Tag Archives: Pro Tools

AES Paris: A look into immersive audio, cinematic sound design

By Mel Lambert

The Audio Engineering Society (AES) came to the City of Light in early June with a technical program and companion exhibition that attracted close to 2,600 pre-registrants, including some 700 full-pass attendees. “The Paris International Convention surpassed all of our expectations,” AES executive director Bob Moses told postPerspective. “The research community continues to thrive — there was great interest in spatial sound and networked audio — while the business community once again embraced the show, with a 30 percent increase in exhibitors over last year’s show in Warsaw.” Moses confirmed that next year’s European convention will be held in Berlin, “probably in May.”

Tom Downes

Getting Immersed
There were plenty of new techniques and technologies targeting the post community. One presentation, in particular, caught my eye, since it posed some relevant questions about how we perceive immersive sound. In the session, “Immersive Audio Techniques in Cinematic Sound Design: Context and Spatialization,” co-authors Tom Downes and Malachy Ronan — both of who are AES student members currently studying at the University of Limerick’s Digital Media and Arts Research Center, Ireland — questioned the role of increased spatial resolution in cinematic sound design. “Our paper considered the context that prompted the use of elevated loudspeakers, and examined the relevance of electro-acoustic spatialization techniques to 3D cinematic formats,” offered Downes. The duo brought with them a scene from writer/director Wolfgang Petersen’s submarine classic, Das Boot, to illustrate their thesis.

Using the university’s Spatialization and Auditory Display Environment (SpADE) linked to an Apple Logic Pro 9 digital audio workstations and a 7.1.4 playback configuration — with four overhead speakers — the researchers correlated visual stimuli with audio playback. (A 7.1-channel horizontal playback format was determined by the DAW’s I/O capabilities.) Different dynamic and static timbre spatializations were achieved by using separate EQ plug-ins assigned to horizontal and elevated loudspeaker channels.

“Sources were band-passed and a 3dB boost applied at 7kHz to enhance the perception of elevation,” Downes continued. “A static approach was used on atmospheric sounds to layer the soundscape using their dominant frequencies, whereas bubble sounds were also subjected to static timbre spatialization; the dynamic approach was applied when attempting to bridge the gap between elevated and horizontal loudspeakers. Sound sources were split, with high frequencies applied to the elevated layer, and low frequencies to the horizontal layer. By automating the parameters within both sets of equalization, a top-to-bottom trajectory was perceived. However, although the movement was evident, it was not perceived as immersive.”

The paper concluded that although multi-channel electro-acoustic spatialization techniques are seen as a rich source of ideas for sound designers, without sufficient visual context they are limited in the types of techniques that can be applied. “Screenwriters and movie directors must begin to conceptualize new ways of utilizing this enhanced spatial resolution,” said Downes.

Rich Nevens

Rich Nevens

Tools
Merging Technologies demonstrated immersive-sound applications for the v.10 release of Pyramix DAW software, with up to 30.2-channel routing and panning, including compatibly for Barco Auro, Dolby Atmos and other surround formats, without the need for additional plug-ins or apps, while Avid showcased additions for the modular S6 Assignable Digital Console, including a Joystick Panning Module and a new Master Film Module with PEC/DIR switching.

“The S6 offers improved ergonomics,” explained Avid’s Rich Nevens, director of worldwide pro audio solutions, “including enhanced visibility across the control surface, and full Ethernet connectivity between eight-fader channel modules and the Pro Tools DSP engines.” Reportedly, more than 1,000 S6 systems have been sold worldwide since its introduction in December 2013, including two recent installations at Sony Pictures Studios in Culver City, California.

Finally, Eventide came to the Paris AES Convention with a remarkable new multichannel/multi-element processing system that was demonstrated by invitation only to selected customers and distributors; it will be formally introduced during the upcoming AES Convention in Los Angeles in October. Targeted at film/TV post production, the rackmount device features 32 inputs and 32 discrete outputs per DSP module, thereby allowing four multichannel effects paths to be implemented simultaneously. A quartet of high-speed ARM processors mounted on plug-in boards can be swapped out when more powerful DSP chips became available.

Joe Bamberg and Ray Maxwell

Joe Bamberg and Ray Maxwell

“Initially, effects will be drawn from our current H8000 and H9 processors — with other EQ, dynamics plus reverb effects in development — and can be run in parallel or in series, to effectively create a fully-programmable, four-element channel strip per processing engine,” explained Eventide software engineer Joe Bamberg.

“Remote control plug-ins for Avid Pro Tools and other DAWs are in development,” said Eventide’s VP of sales and marketing, Ray Maxwell. The device can also be used via a stand-alone application for Apple iPad tablets or Windows/Macintosh PCs.

Multi-channel I/O and processing options will enable object-based EQ, dynamic and ambience processing for immersive-sound production. End user price for the codenamed product, which will also feature Audinate Dante, Thunderbolt, Ravenna/AES67 and AVB networking, has yet to be announced.

Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service, and can be reached at mel.lambert@content-creators.com. Follow him on Twitter @MelLambertLA.

Bluefish444 intros Epoch 4K Neutron Turbo cards, bundles with Scratch

Bluefish444 is offering its Epoch 4K Neutron Turbo high-bandwidth SDI video I/O card, which brings video formats to the Epoch 4K Neutron range that accommodate 4K/2K high-bandwidth workflows. Introduced at the 2015 NAB Show, Epoch 4K Neutron Turbo features Quad Link 3G SDI, 3G/1.5G/SD SDI input or output, 4K/2K/HD/SD HDMI preview, 4K/UHD high-frame-rate 50/59/60 fps SDI, tri/bilevel genlock, eight channels of AES/EBU audio input and output, two channels of analog audio monitoring output, RS422 machine control and auxiliary genlock connection.

The company has created an upgrade path for existing Epoch 4K Neutron customers who do not initially need the Turbo’s advanced 4K/2K video mode support. Those customers can buy the Epoch 4K Neutron Turbo upgrade board anytime within two years of purchasing their Epoch 4K Neutron video cards. Epoch 4K Neutron Turbo and the Epoch 4K Neutron Turbo upgrade boards are compatible with both the Bluefish444 cross-platform SDK and the Bluefish444 retail installer, which supports popular Bluefish444 and third-party software.

In related news, Bluefish444 announced the immediate availability of an Epoch 4K Neutron and Assimilate Scratch v8 software bundle.

For the bundle, Bluefish444 has redesigned the Epoch 4K Neutron card with a low-profile, half-height form factor to integrate into a wide range of chassis, from low-profile servers to small-form-factor computers to low-profile Thunderbolt expansion chassis. The full-height shield option allows for integration in more traditional workstation computers and provides additional I/O requirements, such as AES/EBU, RS422 machine control, and domestic analog audio monitoring. Epoch 4K Neutron supports 3G SDI I/O configurations for 4K SDI workflows. An HDMI mini connector provides a lower cost 4K/2K/HD/SD HDMI monitoring preview and allows for color-critical monitoring on consumer HDMI displays supporting Deep Color.

Epoch 4K Neutron supports Scratch v8 features such as 4K 30fps HDMI monitoring, 8-bit/10-bit/12-bit SDI monitoring, 4K/2K/HD/SD mastering and monitoring, stereoscopic SDI output, 12-bit-precision color-space conversions, and many more. The Epoch 4K Neutron Turbo upgrade path enables previews of 4K 48/50/59/60 fps SDI signals and stereoscopic 2K/HD 60 fps 12-bit SDI signals.

In Related News
Also at NAB, Bluefish444 announced it has added support for greater-than-HD video formats in Avid Media Composer 8.3, enabling advanced SDI/HDMI video output with Epoch 4K Neutron Turbo, the Epoch 4K Neutron range, and the Epoch 4K Supernova/S+ range of video cards. At the same time, the company has developed support for Avid Pro Tools 12, enabling video output with Epoch 4K Neutron, Epoch Neutron, and the Epoch 4K Supernova range of video cards. SDI and HDMI video preview capability will enable audio editing with real-time, synchronized video on pro displays and projectors. A free software upgrade for Avid Media Composer 8.3 users and a free driver upgrade for Avid Pro Tools 12 users will both be available from the Bluefish444 website in the second quarter of 2015.

Finally, Bluefish444 will support the latest updates to Adobe Creative Cloud when it becomes available in spring 2015.

Sound developments from NAB 2015: Part 2

Spotlighting Yamaha, JBL 7 Series Monitors, Audio-Technica, RTW and Fairlight.

By Mel Lambert

Continuing our homage to the NAB Show’s core theme of “Crave More,” here is another batch of new developments seen and heard in Las Vegas earlier this week.

Yamaha put on a practical demonstration of the Nuage control surface for use with a variety of digital audio workstations, including Steinberg Nuendo, Cubase and Avid Pro Tools via the HUI control protocol.

Michelle Garuik from LA-based Grind Music & Sound

Michelle Garuik from LA-based Grind Music & Sound

Michelle Garuik from LA-based Grind Music & Sound, which specializes in mixing and sound design for sports TV and documentary film, showed various scenes from recent productions and explained how Nuage Continue reading

Get to know film trailer composer Yoav Goren

Yoav Goren is co-founder of Immediate Music, which creates music for motion picture trailers as well as for high-end product advertising, television programming and promos.

Goren is also owner of Imperativa Records, which recently released a compilation of Hollywood trailer music featuring big names within the genre, called This is Epic Music — Volume 1.

Santa Monica-based Goren, an Emmy award-winning composer and producer, has been working in trailers and related worlds for over 20 years. What better time than now to reach out and get some background on the artist and his music.

Writing music for motion picture promos is a very niche field. How did you get into it?
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PostChat: Composer Rob Gokee

By Randi Altman

This week’s #PostChat guest was LA-based composer Rob Gokee, whose resume includes a variety of work, including projects for film, television, commercials and the Web.

Gokee was excited to be in the hot seat on this week’s Twitter chat. In fact, he says that over the last seven years the majority of his industry contacts have been made through Twitter. But it hasn’t all been about work. Gokee actually met his wife on Twitter. “Most of my groomsmen were people I met on Twitter, and we live tweeted the wedding,” he reports. “I also wrote a book about it.”  That’s how integrated Twitter is in his life.

During Wednesday’s #postchat, which took place at 6pm PST/9pm EST, he enjoyed Continue reading

EditShare qualifies Mavericks for its shared storage, asset management, archiving tools

Boston — EditShare is now offering Mac OS X 10.9 (Mavericks) compatibility for all its shared storage, Flow media asset management and Ark archiving and back-up products.

EditShare (http://editshare.com) customers using Mavericks with Avid Media Composer 7.0.3 and 6.5.4.1, Final Cut Pro X 10.1, and Pro Tools 11.1 can connect to EditShare shared storage systems via Thursby’s DAVE 11 SMB client, or via AFP for optimal performance. Media Composer 7.0.3 editors who connect to EditShare shared storage via AFP and 10GB Ethernet will see marked performance improvements even when editing multiple streams of 10-bit uncompressed HD.

EditShare integrates high-performance shared storage solutions (XStream, Energy and Field) with video ingest (Geevs and Flow), media asset management (Flow), and archive and back-up (Ark) tools to offer broadcast and post production professionals a productivity-enhancing, tapeless workflow on a highly scalable infrastructure.

 

Meet The Supervising Sound Editor: Greg Hedgepath

Greg Hedgepath

NAME: Greg Hedgepath

COMPANY: Formosa Group (www.formosagroup.com)

CAN YOU DESCRIBE YOUR COMPANY?
Formosa Group is a new post sound editorial company. The order of the day is to form a creative, collaborative, high-energy, environment where free exchange of techniques and tools used in creating sound for film post production can exist.

WHAT’S YOUR JOB TITLE?
Supervising Sound Editor.

WHAT DOES THAT ENTAIL?
Ultimately, my job is to convey the director’s emotional vision for the film, through sound, to the audience. For each film I work on I supervise the editing of all sound elements (except music) and will supervise the mixing of all elements (including music) during temps, pre-dubs, and final mixes.

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