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Arial"">— line-height:150%;mso-bidi-font-family:Arial"">Spatial audio workshops on broadcast, recording and gaming to be highlights of Immersive Audio Super Saturday events —
mso-bidi-font-family:Arial"">The AES New York has announced a full-day program dedicated to Spatial Audio and its production and applications. “Immersive Audio Super Saturday” will showcase the latest in spatial and 3D audio in a series of presentations and workshops on Saturday, October 21 at the AES New York Convention at the Jacob Javits Center. The Immersive Audio Super Saturday sessions will utilize a large-scale 9.1-channel system from PMC and, for binaural sessions, a Sennheiser wireless headphone system. From Xenakis to Doctor Who, and spanning VR, broadcast and music production, the sessions draw from the Convention’s Game Audio & VR, Broadcast & Streaming and Recording & Production tracks.
“Immersive audio has become the state of the art for film sound, as well as for gaming, home entertainment and personal listening. During Immersive Audio Super Saturday, attendees will have an opportunity to experience the sonic and emotional impact of immersive audio at its very best,” said Bob Moses, AES Executive Director. “This is a unique event that will bring an exciting crescendo to the technical program at AES New York.” While the Super Saturday sessions require All Access registration, those who can’t take advantage of the entire four-day Convention technical program can register for a one- or two-day pass and chose to include Immersive Audio Super Saturday.
A spectacular large-scale demo room featuring a full 9.1 channel PMC loudspeakers system will host the “Radical Interpretations of Iconic Musical Works” session, in which contemporary works from Morton Feldman and Iannis Xenakis will be played in 9.1 immersive audio. The Xenakis piece was recorded twice, from the perspective of a listener, and with overhead mics to capture the sound as experienced by the performers, and will be played back in both formats to demonstrate the ways in which immersive audio can capture and convey a variety of listener perspectives.
The iconic TV series Doctor Who has been around for more than 50 years – but now its audio is as futuristic as the Doctor’s TARDIS time machine. At the “What’s This? Doctor Who with Spatial Audio!” demo, BBC lead engineer Chris Pike will utilize a binaural playback system to demonstrate the way post-production transforms a normally-recorded episode into a spatial audio spectacular. Follow us into the next sonic realm with our favorite Time Lord!
In the “Binaural Listening Experience” session, Marta Olko of New York University will present a selection of binaural recordings and mixes from various artists, composers, and recording and mixing engineers, all created to highlight the ways in which binaural audio can complement and enhance the music.
Immersive audio is also a vital component of virtual reality gaming. In “Create Sound and Music for VR and 360 Using Common DAW Workflows,” Tom Ammermann of New Audio Technology GmbH will focus on the latest initiatives and developments of virtual and augmented reality development centers worldwide, including the first publicly-funded VR/AR lab in the US, located in New York.
“Creating Audio for Virtual Reality Applications” will be hosted by Bob Schulein of ImmersAV Technology, who will look at how the quest for more engaging listener experiences has raised the challenges to create more compelling audio. Elements of binaural hearing and sound capture have come to play a central role in existing and evolving production techniques, and this seminar will present and demonstrate techniques for enhancing audio for games, music, radio and music education.
Immersive Audio Super "">Saturday Schedule"">, October 21
9.1 sessions, Room 1E06
9:00 – 10:30AM, RP17 “Radical Interpretations of Iconic Musical Works” by Morton Lindberg
10:45 am–11:45 am, SA13 “3D Ambeo and Live Recordings” by Jim Anderson & Ulrike "">Schwartz
1:15 pm–2:45 pm, SA15 “Afternoon Listening Session in 9.1” by David Bowles and Paul Geluso
3:00 pm–4:00 pm, SA14 “Capturing Height” by David Bowles, Paul Geluso and Sungyoung Kim
Binaural sessions, Room 1E13
9:00 am — 10:00 am, SA11 “Creating Audio for Virtual Reality Applications” by Bob Schulein
10:15 am — 12:15 pm, SA12, Binaural Listening Experience” by Marta Olko
1:30 pm — 2:30 pm, GA15, “Create Sound and Music for VR and 360 Using Common DAW Workflows” by Tom Ammermann.
3:00 pm — 5:00 pm, B13, “What's This? Doctor Who with Spatial Audio!” by Chris Pike
Register before Monday, October 16 for Advance Registration online pricing, and make plans to join us at AES New York 2017. The convention will be co-located with the independent and adjacent NAB Show New York 2017. Registration, at any level, for AES New York 2017 will give attendees access to the NAB Show New York exhibition floor and the content in the NAB Show New York’s Core Package (a $75 value). Register now, upgrade to All Access registration, either four-, two- or one-day, for the Maximum Audio experience, including Immersive Audio Super Saturday, at aesshow.com.
— Honors presented for Best Peer-Reviewed Papers and Best Student Papers —
The 143rd Audio Engineering Society Convention, taking place October 18 to 21 at the Jacob Javits Center in Manhattan, will feature the presentation of the annual AES “Best Peer-Reviewed Paper Award” and “Best Student Paper Award” distinctions, which honor outstanding achievement in academic papers being presented at the convention. The awards will be presented during the Opening Ceremonies on October 18 by AES New York Convention Papers Co-chairs Braxton Boren and Areti Andreopoulou.
This year’s “Best Peer-Reviewed Paper Award” distinction will go to Sean Olive, Todd Welti, and Omid Khonsaripour, each from HARMAN International – Northridge, CA, USA, for their paper “A Statistical Model that Predicts Listeners’ Preference Ratings of In-Ear Headphones: Part 1 — Listening Test Results and Acoustic Measurements.” The paper will be presented on Thursday, October 19, as part of Paper Session P07. ("Part 2 – Development and Validation of the Model" will be presented as part of Paper Session P14 on Friday, October 20).
The “Best Student Paper Award” goes to Sarah R. Smith and Mark F. Bocko, both students of University of Rochester – Rochester, NY, USA, for their paper “Modeling the Effect of Rooms on Frequency Modulated Tones,” which will also be presented on Friday, October 20, as part of Paper Session P15.
Abstract for Best Peer Reviewed Paper – “A Statistical Model that Predicts Listeners’ Preference Ratings of In-Ear Headphones: Part 1—Listening Test Results and Acoustic Measurements”
Part 1 of this paper presented the results of controlled listening tests where 71 listeners both trained and untrained gave preference ratings for 30 different models of in-ear (IE) headphones. Both trained and untrained listeners preferred the headphone equalized to Harman IE target curve. Objective measurements indicated the magnitude response of the headphone appeared to be a predictor of its preference rating, and the further it deviated from the response of the Harman IE target curve the less it was generally preferred. Part 2 presents a linear regression model that accurately predicts the headphone preference ratings (r = 0.91) based on the size, standard deviation and slope of the magnitude response deviation from the response of the Harman IE headphone target curve.
Abstract for Best Student Paper Award – “Modeling the Effects of Rooms on Frequency Modulated Tones”
This paper describes how reverberation impacts the instantaneous frequency tracks of modulated audio signals. Although this effect has been observed in a number of contexts, less work has been done relating these deviations to acoustical parameters of the reverberation. This paper details the instantaneous frequency deviations resulting from a sum of echoes or a set of resonant modes and emphasizes the conditions that maximize the resulting effect. Results of these models are compared with the observed instantaneous frequencies of musical vibrato tones filtered with the corresponding impulse responses. It is demonstrated that reduced models may adequately reproduce the deviations when the signal is filtered by only the early or low frequency portion of a recorded impulse response.
Best Paper Awards and other presentations are all part of this year’s AES New York Convention, taking place next month. The convention will be co-located with the independent and adjacent NAB Show New York 2017. Registration, at any level, for AES New York 2017 will give attendees access to the NAB Show New York exhibition floor and the content in the NAB Show New York’s Core Package (a $75 value). Register now, upgrade to the All Access registration for the Maximum Audio experience, including all of the research papers and engineering briefs within the hundreds of sessions that make up the full Technical Program, and reserve housing for the 143rd AES Convention at aesshow.com. Online Advance Registration discounts end Monday, October 16.
Sound is just as important as image in creating a compelling movie, TV or streaming video experience, and the 143rd International Audio Engineering Society Convention’s Audio for Cinema Track events will take a wide look – and listen – into the latest techniques for capturing and producing sound for film, broadcast and video.
“Our AES New York 2017 Convention’s Audio for Cinema Track will feature a diverse range of experts who will cover everything from nitty-gritty topics like how to best capture dialog in film and television, to the latest technologies for immersive audio and a seminar on the very future of cinema sound itself,” said Nuno Fonseca, Audio for Cinema Track Chair and professor at Polytechnic Institute of Leiria (Portugal). It’s all slated to take place at the upcoming AES New York 2017 Convention, October 18 to 21, at the Jacob Javits Center in Manhattan.
Immersive audio is the newest approach to surround sound – so why use the same old mixing tools? “3D Audio Tools for Immersive Audio” will feature Ryan Wardell (Avid), Nuno Fonseca (Sound Particles), Rafael Duyos (DSpatial) and Gaël Martinet (Flux) as they present four new and different approaches for working with the newest immersive cinema formats.
On a more down-to-earth level, “The Art and Science of Foley” will host the EMMY®-winning team from Alchemy Post Sound as they talk about creating organic sounds from both a technical and artistic perspective and integrating them into the overall soundscape. In the “Dialog for Film and Television” session, top recording pros including Bobby Johanson (The Avengers, Bridge of Spies), Peter Schneider of Gotham Sound and EMMY winner Alexa Zimmerman will share their experiences in getting this most important sonic aspect right, every time.
In a session co-organized with the Cinema Audio Society, “Production Sound: Current Trends and Proven Traditions,” veteran film/video sound mixer and Trew Audio owner Glen Trew will discuss the application of new technology and techniques as well as long-established traditions for capturing production dialog and music on the set. The session content will cover choices made during mixing and tracking, including the use of boom mics vs. body mics, and music lip-sync vs. recording live.
We’ve all heard about loudness wars in music and it’s become an issue in the movies as well. “Loudness Issues in Cinema – Is the Reference Lost?” will look at the pressures on movie production professionals to print at louder levels – but what about the hitherto “sacred” reference level? This workshop, featuring experts from Dolby, the National Association of Theater Owners and Cinema Audio Society, will look at the balancing act between audiences, sound mixers, theater management and technology providers.
In “Best Practices in Re-Recording Mixing,” OSCAR® winner Tom Fleischman, who has worked on more than 170 films, will show attendees how he approaches a project from beginning to end, focusing on how the audio mix can enhance the storytelling through engaging the audience’s emotions. In this session co-organized by the Cinema Audio Society (CAS), Fleischman will also discuss the evolution of technology over the last 40 years and how digital has changed the way movies are mixed.
The saying goes, “don’t try this at home,” but when it comes to sound for picture and video, not anymore! “Constructing a 5.1 Home Studio” will demonstrate that, thanks to advances in technology, freelancers and other pros can now convert that garage or extra room into a bona fide mixing stage using readily available components and economical and ingenious solutions.
Cutting-edge technology is a hot topic for many AES Convention attendees, and in “The Future of Audio for Cinema,” Kevin Collier (Warner Bros Director of Engineering), Doug Greenfield (Senior Director of Production Services, Dolby), Avi Laniado (Chief Engineer, Harbor Picture Company) and Brian Vessa (Executive Director of Audio, Sony Pictures Entertainment) will provide insight into changing technologies and how they’ll affect the future of cinema audio, along with the unresolved challenges that still need to be addressed.
Additional information about these and other AES Audio for Cinema Track events is available at: http://www.aes.org/events/143/audioforcinema/.
Register now and make plans to join us at AES New York 2017. The convention will be co-located with the independent and adjacent NAB Show New York 2017. Registration, at any level, for AES New York 2017 will give attendees access to the NAB Show New York exhibition floor and the content in the NAB Show New York’s Core Package (a $75 value). Register now, upgrade to the All Access registration for the Maximum Audio experience, including the Audio for Cinema Track, and reserve housing for the 143rd AES Convention at aesshow.com.