29 May 2008

Whosiwhatsis and the Thingamajig

Skylor Morgan has another post up at Trew Audio entitled Secret Jargon. Snip:
Little did I understand, very few people use technical names, but if I want to serve the customer better, I’d better learn their language. Imagine my thoughts when I first heard, butt plug, clown nose, juice can, furry, cat, coily, viper, vampire, etc. So this is my homage to jargon. I hope you enjoy.


For the more etymologically inclined, you may want to check out Strike the Baby and Kill The Blonde: An Insider's Guide to Film Slang.

28 May 2008

I'm Your Density

Found this great clip demonstrating the differences between variable area and variable density optical film soundtracks. Please to enjoy:

Via Filmmaker Slog.

Slog Blog

Filmmaker Slog: in the cloud is a blog by Mike Peter Reed, about many things but primarily production sound. The sub-title: "Making a good film is hard work; making a bad film is hard work."

Yep, it surely is.


Pay Attention To the Man (or Woman) Behind the Curtain

Good morning, true believers.

Been busy, which is good. I recently mixed my first fishing show, which was far more enjoyable for me than actual fishing. In addition, our expert guides provided an amazing lunch of teriyaki salmon steaks with rice pilaf and a dessert (!) not too far removed from tiramisu, right there on the bank of Deschutes River.

So yeah, we roughed it...

Back to the ongoing world of sound: a little while back, Editors Guild Magazine ran a piece about dub-stage engineers, the un-sung MacGyvers of film sound post. Snip:

The dub stage engineer, which is the most prevalent engineering post at the major studios, handles all of the console set up on the stage before each final mix. They confer with the mixers, sound editors, recordists and others in the sound department to determine exactly what materials will be brought to the stage, how many consoles will be required, how many tracks will be brought in, and what sample rate and frame rates will be used.

They then set the board up to enable the re-recording mixers to input those tracks and work––hopefully glitch-free––to mix them out to their ultimate deliverables...

Engineers are needed not only on the dub stages, but in sound editorial and on the ADR, Foley and scoring stages as well. It’s all about client service, especially at the major studios. Put simply, a good engineer must be able to repair anything, day or night, and have the necessary intuition to know where the problem is likely to be located.


Thanks FilmSoundDaily!.

18 May 2008

Mama Said Knock You Out

Hey, folks, be sure to drop by new-kid-on-the-blog Cinemama. She's starting things with a shout out to one of my personal faves, Miller's Crossing. Snip:
I think this movie is criminally underrated, and a frequently overlooked part of the Coen Brothers canon. I can’t tell you how many times I’ve talked to a Huge Coen Brothers Fan, and when I mention this movie they say, “Oh yeah, is that the gangster one?” Just do yourself a favor and watch it, even if you’ve already seen it.

I concur. Be sure to check out the rest of the post for an interesting little trivia tidbit.


16 May 2008


DTS, purveyors of digital multi-channel surround sound for cinema and home theater, recently announced that it has "sold its Digital Cinema business to Beaufort California, Inc., a member of Beaufort International Group Plc. in England."

"We have now completed the sale of both the Digital Images and Digital Cinema businesses which allows us to focus entirely on building a high growth and highly profitable consumer business," commented Jon Kirchner, president and CEO of DTS, Inc.

I remember seeing a DTS-encoded film for the first time when I braved the opening weekend crowds for Jurassic Park back in '93. Although it wasn't the first digital sound format for cinema to the market (that dubious honor belongs to Kodak's CDS system, ill-fated due to its lack of analog backup in case of reader failure), it was one of the most personally memorable, mainly due to its flashy demo trailer that preceded each show:

DTS was unique among the three lossy-compressed digital audio cinema formats, in that it was double system, feeding the the audio bitstream out from a CD-ROM disc that slaved to timecode striped on the film print itself. Dolby Digital and SDDS both fully encoded the entirety of their tracks upon the increasingly limited real estate of the print. I remember from my days as a projectionist that the primary advantage to the other systems was the fact that they lived with the print; there were no discs to lose during shipping, which meant that if you got the film, you got the digital soundtrack. More than once we were forced to show a DTS-only encoded print in Dolby SR (optical analog), due to missing materials.

Shortly thereafter, DTS entered the home theater market on laserdisc, and quickly became flame-bait for every surround-sound snob out there with a 28.8 modem and a lot of spare time. Tediously long forum threads abounded with people extolling the "obvious" superiority of DTS over Dolby Digital, which then carried over into the DVD years as well.

What I personally found interesting about all of the hullabaloo is this quote from Gary Rydstrom, sound designer extraordinaire, when asked about his opinion on different codecs:

CT: Do you have any impressions of the types of quality you hear in the different types of the 5.1 theater compression systems, Dolby Digital, DTS, etc?

GR: They're pretty similar. You can hear subtle differences, but much more often you're hearing the differences in the theater's acoustics.

The acoustic space has much more of an effect. They do have some subtle differences between the subwoofer channels from one system to another, DTS treats it differently than the other systems. Not better, just different. If you're familiar with the source material, you can tell a little bit of difference, but they're all essentially the same (emphasis added).

Having been a projectionist and listened to the same films in both Dolby Digital and DTS in the same auditoriums, in addition to doing post sound mixing and transcoding to DD with my own material, I would have to agree. (Not that it will mean that much in the near future; with digital cinema offering uncompressed PCM tracks in the the theater and Blu-Ray having the capability of carrying lossless codecs, the viewer will be able to listen to the very same material that the filmmakers do themselves.)

DTS has more going on then just cinema sound. They are still firmly entrenched in the home video market with DVD and Blu-Ray, with professional encoding solutions for each. At the time of their introduction, the primary digital sound formats were created to overcome the bandwidth limitations of the carrier, i.e. the film print. Clever engineering was employed, and people were amazed at the resulting experience. Now that the carrier's bandwidth has been increased almost exponentially, there is less need for compression, and companies have to adapt. DTS has taken that step.

Link to press release, via Engadget HD, Audioholics, et al.

08 May 2008

I. Ron Butterfly

For those of you who feel a bit iron deficient...{crickets}

Sigh...These are the jokes, folks.

Anyways, be sure to drop by FILMSOUNDDAILY! and check out Mix Magazine's interview with Christopher Boyes about the fantastic mix on Iron Man. I've seen it twice already, and it rocked both times.