Panorama Slicing Creates 5.1 From Stereo Classics
Pictured at Todd-AO West (L-R) are Penteo inventor John Wheeler, “Inglourious Basterds” re-recording mixer Michael Minkler, and music editor Jim Schultz. Photo by David Goggin.
In keeping with Quentin Tarantino’s use of eclectic music from his personal vaults as opposed to commissioning new musical scores, “Inglourious Basterds” features more than a dozen familiar and exotic tracks. What’s new is that the stereo masters dating back to the 60s have been converted to 5.1 audio through the new proprietary Penteo Surround process.
“Quentin was open to using the new process,” recalls Tarantino’s re-recording mixer Michael Minkler of Todd-AO, “as long as he could close his eyes and still feel emotionally attached in exactly the way he did with the original music sources he had chosen from his own collection.”
First used in the Warner Bros. blockbuster “Watchmen,” the Penteo process allows film mixers to incorporate 5.1 audio elements converted directly from stereo music sources. Multiple Oscar-winner Minkler, who has worked on numerous Tarentino films, first incorporated the new Penteo process earlier this year when working feverishly to prepare the new film for the Cannes festival.
Minkler and music editor Jim Schultz chose various pieces of music for Penteo to process before presenting them to the director for evaluation. It was the new 5.1 version of David Bowie’s “Cat People (Putting Out The Fire)” that convinced Tarantino to have the remainder of the music sources similarly processed.