Introducing – Tools for Cinema Quality Assurance

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Cinema Test Tools for the Non-Technical Manager 

Cinema Test Tools is a free resource for the cinema industry, tuned most particularly for the non-technical manager. The tools include several DCPs, all with interesting means of testing the sound and picture quality for the interested by lightly trained staff. The lessons on sound and light are written to provide a foundation to communicate with the technician who must respond quickly and well to the information that they discover.

The key is a free Online Managers Online Walk Through Checklist that correlates with the many DCPs. It helps bring an understanding of the many nuances of the auditorium's situation in a straightforward way. 

You know, I kept seeing that 3D stuff, and seeing that 3D stuff, and never getting it. Then I saw the same clips with a great audio system, and what do you know...the pictures looked better. 

Deep Immersive Sounds, Plus...Cool Interview

As everyone knows, the First Rule of Fight Club is that you don't talk about the Committee Work of the Society of Motion Pictures and Television Engineers. So, although Atmos Sound has been around since shortly after the CinemaCon 2012 introduction, with about 4,000 installations by now, and DTS showed their iteration of the Open Source MDA Object Oriented sound, DTS:X, at CinemaCon 2015...and Barco bought the Iosonno rights up about that same time to augment the Auro system with object oriented sound ...one heard nary a word out of the committee halls of SMPTE about the known Immersive Audio objective: a single standard format for immersive sound so that any mix will play in any theater, regardless of the manufacturer of the compliant rendering system it was playing on.

And now that has changed: The first 3 SMPTE documents have been released toward that immersive effort. They won't be interesting to anyone who isn't making a rendering device since they merely (merely, the editor scoffs) describe the bitstream, establishes the metadata, and defines the names of the sound field groups and channels that make up an immersive track. 

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Backgrounds of Sounds – Oscars

The scripts for this years Oscar contending movies have been available for a while (Oscar's Scripts and Cameras), and now for it's 2nd year is The Dolby Institute Podcast Series featuring Conversations with Sound Artists: 2017 Oscar Edition.

Sound Artists and The Little PrinceThese are a set of conversations with the sound artists who've been nominated for Academy Awards for Best Achievement in Sound Editing and Best Achievement in Sound Mixing. They are made in association with the Sound Works Collection which is also a not-to-be-missed set of recordings. Now, if you're finished with bothering me, I'm listening to The Little Prince.

Sound Immersion at AES

Great to see an article where Immersion doesn't mean Immersive...Mel Lambert reports from the AES-LA 2016 for CineMontage, the Editors Guild Magazine.

The 141st Audio Engineering Society Convention, held recently in the Los Angeles Convention Center’s West Hall, attracted a record West Coast attendance, with a wide cross-section of brands showing their wares on the exhibition floor and companion demo rooms. Aimed squarely at evolving technologies via a special focus on new markets and trends, the four-day convention took the highly appropriate theme of Immersed in Audio. “That pretty well sums up where [our industry] needs to move forward in the world of new audio technologies,” noted AES president John Krivit. “Sound for picture, networked audio and game audio were all covered here with a full technical program of workshops, tutorials and exhibits.”

For more about the co-located Virtual Reality Convention and highlights from the seminars, see: 

Sound Immersion at AES - CineMontage

AES Los Angeles, 2016

Mel Lambert reports from AES-LA:

For a number of reasons – not least being the outstanding work done behind the scenes by its volunteer planning committee – the 141st AES Convention, which ended at the Los Angeles Convention Center yesterday, delivered on its promise. The four-day attendance was outstanding, with a good representation of overseas visitors, while a wide cross section of brands showed their wares on the exhibition floor and companion demonstration rooms.

The icing on the cake was the co-located Audio for Virtual and Augmented Conference, which drew standing-room-only attendance in a lecture theatre and companion paper room. The inaugural two-day event was expected to attract some 290 attendees; aggressive marketing and outreach to the VR and AR communities proved so successful that pre-registration had to be closed at just over 400...

For more of this Audio Media International article:

AES 2016: An overview of the key talking points

Get Your HI Tracks On

The transition from 8 channels to 16 channels of audio in the digital cinema domain has brought a surprising amount of angst recently. Actually, it was only a proxy for the entire transition from the nothing-but-potential era of 10 years ago, through what was called the InterOp Standard and into a set of standards created by the SMPTE.

This transition has been mirrored in the world of the deaf and hard of hearing as it relates to the digital cinema world.

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