Dolby Atmos fits many tastes.”ĭolby Atmos had a role to play as Das Boot sold into the international market. Instead of reining it in and making it realistic, we could use it to push aspects of narrative. That’s the approach where the New York apartment atmosphere came from. “So of course there was plenty of room for that too. “The directors were more experimentally minded with the camera and the sound,” explains Polter. But it also came from a different creative imperative. The second series used Dolby Atmos more prominently, building on confidence gained during the first series – confidence backed up by positive audience feedback. If you can introduce something for texture that doesn’t call attention to itself, the scope for subtlety is much greater.” Subtlety is the main drive for minimalists. He dialled everything back: less music, fewer extras. “The first series reflected the director’s taste for minimalism. “The directors of the second series had a different style to the director of the first,” he says. Polter found the difference between the two series instructive. What should be immersive becomes intrusive and detracts from storytelling. Underuse it and it’s not worth having, overuse it and you can break the spell, pulling the audience out of the story. One of the challenges of any new production technique is learning what level to pitch it at. The audience was on the boat that evening.” The water dripping, the metal of the hull creaking, it’s completely immersive, and that’s Dolby Atmos. As the audience, you feel it differently when the quality is higher. Polter adds: “It underlined the claustrophobia that these people are in. It was the best day of my creative life in television.” People were talking about it for days afterwards, how amazing the complete experience was, how awesome the sound was. It’s equally exciting and the audience reaction was fantastic. But the very quiet moments when you’re on the boat, the whole crew is waiting for the next attack and nothing is being said. You’re there being bombed from all sides. What we got was new ways of working with quietness.”Īmmon agrees: “Of course, the loud moments will stick with you. “You might think that it would come into its own during battle scenes, with depth charges going off all around, but anyone can do that. “It is high definition, high resolution,” says Polter. It gave us so much to play with we couldn’t have played with before.”Īs the production team learned what Dolby Atmos could do, they found it had some unexpected aspects. And when you were in a more upmarket situation, the soundscape reflected that. The shouting, the radio playing upstairs, dogs barking… we were able to really play with that, build a complete environment. People living in a flat had neighbours above and below. “It’s a skyscraper city,” says Polter, “and in the second season we played a lot more with ambience and colour. But Dolby Atmos was also so good with the other strands.”įor example, the New York strand needed to reflect a city that’s loud in all three dimensions. When you’re on the surface, sounds come from around – underwater, from above. Obviously in the strand inside the U-boat, the sounds tell the audience so much. “Dolby Atmos’ control of 3D object positioning absolutely helped. Moritz Polter, Executive Producer International Television Series, Bavaria Fiction, had to create those soundscapes. So many different soundscapes were needed to give each its unique experience.” “On sea, on land, in the world of refugees and 1940s New York. “We had multiple strands – two storylines in the first season and three in the second,” explains Marcus Ammon, Senior Vice President Original Production, Sky Deutschland. Creating the best possible audio environment for the story had a lot of dramatically different challenges. You can’t get more intense than life on a military submarine, and a key to achieving immersive intensity was audio. A big part of the series’ success is the use of Dolby Atmos, the immersive three-dimensional audio technology. So when Sky Deutschland and Bavaria Fiction announced they were collaborating on a TV series sequel, anything short of brilliance would have been fatal.Īfter the first series of Das Boot saw sales to over 100 territories backed up by critical and popular success in 2019, a second series was commissioned and went out to similar praise this year. On its release in 1981, the German film Das Boot was quickly declared a true epic of European cinema.
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