We are saddened to hear about the loss of Bryce Dion, a production mixer from Lawrence, Massachusetts. Bryce was killed by police gunfire while filming for the Television show “COPS.” Our thoughts go out to his family and friends. The full article detailing the events can be read here.Read More
For those interested in the some of the current academic and research-led themes developing in sound design, the September 2014 edition of The New Soundtrack is dedicated to just this topic.
Guest-edited by Sandra Pauletto (University of York), this special issue features contributions that explore the growing maturity of sound design and the breadth of the topic as encompassed by the contrasting ‘European’ and ‘Hollywood’ practice, Foley performance as a means to interactive immersion, sonification, sonic hyperrealism and, sound design as an intuitive process in the creation of film and television soundtracks.Read More
If you missed Saturday’s webinar, the recording is now available. Just click here to load it up.
We had some reports of audio issues, which appear to be due to the service’s compression settings. All of the truly pertinent information is included in the slides that were part of the presentation. So if things get a little difficult to make out sonically, don’t fear that you’re missing out on important data. We’re looking into how we can correct this for future presentations.
At the end of the presentation, I put up a set of URLs. I’m including them here for your convenience:
Listening Examples – A set of 150Hz and 2500Hz sine waves, and pink noise files…normalized using different metering standards (RMS, LeqA and BS.1770). Just right-click and download.
ITU-R BS.1770 – Documents outlining the metering spec
EBU-R128 – The European broadcast recommendation
ATSC-RP A/85 – The broadcast recommendation from the United States
C.A.L.M. Act – Information about the legislation passed in the U.S. regulating commercial advertisement loudness
And, as I said at the end of the webinar, feel free to e-mail me if you have questions or need clarification on anything covered in the webinar. Or better yet, leave a comment below for me to respond to. That way we can avoid repeats of the same questions.Read More
We’re changing the name of the “Film Sound Discussion Group” to Designing Sound Discussion Group, because it’s silly to think that we’ll never have a live discussion about anything other than film. While I’m on the subject, it’s also high time we scheduled the next webchat!
As the title of the post suggests, in the next presentation I’ll be explaining how, exactly, ITU-R BS.1770 compliant metering methods work, and the standards and applications that have been developed to make use of “loudness” metering. We’ve already mentioned that February is going to be “loudness” month (bottom of the post), and we’re setting up the first full week to make sure everyone can get a strong grasp of what it all means, even if you’ve never explored the subject before. We’ll be capping the week off with this webinar on Saturday, February 9th, at 11AM (U.S. Eastern Standard Time).
I’m trying to make this presentation as accessible as possible. Don’t worry though, there will definitely be time at the end of the webinar for questions. If you can’t make the webinar, a recording will be available within the following few days.Read More
SoundWorks Collection has published a new video profile, featuring the creative talent of Sound One Studios talking about the story of the facilities and also about their workflow, collaboration and approach.
The history and creative talent that fill the halls of Sound One is a who’s who of the New York film and audio community. Many memorable projects have been crafted at Sound One such as “Black Swan, “Chicago” “The Sixth Sense”, “The Wrestler”, “Brokeback Mountain”, “The Silence of the Lambs”, “Casino”, “Fargo”, “MIB” , “pi” , and “The Big Lebowski”.
Sound One is home to five re-recording studios, two ADR studios, a Foley studio with a comprehensive prop collection, and nearly one hundred editing suites, Sound One is centrally located on Broadway in the historic Brill Building in midtown Manhattan.