47th Annual Cinema Audio Society

This evening is the 47th Annual Cinema Audio Society Awards and I am very excited to be a part of it. 


The Cinema Audio Society (CAS) consists of Sound Mixers and Associates from the Film and Television Industries. The Society was founded to create a proper channel of communication between the related sound crafts and between those instrumental to the production and distribution of film and television soundtracks. Throughout the year, the CAS holds seminars and educational meetings, inviting industry professionals, students, and other guests to join in on these discussions. Not only is it a great networking opportunity, but also a chance to learn from others and understand different perspectives within the industry. 


This year, nominees in the Motion Picture category include: 
Black Swan
Production Mixer
Ken Ishii, CAS
Re-recording Mixers
Dominick Tavella, CAS
Craig Henighan

Inception
Production Mixer
Ed Novick
Re-recording Mixers
Lora Hirschberg
Gary A. Rizzo

Shutter Island
Production Mixer
Petur Hliddal
Re-recording Mixers
Tom Fleischman, CAS

The Social Network
Production Mixer
Mark Weingarten, CAS
Re-recording Mixers
Ren Klyce
David Parker
Michael Semanick, CAS

True Grit
Production Mixer
Peter F. Kurland, CAS
Re-recording Mixers
Skip Lievsay, CAS
Craig Berkey, CAS
Greg Orloff, CAS




To see the full list, follow this website: http://www.cinemaaudiosociety.org/index.php
I don't think there are really any assumed wins, so this evening should be a good one. Tomorrow, I will post the winners. 


Updated: to find a full list of winners and interviews please click here: http://soundworkscollection.com/2011cas

Sound Cloud

I found a blog earlier this week detailing the growing rate of users taking part in the Sound Cloud. One of the more difficult details with working on audio projects is the amount of space audio files take up, making it difficult to email files to clients. Most facilities will use an FTP site/server, giving their clients a login to access their specific projects. 

In my own personal experience, I've used FTP servers, iDisk, Dropbox and A-Drive to upload files for projects. Unfortunately, with the more common applications like Dropbox, it can take hours and even days to upload files depending on size and quantity.Trying to share entire ProTools session is a completely different story. My suggestion there is to use an FTP server. 

The sound cloud works with any audio format but you can also record straight to the site. You can see the waveform and those you share it with can insert comments at specific locations of the waveform. It seems to be the ultimate collaboration tool for music and audio files, as well as a means of receiving feedback with an unbiased opinion. I would not be surprised to see this expand even further to allow session sharing with comment capabilities. There are some great groups on the site that allow you to connect with other members. I joined the sound effects group, where I can listen to and comment on other members recordings, but can also share my own sound effects. 

The sound cloud now gives the client and other users the ability to make comments, receiving almost instant feedback, so that they can update the audio file to reflect the expectations of the client, leaving everyone in the project satisfied. It will be interesting to see how this site continues to develop. 

Sound Design Competition

Show off your sound design chops to four industry leaders: Scott Martin Gershin (Star Trek, Hellboy 2, Chronicles of Riddick, American Beauty),Charles Deenen (Need for Speed, Fast & Furious 1 and 2), David Farmer(Lord of the Rings Trilogy, King Kong, The Incredible Hulk, The Arrival), andTom Ozanich (Kill Bill: Vol. 2, The Incredible Hulk, Speed Racer, 2 Fast 2 Furious).

Here’s how it works:

1. Download the clip from Need for Speed: Shift 2 Unleashed™ (courtesy of Electronic Arts) and sound effects (courtesy of Hollywood Edge).
   
2. Using plugins in the Waves Sound Design Suite*, design the sound for the clip. You may also use your DAW's native processing tools, but only the sound effects provided here.
   
3. Upload your submission hereYou'll need a free Vimeo account.
   Once you have your Vimeo account set up, return to this page to submit your video to the competition.

Scott Martin Gershin, Charles Deenen, David Farmer, and Tom Ozanich will then choose the winner, based on the impact, creativity, and effectiveness of the sound design.

The Prize

The winner will receive Waves Sound Design Suite Native**.

There are a couple of ground rules:

You must use Waves Sound Design Suite plugins - the more the better.

When uploading your video, use the 'description' field to tell us which plugins you used, on which effects, and how.

No more than one entry per person.

*If you don't already own the Waves Sound Design Suite, you can download Waves Sound Design Suite demo and use it for the competition. If you've already demoed it, call Waves Tech Support at +1-865-909-9200 ext. 1, and they'll give you a special 7-day demo extension.


**If you already own Sound Design Suite, you may choose an alternative prize in the form of a bundle or upgrade of equivalent value.


The Waves Sound Design Competition will run
from February 1st until February 28th 2011, and the winner
will be announced shortly thereafter.


Learn more about Sound Design at designingsound.org

Read more:http://www.waves.com/content.aspx?id=11322#ixzz1DCsXJKp5

What is Audio Post?

As this blog is directed towards post production, I thought a post about what Audio Post is would be fitting.

From Foley to ADR and even production dialog, sometimes I find it difficult to fully explain the craft and art in these specific processes so I thought I would post the following from the professionals... 


What is Audio Post Production?
Audio post production is the general term for all stages of production happening between the actual recording in a studio and the completion of a master recording usually referring to audio that is synchronized with video, creating the soundtrack for moving images. As soon as moviemakers realized there was a way to control and enhance the sound of their pictures, Audio Post was born and has been a fact of life ever since. This applies to TV, cinema, video games and commercials. Nowadays, it would be difficult to find any feature film or television show (or video game) that hasn't been through audio post.


(The above bold/italicized is taken from; Bruce C. Nazarian, MPSE, Revised by Scott G.G. Haller, MPSE -  description of Audio Post Production on the MPSE website - linked to the title.)

A few props I used on a Foley session for: A Complex Villainelle