AES Los Angeles 2016
Paper Session P10
P10 - Cinema Sound & Forensic Audio
Friday, September 30, 10:45 am — 12:15 pm (Rm 409B)
Chair:
Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
P10-1 Wideband Audio Recordings of Gunshots: Waveforms and Repeatability—Rob Maher, Montana State University - Bozeman, MT, USA; Tushar Routh, Montana State University - Bozeman, MT, USA
For the purposes of audio forensics research we have obtained multichannel acoustical recordings of gunshots under controlled conditions for several firearms. The recordings are made using an elevated platform and an elevated spatial array of microphones to provide quasi-anechoic directional recordings of the muzzle blast. The consistency and repeatability of gunshot sounds is relevant to many areas of forensic analysis. This paper includes a description of the recording process and a summary comparison of the acoustical waveforms obtained from ten successive shots by the same firearm by an experienced marksman. Practical examples and applications are presented.
Convention Paper 9634 (Purchase now)
P10-2 Integration of CGI Information on Audio Post Production—Nuno Fonseca, ESTG/Polytechnic Institute of Leiria - Leiria, Portugal; Sound Particles - Leiria, Portugal
Although CGI is a common tool in cinema, for both VFX shots and animation features, all that 3D information is disregarded on audio post production, which usually only uses the final image as reference. This paper presents a workflow that uses CGI information to help audio post-production work. Working on top of “Sound Particles” software, a 3D CGI-like software for audio applications currently used at major Hollywood studios, CGI information is used to automatically control several audio parameters (volume, 3D position, Doppler, etc.), while maintaining full creativity freedom.
Convention Paper 9633 (Purchase now)
P10-3 Intelligibility of Cinema & TV Sound Dialogue—Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
In recent years there has been a significant increase in the number of complaints concerning the dialogue intelligibility of both movie sound tracks and TV productions—both in Europe and the USA. The paper reviews the background to dialogue intelligibility and looks at a number of mechanisms that may be responsible for the growing trend of dissatisfaction. The transmission chain is reviewed and new measurements and data concerning domestic listening conditions are presented. The results of a pilot measurement program show that in-situ frequency response of the TV systems, operated by many domestic listeners, is far from ideal with response variations of 10–15 dB being common. Unique Speech Transmission Index (STI) and Clarity data are presented that suggest that the room acoustic conditions of the listening environment should not, in themselves, significantly degrade the received signal.
Convention Paper 9632 (Purchase now)