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 GogginHollywood, CA (August 27, 2009)--For Quentin Tarantino's latest film, Inglourious Basterds, stereo masters dating back to the '60s were converted to 5.1 via the new proprietary Penteo Surround process.
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.
"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 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 Tarantino films, first incorporated the new Penteo process earlier this year when working 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.
More than a dozen stereo tracks were converted using Penteo Surround to 5.1, including "Cat People (Putting Out The Fire)," David Bowie; "Tiger Tank," Lalo Schifrin; "The Devil's Rumble," Mike Curb/The Arrows; and a number of pieces by Ennio Morricone, including "Mercenario (Reprisa)."
Various factors make the Penteo process ideal for creating 5.1 from stereo sources for theatrical presentation. Inglourious Basterds music editor Jim Schultz says the option of using the original multitrack masters to create new 5.1 film mixes is extremely rare because of the obvious budget and time constraints, and that in many cases the multitrack sources no longer even exist.