AES Los Angeles 2014
Sound for Picture Track Event Details
Thursday, October 9, 10:45 am — 12:45 pm (Room 306 AB)
Tutorial: T4 - Sound Reproduction: The State of Our Science
Presenter:Floyd Toole, Acoustical consultant to Harman, ex. Harman VP Acoustical Engineering - Oak Park, CA, USA
Abstract:
Sound Reproduction: The State of Our Science
Most of the music we enjoy is generated by loudspeakers of differing pedigree, and propagated to our ears through spaces that can mostly be described as acoustically arbitrary. In spite of the obvious huge variations, humans have managed to not only enjoy reproduced music, but sometimes even to exhibit enthusiasm for it. Common acoustical measurements confirm the variations. Are they wrong? Do they matter? In double-blind subjective evaluations of loudspeakers in rooms, listeners exhibit strong and remarkably consistent opinions about the sound quality from loudspeakers. The challenge has been to identify those technical measurements that correlate with the subjective ratings. What is it that these listeners are responding to? This review will examine the acoustical properties of loudspeakers (the sound source), rooms (the acoustical conveyance) and listeners (the powerfully perceptive, and adaptable receptor). In some respects, our problems began when we started to make certain kinds of simplistic measurements. Two ears and a brain do not respond to complex sound fields the way an omnidirectional microphone and analyzer do. Belief that “room equalization” is a universal cure-all has added to the confusion. Much of the applied acoustical science was developed for large, reverberant, venues, not those most used for sound reproduction. We can do better. At the present time the audio industry is significantly lacking in meaningful standards, material specifications and loudspeaker performance descriptions. As a consequence, opinions often substitute for facts.
Friday, October 10, 9:00 am — 10:30 am (Room 306 AB)
Sound for Picture: SP1 - Cinema Loudness Subcommittee Test Results and Proposed Solutions
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Eelco Grimm, Grimm Audio - Utrecht, Netherlands
Abstract:
Cinema audiences worldwide have heard movies get louder and louder since the introduction of Digital Cinema Distribution Masters. Government legislation in Europe (and proposed in Connecticut) suggest incorrect technical solutions. A committee working under TC-SDCTV Chair Brian McCarty has documented the problem and come to this convention with solutions for Standards consideration.
 | This session is presented in association with the AES Technical Committee on Audio for Cinema |
Friday, October 10, 11:00 am — 1:00 pm (Room 306 AB)
Sound for Picture: SP2 - Music Production for Film—A Master Class
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Tom Salta, Persist Music - Norwalk, CT, USA
Chris Boardman, University of Miami - Miami, FL, USA
Simon Franglen, Class1 Media - Los Angeles, CA, USA; London
Laura Karpman, Art Farm West - Playa Del Rey, CA, USA
Steven Saltzman, Music Visions - Los Angeles, CA USA
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 |
Friday, October 10, 1:00 pm — 6:00 pm (Room 404 AB)
Special Event: DTV Audio Group Forum: The Implications of Streamed Content Delivery on the Evolution of Television Audio Services
Presenters:Tim Carroll, Telos Alliance - Lancaster, PA, USA
Roger Charlesworth, DTV Audio Group - New York, NY, USA
David Colantuoni, Senior Director, Broadcast, Storage, and Editor Product Development, Avid
Kevin Collier, Director of Engineering, Post Production, Warner Bros Studio Facilities
Craig Cuttner, Senior Vice President, Technology Development & Standards, HBO
Thomas Edwards, Vice President Engineering and Development, Fox Networks
Michael Englehaupt, Chief Technology Officer, KQED Television
Tino Fibaek, Chief Technical Officer, Fairlight AU
Will Files, Sound Designer, Re-Recording Mixer, Skywalker Sound
Mark Francisco, Fellow, Premises Technology, Office of the CTO, Comcast
Richard M. Friedel, Executive Vice President and General Manager, Fox Networks Engineering and Operations - Los Angeles, CA, USA
Steve Harvey, West Coast Editor, Pro Sound News
Chris Jenkins, Sound Designer and Re-Recording Mixer
John Kellogg, Senior Director, Corporate Strategy and Development, DTS
Karl Malone, Director of Sound Design at NBC Sports and Olympics
Steve Morris, Director of Engineering, Skywalker Sound
Michael Novitch, Chief Engineer, Technicolor Sound Service
Nathan Oishi, Chief Engineer, Sony Pictures Digital
Sean Richardson, Executive Director and Principal Audio Engineer, Starz Entertainment - Englewood, CO, USA
Jeff Riedmiller, Dolby Laboratories - San Francisco, CA USA
Tom Sahara, Turner Sports Vice President, Operations and Technology, Turner Sports - Atlanta, GA, USA
Steve Silva, Vice President of Technology and Strategy, Fox Networks - Los Angeles, CA, USA
Jim Starzynski, Director and Principal Audio Engineer, NBCUniversal - New York, NY, USA
Jeff Willis, Coordinating Technical Manager at ESPN
Abstract:
Content delivery is converging on a streamed model whether for mobile, over the public internet, within the walled garden of the MVPD, or over next generation broadcast services. Virtualized delivery infrastructure for streamed content allows new services to be deployed with very short lead times. The rapidity of this transition to streaming has significantly accelerated the time frame for adoption of advanced object-based audio services offering spatially immersive sound, enhanced personalization, greater bandwidth efficiency and improved audio quality. It is likely we will begin seeing these new features in our homes and mobile devices in months rather than years. This forum explores some of the tools and workflow approaches required to manage and exploit the capabilities of next-generation audio standards. It takes a look at the convergence around streamed content delivery and transition to IP distribution and contribution that makes this rapid deployment possible.
“The explosive growth in streamed content delivery over mobile and fixed devices, has re-written the playbook for television media distribution. Streaming delivery models are also inexorably finding their way into existing cable services and are being written into next-generation advanced television standards. The migration from traditional broadcasting to a IP stream-based model greatly simplifies implementation, and combined with tablet-empowered UI, frees distributors to pursue a range of formats and encoding solutions with sophisticated interactive and object-oriented audio services” —Roger Charlesworth, Executive Director, DTV Audio Group
Discussion topics will include:
This Is Not Your Father’s MVPD : A look into how the transition to IP infrastructure and streamed content is transforming cable and how this facilitate advanced audio codecs
So Long SDI and MADI : IP infrastructure for audio and video contribution within the broadcast plant and in the field
Interactivity, Objects, and Spatially Immersive Audio: Mixers and technologist on the migration of object audio from cinema to the small screen and mobile
Object Audio Toolbox: What are the essential monitoring and authoring tools required for object audio production?
It’s All in Your Head: The state of headphone virtualization for immersive audio formats
The DTV Audio Group Forum at AES is produced in association with the Sports Video Group and is sponsored by: Calrec, Dolby Laboratories, DTS, Lawo, Linear Acoustic
Saturday, October 11, 9:00 am — 10:00 am (Room 405)
TC Meeting: Sound for Digital Cinema and Television
Abstract:
Technical Committee Meeting on Sound for Digital Cinema and Television
Saturday, October 11, 9:00 am — 10:30 am (Room 306 AB)
Broadcast and Streaming Media: B9 - Sound Design and Storytelling: How to Create the Environments and Sounds Needed to Enhance Any Tale
Panelists:David Shinn, SueMedia Productions - Carle Place, NY, USA
Sue Zizza, SueMedia Productions - Carle Place, NY, USA
Abstract:
No matter what the medium (film, TV, games, radio, etc.) creating a fully realized sound scape helps to bring your story to 'life' and engages your audience. Blending recorded effects captured specifically for your story, along with recorded effects from the many SFX libraries available, and live 'in-studio' effects, helps to create a sound scape tailored to your story's environments and worlds. This session will take you through the different ways (in mono, stereo, and surround sound) to:
• Capture recordings in the field
• Showcase live SFX performance techniques (foley) and review
• Microphone choices for sound effect recordings.
As part of the demonstration a short skit will be performed showcasing the different performance and SFX techniques.
Saturday, October 11, 2:00 pm — 4:00 pm (Room 408 B)
Sound for Picture: SP3 - Cinema Standards Review and the Road to Implementing Changes (A Joint Presentation with the SMPTE)
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
David Murphy, Krix Loudspeakers - Hackham, South Australia
Neil Shaw, Menlo Scientific Acoustics Inc. - Topanga, CA, USA
Brian A. Vessa, Sony Pictures Entertainment - Culver City, CA, USA; Chair SMPTE 25CSS standards committee
Abstract:
The AES and SMPTE are pleased to present this joint workshop on audio standards issues in the cinema.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Saturday, October 11, 3:00 pm — 5:00 pm (Room 408 A)
Broadcast and Streaming Media: B13 - SMPTE: Audio Issues for Live Television—Overcoming the Challenges of Live Television Broadcast in Today’s Wild, Wild World
Chair:Roger Charlesworth, DTV Audio Group - New York, NY, USA
Panelists:
Michael Abbott, All Ears Inc.
Bruce Arledge, Jr.
Kevin Cleary, ESPN - Belle Isle, FL, USA
Ed Greene
Hugh Healey
Abstract:
With the technology shifts experienced by the industry over the past several years, broadcasters have been challenged to keep up and evolve. Throughout it all, live broadcast has continued to present challenges for audio engineers. Listen as our renowned panelists share their thoughts on the most significant issues, what has changed, what is the same and how they overcome production challenges of live programming.
Presented by Society of Motion Picture and Television Engineers/SMPTE
Saturday, October 11, 4:30 pm — 6:30 pm (Room 408 B)
Sound for Picture: SP4 - Immersive Sound and One-Master Mixing
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Ton Kalker, DTS - Mountain View, CA, USA
Stephan Mauer, BARCO N.V. - Erfurt, Germany
Bert Van Daele, Auro Technologies NV - Mol, Belgium
Abstract:
With “Immersive Sound” and "Object-Based Mixing” the new buzzwords in Sound for Picture production, some are wondering if the systems can be designed to streamline the growing requirements for “special mixes.” The methods and tools currently available and the changes that might be necessary going forward to eliminate specialized mixing for different devices and markets are discussed by this panel.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Sunday, October 12, 9:00 am — 11:00 am (Room 306 AB)
Sound for Picture: SP5 - World-Class Cinema Sound Mixers Discuss Their Craft
Presenters:Sherry Klein, Smart Sound - Los Angeles, CA, USA
Mark Linden, Sony Pictures Entertainment - Culver City, CA, USA
Gregory Watkins, Born To Dubb. Inc. - Granada Hills, CA; Warner Bros - Burbanc CA
Abstract:
The pinnacle of Sound for Picture recording is the sound mixing for Hollywood-made motion pictures. This workshop features the top members of this group.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Sunday, October 12, 10:30 am — 12:30 pm (Off-Site 1)
Technical Tour: TT11 - The Dub Stage
Abstract:
The Dub Stage specializes in sound for cinema and television. Marti D. Humphrey CAS, a 33-year veteran of Hollywood post-production with multiple primetime Emmy awards, will lead this tour with a brief presentation, Q & A, and demonstration of their Meyer Acheron Cinema Sound System, with 37 speakers and Barco Auro-3D 11.1 system for immersive 3D sound, built around an Avid Pro Tools HDX.
This tour is limited to 40 people.
Sunday, October 12, 1:00 pm — 3:00 pm (Room 408 B)
Sound for Picture: SP6 - Superstars of Production Sound Recording
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Peter Kurland
Jim Tanenbaum, Sound Recording Services - Los Angeles, CA, USA
Mark Ulano
Abstract:
The recording of Production Sound dialog for films is a unique area of sound recording, and done to a high standard by the Hollywood production sound community. This type of recording requires an understanding of the film-making process, a strong relationship with the various crafts, and a wide variety of "tricks" not usually employed in other areas of sound recording. This workshop features several of the top Production Sound Mixers prepared to discuss their craft and recording philosophies.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
Sunday, October 12, 3:00 pm — 5:00 pm (Room 408 B)
Sound for Picture: SP7 - Recording Production Sound—A Master Class
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Peggy Names, Silent Solutions, LLC - Pasadena, CA, USA
Jay Patterson, Engineering For Production - Venice
Abstract:
The craft of recording live dialog on the set is one of the most unique areas of sound recording. In many cases the other technicians on the set, including the director, conspire to make the process of getting quality recordings very difficult. And with this work often done outdoors, day and night, sunshine, pouring rain, or drifting snow, the production sound team need to be clever and find solutions in real time. This workshop with a leading Production Sound mixer and top boom operator will shed some light on this diverse recording craft.
| This session is presented in association with the AES Technical Committee on Audio for Cinema |
