AGENDA

Friday, September 24, 2021
9:30 AM - 10:00 AM (PDT)

Networking in Exhibit Hall

 
10:00 AM - 10:05 AM (PDT)

Welcome Remarks

Tom Kenny Tom McCarthy
10:05 AM - 10:25 AM (PDT)

What We Talk About When We Talk About Sound

Thomas Dolby, a musician, composer, technologist, and now educator as head of the cutting-edge Music for New Media program at the Peabody Conservatory, and Sound Designer/Director/Producer Wylie Stateman, who just won an Emmy for his work on The Queen's Gambit, chat about music, effects, composition, architecture and the role of the sound professional in “What We Talk About When We Talk About Sound.”

Tom Kenny Thomas Dolby Wylie Stateman
10:30 AM - 11:00 AM (PDT)

The Rebirth of Sound Design, With Balance and Space at the Mix

Sound effects, Foley, score, source music, dialog, ADR, backgrounds, field recordings, sample-twisting and electronic morphing—they all contribute to the art and feel of a film or television soundtrack. They are all part of the sound design. Meanwhile, from a technical perspective, re-recording is about creating space for music, effects and dialog to all speak. Artistically, it’s about weaving those three elements into balance—scene by scene, moment by moment—to fulfill the director’s vision. The line between sound designer, supervising sound editor and re-recording mixer is not always clear-cut, nor does it have to be, as discussed by our creative and technology-savvy panelists.

Presented by: 

Tom Kenny Cheryl Ottenritter, CAS, MPSE Dave Paterson Glenfield Payne Mathew Waters, CAS
11:05 AM - 11:25 AM (PDT)

Sound for The Power of the Dog

 Presented by:  

Jenelle Riley Richard Flynn Leah Katz Robert Mackenzie Peter Sciberras Tara Webb Dave Whitehead
11:30 AM - 11:40 AM (PDT)

Networking in Exhibit Hall

 
11:40 AM - 12:00 PM (PDT)

Connection, Control and Playback: What You Need to Know Before Building an Immersive Studio

Upgrading a studio from stereo or 5.1 surround to a full-blown 7.1.4 or 9.1.6 immersive room is not as complex or intimidating as it once seemed. Nor as expensive. You do need to add Cat 6 cabling, increase I/O, upgrade your DAW, and add/configure speakers, along with associated monitor control. But with proper planning and a clear pre-design intent, setting up a Dolby Atmos stage can be painless. Through its RedNet product line, Focusrite has provided the immersive backbone for countless immersive facilities over the past decade, while Genelec has pioneered immersive monitoring setup, configuration and performance for 7.1.4 and 9.1.6 playback In this special presentation, the two companies are joined by representatives from Dolby and Netflix for a discussion about the foundations of studio setup through a look at real-world examples from Netflix Studios and the Genelec Experience Center.

Presented by:  & 

Tom Kenny Will Eggleston David Gould Leslie Gaston-Bird Dave Rieley Ozzie Sutherland
12:05 PM - 12:25 PM (PDT)

Emerging Technologies and Workflows in Sound and Picture

The focus on integrated sound and picture—in production, post-production and distribution to the home—has been increasing over the past couple of years. Technology advances in projection and display technologies, along with concurrent leaps in immersive audio playback and distribution, have allowed talent in the two disciplines to work with high-res image and sound, throughout the creative process, approvals and on to delivery in multiple languages. Meyer Sound, world leaders in immersive playback monitoring and home theater systems, recently worked with Sony, Dolby and Netflix on a revolutionary new Ultra Reflex sound system for Sony’s emerging high-end direct view display system, effectively bouncing sound off the screen and using DSP to “project” a true immersive sound image In this special presentation, the team details how this state-of-the-art facility was put together and what it means for the future of integrated sound and picture production.

Presented by: 

Tom Kenny Tim Boot Ron Lagerlof Tom McAndrew Cheryl Ottenritter, CAS, MPSE
12:30 PM - 12:45 PM (PDT)

Composer Profile: A Conversation With Mark Mothersbaugh

 Presented by:  

Jennifer Walden Mark Mothersbaugh
12:50 PM - 1:00 PM (PDT)

Composer Profile: A Conversation With Dickon Hinchliffe

 Presented by:  

Jennifer Walden Dickon Hinchliffe
1:05 PM - 1:25 PM (PDT)

Dynamic Parametric Equalization (DPEQ) in Conventional and Immersive Media Post-Production

DPEQ allows for seamless integration of EQ and dynamics processing. Parametric EQ forces processing to be performed in the time domain, avoiding block averaging and modulation of STFT-based systems in order to support fast and robust dynamic reaction. This talk moves beyond these base advantages to explore ways DPEQ can assist in the post-production of media audio content. We discuss how DPEQ can be used to tame the mixing of several independently recorded sources into one soundtrack, in addition to how DPEQ can equalize for more arcane characteristics such as acoustic conditions of recording. We address the application of DPEQ, as manifest in the product Quartet DynPEQ, to multichannel tracks and buses without harming spatial information in spite of it being a non-linear processor.

Presented by: 

Thor Legvold Jason LaRocca Tom Marks, CAS George Massenburg Matt Orlando
1:30 PM - 2:00 PM (PDT)

Technology and Workflow: What’s Changed, What’s Next?

In March 2020, Hollywood edit suites and re-recording stages shut down. Sound editors, mixers, composers, chief engineers, assistants, recordists, boom operators and all those who support them were sent home, often in the middle of projects. But the content kept coming. The audience demanded it. With disruption comes change, and overnight, sound supervisors and post-production professionals were forced to look at their technologies, modify their workflows and still deliver stellar tracks—on budget and on time, most often collaborating from remote locations. In this expert panel of creatives and technologists, we explore how those processes have changed and we take a look at what’s in store for 2022.

 Presented by: 

Tom Kenny Thomas Dolby Bob Ehlers Dave Rieley Phil Wagner
2:05 PM - 2:25 PM (PDT)

Sound for The Guilty

 Presented by:  

Jennifer Walden David Esparza Ed Novick Steve Pederson Mandell Winter, MPSE
2:30 PM - 2:50 PM (PDT)

Stealing Back the Time to Be Creative: Integrated Efficiencies in Post-Production Workflow

Lower budgets, smaller crews and less time per project is part of the new reality in high-end audio post-production, a trend exacerbated by the pandemic. While developing all-new workflows to accommodate remote and facility-based production, sound mixers and editors have looked for efficiencies throughout the turnover-conform-handoff-version-turnover process. If picture lock is slowly becoming a myth, then it’s even more important for sound teams to be involved early with the picture department. Here, re-recording mixer Eric Hoehn, CAS, VICE Media Group's Director of Post Production Operations and Technology Mark Leombruni, and Durin Gleaves of Adobe discuss how they each save time by integrating the sound and picture process.

 Presented by:  

Tom Kenny Durin Gleaves Eric Hoehn, CAS Mark Leombruni
2:55 PM - 3:05 PM (PDT)

Networking in Exhibit Hall

 
3:05 PM - 3:25 PM (PDT)

The Recent Advancements of Sony’s 360 Virtual Mixing Environment Technology

The 360 Virtual Mixing Environment (360 VME), which was introduced by Sony at the Sound for Film & Television event in September 2020, continues to evolve through use by sound engineers at the Sony Pictures Post Production Services facility. This technology became a key tool for remote sound mixing following the temporary shutdown of mix stages due to the global pandemic. Over the past year, 360 VME has grown and now supports other parts of studio productions and operations beyond post-production sound. In this panel, the creators and engineers utilizing the 360 VME Technology will share their stories of how the technology has helped their creative process.

Presented by: 

Tom McCarthy Maryann Brandon Kami Asgar Jessica Parks Lane Burch Gilberto Martin Santiago
3:30 PM - 3:35 PM (PDT)

Closing Remarks

Mix Editor Tom Kenny will host a wrap-up of the day’s programming, along with a product giveaway, courtesy of our group of sponsors, all of them innovators in the sound for film and television industry. All registered attendees are eligible, with winners selected randomly from a group that demonstrate the most active engagement with sponsors and programming.

Tom Kenny