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.
On Monday 19th June, the Melbourne Section of the AES held our regular bi-monthly meeting.
It was another in-person event held at ABC Melbourne’s Southbank Studios.
Alex Stinson, a senior ABC Classical Music Producer, Recording Engineer and Editor welcomed a capacity group of twenty members and guests for a short tour of the venue’s music facilities, starting at the main orchestral recording space, the Iwaki Auditorium (Studio 355), moving through the other production facilities and recording spaces, and ending up at Studio 356, where he presented to us on the topic of:
Modern Classical Music Production
Techniques, challenges, and workflow
Alex described their approach to classical music recording, starting with a description of the process of orchestral recording, and then moving on to recording smaller ensembles, duets and solo pieces.
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