Post :: Features
Apr 1, 2012,
By Tom Kenny, Editorial Director
I freely admit that I didn’t understand the drive behind 7.1 when people started talking about it almost a decade ago. I understood the appeal, with a Side Right and a Side Left to go with Rear Right and Rear Left, bringing a more immersive overall experience. But I couldn’t see where it was headed on the consumer front....
Jan 1, 2012,
Compiled by Sarah Benzuly
The Audio Engineering Society has formed a provisional committee to review audio reproduction for digital cinema and television. Spearheaded by Brian McCarty, managing director at Coral Sea Studios (Australia), the new AES Technical Committee on Sound for Digital Cinema & Television, AESTC-SDCTV, is planning a meeting in Los Angeles in early 2012. To participate in this event or to join the AESTC-SDCTV committee, contact Brian McCarty.
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Jan 1, 2012,
By Gary Eskow
Take the time machine back just a few years—to 2005, say, or 2006—and you will see that the model that composers working to picture followed was fairly universal. Their DAWs might differ, with Mac the preferred sequencer platform for most. Some worked on PCs, but most composers had multiple computers (up to a half-dozen or more) networked together. Limitations in speed, RAM and hard disk size made it impossible for them to produce scores under the time pressures that the industry imposed using only one or two computers.
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Jan 1, 2012,
By Blair Jackson
Steven Spielberg’s War Horse is a classic Hollywood epic, a throwback to a different era of filmmaking, when character development and telling a story in a cogent and methodical way were more important than gimmicky effects and manic pacing. The film is unabashedly aimed at families—there’s no sex, bad language or gushing blood—yet it is also a tale about war, violence, and complex and often difficult relationships.
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Jan 1, 2012,
By Blair Jackson
As videogames have become more sophisticated and complex in recent years, so too have their music scores. Long gone are the days of simple scores banged out on solitary keyboards and integrated into the game at the lowest possible bit-rate. Orchestral scores are common for big-budget games, as are hybrid scores that use electronic and/or percussion elements, rock and other music forms, as well as orchestrated passages. With some top games requiring two or more hours of music, there has been plenty of work for large and small studios to keep up with the demand, and musicians and singers are finding a new source of income for their talents.
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Jan 1, 2012,
By Matt Gallagher
Emmy Award–winning guitarist/composer/producer Brian Tarquin parlayed more than 20 years of experience in producing original music for libraries such as FirstCom, Megatrax, Sonoton, One Music, Killer Tracks and 5th Floor Music (ABC-TV) into creating TVFilmTrax.com, his new online production music library offering downloadable tracks to media professionals for licensing. ...
Dec 1, 2011,
By Tom Kenny
Dolby Labs recently hosted a media screening of the Curt Morgan–directed action sports movie The Art of Flight (Brain Farm Digital Cinema, Red Bull Media House), ostensibly to showcase two technologies: the company’s new video reference monitor and 7.1 True HD. They scored on both levels, with stunning, consistent picture and a pulsing music-driven soundtrack. Snowboarding legend Travis Rice and friends are the focus, with the film following them to helicopter drop-offs on mountain peaks throughout North and South America, but the picture and sound definitely take center stage.
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Dec 1, 2011,
By Matt Hurwitz
When an actor’s foot is made out of felt, what does he sound like going up a flight of stairs? If your actor is green and has friends named “Fozzie” and “Miss Piggy,” he can’t sound like the rest of us—but if he’s out in the real-world world, he can’t be too far off, either.
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