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IBC: Surrounded by sound
By Simon Ray

I came to the 2016 IBC Show in Amsterdam at the start of a period of consolidation at Goldcrest in London. We had just gone through three years of expansion, upgrading, building and installing. Our flagship Dolby Atmos sound mixing theatre finished its first feature, Jason Bourne, and the DI department recently upgraded to offer 4K and HDR.

I didn’t have a particular area to research at the show, but there were two things that struck me almost immediately on arrival: the lack of drones and the abundance of VR headsets.

360 audio is an area I knew a little about, and we did provide a binaural DTS Headphone X mix at the end of Jason Bourne, but there was so much more to learn.

Happily, my first IBC meeting was with Fraunhofer, where I was updated on some of the developments they have made in production, delivery and playback of immersive and 360 sound. Of particular interest was their Cingo technology. This is a playback solution that lives in devices such as phones and tablets and can already be found in products from Google, Samsung and LG. This technology renders 3D audio content onto headphones and can incorporate head movements. That means a binaural render that gives spatial information to make the sound appear to be originating outside the head rather than inside, as can be the case when listening to traditionally mixed stereo material.

For feature films, for example, this might mean taking the 5.1 home theatrical mix and rendering it into a binaural signal to be played back on headphones, giving the listener the experience of always sitting in the sweet spot of a surround sound speaker set-up. Cingo can also support content with a height component, such as 9.1 and 11.1 formats, and add that into the headphone stream as well to make it truly 3D. I had a great demo of this and it worked very well.

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Review: Avid Media
Composer 8.5 and 8.6

By Brady Betzel

It seems that nonlinear editing systems, like Adobe Premiere, Apple FCP X, Lightworks, Vegas and Blackmagic Resolve are being updated almost weekly. At first, I was overjoyed with the frequent updates, but they didn't always work.

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IBC: Thoughts on Dolby and Nokia
By Zak Tucker

Strolling the halls of IBC in Amsterdam this past week, I found a lot of interesting tools and tech. Here are just a few thoughts about a couple of companies I visited.

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VFX/Flame artist John Price named creative director of Carbon LA

Creative studio Carbon has added creative director John Price to its LA-based team. Price brings over a decade’s worth of industry experience in VFX, Flame work and post.

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The 2016 Creative Arts Awards winners

IBC: Boris FX merges
with GenArts

IBC: Blackmagic buys Fairlight and Ultimatte

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