AES New York 2013
Sound for Picture Session Details
Friday, October 18, 11:30 am — 1:00 pm (Room 1E11)
SP1 - Creative Dimension of Immersive Sound—Sound in 3D
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Marti Humphrey CAS, The Dub Stage - Burbank, CA, USA
Branko Neskov, Loudness Films - Lisbon, Portugal
Abstract:
Audio for Cinema has always struggled to replicate the motion shown on the screen, a fact that became more apparent with 3D films. Several methodologies for "immersive sound" are currently under evaluation by the industry, with theater owners and film companies both advising that they will not tolerate a format war, with a common format a commercial requirement.
The two major methods of creating immersive sound and audio motion are referred to as "object-based" and "channel-based." Each has its strengths and limitations for retrofit into the current cinema market. With few sound mixers experienced in either of these techniques, we're pleased to welcome two of the pioneers, one with experience at Auro3D and the other in Atmos, in a discussion of their experiences and comments on working with the two systems.
 | This session is presented in association with the AES Technical Committee on Audio for Cinema |
Friday, October 18, 2:30 pm — 4:00 pm (Room 1E11)
SP2 - Cinema Sound Standards Collapse Leaving Turmoil—An Overview of the State of the Art
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Glenn Leembruggen, Acoustics Directions Pty Ltd. - Summer Hill, NSW, Australia; Sydney University
David Murphy, Krix Loudspeakers - Hackham, South Australia
Abstract:
Dr. Floyd Toole first documented in his book Sound Reproduction: Loudspeakers and Rooms in 2008 the failure of the Standards process in producing quality sound in movie theaters. The work was expanded on in experiments done by a group led by Philip Newell in Europe, and this work was cited by Brian McCarty in order to get both the SMPTE and AES to begin work on scientific, comprehensive new Standards for cinema and eventually home audio reproduction.
This workshop reviews the flawed Standards and presents new experiments that further define the areas of work that will need to be undertaken for new Standards to be written.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Saturday, October 19, 9:00 am — 10:30 am (Room 1E11)
SP3 - Dialog Editing and Mixing for Film (Sound for Pictures Master Class)
Presenters:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Fred Rosenberg
Abstract:
Film soundtracks contain three elements—dialog, music, and sound effects. Dialog is the heart of the process, with “telling the story” the primary goal of the dialog. With multiple sources of dialog available, the assessment and planning of the dialog and subsequent mixing is a critical element in the process. This Master Class with one of Hollywood's leading professionals puts the process under the microscope.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Saturday, October 19, 10:30 am — 12:00 pm (Room 1E11)
SP4 - Music Production for Film (Sound for Pictures Master Class)
Presenters:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Simon Franglen, Class1 Media - Los Angeles, CA, USA; London
Chris Hajian
Abstract:
Film soundtracks contain three elements: dialog, music, and sound effects. The creation of a music soundtrack is far more complex than previously, now encompassing “temp music” for preview screenings, synthesizer-enhanced orchestra tracks, and other special techniques. This Master Class with one of Hollywood's leading professionals puts the process under the microscope.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Saturday, October 19, 2:00 pm — 3:30 pm (Room 1E11)
SP5 - Sound Design for Film (Sound for Pictures Master Class)
Presenters:Michael Barry
Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Eugene Gearty
Skip Lievsay
Abstract:
Film soundtracks contain three elements: dialog, music, and sound effects. Sound effects, which used to be an afterthought, are now constructed by sound designers, often working from the start of production. This Master Class with Hollywood's leading professionals puts the process under the microscope.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Saturday, October 19, 3:30 pm — 5:00 pm (Room 1E11)
SP6 - World-Class Cinema Sound Mixers Discuss Their Craft
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Marti Humphrey CAS, The Dub Stage - Burbank, CA, USA
Chris M. Jacobson, The Dub Stage - Los Angeles, CA, USA
Branko Neskov, Loudness Films - Lisbon, Portugal
Abstract:
In what is fast becoming one of the most popular events in the "sound for picture" track, we again put together a panel of four of the top sound mixers for film and television.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Sunday, October 20, 10:30 am — 12:30 pm (Room 1E11)
SP7 - Sound for "A Deadliest Catch"—Reality Is Hard Work
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Bob Bronow, Max Post - Burbank, CA; Audio Cocktail
Josh Earl, Original Productions - Burbank, CA, USA
Sound Crew from "Deadliest Catch"
Abstract:
Television has seen the development of a new category of TV program—the "reality" show. While many of these shows are TV fluff, one of the first was set around the dangerous profession of crab fishing in the Bering Sea. This hit rated show is one of the most difficult and challenging productions for not only the fisherman but for the capture and mixing of the soundtrack. We present two of the key Emmy-winning sound professionals in this workshop.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
