AES to debut Sound For Pictures Track
Published: ASIA
WORLD: A dedicated Sound For Pictures Track will be introduced at the 133rd AES Convention in October. Featuring award-winning presenters, the segment will focus on key technical and creative issues relating to digital audio production for feature films and TV.
The Track is to be co-chaired by sound mixer/producer Brian McCarty (who has worked on The Big Lebowski, Dick Tracy, and As Good As It Gets) and by Steve Martz, senior design engineer, THX Ltd. Key issues will include topics relating to post production techniques, standards and multi-channel formats for digital cinema.
‘AES is the leading forum for audio for film and TV sound,’ stated Mr McCarty. ‘Top sound mixers have been attending the convention for years to exchange ideas and information and to discuss new technology. Early this year we formed a technical committee on sound for digital cinema and TV, and our objective is to adopt a consistent approach for digital cinema sound installations and contemporary digital dubbing stage recording and mixing activities worldwide. Based on the initial reception to this committee, executive director Bob Moses felt it was time to develop a formal AES convention track for this increasingly important field.’
Key presentations will include: ‘post production audio techniques for digital cinema and ancillary markets’, ‘reconsidering standards for cinema sound – alternatives to ISO 2969’, and ‘new multi-channel formats for 3D cinema and home theatre’.
Additionally, Academy Award-winner Ioan Allen, senior VP at Dolby Laboratories, will illustrate innovative audio mixing and editing techniques in a ‘historical events’ presentation named ‘the egg show: a demonstration of the artistic uses of sound on film’.
‘We have developed an extremely diverse and comprehensive Sound For Pictures Track,’ asserted Mr McCarty. ‘Our workshop participants are all outstanding leaders in their fields, and the ‘new multi-formats for 3D cinema’ panel is a particularly newsworthy event. Gathering developers of competitive systems together for a high level, working dialogue is a major coup which may have important ramifications for film exhibitors. This convention promises to make a deep impact on industry thinking about sound for digital cinema.’