the official quarterly of the cinema audio society
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THE NEXT GENERATION U LT RA- M I N I AT U R E LAVALIER MICROPHONE FEATURES 2008 CAS Awards . . . . . . . . . . . . . . . . . . . . . . . 14 CAS will host the 45th Annual Awards Banquet
CAS Career Achievement Recipient . . . . . . . . . 18 An interview with Dennis Maitland, Sr.
Technical Awards Nominees . . . . . . . . . . . . . . . 22 The Future of RF Spectrum . . . . . . . . . . . . . . . . 24 Lectrosonics & Location Sound host a seminar
Designed specifically for digital and hybrid wireless usage
From the Editors . . . . . . . . . . . . . . . . . . . . . . . . . 6 Food for Thought . . . . . . . . . . . . . . . . . . . . . . . . 8
Approved by Lectrosonics, Sony, Trantec, and Zaxcom! Same Great Sound and Pure Pattern
Presidentâ€™s Letter . . . . . . . . . . . . . . . . . . . . . . . . 4
Switching from analog to digital
Technically Speaking . . . . . . . . . . . . . . . . . . . . . 10 All about FM signal processing
A Sound Discussion . . . . . . . . . . . . . . . . . . . . . . 12 Meeting delivery requirements
Been There Done That . . . . . . . . . . . . . . . . . . . . 26 CAS members check in
Available in Four Colors: Black, Beige, Gray, & White
The Lighter Side . . . . . . . . . . . . . . . . . . . . . . . . 30
30 For more information on Sanken Microphones:
THE PRESIDENT’S LETTER
The CAS Awards have grown each and every year. The evening itself has become a momentous night. We take pride in the fact that our Awards have been somewhat of an indicator for the rest of the industry’s Awards. When you look at our Awards page on the CAS website, you can see historically how our Awards represent our professional community. Our community is very strong and reaches very wide, nationally and internationally. This year, we honor one of our own who resides on the East Coast, Mr. Dennis L. Maitland, CAS with the Career Achievement Award. His long and distinguished career is an example of his dedication to the advancement of sound. Mr. Paul Mazursky will be presented with the CAS Filmmaker Award. These distinguished gentlemen have worked together on multiple projects and honoring them will be one highlight of the evening. Guiding us through the evening will be our master of ceremonies, Mr. Sam Rubin, nationally recognized entertainment reporter and member of the KTLA Morning News team. The Awards, on February 14, 2009, will allow our community to celebrate the admiration we have for everyone involved in the business. The unsung heroes who are dedicated to supporting all the participants and endure the sometimes long hours will also be honored on this lovely evening. We will also be recognizing the newly elected members of the CAS Board of Directors as they begin their term. During this year, we have been very proud that our membership has continued to grow. This includes the Student members that we feel are very important to the continuation of the Cinema Audio Society. Our seminars have been very educational and are available online at the CAS website. We look forward to offering more seminars. The “Meet the Winners” from the 45th Annual CAS Awards seminar is being planned for March 21, 2009. The location will be announced soon. There are many distinguishing things about being an Officer of the CAS. One very pleasurable thing is to be able to greet every member of the Cinema Audio Society at the 45th Annual CAS Awards and at other events. On behalf of myself and the rest of the CAS Board of Directors, it is a continued honor to serve the membership and our community. Sincerely,
Edward L. Moskowitz, CAS President of the Cinema Audio Society
CINEMA AUDIO SOCIETY MISSION STATEMENT
To educate and inform the general public and the motion picture and television industry that effective sound is achieved by a creative, artistic and technical blending of diverse sound elements. To provide the motion picture and television industry with a progressive society of master craftsmen specialized in the art of creative cinematic sound recording. To advance the specialized field of cinematic sound recording by exchange of ideas, methods, and information. To advance the art of auditory appreciation, and to philanthropically support those causes dedicated to the sense of hearing. To institute and maintain high standards of conduct and craftsmanship among our members. To aid the motion picture and television industry in the selection and training of qualified personnel in the unique field of cinematic sound recording. To achieve for our members deserved recognition as major contributors to the field of motion picture and television entertainment.
Corrections In the Revolutionary Road ad in the Fall 2008 issue, rerecording mixer Scott Millan’s name was misspelled and re-recording mixer Tony Lamberti’s name was mistakenly omitted. In the CAS Career Achievement recipient announcement, Dennis Maitland, Sr. was mistakenly credited as the production mixer on three films. As Good as It Gets was mixed by Jeff Wexler, CAS, The Way We Were was mixed by Jack Solomon, CAS and Searching for Bobby Fischer was mixed by David Lee.
FROM THE EDITORS...
Happy 2009 CAS members! Having come off a rather interesting year, we’re kicking off our winter issue with an enlightening and entertaining interview with your 2009 CAS Career Achievement Award honoree, Dennis Maitland, Sr. Providing some important information about what the switchover from analog to digital broadcast means to production sound mixers, Steven Corbiere, CAS reviews a recent Lectrosonics seminar, while Matt Foglia, CAS, in his “Food for Thought” column, questions how the switch will affect rerecording mixers. Foglia’s regular “A Sound Discussion” column is geared toward our Student and Associate members this month with a conversation about meeting delivery requirements. The always-informative G. John Garrett, CAS brings us his “Technically Speaking” column. And, as always, you can see what your fellow members are up to in the “Been There Done That” section and don’t forget to heckle them at the CAS Awards ceremony (on February 14) about their “The Lighter Side” submissions. The CAS Quarterly is produced as a service to our members on a voluntary basis. We greatly appreciate, and want, your feedback and suggestions—so send them in! Email us at email@example.com. We also truly value the support of our sponsors and encourage your commitment to them. Wishing you and yours a healthy and successful ’09!
...with a lot of really cool stuff inside. OFFICERS
President: Edward L. Moskowitz Vice President: David Bondelevitch Treasurer: R.D. Floyd Secretary: Peter Damski BOARD OF DIRECTORS
Agamemnon Andrianos James Coburn IV John Coffey David Fluhr Ed Greene
Doug Hemphill Melissa Hofmann Sherry Klein Paul Massey Michael Minkler Lee Orloff
Patti Fluhr EDITORS:
Matt Foglia, CAS
Peter Damski Matt Foglia PUBLISHER:
CAS NEW MEMBERS
Michael Barry Scott Clements Thom “Coach” Ehle Mark D. Fleming Douglas Greenfield William Bergstrom Hansen Bryan Pennington Andrew Potvin Griffin Richardson Mark H. Schultz Steven Venezia Trevor Ward Woody Woodhall James Wright
Michael Charles Cappulli Kris Manning
Student Adison Allen Jeffery Michael DeRosa Clayton James Dewet Elisabeth Sullivan Fish Robert C. Garvin IV Anna Gramlich Phillip Andrew Kissane Seth Danial Laupus Clint Russell Snow Thomas Andrew Whitehead
Stop by and have a look.
Bob Bronow Paul Marshall Joe Foglia Ken Polk OFFICE MANAGER
Peter Damski, CAS
Some folks think it looks like a tackle box...
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While the VR Field receiver has never won a beauty contest, it does offer a great feature set that makes it a welcome companion for location work. Six channels of excellent audio quality in a wideband modular configuration with antenna multicoupler and NP battery or DC power, plus computer and LCD interfaces, make it very cooperative wherever you have to work. The software will even use the receiver to scan the tunable RF spectrum and find clear channels while you’re setting up other equipment.
Digital Hybrid WirelessTM Advanced Wireless Microphone Systems US Patent 7,225,135
Made in the USA by a Bunch of Fanatics.
The Big Switchover
by Mat t Fogl i a, CA S
In a couple of days, weâ€™ll be saying our farewells to the analog transmission of television signals. Except for some â€œlow-powerâ€? analog stations, such as community stations, beginning on February 17 (just three days after our 45th CAS Awards ceremony!), all over-the-air TV transmissions will take place in the digital realm. Some of the benefits include the ability to transmit multiple channels within the same amount of spectrum-giving viewers (and advertisers) more options. â€œDigitalâ€? television, however, does not translate into â€œhigh definition,â€? as there will still be standard definition (480i) and enhanced definition (480p) broadcasts. As is the case with most positives, there are some negatives. One of the more annoying drawbacks of digital transmission is the need for signal buffering. For television, this is when the picture takes a second to appear after you change channelsâ€”something that isnâ€™t an issue with analog transmission. The same thing happens when playing files from a hard drive, though we usually donâ€™t notice it. However, sometimes your sessions are so dense that the computer needs a second after you hit Play before it starts playing back the audio. This is because it is filling its RAM buffer with the initial batch of audio so that everything will play back properly and evenly after that initial delay. Think of all of those cable television channels trying to be fed down the pipe at the same timeâ€”thatâ€™s a ton of data and would be a very inefficient process if everything were arriving at your box at the same time. Data compression algorithms are continually improving and throughput (how fast signals can get to us) keeps increasing so, theoretically, our visual and aural experiences will become even closer to those we experience in the studio. So, other than some random phone calls from distant relatives who are more worried about this change than they were the Y2K bug, what does this mean for sound professionals? Will we be able to pull away from VU meter referencing in the States? How about our Full Scale levelsâ€”will 0 dBFS be the new minus 10 since the constraints of an analog system wonâ€™t be a factor? Will the improved usage of bandwidth 8
make surround mixes the new delivery norm? As of now, it sure doesnâ€™t seem like this will happen anytime soon. I donâ€™t know of any clients changing their sound specs to compliment the changeover. One reason is that legacy programming (with those shows mixed using current or older specs) is a huge issue. Remember the mid-1980s when every older album became available on CD? Remember that whole â€œdynamic rangeâ€? thingâ€”when the majority of music releases actually utilized the available dynamic range (and had dynamics)? But when you went from an older release to a newer â€œDDDâ€? release (recorded, mixed and mastered in the digital domain), the levels were extremely different. Not dissimilar to what happens when programming switches from a TV show to a commercial. Itâ€™s as if weâ€™re given two roads when in the digital realm. Road One lets us use the increased signal-to-noise levels to broaden a programâ€™s dynamic rangeâ€”as happens with classical musicâ€”letting the recording of pianissimo sections (and quieter variations) not be overtaken by the noise floor. Road Two lets the user make the audio much â€œlouder,â€? yet significantly less dynamic, by using every available bit all of the time. Many networks have been rather vigilant with keeping their programming fairly dynamic yet at a somewhat constant â€œloudnessâ€? levelâ€”hence the intention, if not proper implementation, of the Dolby LM100. Hopefully, this digital switchover will eventually provide us with an even better means of translating our mixes from the studio to the living room. â€˘
Celebrating over 80 years of
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