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PRODUCTION SOUND & VIDEO GUILD ADVERTISING & MARKETING MEDIA KIT | 2021 PRODUCTION SOUND & VIDEO GUILD The Production Sound & Video Guild (IATSE Local 695) is the official labor union for Production Sound Technicians; including Sound Mixers, Boom Operators, Utility Sound Technicians, Recordists and Playback Operators. Video Engineers; including Video Assist, Data Capture Operators and Playback, as well as Television Broadcast Engineers, Projectionists and Projection Engineers. PSVG REPRESENTS PRODUCTION SOUND MIXERS SOUND ENGINEERS HOW YOU CAN ENGAGE AWARDS SEASON THE PSVG membership contains a majority of production sound voters for the Academy Awards and the Sound Mixing branch for the Emmy Awards. ‘For Your Consideration’ advertising in their official member-only media provides the most direct, effective method of influencing the vote for your contenders during awards season balloting. YEAR ROUND FILM & TELEVISION PRODUCTION The members of the PSVG are the critical decision makers and influencers you need be in front of year-round, as they make hundreds of decisions that affect your business. No one else has the complete access or the pre-qualified attention of these sound department professionals. SEE LINKS BELOW ADVERTISING > EVENTS > ADVERTISING | MAGAZINE PRODUCTION SOUND & VIDEO Production Sound & Video is the official print and digital member magazine of the Production Sound & Video Guild (IATSE Local 695), with premium editorial curated specifically for their craft. This premier ad vehicle is guaranteed to deliver your message to 100% of this exclusive membership with additional reach to the industry. CIRCULATION: 2,400 EDITORS: RICHARD LIGHTSTONE & JAMES DELHAUER PUBLISHER: INGLEDODD MEDIA FOUNDED: 2009 FREQUENCY: QUARTERLY DISTRIBUTION CHANNELS Mail: Direct to 2,060+ PSVG Members + 340 additional industry professionals, schools and museums. Email: Interactive digital/mobile version Web: Posted at the Guild Website – available in perpetuity 2020 PUBLICATION SCHEDULE SPACE ART MAILING EMAIL RESERVATION DEADLINE DATE DATE Winter 2022 Nov 12 Nov 18 Dec 1 Dec 1 • Production Sound & Video is published quarterly Spring 2022 Feb 1 Feb 7 Feb 16 Feb 16 • Premium Positions are available on a first-come, first-served basis Summer 2022 May 13 May 20 June 2 June 2 • Mailing dates are subject to slight variations ADVERTISING | MAGAZINE PRODUCTION SOUND & VIDEO/DIGITAL The digital/mobile version of Production Sound & Video enables you to dynamically engage members with embedded interactive content like quick-launch Videos, Slide Shows and Hyperlinks, directly from within your display ad with a simple tap. EMBEDDED VIDEO CINEMA AUDIO SOCIETY AWARDS NOMINEE OUTSTANDING ACHIEVEMENT IN SOUND MIXING EMBEDDED SLIDE SHOW MPSE GOLDEN REEL AWARDS NOMINEE FEATURES FEATURE - ADR/DIALOGUE Production Sound Equipment Purchases . 20 PHILIP STOCKTON, MPSE, EUGENE GEARTY, MARISSA LITTLEFIELD Ever have a “Fear of Missing Out”? FROM THE EDITOR 147th AES Convention . 26 Career Achievement Recipient . 34 As we forge into a new year, let’s take a Re-recording mixer Tom Fleischman CAS moment to look back. In the Fall 2014 Quarterly, we looked back at 50 years of the CAS and how CAS Filmmaker Award . 44 technology evolved over that period. In the Fall 34 Director, producer, and writer James Mangold 2018 issue, we looked back at 25 years of the CAS Award Nominations . 46 CAS Awards. In this issue, CAS historian James A. Corbett CAS MPSE, along with Aletha Rodgers Outstanding Product Nominees . 50 CAS, take us back to the origins of the Cinema OFFICERS Audio Society itself, which started to evolve 55 years ago under the vision of Student Recognition Award Finalists . 52 President: Karol Urban CAS MPSE Bob Hoyt. See how our internationally recognized and highly respected Vice President: Phillip Palmer CAS The Start of the CAS . 54 organization came to be. Treasurer: Steven Venezia CAS Bob Hoyt had a vision Of course, looking back allows one to appreciate how they’ve evolved over the Secretary: Frank Morrone CAS years and, this year, the CAS celebrates and honors the career of re-recording A Case Study in Multilanguage Production Sound . 60 mixer Tom Fleischman CAS, who will receive the CAS Career Achievement BOARD OF DIRECTORS Amanda Beggs CAS Doc Kane CAS Possession Award at the CAS Awards on January 25. Read about Tom in his one-on-one 54 Onnalee Blank CAS Sherry Klein CAS The “Sound” of Genre Storytelling . 64 interview with our President, Karol Urban CAS MPSE. Along the lines of Bob Bronow CAS MPSE Michael Minkler CAS Mixing approaches influenced by genre acknowledging those who inspire us, the CAS is pleased to announce that Willie D. Burton CAS Lee Orloff CAS writer, director, and producer James Mangold will receive the CAS Filmmaker Peter J. Devlin CAS Stephen Tibbo CAS Remembering a Legend . 68 Award! Mary H. Ellis CAS Mathew Waters CAS Production sound mixer Jim Alexander Also in this issue, Devendra Cleary CAS, with assistance from Danny Maurer, Tom Fleischman CAS Jeffrey Wexler CAS Marti Humphrey CAS looks into the always scary FOMO (fear of missing out) relative to production sound equipment purchases. Checking in from France, Sam Cohen CAS shares OFFICE MANAGER “EXQUISITELY MADE, DEPARTMENTS his experiences recording production for a project featuring multiple languages Carol Thomas The President’s Letter . 4 spoken at the same time. James Ridgley CAS looks into how genre affects our EDITOR IN CHIEF EVERY DETAIL sound choices, CAS Associate Patrick Spain provides some tips for matching Matt Foglia CAS From the Editor . 6 ADR, and G. John Garrett CAS highlights some gear that caught his eye at CAREFULLY CONSIDERED. 60 AES. Finally, CAS Associate Brandon Loulias looks back on the iconic and PUBLISHER Collaborators . 9 IngleDodd Media Meet the people behind the words innovative production sound mixer Jim Alexander. As always, be sure to read about the happenings of your fellow members in the “Been There Done That” 11661 San Vicente Blvd., Ste. 709 Los Angeles, CA 90049 IT FEELS UTTERLY Technically Speaking . 15 and “The Lighter Side” sections. Thoughts on quickly matching ADR The CAS Quarterly is produced as a service to our members and relies on their QUESTIONS OR COMMENTS: TRANSPORTING.” voluntary nature. We greatly appreciate, and want, your feedback and Cinema Audio Society In Remembrance . 78 suggestions—so send them in! If you’re interested in contributing or have an 827 Hollywood Way #632 idea for an article, let us know (Associate and Student members, this means Burbank, CA 91505 Been There Done That . 80 Phone: 818.752.8624 Read what your colleagues are up to you, too!). Email us at [email protected]. Remember, our sponsors are professionals like you who understand the business and the Fax: 818.752.8624 Email The Lighter Side . 82 needs of our industry. We encourage your commitment to them. Finally, don’t WINNER 68 See what your colleagues are up to [email protected] forget to cast your vote for the CAS Awards. Website < > www.CinemaAudioSociety.org Cover: Career Achievement recipient Tom Fleischman CAS ADVERTISING: IngleDodd Media 310.207.4410 CAS QUARTERLY WINTER 2020 3 [email protected] NETFLIXGUILDS.COM Matt Foglia CAS www.IngleDoddMedia.com CAS QUARTERLY, COVER 2 NETFLIX: THE IRISHMAN ©2020 by the Cinema Audio Society. All rights PUB DATE 12/30/19 reserved. CAS®, Cinema Audio Society®, and BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” Dedicated to the advancement of Sound® are all trademarks of the Cinema Audio Society and http://netflix/theirishman/ may not be used without permission. 6 WINTER 2020 CAS QUARTERLY THE CAVE NATG1006 CAS QUARTERLY - FP ISSUE DATE: DECEMBER 30, 2019 FINAL 3 DUE DATE: DECEMBER 18, 2019 12/19/19 11:43AM KO http://standwithdramai.comMECHANICAL SIZE BLEED: 8.625"W X 11.125"H TRIM: 8.375"W X 10.875"H LIVE: .25" ON ALL SIDES • Existing display ad in printed magazine required to appear in digital/mobile version • Mid-cycle changes to embedded interactive content is allowed (surcharges apply) 01-44 COVER - BC[Conflict].indd 1 1/21/21 1:59 PM ADVERTISING | MAGAZINE ARTWORK SPECIFICATIONS AD DIMENSIONS Gatefold 3-Page Page 1: 8.125”w x 10.875”h Page 2: 8.125”w x 10.875”h Gatefold Gatefold Gatefold Page 3: 8.25”w x 10.875”h Plus bleed on all sides that apply Page 1 Page 2 Page 3 2-Page Spread Non-bleed: 15.75”w x 9.875”h Bleed: 17”w x 11.125”h Full Page Non-bleed: 7.25”w x 9.875”h Bleed: 8.625”w x 11.125”h 2/3 Page Vertical Non-bleed: 4.875”w x 9.875”h 1/2 Page Horizontal Non-bleed: 7.25”w x 4.875”h Bleed: 8.625”w x 5.625”h 1/2 Page Vertical Non-bleed: 3.50”w x 9.875”h 2-Page Spread 1/3 Page Vertical Non-bleed: 2.25”w x 9.875”h 1/3 Page Square Non-bleed: 4.875”w x 4.875”h 1/4 Page Vertical Non-bleed: 3.50”w x 4.875”h 3/4 Page Back Cover Non-bleed: 7.875”w x 7.50”h Bleed: 8.625”w x 8”h Full Page Bleed 2/3 Page Ads that don’t meet the requirements and sizes of this spec sheet will have to be altered to fit our or Non-Bleed Vertical specifications. We do not assume responsibility for such alterations. MAGAZINE TRIM: 8.375”w x 10.875”h. Bleed: add 1/8” all around. Keep vital images at least 1/4” from trim. 2-page spread keep text 1/8” away from gutter on both sides. FILE FORMATS: (must be Mac-readable) InDesign, Hi-res PDF (Acrobat PDFx/1-a preferred), Illustrator EPS (Convert fonts to outlines) and Photoshop JPEG (300 dpi).
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  • Thesis Table of Contents

    Thesis Table of Contents

    A new sound mixing framework for enhanced emotive sound design within contemporary moving-picture audio production and post-production. Volume 1 of 3 Neil Martin Georges Hillman PhD University of York Theatre, Film and Television September 2017 2 Abstract This study comprises of an investigation into the relationship between the creative process of mixing moving-picture soundtracks and the emotions elicited by the final film. As research shows that listeners are able to infer a speaker’s emotion from auditory cues, independently from the meaning of the words uttered, it is possible that moving-picture soundtracks may be designed in such a way as to intentionally influence the emotional state and attitude of its listening-viewers, independently from the story and visuals of the film. This study sets out to determine whether certain aspects of audience emotions can be enhanced through specific ways of mix-balancing the soundtrack of a moving-picture production, primarily to intensify the viewing experience. Central to this thesis is the proposal that within a film soundtrack there are four distinct ‘sound areas’, described as the Narrative, Abstract, Temporal and Spatial; and these form a useful framework for both the consideration and the creation of emotional sound design. This research work evaluates to what extent the exploration of the Narrative, Abstract, Temporal and Spatial sound areas offers a new and useful framework for academics to better understand, and more easily communicate, emotive sound design theory and analysis; whilst providing practitioners with a framework to explore a new sound design approach within the bounds of contemporary workflow and methodology, to encourage an enhanced emotional engagement by the audience to the soundtrack.
  • Pietro Scalia for B~ *" MAN's Land (Bosnia-Herzegovina) Owen

    Pietro Scalia for B~ *" MAN's Land (Bosnia-Herzegovina) Owen

    ACHIEVEMENT IN SCIENTIFIC AND TECHNICAL AWARDS Pietro Scalia for B~ SCIENTIFIC AND ENGINEERING AWARD BEST FOREIGN lANGUAGE FILM (ACADEMY PLAQUE) MAN'S lAND (Bosnia-Herzegovina) *" To John M. Eargle, D. B. (Don) Keele and Mark E. Engebretson for the IEVEMEI\'T IN MAKEUP concept, design and engineering of the modern constant-directivi­ ty, direct radiator style motion picture loudspeaker systems. OWen and Richard Taylor for LORD OF THE RINGS: THE FELLOWSHIP OF THE RING To lain Neil for the concept and optical design and AI Saiki for the mechanical design of the Panavision Primo Macro Zoom Lens IN MUSIC (ORIGINAL SCORE) (PMZ). To Franz Kraus, Johannes Steurer and Wolfgana: Riedel for the design and development of the ARRILASER Film Recorder. To Peter Kuran for the invention , and Sean Coua:hlin, Joseph A. Olivier and William Conner for the engineering and development of the RCI-Color Film Restoration Process. To Makoto Tsukada, Shoji Kaneko and the Technical Staff of Imagica MIND (Brian Grazer, Ron Howard) Corporation, and Daijiro Fujie of N ikon Corporation for the engineering excellence and the impact on the motion picture A.l"liMATED SHORT FILM industry of the Imagica 65/35 Multi-Format Optical Printer. FOR THE BIRDS (Ralph Eggleston) To Steven Gerlach, Gregory Farrell and Christian Lurin for the design, BEST LTVE ACTION SHORT FILM engineering and implementation of the Kodak Panchromatic THE ACCOUNTANT (Ray McKinnon, Lisa Blount) Sound Recording Film. ACHIEVEMENT I SOUND To Paul J. Constantine and Peter M. Constantine for the design and