(drumroll) More Questions..

Tom Holman:
Immersive sound is an evolving concept. Currently, the 10.2 Sound System is the pinnacle of that technology. How do you envision the evolution of immersive sound? To be more poignant, where do you think this technology will have its end? 20.2, 30.4? How many sound channels are necessary to replicate a true sound environment? One that mimics our every day lives?

Kenneth Hall:
As a sound and music editor, you have a lot to do with how a piece is presented/received within the context of the movie. How do you seek to evoke emotion through sound? Do you subscribe to a set of conventions when editing? Like the villain's theme must always be drawn out with emphasized percussion? Or do you let each specific project take on a life of its own though communications with the director and composer? Or is there a balance between the two? Are some situations demanding a more traditional approach?

William Whittington:
The creation of sounds is an art in its own right. Playing off Brian's question, how much of cinematic sound creation involves being true to the source of the sound and how much of your endeavors lie in making something sound good for film? Furthermore, how do you attain the equilibrium in which something sounds really cool, but the audience deems it as appropriate? Do you test these sounds with different people to see if it works or do you just know instinctively when something is working?