AES San Francisco 2012
Sound for Pictures Track Event Details
Friday, October 26, 9:30 am — 11:30 am (Tech Tours)
Technical Tour: TT1 - Dolby Laboratories
Abstract:
Visit Dolby's (dolby.com) world headquarters for a behind-the-scenes demonstration and discussion of Atmos in Dolby's world-class screening room. Considered to be the most significant new development in audio since surround sound, Dolby Atmos delivers a more natural and realistic soundfield. It transports the audience into the story with a "lifelike sensory experience." Developed with input from highly respected feature film professionals, this new concept in sound represents a dynamic reinvention of traditional surround sound methodology.
This event is limited to 75 tickets.
Price: Members $35/Nonmembers $45
Saturday, October 27, 9:00 am — 11:00 am (Room 130)
Sound for Pictures: SP1 - Post-Production Audio Techniques for Digital Cinema and Ancillary Markets
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Lon Bender, Soundelux
Jason LaRocca, La-Rocc-A-Fella, Inc. - Los Angeles, CA, USA
Brian A. Vessa, Sony Pictures Entertainment - Culver City, CA, USA
Abstract:
Cinema sound has traditionally been limited in fidelity because optical soundtracks, used until recently, were incapable of delivering full-bandwidth audio to the theaters. As Digital Cinema replaces film in distribution, sound mixers are now delivering uncompressed lossless tracks to the audience. These three top sound mixers will discuss the changes and challenges this has presented to them.
Saturday, October 27, 9:00 am — 11:00 am (Room 132)
Tutorial: T4 - Small Room Acoustics
Presenter:Ben Kok, BEN KOK acoustic consulting - Uden, Netherlands
Abstract:
Acoustic basics of small rooms will be discussed. Specific issues related to the size of the room (room-modes) will be addressed. Absorption, reflection, diffraction, diffusion, and how to use it, as well as specific aspects regarding low frequency treatment will be discussed.
Although this will not be a studio design class, specifics and differences of recording rooms and control rooms will be identified, including considerations for loudspeaker and microphone placement.
Saturday, October 27, 11:00 am — 1:00 pm (Room 130)
Sound for Pictures: SP2 - Reconsidering Standards for Cinema Sound—Alternatives to ISO 2969
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Keith Holland, University of Southampton - Southampton, UK
Floyd Toole, Acoustical consultant to Harman, ex. Harman VP Acoustical Engineering - Oak Park, CA, USA
Abstract:
For over eighty years ISO 2969 (aka SMPTE S202) has been a cornerstone of the film sound reproduction "B-Chain." Like the RIAA curve, it was originally implemented to compensate for defects in the delivery medium. Groundbreaking acoustical research, led by Philip Newell and Dr. Keith Holland, has exposed shortcomings in the standard as well as the testing methodology used in the standard. This panel will examine the implications of these standards as film rapidly shifts to Digital Cinema delivery, as mixing rooms being used become smaller and as full bandwidth soundtracks and newer formats like 3-D audio are now delivered to theaters for reproduction.
Saturday, October 27, 3:30 pm — 6:30 pm (Room 130)
Sound for Pictures: SP3 - New Multichannel Formats for 3-D Cinema and Home Theater
Co-chairs:Christof Faller, Illusonic - Uster, Switzerland
Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Kimio Hamasaki, NHK - Tokyo, Japan
Jeff Levison, IOSONO GmbH - Germany
Nicolas Tsingos, Dolby Labs - San Francisco, CA, USA
Wilfried Van Baelen, Auro Technologies - Mol, Belgium
Brian A. Vessa, Sony Pictures Entertainment - Culver City, CA, USA
Abstract:
Several new digital cinema formats are under active consideration for cinema soundtrack production. Each was developed to create realistic sound "motion" in parallel with 3-D pictures. This workshop presents a rare first opportunity for the proponents of these leading systems to discuss their specific technologies.
Sunday, October 28, 9:00 am — 10:00 am (Room 124)
TC Meeting: Sound for Digital Cinema & Television
Abstract:
Technical Committee Meeting on Sound for Digital Cinema & Television
Sunday, October 28, 9:00 am — 11:00 am (Off-Site 1)
Workshop: WH1 - Sound Design Tools for Multichannel Audio with Height
Chair:Wieslaw Woszczyk, McGill University - Montreal, QC, Canada
Panelists:
Kimio Hamasaki, NHK - Tokyo, Japan
Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Brett Leonard, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Frank Melchior, BBC R&D - Salford, UK
Nicolas Tsingos, Dolby Labs - San Francisco, CA, USA
Abstract:
Multichannel audio systems in advanced cinema and television utilize many loudspeaker channels distributed horizontally and vertically in the listening space. Comprehensive tools have been developed to control sound design and mixing in such environments as traditional stereophonic tools are inadequate. The panelists will present different channel, object based, and hybrid approaches and demonstrate how the respective systems are used in post-production to achieve artistic flexibility and save time. Discussion on merits of these solutions will follow.
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center). Space is limited and tickets can be obtained at the AES Tours Desk.
Sunday, October 28, 11:15 am — 12:45 pm (Off-Site 1)
Workshop: WH2 - Height Channels: Adding the Vertical Dimension to Surround Sound
Chair:Paul Geluso, New York University - New York, NY, USA
Panelists:
Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
David Bowles, Swineshead Productions LLC - Berkeley, CA, USA
Gregor Zielinsky, Sennheiser Electronic GmbH & Co. KG - Germany
Abstract:
While a great deal of development has gone into reproducing audio in the horizontal plane, the next step in immersive audio moves into the vertical dimension. How does one capture and create height information for a true 3-D listening experience? How does the listener perceive the addition of height loudspeakers? New recording techniques, microphone configurations, processing methods, and transmission formats are needed to fill this demand. At this workshop a panel of music producers and engineers will present different methods to capture and process vertical ("Z axis") information for later reproduction in surround playback environments with height channels. Post-production methods to create 3-D sonic imagery for recordings not originating in 3-D will be discussed as well. Recordings made using these technologies will be demonstrated.
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center). Space is limited and tickets can be obtained at the AES Tours Desk.
Sunday, October 28, 1:00 pm — 3:00 pm (Tech Tours)
Technical Tour: TT6 - Polarity Post Production and Outpost Studios
Abstract:
Two powerhouses of postproduction under one roof; the proximity of Polarity (polaritypost.com) and Outpost (outpostfilm.com) makes this the premiere destination for post projects of any size.
Polarity Post
A full service audio post house, with 5 studio's ranging from stereo to 5.1 and a Dolby Certified 5.1/7.1 mixing stage, Polarity represents the penultimate environment for creative sound design and mixing. Lead engineers Patrick Fitzgerald and Eduardo Mendoza have worked on projects for HBO, ABC, MTV, The Food Network, History Channel, Nat Geo, and the Disney Channel along with many national ad campaigns for SF's, and other national, ad agencies. Recent projects done at Polarity were "True Blood" (HBO) and the "Great Food Truck Race" (Food Network).
Outpost Studios
San Francisco veterans of sound design, music, Dolby mixing, voice-over/ADR, and Foley for feature films, TV, and gaming, Outpost has built a new Dolby 5.1/7.1 calibrated control room and mix stage. Supervising Sound Engineer Dave Nelson, one of the most sought-after sound designer/engineers in the industry, will lead the tour. Recent Outpost projects include the new Robert Redford feature “The Company You Keep,” and Kiefer Southerland’s “Touch” for Fox.
This event is limited to 44 tickets.
Price: Members $35/Nonmembers $45
Sunday, October 28, 1:30 pm — 4:00 pm (Off-Site 2)
Historical: H4 - The Egg Show: A Demonstration of the Artistic Uses of Sound on Film
Presenter:Ioan Allen, Dolby Laboratories Inc. - San Francisco, CA, USA
Abstract:
The Egg Show is a two-hour entertaining and evocative look at the influences of sound mixing on motion picture presentation. This educational and exquisitely entertaining survey of sound design and acoustical properties in film has been presented at many industry events, film festivals, technology seminars, and film schools with great success. With pictures of eggs ingeniously illustrating his points, and an array of 35mm clips, Mr. Allen explains mixing and editing techniques that sound designers and filmmakers have developed over the years. Many film examples are used, each of which has been chosen to demonstrate a different mixing issue. You will see how film sound mixers highlight a conversation in a crowd scene, inter-cut music to film and create artificial sound effects that sound more real on film than on a live recording. Numerous slides enhance the lecture, most of which use photographs of eggs to illustrate the artistic uses of sound on film.
Location
This event will be held at Dolby Laboratories’ Theater, a multi-format projection room/recording studio complex within Dolby’s South-of-Market Dolby headquarters. The facility was designed as an ideal listening and viewing environment for film, recorded sound, and live presentations.
A limited number of $10 tickets will be available exclusively to registered convention attendees at the tours counter in the main lobby at Moscone. The marked bus will depart at 1:30 for the short ride to Dolby.
About the Speaker
In addition to his 1987 Oscar, Ioan Allen has earned Scientific and Engineering Awards from the Academy of Motion Picture Arts and Sciences. An AES Fellow, and recipient of the AES Silver Medal, Mr. Allen spearheaded the introduction of breakthrough film audio formats which have revolutionized the film sound experience. He is a Fellow of SMPTE and BKSTS and active in U.S. and world standards organizations. In 1985 he received the Samuel L. Warner Award for contributions to motion picture sound.
Sunday, October 28, 2:00 pm — 4:00 pm (Room 132)
Tutorial: T9 - Large Room Acoustics
Presenter:Diemer de Vries, RWTH Aachen University - Aachen, Germany; TU Delft - Delft, Netherlands
Abstract:
In this tutorial, the traditional and modern ways to describe the acoustical properties of "large" rooms—having dimensions large in comparison to the average wavelength of the relevant frequencies of the speech or music to be (re-)produced—will be discussed. Theoretical models, measurement techniques, the link between objective data and the human perception will be discussed. Is it the reverberation time, or the impulse response, or is there more to take into account to come to a good assessment?
Sunday, October 28, 4:00 pm — 6:00 pm (Off-Site 1)
Workshop: WH4 - 3-D Audio Formats—Multichannel Sound with Height: Channel- or Object-Based?
Chair:Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Panelists:
Kimio Hamasaki, NHK - Tokyo, Japan
Jeff Levison, IOSONO GmbH - Germany
Toni Mateos, imm sound - Barcelona, Spain
Wilfried Van Baelen, Auro Technologies - Mol, Belgium
Abstract:
Several proposals for multichannel sound with height have been brought to the market in the past year(s). One of the differences of these propositions is the use of channel vs. object-based mixing and distribution methods. Some proposals also introduce a hybrid method, combining both methods into one format. This workshop aims to discuss these methods and their strengths and weaknesses. Topics that will be addressed are production methods and tools, how to fold down that 3-D Audio mix into standard distribution formats, consequences for reproduction in the professional (e.g., digital cinema), as well as consumer markets.
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center). Space is limited and tickets can be obtained at the AES Tours Desk.
Monday, October 29, 10:45 am — 12:15 pm (Room 131)
Tutorial: T12 - Sound System Intelligibility
Presenters:Ben Kok, BEN KOK acoustic consulting - Uden, Netherlands
Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Abstract:
The tutorial will discuss the background to speech intelligibility and its measurement, how room acoustics can potentially affect intelligibility, and what measures can be taken to optimize the intelligibility of a sound system. Practical examples of real world problems and solutions will be given based the wide experience of the two presenters.
