嘉暐 chiawei.studio@msa.hinet.net 聲音設計臨時工/ 一個文科背景的高雄人,誤闖高科技的錄音叢林


無差別音效實驗室 http://chiaweistudio.blogspot.com

目前日期文章:200905 (8)

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"UP" Sound for Film Profile from Michael Coleman on Vimeo.

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SoundField Ships UPM-1 Stereo-To-5.1 Converter

May 22, 2009 2:55 PM

SoundField, the UK-based manufacturer and supplier of multi-capsule mic systems for stereo and surround audio capture in the broadcast and audio recording markets, has begun shipping the UPM-1 stereo-to-5.1 converter. Aimed at the broadcast market, the UPM-1 is a 19-inch rack processor designed to create 5.1 content from old program material that only has a stereo soundtrack.

Such "legacy" programming is a problem for companies broadcasting in high-definition with 5.1 surround audio, because listeners find it distracting when modern HD shows are broadcast in 5.1 surround and then the audio narrows to a very "flat-sounding" two channels for older material. This kind of distracting switch can occur even within one show. All the modern content in an HD sports show will be in 5.1, but older clips of past sporting events usually have only a stereo soundtrack. To modern HD broadcasters, this kind of repeated expansion and contraction of the audio soundscape is unacceptable. The UPM-1 provides a fast, easy-to-use solution.

All of the material in the 5.1 mix that appears at the processor's outputs is derived from spatial information present in the original stereo signal. The UPM-1's processing is adaptive, changing with the input signal, rather than remaining constant irrespective of input.

The UPM-1 generates 5.1 from two channels by analyzing the original stereo audio using a patented algorithm that separates the audio into its so-called Direct and Ambient components. The former encompasses the "dryer," less reverberant components in the original sound (for example, those elements that would have been close to the microphone when the audio was recorded), while the latter refers to the more reverberant components (like those sound sources that would have been further away at the time of recording). These elements can then be processed separately and routed in different proportions to the 5.1 mix if required, using the UPM-1's simple front panel rotary controls. In addition to discrete controls for the input level and individual 5.1 output channels, the level of the direct sound component in the original signal may be adjusted independently from that of the Ambient sound in the rear channels, and the ambient component in the front three channels.

The UPM-1 also offers control over the perceived width of the front three channels, and over whether the material appearing at the front center of the 5.1 soundscape will be routed only to the center channel or equally to the left and right channels.

For more information, visit SoundField's U.S. distributor, TransAudio Group.

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Digital Cinema System Specification (Version 1.1)
在2007年四月,由 Digital Cinema Initiatives LLC確立下來。

其中,Digital Cinema Distribution Master (DCDM),是指創建數位電影院影音格式的作業。

而DCP (Digital Cinema Package)被訂定為數位電影院播放的檔案模式。

Quvis 公司在2008年替Final Cut的使用者創建了新的plug-in Wraptor™`,來幫助一般的使用者建立DCP檔案。 以便在數位電影院發行。

另外,QubeMaster Xpress and QubeMaster Pro,是另一款在Windows界面下,高階的DCP Mastering 軟體,所費不貲。


Dolby SCC2000 Secure Content Creator 也是一款製作DCP檔案的硬體。

非常重要的參考資料:数字影院发展的现状和趋势 (作者:李枢平)

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LAS VEGAS, NV,—Apr 1, 2009

DTS Digital Cinema to Change Trade Name to Datasat Digital Entertainment
Market leading digital cinema technology company for exhibition product lines and audio licensing expands with additional support and distribution services

DTS Digital Cinema announced today that it will begin operating under the trade name Datasat Digital Entertainment from April 1, 2009. The company is a market leader in providing digital cinema technology to motion picture exhibitors and distributors. Founded in1993 the company was the first to provide 5.1 digital surround sound to the film industry. The company will maintain the DTS Digital Cinema brand name for all cinema related products and services.

In May of 2008 DTS Digital Cinema was purchased by the primary owner of Datasat Communications Ltd., a satellite network solutions business based in the United Kingdom. The Company’s new trade name is derived from its sister company and is being adopted to better suit the company as it begins offering expanded support and distribution services in the entertainment market.

“Over the last 16 years DTS Digital Cinema has built itself into a company recognized around the world for excellence in film exhibition technology,” said Chris Thomas, the Company’s President and CEO. “We supply surround sound to over 30,000 screens in over 100 countries and have gained a solid reputation for securely delivering digital content in a timely manner.”

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MUTO這部由Mercurio Film製作的動畫,在2008年,引起不少網友的注目。



能不能做Dolby License的DVD發行?

恩,我在online video上,用廉價的筆電喇叭,聽得也很爽。


MUTO a wall-painted animation by BLU from blu on Vimeo.

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(Introduced by filmsounddaily.blogspot.com)
Resources From: Michael Coleman's videos
Produced by Michael Coleman of Colemanfilm Media Group

Director Carroll Ballard on Sound Designer Alan Splet from Michael Coleman on Vimeo.

Director Peter Weir on Sound Designer Alan Splet from Michael Coleman on Vimeo.

Director Phillip Kaufman on Sound Designer Alan Splet from Michael Coleman on Vimeo.

"There will be Blood" Sound for Film Profile from Michael Coleman on Vimeo.

"Sicko" Sound for Film Profile from Michael Coleman on Vimeo.

"We Own the Night" Sound for Film Profile from Michael Coleman on Vimeo.

"The Soloist" Sound for Film Profile from Michael Coleman on Vimeo.

"Iron Man" Sound for Film Profile from Michael Coleman on Vimeo.

"Ratatouille" Sound for Film Profile with Randy Thom from Michael Coleman on Vimeo.

"The Curious Case of Benjamin Button" Sound for Film Profile from Michael Coleman on Vimeo.

"WALL•E" Sound for Film Profile with Ben Burtt from Michael Coleman on Vimeo.

"Dark Knight" Sound for Film Profile from Michael Coleman on Vimeo.

"Indiana Jones and the Kingdom of the Crystal Skull" Sound for Film Profile with Ben Burtt from Michael Coleman on Vimeo.

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Walter Murch 所創造。是指,把錄製的聲音,帶到與電影場景中

Walter Murch 認為,錄音師必須認知,透過麥克風到錄音機錄下的聲音,

在Walter Murch替 THX:1138 和 American Graffiti設計聲音的七零年

這個靈感,首次具體地發生在,與George Lucas 合作的American Graffiti裡。

Murch 和 Lucas 就帶著一段二個小時的廣播節目的錄音帶,到了一座郊

在錄音室裡,Murch 歸類了三種他們所獲得的素材,首先是,非常dry,
以及“車子離開鏡頭後的廣播聲音“,如此以來一個專屬American Graffiti的特殊

星際大戰中揮舞的光劍,Ben Burtt 也用了類似的技巧(雖然和wordlizing本意有出入。)



參考資料:http://www.filmsound.org/terminology/worldizing.htm (Filmsound.org)

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NOWnews 更新日期:2009/05/01 12:50 記者王志煌/新竹報導



杜 篤之獲獎無數,本影展將精選具有指標性意義的影壇傑作,包括1985年首度獲得亞太影展最佳錄音獎的「小逃犯」;1988年首度採用同步錄音作業的「悲情 城市」;1992年首度採用杜比立體聲的「少年,安啦」;榮獲坎城影展高等技術大獎的「千禧曼波︰薔薇的名字」、「你那邊幾點」;榮獲金馬獎最佳錄音獎的「超級市民」、「戲夢人生」、「好男好女」、「松鼠自殺事件」、「最遙遠的距離」;以及與港台知名導演合作的各類型傑作,包括「花樣年華」、「姨媽的後現代生活」、「奇蹟的夏天」等。


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