Welcome to the AES Melbourne Section site. Here you will find information about the section, useful audio-related articles and links and information about past and forthcoming meetings.
The aim is to provide useful information for students and professional audio practitioners alike.
Join the AES!
We are a local Section of the international (New York-based) Audio Engineering Society. Membership of the AES includes all benefits associated with the local Melbourne Section. You can find out more and join online at – https://aes2.org/aes-membership-overview/
If you want to check out our activities, there’s our Facebook page. … and our LinkedIn page for those who hang out there. …… then there’s Instagramfor those more visually minded.
Following the AGM, Academy Award winner Ben Osmo (Best Achievement in Sound Mixing 2015 – Mad Max: Fury Road) presented on the topic of:
Film Production Sound Through the Years changes and added responsibilities.
Newly re-elected Chairman Graeme Huon introduced Ben with a brief outline of Ben’s career.
Ben then took us through his career in location sound production from his start in 1975 at the ABC. He told us that the typical setup of the time was a Nagra portable battery-operated tape recorder and a shotgun microphone on a long boom pole. He explained that the shoots were often one-camera affairs with shots framed as wide-shot, mid-shot, and close-up with the microphone positioned accordingly to achieve the appropriate sound balance.
The next online meeting of the AES Melbourne Section will be held on Monday 14th August 2023 at 7:30pm – via Zoom.
It will start with a brief Section Annual General Meeting – non-members and other visitors are welcome to sit in on this part of the meeting.
Then Academy Award winner Ben Osmo (Best Achievement in Sound Mixing 2015 – Mad Max: Fury Road) will present on the topic of:
Film Production Sound Through the Years
changes and added responsibilities.
When Ben started his long and illustrious career in film location sound in the 1970s, capturing location dialogue and effects required little more than a Nagra tape recorder and a shotgun mic on a boom-pole. With advances in technology, the kit a location sound mixer now has to deploy on set can fill a medium-sized van and cover not only multi-channel wireless dialogue/fx capture and recording, but also communications, playback, and monitoring for the entire crew.
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