Los Angeles, CA (September 14, 2016)—When the AES 141th Convention hits the Los Angeles Convention Center, September 29–October 2, 2016, the Sound for Picture Track events will feature some of the industry’s most recognized experts, who will take an in-depth look at recording, mixing and producing audio/video content in an audio industry that’s evolving to accommodate the audience’s ever-changing viewing preferences.
“This year’s 141st AES Sound for Picture Track will feature a remarkably talented lineup of presenters,” said AES Los Angeles Sound for Picture chair Brian McCarty. “Among them they’ve garnered more than six Oscars and 15 nominations for Best Sound, seven Emmy wins and 35 nominations, 5 BAFTA awards, a Golden Globe, two Grammys and much more – and they’ll be sharing their knowledge and experience with us first-hand.”
Sound for Picture Track events will include:
Production sound is the primary method of capturing the dialog for film and TV, and Friday, September 30’s “Production Sound: the Sound Professionals Responsible for Telling the Story” will explain the specific and unique methods and equipment for this work, which is often done in the field. This always-popular seminar will feature top professionals including Brian McCarty (Coral Sea Studios), Jeff Wexler (JW Sound), Devendra Cleary (DC Audio and Music, Inc.), Peter Kurland and Matthew Nicolay, who will discuss their methods for dialog capture.
Like all areas of film and TV production, the craft of music scoring is undergoing significant changes to meet ever-growing demand. Friday’s “Music Scoring for Film and TV: How It Was, Where It Is, Where It’s Going” session will host moderator Brian McCarty and Leslie Ann Jones of Skywalker Sound, Jason LaRocca of La-Rocc-A-Fella, Inc., and the team of Composer Simon Franglen and Music Editor Jim Henrikson who supported the late composer James Horner (IMDB filmography) on some of the largest blockbuster hits of all time, including the Oscar-winning Titanic and Avatar, along with dozens of other top productions, in a look at the process of preparing and recording music for film and TV.
Nothing’s as important as hearing the dialog, yet there have been growing reports that the audience has been increasingly unhappy with what they’re hearing – or not hearing – in the cinema and at home. “Dialog Intelligibility: the Challenge of Recording the Words So the Audience Can Understand Them” will round out the Friday sessions with acoustician Peter Mapp, BBC Principal Technologist Simon Tuff, sound editor Marla McGuire and others in an examination of the issues involved from the microphone through final mix, and what can be done to overcome them.
Saturday, October 1, kicks off with “World-Class Film and TV Sound Design,” where a panel of experts including Brian McCarty, Lon Bender of Soundelux and sound editor Karen Baker Landers will address the critical importance of sound design in bringing the director’s vision to the audience. Saturday’s world-class theme will continue with “World Class Sound Mixers Discuss Their Craft,” featuring McCarty, Bender and Bob Bronow (The Bronow Group and Audio Cocktail). Once the dialog, music and sound effects have been prepared, the dubbing mixers for film and TV have the final impact on the productions – and as the panelists will discuss the complexity of the task and the skills required have increased dramatically over the years.
Immersive sound formats are growing in use, but the challenges of realistic and engaging immersive sound field design can be at odds with the fast-paced production environments of film and TV. On Sunday, October 2, “Immersive Sound Design with Particle Systems” will feature Nuno Fonseca (ESTG/Polytechnic Institute of Leiria and Sound Particles), Will Files (sound designer and re-recording mixer at Skywalker Sound) and sound designers Jason Jennings and Mark Mangini in a discussion of the ways they craft immersive sound fields and their use of specialty tools like particle systems.
Audio Engineering Society