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AES 57th International Conference's Future Of Audio Entertainment Technology

Feb 25, 2015 livedesignonline








—As the AES hosts its 57th International Conference next month on the “Future of Audio Entertainment Technology: Cinema, Television, and the Internet,” a special emphasis will be placed on audio’s next big horizon: immersive sound formats — New York, NY, February 20, 2015 — The Audio Engineering Society hosts its 57th International Conference, the “Future of Audio Entertainment Technology: Cinema, Television, and the Internet,” on Friday, March 6 through Sunday, March 8, 2015, in Hollywood, California, at the renowned TCL Chinese 6 Theatres. The conference will feature the AES’s first-ever Immersive Audio Day (Sunday, March 8), an entire conference day packed with panels, papers, workshops and demonstrations focusing on one of the most active new areas of audio technology: immersive sound. Starting with the day’s presentation by Francis Rumsey entitled “Immersive Audio: Status and Challenges,” the day will delve into issues pertaining to mixing, asset management and processing for these massive multichannel formats.
Immersive Audio Day will bring together both pioneers and up-and-comers in the field to discuss immersive audio formats and how they continue to change the way we experience sound in cinema, on television, in music and online. For instance, representatives from Radio France will show and discuss how its new website, nouvOson, will broadcast 5.1 and binaural sound, utilizing a binaural technique initially chosen to reach people who do not have a home theater set for 5.1 productions.
A workshop, “Cinema Immersive Audio Delivery Standards,” co-sponsored by SMPTE and chaired by Brian Vessa of Sony Pictures Entertainment and also featuring panelists from Barco, DTS, Dolby Laboratories and Auro Technologies, will convey how standards for immersive audio are being developed.
Object-based audio, which is a key foundational element in immersive sound, will be addressed by three specialists from the University of Music and Performing Arts in Graz, Austria, through the presentation of the paper “Producing 3D Audio in Ambisonics.” The presentation will offer an overview of the current state-of-the-art in Ambisonics, including content production using Ambisonic main microphone arrays, or panning of virtual sources, spatial effects, and reproduction by loudspeakers and headphones.
Further exploration of object-based audio will continue with the presentation of “Localization of Audio Objects in Multichannel Reproduction” by the Fraunhofer Institute of Digital Media Technology IDMT in Ilmenau, Germany, which will also look into the new MPEG-H standard codec for high-efficiency coding and media delivery in heterogeneous environments.
“Next Generation Surround Decoding and Upmixing for Consumer and Professional Applications” will outline a new spatial audio algorithm that creates a channel-based three-dimensional sound scene from two or more input channels, while looking at how these new technologies will be applied to consumer and professional products for home, mobile and cinema applications.
The rest of the day is dedicated to residential applications of immersive audio, including for broadcast and webcasting. Chair Francis Rumsey will lead a panel looking at “Integrating Object-, Scene-, and Channel-Based Immersive Audio for Delivery to the Home,” followed by the workshop “How to Make Big Small—Can We Really Bring Immersive Sound to the Home?”
“Immersive Audio remains a major direction in which professional audio is headed,” stated Bob Moses, AES Executive Director. “This is the logical extension of the work that resulted in 5.1 surround sound becoming a standard for movies and television. AES’s efforts helped establish those standards, and what we accomplish on our Immersive Audio Day at the 57th International Conference will go a long way towards doing the same for immersive sound.”
For information on the AES 57th Conference on The Future of Audio Entertainment Technology, as well as further Registration, Travel and Technical Program information, visit http://www.aes.org/conferences/57/. An AES Member and Student discounts apply.


Ok westcoasters we want the nitty gritty on this one, seems the most important conference ever for Immersive audio freaks....
 

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This first-ever Future of Audio Entertainment Technology Conference brings together the best in researchers, acousticians, and engineers to address the current and future audio needs of the cinema, television, and internet (online).​
This will include such issues as:​

  • Acoustical design and performance of the modern motion picture theater
  • Playback of film as well as live event broadcasts in a cinema
  • Immersive sound and psychoacoustics
  • Reproduction of immersive sound in home theater applications
  • Reproduction of multi-channel audio using lesser numbers of speaker locations
  • Testing and alignment practices for cinemas
  • Dialog intelligibility in the theaters
  • Speech intelligibility and microphone design
  • Production sound immersive audio recording
  • Loudness control and OSHA/European Standards
  • Lossless coding of immersive sound for low bandwidth channels
  • Immersive sound using headphone technologies
  • Dialog intelligibility from TV broadcasts
  • Loudspeaker performance from all-in-one television receivers
  • Multichannel simulation from minimum speaker locations
 

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Audio Engineering Society Hosts Successful 57th International Conference on The Future of Audio Entertainment Technology

New York, NY, March 18, 2015 — The Audio Engineering Society hosted its 57th International Conference, titled “The Future of Audio Entertainment Technology: Cinema, Television, and the Internet,” in Hollywood, California, on Friday, March 6, through Sunday, March 8, 2015. Co-chaired by Brian McCarty and Dr. Sean Olive, the conference was intended to stimulate increased dialog between the Hollywood content creation community and the AES, and drew a substantial audience to the three-day program, which was presented at the TCL Chinese 6 Theatres. Keynote addresses were given by noted industry professionals, including Dr. Floyd Toole, former AES President, Fellow, and Gold Medal recipient; Louis Hernandez Jr., Avid Chairman, President, and Chief Executive Officer; and Francis Rumsey, Chair of the AES Technical Council, Fellow, and Bronze Medal Award recipient.

“The genesis of this conference came from the AES’s realization that the largest group of working sound engineers is those that do sound for picture in some way. Over the last few conventions we’ve been addressing workshops and seminars directly to that group of people,” said McCarty, who is the chair of the AES Technical Committee for Digital Cinema and Television. “What I’d like to see come out of this are some action items about what the Hollywood community thinks the various organizations need to do to start meeting their needs.”
Featuring the AES’s first-ever Immersive Audio Day, chaired by Dr. Francis Rumsey, the conference also presented paper sessions, workshops and panels on such topics as cinema acoustics, cinema B-chain measurement and calibration, low frequency reproduction challenges, loudness and noise-induced hearing impairment, dialog intelligibility, equalization and dynamics processing, and content personalization. Presenters also highlighted the pressing need to address the issues of next-generation streaming services and headphone delivery of the established and emerging immersive formats.
The leading immersive formats, several of which are vying for adoption in the ATSC 3.0 next-generation television audio standard, were discussed in great detail over the weekend. Workshops, paper sessions and panels offered in-depth technical details of well-established formats such as ambisonics and binaural sound, Auro-3D’s channel-based scheme, object-based systems from Dolby Labs and DTS, and the hybrid MPEG-H standard.
A presentation by Frank Melchior, lead technologist with BBC Research & Development in the U.K., included the BBC’s “Responsive Radio” internet-based experiments with binaural sound delivered to headphones and also demonstrated that object-based audio can be used for content personalization, not just for generating an immersive experience. “I think we’re a little behind the curve on that,” observed McCarty. “Maybe this will serve to stimulate more interest in starting to deliver those kinds of services to the consumer.”
He continued, “We’ve seen many different techniques for developing and delivering these immersive standards and other audio formats to the headphone market. It’s starting to reach viability now. We need to start putting production workflows in place to deal with them.”
Going forward, there will also need to be standards put in place by the AES—as well as SMPTE, a partner in the conference—if immersive sound formats are to be able to interoperate and exchange object- and channel-based audio essence and metadata, many panelists agreed. Melchior suggested a number of practical ideas for standards, including advanced audio file formats, advanced audio streaming formats, and baseline renderers.
“These are all going to be a lot of work,” said McCarty, during his final summary of the weekend’s events. “We’ve seen that in immersive sound for cinema it’s been a lot of work already. Hopefully, as we work through that process and we add distribution levels, we’ll all be able to build together on the work that’s been done.”
While also calling for a new set of cinema audio standards that set the bar at the best that can be currently supported, McCarty added, “I think we need to be aware that streaming is the future of a lot of our distribution. We need to maintain our vigilance so that we get the same kind of attention that the picture side gets when standards are being developed for streaming.”
Sponsors for the AES 57th International Conference include: Auro-3D, Avid, Dolby, dts, Harman, MPSE, NBCUniversal Studio Post, Sennheiser, and SMPTE.

Photo Caption: Steve Williams, Vice President of Post Production Services, NBCUniversal Studio Post, leads a tour of the NBCUniversal Studio Post facilities during the AES 57th International Conference in Hollywood, CA.
 
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