AES New York 2018
Audio for Cinema Track Event Details
Wednesday, October 17, 10:45 am — 12:15 pm (1E09)
Product Development: PD02 - Power Amplification for High Resolution Audio
Presenter:John Dawson, Jade Electronics Ltd - Cambridge, UK
Driving modern passive loudspeakers to realistic levels without audible distortion can be surprisingly demanding—more so when the source is high resolution audio. And, although the peak power levels are much lower, achieving full dynamic range with headphones can also present tricky design problems. This tutorial reviews the various types of linear amplifier—particularly classes A, AB, B, D, G and H—and examines some of the trade-offs involved in designing and implementing some recent commercial designs for both speakers and headphones. A number of the author's measurements of real products—not all of them good—will be shown.
 | This session is presented in association with the AES Technical Committee on High Resolution Audio |
Wednesday, October 17, 4:15 pm — 5:45 pm (1E08)
Immersive & Spatial Audio: IS02 - Delivering Interactive Experiences Using HOA through MPEG-H
Chair:Patrick Flanagan, THX Ltd. - San Francisco, CA, USA
Panelists:
Stephen Barton, Afterlight Inc.
Simon Calle, THX Ltd.
Nick Laviers, Respawn Entertainment
Aaron McLeran, Epic Games
Nils Peters, Qualcomm, Advanced Tech R&D - San Diego, CA, USA
A panel discussion about HOA content creation and how HOA should transform the way we produce audio for all types of media. Discussion includes DAW’s for creating HOA, MPEG-H file compression for delivery of up to 6th order Ambisonics, Broadcasting tools and possibilities, and how HOA and MPEG-H are gaining traction in the world.
| This session is presented in association with the AES Technical Committee on Audio for Games |
Wednesday, October 17, 6:15 pm — 8:30 pm (Off-Site 1)
Historical: H02 - Ray Dolby and the Technical Innovations of Dolby Laboratories
Presenters:Ioan Allen, Dolby Laboratories, Inc. - San Francisco, CA, USA
Thomas Kodros, Dolby Laboratories, Inc. - New York, NY, USA
Dolby Screening Room
1350 Avenue of the Americas, Dolby 88 Screening Room
(corner 6th Ave. & W 55th St.)
This program traces over 50 years of audio developments from Ray Dolby and Dolby Laboratories and uses contemporaneous demonstration material for illustration. The content is primarily non-technical, and will conclude with a demonstration of the combination of Dolby Atmos and Dolby Vision—the ultimate cinema experience of 2018.
Special thanks for Meyer Sound for Providing additional sound equipment.
This event will be at the Dolby Theater. Program will start at 6:45 pm and end at 8:30. We must be completely out of the room by 9:00 pm.
Come early (5:30 pm) for finger food hors d’oeuvres and beer/wine reception.
This will be a ticketed event (available in the Dolby Demo room)
Thursday, October 18, 10:15 am — 11:15 am (1E10)
Audio for Cinema: AC01 - Best Practices in Re-Recording Mixing: Focus on Episodic
Presenter:Tom Fleischman, Soundtrack Film & Television - New York, NY, USA
This session on re-recording will reprise some of Tom Fleischman's master class from AES143, but with an added focus on the particular challenges associated with episodic television and series. Tom will discuss how he approaches a project from the beginning through to the end, on how the mix can enhance storytelling, the importance of clarity of dialogue, and how music and sound effects engage the audience. Also covered will be the distinctions between cinema and episodic productions, dealing with continuity between episodes, changing creative hierarchies, and the blinding speed at which mixes are made for series.
Thursday, October 18, 10:15 am — 11:15 am (1E08)
Game Audio & XR: GA04 - Games v. Cinema: Grudge Match
Chair:Steve Martz, THX Ltd. - San Rafael, CA, USA
Panelists:
Lydia Andrew, Ubisoft - Quebec City, Canada
Jason Kanter, Audio Director, Avalanche Studios - New York, NY, USA
Harold Kilianski, Fanshawe College - MIA - London, ON, Canada
John Whynot, Berklee College of Music - Los Angeles, CA, USA
Game audio and audio for cinema. Two worlds that create epic soundscapes. How much are they similar or different? Do they share the same tools, design plan and challenges, or are they completely individual? Join this session to hear from four leaders in the industry, two from cinema and two from games, as they discuss audio design for their fields. Learn how sound design, dialog, and FX strategies differs between the two realms and how they sometimes even work together.
| This session is presented in association with the AES Technical Committee on Audio for Games |
Thursday, October 18, 11:30 am — 12:30 pm (1E10)
Audio for Cinema: AC02 - Collaboration at a Distance: Real-Time Remote Recording Tools for Scoring and Post Audio
Presenter:Robert Marshall, Source Elements
Market forces and the advent of new technology and the internet have greatly altered the world of film scoring, along with other related enterprises in audio post. Excellent tools exist for collaborating remotely on recording sessions. Workflows have built up and developed over time to allow those constrained by budget, or desiring the artistic services of someone who is geographically remote, to conduct full sessions with talkback and good monitor audio. This workshop is an exploration of one of the major tools, along with examples of how remote recording is being used in scoring and other disciplines.
Thursday, October 18, 12:30 pm — 1:30 pm (1E06 (Immersive/PMC Rm))
Game Audio & XR: GA06 - Shadow of the Tomb Raider: A Case Study Dolby Atmos Video Game Mix
Presenter:Rob Bridgett, Eidos Montreal - Montreal, Canada
Shadow of the Tomb Raider was developed at Eidos Montreal over a three year period and had its final mix at Pinewood Studios in the UK over a two week period. The game was mixed entirely in Dolby Atmos for Home Theatre and was one of the first console games to author specific height-based, 3D-sound specifically for this exciting new surround format.
Audio Director, Rob Bridgett, will cover all aspects of bringing this mix to fruition, from planning to execution, in this fascinating post-mortem. Highlights include: • Mix philosophy overview for a blockbuster AAA action title. • Unexpected side-effects of height-based surround. • Critical tools and techniques for surround and overhead-based mixing. • Implementing loudness guidelines. • Differences and benefits of Atmos and object-based surround sound systems for games, over and above those of movies. • Middleware and live-tuning workflow examples and descriptions. • Mix team composition and roles.
| This session is presented in association with the AES Technical Committee on Audio for Games |
Thursday, October 18, 1:45 pm — 2:45 pm (1E08)
Historical: H03 - Stanley Watkins, a Bell Labs Sound Pioneer
Presenter:Doug Slocum, Synthetic Sound Labs - Toms River, NJ, USA
Stanley Watkins was a British audio engineer who worked for Western Electric and Bell Labs for the duration of his career. A documentary is in progress about his work with the Warner Brothers launching talking pictures. In 1939 he dazzled audiences at the World's Fair presenting the early talking machine known as the VODER. This presentation will include a demonstration of one of the few remaining VODERs.
Thursday, October 18, 3:00 pm — 4:30 pm (1E17 (Surround Rm))
Audio for Cinema: AC03 - Modern Scoring Workflows: Mixing Multi-Stem Score in the Box—A Master Class featuring Alan Meyerson
Presenter:Alan Meyerson
Legendary film score mixer Alan Meyerson (200+ major film score credits) will elucidate his approach to mixing multi-stemmed scores in the box, using AVID Pro Tools.
Thursday, October 18, 5:15 pm — 5:45 pm (1E06 (Immersive/PMC Rm))
Audio for Cinema: AC04 - The 5th Element – How a Sci-Fi Classic Sounds with a New 3D Audio Mix
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
The 5th Element—it’s certainly a milestone in Sci-Fi film history. Recently it was completely overworked doing a completely new film scan in 4k and mixing the whole audio elements again in Dolby Atmos and Headphone Surround 3D. This version was released in Germany as UHD Blu-ray and offers a fantastic new adventure of this great production from Luc Besson. The session offers listening examples and inside information of the production.
Thursday, October 18, 6:15 pm — 8:30 pm (Off-Site 2)
Historical: H05 - Both Sides Now: Joni Mitchell at the Isle of Wight 1970
Presenter:Eliot Kissileff
Producer Eliot Kissileff discusses the restoration ordeal of creating the movie and soundtrack, filmed by Murray Lerner and recorded by Teo Macero and Stanley Tonkel.
Featuring concert footage as well as contemporaneous interviews at the festival with attendees as well as a 2003 interview Ms. Mitchell, the film will be released for the first time at the end of September. This will be the first New York showing.
This event will be at the Dolby Theater. Doors will be at 6:15 pm, program will start at 6:45 pm and end at 8:30. We must be completely out of the room by 9:00 pm.
No food or drink other than water allowed in theater.
This will be a ticketed event (available in the Dolby Demo room)
Saturday, October 20, 11:30 am — 12:30 pm (1E21)
Student / Career: SC15 - Audio Effects in Sound Design 101
Presenter:Brecht De Man, Birmingham City University - Birmingham, UK
Audio effects are the bread and butter of the audio engineer and offer endless creative opportunities to enrich (or spoil) music. But their use is equally relevant in other linear and interactive media, where significant processing is often needed before sources fit the sonic environment or artistic vision. A sound designer can have several tasks within the context of a single production, such as making overdubbed or synthetic sources convincing, making reality more interesting than it is, conveying emotional state, accounting for auditory perception and system limits, and making things sound imaginary, virtual, or magical.
This tutorial can be useful for novices and inspirational for pros, covering fundamentals and taxonomy and showing how these different goals can be achieved with a basic set of processors.