AES New York 2019
Audio for Cinema Track Event Details

Thursday, October 17, 10:30 am — 12:00 pm (1E06)

Recording & Production: RP06 - Immersive Music Listening Session: Critical Listening and Recording Techniques

David Bowles, Swineshead Productions LLC - Berkeley, CA, USA
Paul Geluso, New York University - New York, NY, USA

In this workshop, new immersive music recordings will be presented followed by a brief technical discussion by their creators. Paul Geluso and David Bowles will host the session presenting their recent work and invite other recording engineers and music producers working in immersive formats to present recent works as well. Tracks will be played in their entirety to preserve their artistic impact and create an environment for critical listening. Following playback of each work will be a brief presentation and Q and A session. New immersive recording techniques designed specifically to optimize Dolby ATMOS compatibility will be presented by Geluso and Bowles as well.


Friday, October 18, 1:15 pm — 2:30 pm (1E07)

Broadcast & Online Delivery: B14 - Telling Stories with Sound: What Can Audio Storytelling Learn from Sound for Picture?

Rob Byers, Minnesota Public Radio | American Public Media - Minneapolis, MN, USA
Lon Bender, The Formosa Group - Los Angeles, CA, USA
Jocelyn Gonzales
Alexa Zimmerman, Now York, NY, USA

Sound: there's no better way to tell stories.

Rob Byers (American Public Media and Criminal) leads a conversation about what the craft of audio-only storytelling can learn from sound for picture. We'll explore what it takes to tell truly engaging stories in sound and apply those concepts to podcasts and radio.

Panelists include Lon Bender (supervising sound editor, Formosa Group), Alexa Zimmerman (dialog editor, Mary Poppins Returns, Roma), and Jocelyn Gonzales (executive producer of Studio 360 and a sound for picture educator).


Friday, October 18, 1:30 pm — 2:30 pm (1E17)

Game Audio & XR: GA14 - Just Cause 4 OST: Creative Collaboration

Zach Abramson, YouTooCanWoo

Just Cause 4’s massive soundtrack incorporates many different styles, sounds, and strategies crafted by composer Zach Abramson and a team of friends at their small studio in Brooklyn, NY. A collaborative approach was developed between Abramson, his team in Brooklyn and the audio department at Avalanche Studios across the East River in Manhattan, which led to stronger ideas and results that would have been difficult to achieve if working alone.

This presentation will provide an in-depth analysis of ways composers and audio teams can work together to better interpret creative briefs, design pillars, and game mechanics informing a soundtrack’s aesthetic as well as its technical design. From there, the discussion will continue into the various approaches used to achieve these results, ranging from broad topics like creative decision-making down to specific production techniques. These approaches directly relate to how composers can rely on a team to help mitigate the struggles of working in difficult environments like New York City, where workspaces and time often come at a premium.

Attendees will learn different composition techniques and how these various approaches relate to big concepts in video game scores, as well as real-world tips for how to collaborate effectively in a fast-paced creative environment. This talk is intended for composers, game audio professionals, music supervisors and anyone who is interested in learning more about video game music creation.

AES Technical Council This session is presented in association with the AES Technical Committee on Audio for Games


Saturday, October 19, 9:00 am — 10:00 am (1E17)


Audio for Cinema: AC01 - The Portable Score Mix: Cinematic Scores on an Episodic Budget

John Whynot, Berklee College of Music - Los Angeles, CA, USA

Score mixer and Berklee Professor John Whynot will show his approach, developed over years of working on scores restrained by package deals, to bringing the size and sweep of a cinematic score to smaller productions such as the F/X series “Tyrant,” the Amazon series “The Last Tycoon,” and the Netflix animation series “3 Below.” John will show how he has adapted his workflow to accommodate limited monitoring, the necessity of mixing in a composer’s studio with a portable setup, collaborating on-the-spot with the composer during the mix, and the need for speed in package-deal projects.


Saturday, October 19, 9:00 am — 10:30 am (1E08)

Immersive & Spatial Audio: IS09 - Producing High-Quality 360/3D VR Concert Videos with 3D Immersive Audio

Ming-Lun Lee, University of Rochester - Rochester, NY, USA
Steve Philbert, University of Rochester - Rochester, NY, USA

Our 3D Audio Research Laboratory at the University of Rochester has recorded over 40 concerts at the Eastman School of Music since Fall 2017. We have used an Orah 4i 4K 360 VR Camera and a Kandao Obsidian R 8K 3D 360 VR Camera to make 360/3D video recordings, as well as two Neumann KU100 Binaural Microphones, a Sennheiser Ambeo Smart Headset, a 32-element mh acoustics em32 Eigenmike microphone array, a Sennheiser Ambeo VR Microphone, a Zoom H3-VR Handy Recorder, a Core Sound TetraMic, and a Core Sound OctoMic to make 3D immersive audio recordings. With Adobe Premiere, we have been able to edit and render high-quality 8K 360/3D concerts videos mixed with binaural recordings for head-locked binaural audio or Ambisonic recordings for head-tracking binaural audio.

This workshop aims to show our optimized workflows for making high-quality VR concert videos from recording, editing, rendering, and finally publishing on YouTube and Facebook. We plan to demonstrate some essential recording and editing techniques with practical examples for the attendants to hear binaural audio with headphones. Making long concert VR videos is much more challenging than making short VR music videos. We have encountered and investigated so many technical issues, including stitching, video/audio drifting, synchronization, and equalization. Therefore, we also want to share our experiences in resolving some critical A/V issues and improving the audio quality. Our session also welcomes the audience to join discussions and share their experiences.


Saturday, October 19, 10:15 am — 11:15 am (1E12)


Audio for Cinema: AC02 - Best Practices in Re-Recording Mixing

Tom Fleischman, Soundtrack Film & Television - New York, NY, USA

This master class on re-recording will reprise some of Tom Fleischman's master class from AES145, with a primary focus on the use of developing technologies in cinema. 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.


Saturday, October 19, 1:30 pm — 2:30 pm (1E17)

Audio for Cinema: AC03 - You Don't Have To Go There: Recording Cinema Audio Remotely

Robert Marshall, Source Elements

A master class by Robert Marshall from Source Elements, the creator of Source-Connect, Source-Live, Source-Nexus, and other ubiquitous production tools. Robert will walk through the procedures of using real-time internet connections to produce, capture, refine, and transfer performances by actors, musicians, and other talent in cinema productions


Saturday, October 19, 3:00 pm — 4:00 pm (1E08)

Audio for Cinema: AC04 - Ambisonics in Cinema

John Escobar, Berklee College of Music - Boston, MA, USA

Berklee Professor and cinema audio maven John Escobar explores the uses of Ambisonics in cinema post-production to enhance existing audio as well as audio captured by soundfield microphones. Ambisonics can be used to “spatialize” non-soundfield recordings for better localization and potential further use in interactive media. Mr. Escobar will also demonstrate the use of Ambisonics in film score production. Audio examples using the technology will be played.


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