@SounDoer：来自 Mix Magazine（http://www.mixonline.com/）主办和众多音频赞助商支持的 Sound For Film Conference Immersive Sound 专题，请来了 Randy Thom 等一系列电影声音专家就“沉浸式电影声音体验”这一话题从音效、音乐、对白、工作流程和技术标准等方面展开了讨论。讲座视频由 Soundworks Collection 呈献，http://soundworkscollection.com/videos/Mix-Magazine-Immersive-Sound-Conference 。

（以下为特邀嘉宾 Randy Thom 的个人经历介绍，已标注链接）
Keynote Address:
Randy Thom is Director of Sound Design at Skywalker Sound（http://www.skysound.com/）. He has been nominated for 14 Oscars, an Emmy, and a Grammy. He won Academy Awards for The Right Stuff（《太空英雄》http://www.imdb.com/title/tt0086197/）and The Incredibles（《超人总动员》http://www.imdb.com/title/tt0317705/）. Randy has received Career Achievement Awards from the Motion Picture Sound Editors（MPSE http://mpse.org/）and the Cinema Audio Society（CAS http://cinemaaudiosociety.org/）. After working in Public Radio Randy began his film career as an assistant to Walter Murch（http://en.wikipedia.org/wiki/Walter_Murch）, recording helicopters, guns, and flies for Apocalypse Now（《现代启示录》http://www.imdb.com/title/tt0078788/）, as well as assisting in the film’s 9 month mix, after which Ben Burtt（http://en.wikipedia.org/wiki/Ben_Burtt）hired him to work on The Empire Strikes Back（《星球大战之帝国反击战》http://www.imdb.com/title/tt0080684/）. He was Production Mixer on Return of the Jedi（《星球大战之绝地归来》http://www.imdb.com/title/tt0086190/）, Rumblefish（《斗鱼》http://www.imdb.com/title/tt0086216/）, and Never Cry Wolf（《狼踪》http://www.imdb.com/title/tt0086005/）; and has worked at Skywalker Sound for over 35 years. Randy has written numerous articles on film sound, and has been the leading proponent for the idea that sound design should begin in pre-production. His essay “Designing A Movie For Sound” is used in film curricula at universities around the world.

http://vimeo.com/106027904
http://v.youku.com/v_show/id_XNzk0MjEyODM2.html

Immersive sound—Taking Hollywood by storm and rapidly spreading around the world, Dolby’s Atmos and Auro Technologies’ Auro-3D advanced surround sound formats are impressing audiences with fully enveloping, more natural sound environments for cinema and home theaters. And audiences love it! Speakers in the ceilings, all around the room. Music and effects like you’ve never heard them! Not since the advent of 5.1 discrete surround in the early 1990s has there been a more exciting technological breakthrough in film sound production and playback. And it’s just getting started.

沉浸式声音的创造性机会：音效剪辑与混音
The Creative Opportunities of Immersive Sound: Effects Editing and Mixing
With the ability to place individual sounds precisely in a theater, and all the attention paid to the “height” channels and ceiling speakers, sound editors and mixers have seemingly unlimited possibilities to move vehicles and gunshots and door slams around the immersive field. The trick is to not be distracting and to remember that it’s all about supporting the action on screen. Leading re-recording mixers and sound designers discuss techniques they’ve employed for effective use of effects in the immersive sound field.

http://vimeo.com/106058495
http://v.youku.com/v_show/id_XNzk0MjIxMjE2.html

沉浸式声音的创造性机会：音乐和对白
The Creative Opportunities of Immersive Sound: Music and Dialog
Sound effects received most of the early attention, but once music editors and re-recording mixers started working in immersive sound formats, they found that sometimes subtle movements in the music and dialog mix could open up the field for better imaging and clarity. Leading re-recording mixers and editors discuss track preparation and techniques they use to create a more realistic and immersive total sound experience.

http://vimeo.com/106714520
http://v.youku.com/v_show/id_XNzk0MjQyNjIw.html

技术与工作流程：沉浸式声音的前后期制作
Technology and Workflow: Audio Production/Post-Production for Immersive Sound
It was a much simpler time when “workflow” meant all sounds going into one speaker. In 1952, the number of channels increased to 7, with some of them assigned to multiple speaker sound arrays. Now, the path from source recording to re-recording to playback in a theater has grown into a complicated maze of routing, panning and busing possibilities. This panel will focus on the challenges facing both mix stages and re-recording mixers in adapting their workflows to today’s immersive sound formats.

http://vimeo.com/106700563
http://v.youku.com/v_show/id_XNzk0Mjk1ODM2.html

格式：Dolby Atmos、Auro-3D 和 DTS MDA 背后的技术运用
Formats: The Technologies Behind Dolby Atmos, Auro-3D and DTS MDA
For the first 60 years of stereo film mixing, changes in format were primarily located in the projection booth. The carving of the movie theater into a three-dimensional sound space for immersive formats has entailed adding speakers in varying locations, with a significant additional cost to existing systems. This panel will feature proponents for the three leading systems, who will explain the philosophy behind their layouts and how they integrate into the workflow of post-production sound. Additional perspective will be given by engineers from Hollywood studios who have retrofitted their mixing stages.

http://vimeo.com/106700577
http://v.youku.com/v_show/id_XNzk1MjQ1MzI0.html


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