anything important. Cheers Tony Tony, Here is the email...
Dear pre-order customer, We are in the final stages of production on The Coming of the Martians our audio adaptation of H. G. Wells 1897 story The War of the Worlds. Download versions of the production should be sent in the last week of this month up to first Sunday in February for you to listen to the story while manufacturing of the physical products is in progress. I will not provide an exact date because I have, many times, set unrealistic release dates due to pressure from fans. This was a silly move and I sincerely apologise for missing these dates and the delays that followed. I’d like to take this opportunity to thank those of you that have shown so much support via email or social media during a very long production period and all of you for waiting patiently during this time. It hasn’t been easy. Delays have been for good reason, apart from a Windows 10 Update issue in December that put us back quite a bit, and I’d like to explain why it took so long… • The Coming of the Martians began as a Kickstarter project which funded only half of the final production costs. The rest was funded by myself and your generous pre-orders and without you we couldn’t have made this project possible. • We are not making standard audio drama as heard from other outlets. I consider the majority of stories from the top producers in the UK and worldwide to sound a bit too in-your-face and over-the-top. They still sound like radio plays - a sound that hasn’t changed in 25 years. This is of course just my personal opinion and it’s not what I want to produce. First, I think audio drama should sound more realistic and immersive. I can’t tell you how many times I’ve heard the same sound effects over and over. For example, the Martian heat-ray should sound like a metal box throwing extreme heat out of an opening. You should hear the screaming metal as it heats under pressure and the hiss of the air being set alight. What is shouldn’t sound like is a 70’s sci-fi hum followed by some kind of ‘pew-pew’ fx. Yes, I spent a week getting our heat-ray sounding realistic. • Slightly unrelated, I also have an issue with mastering for loudness, often referred to as ‘The Loudness War’. Audio dramas tend to be mastered this way to push the volume higher towards the digital threshold. Most music producers today do this too. You get a louder mix but you lose the clear dynamic range between the loudest sound and the softest sound. Our production, unless stated on alternative mix files, will retain the original master volume as heard in the studio. • Our production is mixed in 5.1 surround sound from the outset. This means there are an extra 4 channels of sound that require attention. We are not simply upconverting a stereo mix to 5.1. Even the stereo CD/download is encoded in Dolby Pro Logic II, which is a stereo signal containing the original 5.1 surround information and even gives surround effects if you don’t have a Dolby Audio decoder. Mixing in 5.1 surround sound is a huge technological challenge for an audio drama and this is the bulk of the reason for the delays. • Another reason for the delays is that the majority of the work in 2017 was done in my spare time while working a rather exhausting day job, and apart from my director I am the only person working on this production. As a start-up business I don’t have the resources to hire staff, so I’ve produced the story, edited it, done the sound design, the music, created the original poster/cover image, designed all the inlays, booklets and products, created content and menus for the DVD and USB. I’ve also kept Kickstarter backers up to date while providing exclusive extras during production, performed the usual admin on website and social media plus the behind-the-scenes admin duties. It’s has been a little stressful to say the least, but I love The War of the Worlds as H. G. Wells envisioned it and I know the end product, and hopefully your views on it, will be worth the effort. Anyway, Thank you for taking the time to read this email, it took a while for me to get around to figuring out mass emails, and once again thank you for your amazing support. If you haven’t heard it yet, here is the opening theme for The Coming of the Martians: youtu.be/iraWcEcU-fU ...and some extras including a teaser scene: soundcloud.com/sherwoodsoundYou can also keep up to date on Twitter or Facebook. Best regards, Martin Johnson ProducerSherwood Sound Studios
Haven't seen an email but thanks for the update.
|
|
|
Post by acousticwolf on Jan 29, 2018 21:00:01 GMT
Thanks Martin
Cheers
Tony
|
|
|
Post by nudge on Jan 31, 2018 7:49:31 GMT
• We are not making standard audio drama as heard from other outlets. I consider the majority of stories from the top producers in the UK and worldwide to sound a bit too in-your-face and over-the-top. They still sound like radio plays - a sound that hasn’t changed in 25 years. This is of course just my personal opinion and it’s not what I want to produce. First, I think audio drama should sound more realistic and immersive. I can’t tell you how many times I’ve heard the same sound effects over and over. For example, the Martian heat-ray should sound like a metal box throwing extreme heat out of an opening. You should hear the screaming metal as it heats under pressure and the hiss of the air being set alight. What is shouldn’t sound like is a 70’s sci-fi hum followed by some kind of ‘pew-pew’ fx. Yes, I spent a week getting our heat-ray sounding realistic. I've been curious of this production and after reading the above paragraph finally pre-ordered a CD last night, as really interested on how it will differ from normal radio plays - which are something I listen too a lot. Could this be the beginning of a new approach to creating audio drama, we'll have to wait and see I guess. Q. Not sure if I ordered it correctly as didn't have to create a customer account, though paid for it via Paypal. So how will Martin/Sherwood Sounds know who to send the complimentary 'download' file too?
|
|