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					                             Heard the News                        DECEMBER 2010
  Adelaide Studios to open in June
The new $43m screen
industry hub in South
Australia finally has a
name: Adelaide Studios. “A
new era in South Australian
screen production is about
to begin. We’re confident
Adelaide Studios will
become a key destination
for the local, national
and international film and
television industry,” said
Premier Mike Rann.
The studios will open
in June 2011, and the
complex will be home to
the South Australian Film
Corporation and local
companies and screen
practitioners. Adelaide
Studios will have state-of-the-art studio facilities for film, television and new media
production. The studios have been designed to offer an alternative to the larger facilities
in the Eastern states that are targeted at attracting large-scale offshore production.
“The creation of the Adelaide Studios represents a significant milestone in the SAFC’s
40-year history and will provide the infrastructure and flexibility that the South Australian
industry needs to support growth into the future,” said SAFC chairman Cheryl Bart.
Pay-TV sector invests $500m into Aussie content last year
More than half a billion dollars was invested by the Pay-TV sector into Australian
content last year, a new study shows. “The $541.4 million investment by the
subscription industry represents a 26 per cent increase between 2007 and 2009 and
clearly demonstrates the significant financial contribution subscription television is
making to entertainment in Australia,” Steve Bracks, chairman of ASTRA – which did
the survey – said in a statement. “This survey is indicative of subscription television’s
support for Australian talent and content creators.” The figures, released today,
included production investment across all subscription TV platforms such as movies,
light entertainment, news and sport. FOXTEL and AUSTAR subscription TV platforms
are received by 34 per cent of people Down Under through their homes and more
than a million through hotels, clubs and other entertainment/business venues. “The
subscription television audience…grew during the GFC [Global Financial Crisis] when
many households were curbing discretionary spending, confirming that Australians
want and value subscription television,” Bracks said. “As an industry sector, we are
innovative, dynamic and very responsive to consumer demands and our investment in
local stories reflects this.”
                                     Dec 2010
       AFI 2010: the winners - no surprises but a sense of justice
                      by: David Tiley, (Screen Hub)
Animal Kingdom took everything that wasn’t screwed down, Hawke was loved for much
more than a hair-do, and the Victorian bushfires found the documentary artists to match
the tragedy.
Sentimental moment of the night was surely the cross to the Sydney Theatre Company,
where Cate Blanchett gave the AFI for Best Actress to Jacki Weaver, for that wonderful
portrayal of viciousness beneath the cliches of motherhood in Animal Kingdom. The
film gave a Best Picture Award to Liz Watts, and a Best Directing to David Michôd, who
must be used to the podium by now. He also beat the legendary Jane Campion to a
Best Screenplay Award. The Readers’ Choice Award is run through the Herald Sun and
the Daily Telegraph - not the preferred reading of most arthouse viewers. But Animal
Kingdom, with much lower returns and a less splashy release, still knocked over
Tomorrow When The War Began. The point being that AK supporters cared enough
to vote, or cared enough about what they were voting for, while the young people who
crammed the cinemas for TWWTWB began were off not managing to see The Loved
Ones and Red Hill.
Utterly reflecting the sentiments of the Readers Choice voters, Animal Kingdom also
won the AFI Members’ Choice Award. Thus proving, in a phrase used in the distribution
seminar on Friday, that AK was not in fact a “black t-shirt film”. AK also enabled Luke
Doolan to be acknowledged as Best Editor, and Antony Partos and Sam Petty for
Best Original Score.Best Costume and Best Production design went to the discreetly
legendary Janet Patterson, for her work on Bright Star. Greig Fraser, who complimented
this perfectly with his painterly shots, took Best Cinematography for the same film. In
other words, the picture took everything possible for the look. Best Sound was given
to Andrew Plain, David Lee, Gethin Creagh and Robert Sullivan for the subtle tropical
silences and the loud bangs and crashes in Tomorrow When the War Began. However,
the visual parts of this did not please sufficiently - the Special Effects Award went to
Peter Spierig, Michael Spierig, Rangi Sutton, James Rogers, and Randy Vellacott
for Daybreakers.
Stuart Beattie has the Award for Best Adapted Screenplay, a vote first started by John
Marsden who approved of his work. Reg Cribb, Rachel Perkins, and Jimmy Chi were
entitled to hope here, but it was not to be. The acting awards seemed mostly fair,
and therefore held no surprises. Animal Kingdom shone again, with Best Actor for
Ben Mendelsohn, Best Actress for Jacki, and Best Supporting Actor to Joel Edgerton,
beating Guy Pearce who also shone in AK. James Frecheville, the young lead in Animal
Kingdom missed out, despite some bets and expectations. Instead, the AFI Young Actor
Award went to Harrison Gilbertson for his fine work in Beneath Hill 60.
Deborah Mailman was another audience favourite when she was awarded Best
Supporting Actress in a Television Drama, for Offspring. She spared herself the difficulty
of a second speech by being completely absent when she won Best Supporting Actress
in a Feature Film, for the generally under-represented Bran Nue Dae.
In television, Hawke ended up with Best Telefeature for Richard Keddie, Best Direction
in Television Full Stop for Emma Freeman, who was nominated twice for the same
category but did not read the wrong speech, and Best Lead Actor for a television drama
to Richard Roxburgh, who was very smooth with Cate Blanchett in Sydney too.
The Best Screenplay in Television, however, went to Jason Gann and Adam Zwar in
a welcome return to the dais for Wilfred. That was appropriate because Adam has
led the writing team for the AFIs for the last five years, and is the best thing about
them - certainly better than Paul Dainty’s idea of a good time. Mind you, the budget



                                          2
must be miniscule and the insistence of broadcasters that they be run out of ratings
disheartening. Inside the Firestorm, a gut-wrenching experience for its audiences, did
well in the feature documentary space. It gave Steven Robinson the award for Best
Editing in a documentary, while Jock Healy and Tristan Meredith emerged with Best
Sound, and Jacob Hickey was anointed as Best Director.
However, the AFI Award for Best Documentary went to Bentley Dean and Martin Butler,
who made Contact - reflecting both the extraordinary story and the quality of their work.

The honour for that went to Best Documentary Series, via Liberal Rule ‐ The Politics
You can always rely on a documentary maker to provide some sort of political gesture.

That Changed Australia, from Nick Torrens and Frank Haines. Still righteous over
the ABC’s attitude to archival, and wanting to make a point about the changes in our
national broadcasters under the Howard government, Torrens did not clearly thank SBS
which had backed him, and led to some pursed lips in that row of seats. After all, SBS
is having a thankless time in general right now, and The Circuit did not deliver for them,
despite the incandescence of Aaron Pedersen. Best Documentary Under One Hour

Ruth Cullen took the glory with You Only Live Twice ‐ The Incredibly True Story Of The
had no easy standout leader, so must have kept all parties hoping until the axe fell. But

Hughes Family, which was written and directed by Brendan Young, and is an ABC Arts
documentary, made with a sense of fun. Short Animation (no feature length animations
released at all, curses...) was hardly a surprise, though Shaun Tan might have
enjoyed practicing the wide-eyed poise he may yet display at the Oscars. The film, of
course, is The Lost Thing. Best Short Fiction went to The Kiss, in the person of Sonya
Humphrey and Ashlee Page, who overcame the internatioanlly celebrated obstacle
of Deeper Than Yesterday. However, the submarine film did get Best Screenplay in a
Short Film, leaving The Kiss in its wake. The AFI popped up with a discretionary award
for Outstanding Achievement in Short Fllm Screen Craft, which went to Nick Matthews,
for his cinematography onThe Kiss. He happily reminded the audience that he is a
South Australian, where much fine work is done and don’t you forget it..
Penny Chapman was surprisingly subdued when she received the Award for Best
Children’s Television Drama for My Place. The kid’s animation winner, Cate McQuillan
was just the opposite as she cheerfully pointed out that CDs ofdirtgirlworld music are
available for Xmas buying, as the musical Hewey Eustace nodded rhythmically beside
her, having no need for words. The ABC (we have everything but Wilfred) demonstrated
its stranglehold on light entertainment again. Best Television Comedy Series,
was Review with Myles Barlow, from Dean Bates. Best Light Entertainment TV series
was The Gruen Transfer, courtesy of Andrew Denton, Anita Jacoby, Jon Casimir, and
Debbie Cuell. Best Performance in a Television Comedy - Phil Lloyd, in Review With
Myles Barlow. But Shaun Micallef restored the honour of commercial television in one
fell swoop with the AFI Award for Outstanding Achievement In Television Screen Craft,
forTalkin’ ‘bout Your Generation, which Ten dared to run. Best Television Drama Series
brought honour to John Edwards and Mimi Butler for Rush, which joined Hawke on the
Ten Network. See, the old management knew what it was doing. Catherine McClements
was Best Lead Actress in a Television Drama, in Tanglewhich gave cable a bit of the
action, though we bet there is more next year withCloudstreet. The Underbelly effect
has faded but still remained for Damien Garvey, now the Best Guest or Supporting Actor
in a Television Drama. And we must not forget the Byron Kennedy Award which went to
Animal Logic, in the person of Zareh Nalbandian.
The Raymond Longford Award went to the irrepressible Reg Grundy. Longford ended
up working on the docks in Sydney as a night watchman, while Grundy is happily retired
and sitting on a beach in Bermuda, so we can only hope this indicates a brighter future
for all of us.


                                           3
                                      Dec 2010
  ARRI and three film companies set to join
   Deluxe and Panavision in Lane Cove
                                     By Brendan Swift
Four local companies, led by camera shop ARRI Australia, are relocating to the NSW
suburb of Lane Cove, bolstering the location’s film and technology credentials.
Panorama Business Park already houses major local film conglomerate Deluxe
Australia and camera shop Panavision Australia, which will be joined over the next
month by ARRI Australia, film provider Kodak (Australasia), camera rental shop
Cinoptix, and film and recording specialist Sound & Vision Stock Shop.
ARRI managing director Stefan Sedlmeier said the move would allow greater
co-operation between the businesses while “for the customers it’s a one-stop shop”.
ARRI, which has a team of five staff, will sub-lease part of its 700 square metre floor
space to Kodak, Cinoptix, and Sound & Vision Stock Shop. ARRI previously had about
1100 square metres at its previous location in Macquarie Park, which also housed
Kodak. Panavision and Deluxe are leading a push to rename the area Film and
Technology Park, to better reflect the nature of the companies which now comprise
the area. Deluxe has also been expanding in recent months, integrating visual effects
company Postmodern Sydney, which it acquired in April 2010. Deluxe’s US-based
parent company also recently bought Ascent Media Group’s post-production businesses
for $US68 million although the repurcussions for the Australian business are not yet
known. Sedlmeier said the area, which will also soon including tech shop Future Reality,
has room to house more companies. The move by ARRI, Kodak, Cinoptix, and Sound &
Vision Stock Shop is expected to be completed by January 15.

  Drama numbers up as Offset reaches $128m
Screen Australia’s 2009/2010 Drama Report has been released, with total expenditure
at $731m (up 2 percent from last year) and the production of 37 features, 36 TV dramas
and 12 foreign projects. CEO Ruth Harley said the industry is “in a solid position thanks
to the introduction of the Producer Offset”, which she defined as “the Australian screen
industry stimulus package that we didn’t know we needed to have”, with a value of $128
million – but she also warned next year the numbers might go down. The current report
includes the $169m injected into the industry by high budget US films The Chronicles
of Narnia: The Voyage of the Dawn Treader and Don’t Be Afraid of the Dark. Harley
said that the total expenditure in feature films might drop in 2010/11, because there
has been a reduction in high budget local films and an absence of foreign production
during the current financial year. PDV-only work contributed $9m to the local industry,
with work on Sucker Punch, Iron Man 2, The Sorcerer’s Apprentice, as well as one
UK and one Hong Kong project. In terms of TV drama, expenditure is at a 10-year
high, and while the average cost per hour of adult drama has increased, the actual
amount of hours produced has gone down. Children’s drama fell to $53m, which
Screen Australia explains as “a balancing of increased production in the previous two
years”, predicting a rise next year. Unfortunately, foreign TV production was down, with
only two series (from Korea and France) shooting in Australia. According to Harley,
television is “the big success story” of the year, so Government will continue to support
the sector. This year’s report includes a section on how the Producer Offset has been
cashflowed since its introduction three years ago. The agency found that this year has
seen “significant private investment support” for the first time, with 40 percent of Offset
finance cashflowed by banks and other private sources – including film funds dedicated
to cashflowing the Offset, providing 15 percent.



                                         4
       Melbourne studios rebranded
Melbourne Central City Studios
will be officially known as
Docklands Studios Melbourne.
“Now is the right time to formally
adopt the studios’ commonly
used name, which is widely
accepted in the industry. It
is easy to remember and
emphasises our unique and
highly attractive location,” said
CEO Rod Allan. The rebranding
follows the $10m State
Government investment into new
infrastructure, which Innovation Minister Gavin Jennings says will create a more flexible
multi-use complex for Victoria’s films and television hub: “The planned modifications
look set to boost domestic television production levels, while keeping the studios in the
market for major domestic and international film projects.” The studios opened in 2004,
and the upgrade will commence in early 2011, starting with the modification of sound
stage 5 and improvements to the workshop. Construction of an horizon tank has not
yet been approved. According to information provided by the studios, long term plans
– under the Future Directions Master Plans, subject to business case evaluation and
Government budget approval – include:
• development of a large sound stage;
• construction of purpose built workshop and craft shop spaces;
• creation of mess hall facilities;
• provision of additional production office space;
• attraction of permanent commercial tenancies to the site.
Recent projects shot at Docklands include The Killer Elite, Winners And Losers, The
Eye Of The Storm, As The Bell Rings, Talkin’ ‘bout your Generation, Australia’s Got
Talent, Beat The Star and Iron Chef.
                       IZotope ships Nectar
IZotope is now shipping Nectar, a complete vocal-processing toolkit announced earlier
this month at the AES Convention in San Francisco. The new Nectar plug-in suite
includes everything needed to quickly produce the desired vocal sound. IZotope is
offering an introductory price of $199 on Nectar purchases through Dec. 13, after
which the price will be $299. “Nectar is designed so professionals can work faster and
beginners can get results quickly,” said Hart Shafer, iZotope vice president of product
management. “With both a high-level, style-specific interface and 11 advanced modules,
end users can choose how much creative control they want over the sound.” Nectar
offers 110 professionally designed vocal production styles in 12 genres, powered by 11
processing modules that include pitch correction (automatic and note editor modes),
breath control, compressors, de-esser, doubler, saturation, EQ, gate, limiter, delay
and reverb. Users select a style and then customize it with faders to taste. Advanced
view enables further customization through direct control of the underlying modules
that power the plug-in. IZotope’s Nectar is ideal for audio engineers, voice-over artists,
singer/songwriters, recording enthusiasts, podcasters and anyone else who records
sung or spoken vocals. Included style genres include alternative/indie, blues/R&B,
classical, country, dance/electronica, hip hop/rap, jazz, pop, rock and spoken word.



                                          5
                                      Dec 2010

      Hollywood for the 21st century
The China Film Group Corporation is the largest and most influential state-run film
enterprise in the country. Richard Lawn takes a tour of its new facilities
In addition to being the sole importer of foreign films in China, the China Film Group
Corporation (CFGC) is also the biggest exporter of Chinese films. As the largest and
most influential state-run film enterprise in the country, CFGC is primarily involved in
film and television production. The Group has produced over 200 films including “Zhang
Side” and “Flower or the Bride”, but is continually seeking to increase its market share
not only in China – but the world. The Hollywood sign may be missing in the nearby
foothills to the north east of the capital city, but the facilities have been clearly set up
in a manner that will entice increasing numbers of western film producers from the
traditional movie-making west.Inaugurated in 1951 as the China Film Corporation,
CFGC was conglomerated in 1999 as the most comprehensive and extensive state-
owned film enterprise in China including film production, distribution, TV and video. The
creative and production units boast highly skilled editors, sound engineers and technical
engineers, many of whom speak excellent English, hence making the facilities highly
attractive to world famous producers and filmmakers. Many of the current employees
previously worked at Beijing Film Studio, bringing with them many years of experience
in producing first-rate Chinese movies. Currently, CFGC is set up to produce come 100+
feature films per year and such an output has ensured its lion’s share in the domestic
film market.
The sound and editing
department within China
Film Post Production Co
may only be a small cog
in the overall China Film
Group machinery, but the
state of the art facilities can
currently output some four
feature films at one time.
Located in Yangsong
Town, lying on the
outskirts of Beijing, the
department opened on
the eve of the Olympic
Games on August 1, 2008. This in itself was a statement of intent to the outside world.
The sound and editing department includes four dubbing stages, two Auto Dialogue
Replacement (ADR) stages, two Foley stages, a scoring stage, three pre-mix rooms,
12 picture editing rooms, a screening room and no fewer than 26 sound editing rooms.
The 10,000-sq-m facility can therefore provide services at all stages of the production
process including picture capturing and editing, subtitling, sound post production
covering ADR recording, Foley recording, music recording, sound effects recording,
sound editing /mixing and optical recording.
The production systems were designed and constructed according to the highest
international standards resulting in a large-scale, fully networked, all digital production
environment. Unlike established Western post production houses situated in congested
areas, whose problematic upgrades often result in downtime, China Film Post
Production Co. was provided with the luxury of a blank canvas upon which it artistically
designed its own modern infrastructure. Following instructions from project consultant
Mr Qiu, the resultant layout revolves around the industry standard Pro Tools. As such,



                                            6
Digital Media Technologies
(DMT) Beijing under the
project management of
Johnathan Wang was called
upon to both supply and
provide a turnkey solution
throughout the facility.
Wang Ding is one of the
many sound recordists at
the facility, who relocated
from the old Beijing Film
Studio to the newly built
facilities in Yangsong Town.
‘The movies in China are
changing rapidly as the
expectations of Chinese
audiences become greater,’
he explains. ‘It wasn’t so many years ago when we were solely working on dialogue
mixing. However, action sequences such as car chases and kung fu fight scenes
became much more prominent in the mix, demanding a lot of detail to be added. This
led to sourcing many different sound effects and storing them in our library, so that we
can greatly enrich the mix now. Music also became an important addition and so it made
sense to score and record music here on site. Stereo was the norm, but now everyone
expects a 5.1 surround sound mix. Currently, 3D movie production is very topical and
becoming increasingly important. Basically, our four main dubbing rooms combine and
edit as many as 576 channels of dialogue, music, ambience, background Foleys and
sound effects on Digidesign D-Control Icon consoles and Pro Tools HD workstations.
Some Disney productions require as many as 100 tracks of ambience alone. At our old
studios, we relied on hardware. However, this has been preplaced by Pro Tools software
– it’s much quicker and more convenient, in which we can switch scenes easily and
smoothly. ‘ The large dubbing stages receive their content from the ADR, Foley, scoring
stage and sound editing rooms via a Gigabyte Ethernet fibre network that has been
installed throughout China Film Post Production Co. Sound supervisor Wu Ling explains
the benefits of this infrastructure. ‘Being a fibre network, you can run content over long
distances, which was vital in our case. Our IT infrastructure is forever evolving, but
with the network we have adopted, making changes is straightforward as there are no
grounding issues or electrical connections required. The cabling runs in visible overhead
ducting channels below the ceiling, so pulling cables isn’t an issue either. Once a file
has been made available on the network, anyone can access it. Furthermore, there are
no bottlenecks in the workflow.’
The Scoring Stage is a colossus for DMT and they haven’t disappointed. ‘Since
2004, we mixed on a Harrison Digital 48-fader console at the Beijing Film Studio and
relocated it here for our new operations,’ furthers Wu Ling. ‘Unfortunately we couldn’t
get any technical support from the manufacturer in order to reconfigure it for use, so it is
currently redundant.’ Under the supervision of Chris Fish, DMT supplied and installed an
enormous 72-channel Solid State Logic Duality analogue mixing console into this large
studio where sound engineer Wang Dong and his colleagues now mix in comfort. SSL
Alphalink AD-DA’s provide the conversion to the digital domain, in which the mixes are
streamed to a Pro Tools HD4 digital audio workstation. Six facility panels in the studio
allow 12 microphone inputs to be connected to each, using various Neumann, Brauner,
DPA, AKG and Schoeps instrument and vocal microphones. A vast selection of outboard



                                           7
                                     Dec 2010
                                                            is also at the disposal of the
                                                            recording engineer including
                                                            Neve, Avalon, Universal
                                                            Audio, Manley equalisers, mic
                                                            pre amps, compressors and
                                                            limiters. TC System 6000 and
                                                            Lexicon 960L are combined
                                                            for FX and reverb processing
                                                            together with a Waves
                                                            Mercury TDM Plug-Ins suite
                                                            for Pro Tools. The Genelec full
                                                            range 5.1 monitoring system
                                                            includes 7071 Bass, 1038,
                                                            1037, 1034B, 1034BC and
1032 models. Over a period of three months at the height of the phase one installation,
DMT posted up to ten technicians on site, including several contract workers. Many
of the upper floors remain empty and these rooms will be the scene for phase two
in due course. ‘The 26 sound editing rooms are sometimes all in use, especially if
we’re working on three or four feature films simultaneously, so we need to expand,’
enlightened Wu Ling. ‘The upper floors will soon be converted to cope for the increasing
demand and so we are also looking to recruit more skilled technicians.’ DMT worked
closely with project consultant and chief engineer Mr Qiu Chun in creating the enormous,
modern studios at China Film Post Production Co. ‘The communications between the
different parties were excellent and DMT installed the perfect infrastructure according
to our needs.’ DMT new father Chris Fish was naturally proud to have played his part in
witnessing the birth of China Film Post Production Co. ‘Without a doubt, Yangsong Town
is the Hollywood for the 21st century.’ www.chinafilm.com
               LaCie partners with Pro Sound Effects
LaCie, a provider of professional storage solutions, and Pro Sound Effects, provider of
professional sound effects libraries and solutions, have arranged a strategic partnership
that will deliver premium sound effects libraries and search software via hard drives for
an enhanced media production experience. Until now, the BBC Sound Effects Library
was available only on audio CD, making it cumbersome for media producers to search,
audition, select and import sound effects. The new partnership creates a complete
digital experience for media production professionals. By
combining database sound files with hard drive technology
and search software, media producers will have a
comprehensive sound design solution that optimizes
content integration and workflow. The partnership delivers
five BBC sound libraries on the LaCie d2 Quadra and the
LaCie Rikiki. The largest of the libraries, created by Pro
Sound Effects, leverages the original 2400 sound effects
while including an additional 30,000 commercial sound
effects that were previously unavailable. Now, the entire
library of 32,400 sound effects can be purchased in one
complete collection on a LaCie’s 1TB d2 Quadra. The
d2 Quadra was developed for full compatibility, including    LaCie’s d2 Quadra hard
four interfaces, eSATA 3Gb/s, FireWire 800, FireWire 400 drive is now available with
and USB 2.0, for universal connectivity to PC and Mac        searchable sound libraries
workstations.                                                from Pro Sound Effects.



                                          8
   Greg McLean talks Wolf Creek 2
Writer/director/producer Greg McLean
has confirmed production of Wolf Creek 2,
based on “another true case in Australia”
and reetaining the originals “gritty tone and
realistic texture”. “I always had a sequel in
mind. The goal was to create an Australian
horror character that could be the basis for
many stories. All of the true story elements
just naturally evolved. That’s why at the end
of the first film he walks off into the sunset,
and we have absolutely no idea about who
this guy is. It leaves the audience wondering,
who/what/how did this guy come to be? And
the ground is set to delve deeper into this
character,” said McLean. In interview with
US horror film magazine Fangoria, McLean
revealed that it will be shot “deep” in the outback, and that the budget will be larger:
“We will be able to afford a few more lights this time, hopefully”. However, McLean did
not discuss when and where the film will be shot. In Wolf Creek 2, John Jarratt will
reprise his role, but it will not be more of the same as McLean is aware that times – and
audiences – have changed since 2005. “So we’re not trying to do the first movie again
as there’s no point to that, but the challenge for this film is keeping the best and most
original elements of the first film while exploring different kinds of horror, suspense and
thrills. And, of course, making it a character study as we go deeper into the mind and
psychology of a mass murdering maniac,” he said.


      Focusrite
      launches
       Midnight
Focusrite has introduced the new
Midnight plug-in suite, designed to
bring Focusriteʼs sonic signature
to music production software
through sophisticated modeling          The compression module on the Focusrite Midnight
of the classic ISA110 EQ and            demonstrates the system’s elegant, attractive GUI.
ISA130 compressor. Originally created for the Forté console, the ISA110 EQ and ISA130
compressor modules have contributed to the signature sound of countless records over
the past 25 years. Focusriteʼs original consoles and analog modules are hard to come
by, but the Midnight software suite gives users classic ISA EQ and compression in two
separate VST, audio units and RTAS plug-ins at an affordable price. Both Midnight
plug-ins faithfully reproduce the clarity and warmth of the original ISA modules. These
elegantly crafted plug-ins are easy to use, with a GUI that is pleasing to the eye and
designed to make mixing effortless. The smooth and transparent quality of the Midnight
compressor enables tracks to sit perfectly in the mix. The Midnight compressor brings a
balance to a mix while maintaining sonic integrity.



                                           9
                                    Dec 2010

     A new biography on Jim Currie
                                   By Tony Murtagh
I recently had the opportunity
to work with one of the
legends of the Australian
sound industry, Jim Currie.
While working with Jim in
Perth I had chance to look
over the new biography just
written by Andrew Zielinski
on Jim’s career in sound,
“Conversations with a Sound
Man”. Having won four AFI
Sound Awards and several
overseas awards, Jim is still
going strong, with feature film
projects planned for the new
                                         Jim Currie & Tony Murtagh on location in WA
year. Some of Jim’s past films
include Breaker Morant, We of the Never Never, Man of Flowers, The Shiralee, Bad
Boy Bubby, The Tracker and Ten Canoes to name a few. Jim has just recently finished
recording Kriv Stenders’s film Red Dog. See below paragraph for more information
about “Conversations with a Sound Man”.
                   Conversations with a Sound Man By Andrew M. Zielinski
  “Here is a revealing, informative and extremely entertaining book which goes a long
way to explaining how a movie sound track is created.” David Stratton
Conversations with a Sound Man is a biography of James Currie, one of Australia’s
most acclaimed film sound designers. Currie has worked on over 100 feature films in
a three decade long career, winning four AFI and numerous interational awards, and
developing extensive working relationships with two of Australia’s most esteemed and
innovative directors; Rolf de Heer and Paul Cox. Currie has worked on seven films
with de Heer, including 10 Canoes, The Tracker, and Alexandra’s Project. In 2006 he
won the AFI Award for Best Sound Track for his work on 10 Canoes. Early on, Currie
developed a pioneering binaural sound system for Bad Boy Bubby and was awarded
the Venice Film Festival’s Golden Clapper Award for Technical Excellence for this
work. Currie has also worked on numerous features with Paul Cox including Lust and
Revenge, Father Damien, and he won the IF Award for Best Soundtrack for his work
on Innocence. Sound in film is usually taken for granted. Conversations with a Sound
Man reveals the skills needed to merge the elements of dialogue, music, sound effects,
and even silence into a cohesive sound design. Currie’s
work is grounded in the philosophy that sound should be
recorded and mixed in the actual environment where the
film is shot, always recording on-site, and seeking the
truth, integrity and fidelity of each location. For Currie,
post-synching, or using sound effects libraries belong in
the past. Author Andrew Zielinski lectured on Australian
Film at Flinders University for 10 years. He was the
director of the South Australian Film and Video Centre,
a film critic for ABC Adelaide, and has been a board
member of the SAFC. “Conversations with a Sound Man”
can be purchased from, www.centretrack.com.au.



                                       10
 Deluxe Australia announces satellite plans
Industry veteran Adrian McCarten will lead team in preparing satellite services for
digitally equipped theaters in Australia and Asia. Deluxe Australia, a subsidiary of
Deluxe Entertainment Services Group Inc., today announced the appointment of
experienced satellite veteran Adrian McCarten to the newly created role of Digital
Content Distribution Executive. Based in Sydney, Adrian will spearhead deployment
of Deluxe’s satellite initiatives throughout the region as an extension of Deluxe
Australia’s leading Digital Cinema operations which already provides reversioning,
mastering, replication, Digital Cinema Packaging (DCP), hard-drive distribution and
key management services for its Hollywood studio customers into Australia, New
Zealand and the Asia Pacific. Deluxe’s planned network will deliver traditional 2D and
3D feature films, live events, special content, and other programming designed for
digitally equipped theaters. “Adrian comes to us as an experienced Operations Manager
with an in-depth knowledge around signal transmission methodologies and is very well
networked globally,” says Alaric McAusland, Deluxe Australia’s Managing Director.
“Deluxe Australia is already the leading local provider of services in film and digital
media to the entertainment industry. Adrian’s appointment marks the next evolution in
our theatrical distribution services for the region which will ultimately give distributors
and exhibitors confidence in partnering with a proven operator,” adds McAusland. The
announcement comes after Deluxe Entertainment Services Group’s recent joint venture
with Echostar Corporation (Deluxe / EchoStar LLC) to build an advanced digital cinema
satellite distribution network targeting delivery to digitally equipped theaters in the U.S.
and Canada; and the announcement in June that Deluxe Digital London had reached an
agreement with Arqiva to use their European Digital Cinema Platform for the electronic
delivery of DCPs from international studios to cinemas across Europe. McCarten led the
team that installed Australia’s inaugural digital cinema satellite network and managed its
first live satellite broadcast for the Australian Ballet’s production of “The Nutcracker”, live
from the Sydney Opera House in December 2007.


Lee steps down from Cutting Edge
Cutting Edge has announced that company founder John Lee will step down
from his role at the company, and will be succeeded by an executive chairman
– former Super Cheap Auto CEO Bob Thorn. According to a Cutting Edge
spokesperson, Lee’s interest in the company “will
terminate as of October 31″. Lee will now take up his
position at the board of Ausfilm.
In a statement, Lee said he is “truly excited” about
the next chapter of his life. “Along with Ray Smith
CEO, Michael Burton managing director, Matt
Lawson CFO and Kylee Ratz general manager and
an incredible management team, we have grown the
organisation to over 140 people across the country
and around the world. So the time’s right for a new
challenge,” said Lee.
                                                                         John Lee




                                            11
                                     Dec 2010
   It’s official: The Hobbit to be made in NZ
                                     By Sam Dallas
It’s official: The Hobbit will
finally be made – and it will be
in New Zealand.
In a massive coup for both
Kiwis and Australians, last
night the New Zealand
Government and Warner Bros
closed a deal – after two days
of negotiating – that will see
the two-part movie be made
in director Peter Jackson’s
home country.
It was previously thought the
film – a prequel to The Lord
of the Rings, which put New
Zealand on the map thanks
to Jackson and his team –
could be taken to Europe. As Peter Jackson directs a scene from Lord of The Rings.
a result, mass protests and safety threats developed nation-wide.
A union boycott – which occurred after saying the movie’s producers would not allow
them to negotiatie a minimum wage and working conditions for their members –
prompted Warner Bros executives to visit the country to review the studio’s decision.
“I am delighted we have achieved this result,” New Zealand Prime Minister John Key
said last night in a statement of the deal made. “Making the two Hobbit movies here
will not only safeguard work for thousands of New Zealanders, but it will also follow the
success of The Lord Of The Rings trilogy in once again promoting New Zealand on
the world stage. “I’m very pleased that we have been able to ensure that the winning
combination of Sir Peter Jackson, New Line, Warner Bros, MGM and New Zealand as a
whole will have the opportunity to produce these movies together.”
The statement said the government would introduce legislation in Parliament today to
“clarify the distinction between independent contractors and employees as it relates
to the film production industry”. “The industrial issues that have arisen in the past
several weeks have highlighted a significant set of concerns for the way in which the
international film industry operates,” Key said.
“We will be moving to ensure that New Zealand law in this area is settled to give film
producers like Warner Bros the confidence they need to produce their movies in this
country.” It was confirmed the government had moved to widen the qualifying criteria for
the Large Budget Screen Production Fund to improve the country’s competitiveness as
a film destination for large budget films such as The Hobbit.
New Zealand will also host one of the world premieres of the films – which are based on
the adventures of Bilbo Baggins. “The impact of this will mean an additional rebate for
The Hobbit movies of up to $US7.5 million per picture, subject to the success of those
movies,” the statement said. Earlier today, Jackson and wife Fran Walsh, of Wingnut
Films, expressed their gratitude to the New Zealand government in a joint statement.
“We are grateful to the government for introducing legislation which shall give everyone
in the film industry certainty as to their employment status,” the statement said. This
clarification will provide much needed stability and reassurance for film workers as well
as investors from within New Zealand and overseas.”



                                           12
  Navitas buys education company SAE Group for $289m
                                    By Brendan Swift
Australian education provider Navitas is set to acquire media training company SAE
Group for $289 million. The deal is expected to bolster Navitas’ current education
courses and provide a platform for further international expansion, according to Navitas
chief executive Rod Jones. “SAE will continue to be driven by its existing management
team and will maintain its pioneering approach and culture,” he said in a statement.
“With its focus on domestic students, SAE provides Navitas with diversification of our
student profile and earnings base as well as providing us with an opportunity to leverage
our international student recruitment expertise to grow SAE.” SAE was founded in
Australia in 1976 and now encompasses 47 campuses spread across 19 countries
including Germany, the US and UK. Its three major fields of study are: audio production,
film production and interactive media. The two combined businesses will have over
50,000 students enrolled across 97 campuses around the world. SAE is expected to
deliver revenue of $109 million and earnings before interest, tax, depreciation and
amortisation (EBITDA) of $33 million in the 2010 calendar year, according to Navitas.
The acquisition will be funded by new debt facilities, a fully underwritten institutional
equity placement, and a share purchase plan to eligible shareholders. The acquisition,
which is subject to approval from regulatory bodies, is expected to be completed by
January 31, 2011.

 Domestic production, priority for Docklands
Domestic productions are becoming increasingly important for Docklands Studios
Melbourne, at a time when Australia is failing to attract big international projects.
“Our commitment remains to both domestic and international productions, but the reality
is that we are picking up more domestic production and we are catering for a domestic
market,” CEO Rod Allan told Encore. “In this climate, it’s important that we look after
domestic clients. In fact, that is always important… but we will go after international
clients as well,” he said. This domestic focus has resulted in a new contract with the
Nine Network, which will base its Melbourne production at Docklands Studios. The
announcement was made on Monday by CEO David Gyngell and executive director
Jeff Browne. “It’s a win-win for us and GTV9; it means there will be more production
at the studio and it means that GTV9′s local audience-based programming will remain
in Melbourne,” said Allan. “GTV9 needed a stage large enough to house productions
like The Footy Show and Millionaire Hot Seat, so they will occupy stage 4 for a
year before re-locating to the smallest stage, number 5, when the upgrade is completed.
The improvements to stage 5 will allow us to facilitate fast-turnaround programs and will
enable us to cater for more than one client in any given week,” he added. The studios
recently changed their name from Melbourne Central City Studios to, simply, Docklands
Studios Melbourne. Allan says the studios had been known as Docklands Studios for
a long time and there “had been confusion overseas with the name”, so the change
has been received positively by the Australian and international screen industries. The
change followed the Victorian Government’s $10m investment to upgrade the studios as
part of its Future Directions Project, with funding for site and workshop improvements
as well as a feasibility study into building a horizon tank. “In addition to the upgrades
to stage 5 and the workshop building, there’s also some site improvement, external
works that need to be done, such reconfiguring the entrance roads into the studio.
“The ongoing development of the entire Docklands energises the whole district, and it’s
becoming a more vibrant area. “



                                          13
                                    Dec 2010
Feature film expenditure to fall this year: Screen Aus
                                  By Brendan Swift
Screen Australia has warned that the industry is facing a sharp fall in feature
film expenditure this financial year due to fewer planned big-budget local and
foreign productions. The government agency’s chief executive Ruth Harley said
the Producer Offset tax rebate has bolstered production levels although the
outlook remains muted. “There is a serious risk that a reduction in high-budget
Australian features along with the absence of foreign production in 2010-11 will
result in a drop in the total expenditure in Australia by feature films,” Harley said
in a statement. “In order for the screen sector to continue to thrive, it is vital that
Screen Australia continues to provide its direct support for films in the medium-
budget ranges which are difficult to finance in this climate with the indirect
support of the Producer Offset alone.” Screen Australia today released its annual
drama report, which showed total expenditure by feature films and television
drama productions rose by 2 per cent to $731 million in 2009-10. “In the context
of a global financial crisis and a downturn in global production, this is a good
result and shows that the Producer Offset was the Australian screen industry
stimulus package that we didn’t know we needed to have,” Harley said. The
result was held up by a sharp increase in foreign productions, particularly The
Chronicles of Narnia: The Voyage of the Dawn Treader and Don’t Be Afraid of the
Dark, which offset a 27.5 per cent fall in local feature film expenditure and a 12.8
per cent decline in local TV expenditure. However, both local feature film and TV
drama expenditure levels remain close to the three-year average. The industry
is now grappling with a local currency trading above the value of the US dollar,
which has effectively ended any short term hope of further runaway productions
filming in Australia, unless the government acts on calls for further support made
via its ongoing review of the Australian independent screen production sector.
Harley pointed to the large rise in TV drama for adults – which stands at a ten-
year high – as a significant positive for the industry. It was offset by a fall in
children’s drama production although this is expected to rise again in 2010-11.
The Media, Entertainment & Arts Alliance federal director of equity, Simon Whipp,
said the Producer Offset and content regulation quotas continue to support
local TV production. “Adjust this lever – as some in the free to air television
broadcasting sector are currently suggesting – and you do so at the risk of
undermining the entire industry,” he said in a statement. The Producer Offset
helped fund three-quarters of all Australian features produced over the past two
years and, including television production, added $128 million in total funding
over 2009-10, according to the report.
Private lenders are increasingly cash flowing the Offset, which returns up to 40
per cent of feature film production expenditure to producers and 20 per cent
for television producers. Over 40 per cent of the total Producer Offset was
cashflowed by banks and other private lenders in 2009-10, while 32 per cent was
cashflowed by the film/TV industry and 15 per cent by film funds. “This is the first
year we have seen significant private investment support in the screen industry
courtesy of the Producer Offset,” Harley said.



                                          14
       Fear’s all Wight in the inner Sanctum
                                         Karl Quinn
When Australia’s first 3D
feature is released next
February, it will be a triumph
of frugality as well as
technology. ‘‘We’re using the
same cameras as James
Cameron used for Avatar
– literally’’ says executive
producer and co-writer
Andrew Wight, in the South
Melbourne edit suite where
the finishing touches are
being applied to Sanctum.         An underwater cave diving team experiences a life-
‘‘I got the hand-me-downs.’’ threatening crisis during an expedition to the unexplored
The point, says Wight, a          and least accessible cave system.
50-year-old Australian whose
real-life experience as a cave diver is the basis for the fictional underwater adventure
film, was to show that the technology developed for the mega-budget Avatar could just
as readily be used on a relatively low-budget film. Sanctum, which was largely shot
at the Warner studios on the Gold Coast, cost about $30 million – about 10 per cent
what Avatar cost to make. But Cameron’s munificence wasn’t limited to cast-offs. His
name sits above the credits as executive producer, a powerful factor in winning the film
a worldwide release on February 4. Cameron and Wight are, in fact, diving buddies
as well as colleagues, though their friendship stems from work. Just after he finished
Titanic, Cameron started looking for a filmmaking diver to help him make a documentary
about the wreck. “And my name kept coming up,’’ says Wight, who began his working
life as an agricultural scientist before realising he could make a living from his passion
for cave diving. ‘‘I was pretty much on a shortlist of one.’’ Wight began working with
Cameron’s Earthship Productions in 2001, and produced a range of dive-related films
— Ghosts of the Abyss, Expedition Bismarck, Aliens of the Deep, and Last Mysteries
of the Titanic — for IMAX and TV. He was also integrally involved in the development
of the 3D technology Cameron deployed on Avatar, and which he is now using on
Sanctum. The film is Wight’s second stab at telling the story of the 1988 expedition
he led to the 3.2 kilometre long Pannikin Plains cave system beneath the Nullarbor
Plain (the first, the documentary Nullarbor Dreaming, was aired on TV in 1989). The
adventure had barely begun when a huge storm hit and water began flooding into the
cave. ‘‘It was 4pm, December 4, 1988; I remember it quite well,’’ says Wight. ‘‘I was on a
small ledge, a couple of hundred feet down, as the water started coming down. ‘Wow,’ I
said. ‘We’ll get a picture of that.’ And then it turned into a torrent that started to collapse
the cave.’’ Wight and one of his colleagues watched from the ledge as the flood swept
away the 13 explorers below them. ‘‘I was sure that when this is finished we’re going
to be looking at our friends’ mangled bodies; there was no way they could survive,’’ he
says. Wight and his colleague eventually found a way out and returned with help. After
two days underground, the rest of the team were rescued. The trip was a disaster, but
the resulting documentary kick-started Wight’s career as a filmmaker. “I fell into, if you
like, a life of adventure and filmmaking,” says Wight modestly. “It could be a lot worse.”
Now, 22 years on, he’s returning to where it all began, this time in fictional form. “I put
the ghost to rest a long time ago,” he says.



                                             15
                                       Dec 2010

  Mad Max “covered” on dollar rise
Director George Miller
confirmed that although
production of Mad Max: Fury
Road has been delayed until
the second half of 2011, it will
“definitely be made”.
”Warners are very, very
committed to the film, as we
are,” he said. ”There is nothing
like creative problems. It’s
not an issue of budget; we’re
covered on the Australian
dollar rise,” said Miller. In
interview with The Sydney
Morning Herald, Miller
explained that unseasonal
rain has turned his Broken
Hill location from wasteland to
‘a wonderful flower garden”,
and finding an alternative
location in the country was not
possible. He also confirmed
that British actor Tom Hardy         “Inception” starTom Hardy, to play Mad Max
(Inception) will play Mad Max. The cast will also include Charlize Theron and Hugh
Keays-Byrne.
                    Mad Max sequel delayed
George Miller’s fourth Mad Max film, Fury Road, has reportedly been delayed once
again. The sequel has been delayed for a second time and will not go into production
until 2012, according to News Limited broadsheet The Australian. The Australian said
key crew were told earlier this week not to expect to return to pre-production until the
second half of next year. The Hollywood Stock Exchange predicted that the fourth
installment would gross more than $US70 million in the US. The $100 million-plus movie
will be filmed in full 3D using revolutionary new technology developed by Dr Miller. Dr
Miller is currently working on another 3D feature - the animated feature Happy Feet 2 -
which will be released next year.
               New incentive: hire Victorians, get cash
Victoria has launched a program offering Australian and international productions a grant
of up to $50,000 in return for employing local practitioners in senior creative and technical
positions. The Head of Department incentive is expected to boost job opportunities
for Victorian practitioners, and reduce the likelihood of projects recruiting interstate/
foreign heads of department. “Production companies receiving the incentive will be
required to employ between one and four Victorian crew members reporting to the head
of department, providing further opportunities for Victorian crew to increase their skills
and increasing the skill base of the industry as a whole. It also builds on the success of
our Production Investment Attraction Fund (PIAF), which encourages the employment
of Victorian crew in all roles,” said Film Victoria CEO Sandra Sdraulig. Up to $50,000
per application will be made available, depending on the type (feature Films, telemovie,
miniseries, TV series and documentarie are all eligible) sand size of the project.



                                            16
                                     Sept 2010

         Three Aussies at Sundance
The feature Mad Bastards, the documentary Shut
Up Little Man! An Audio Misadventure and the short
Deeper than Yesterday have been selected to screen
at next year’s Sundance Film Festival. Mad Bastards
is set in a town in the remote Kimberley Region of
WA, and tells the story of an urban street warrior
who meets his match in a local cop. It will be one of
13 films screening in the World Cinema Dramatic
Competition. Mad Bastards was written and directed
by Brendan Fletcher, and produced by David Jowsey,
Alan Pigram, Stephen Pigran, and Fletcher. In
Australia, the film will premiere at the Sydney Festival
in January, and released by Transmission in May.
Shut Up Little Man! An Audio Misadventure will debut
in the World Cinema Documentary Competition,
competing agains 11 other films. It was produced by
Sophie Hyde and Matthew Bate, co-produced by Julie Byrne and Bryan Mason, and
written and directed by Matthew Bate. It will be released by Madman Entertainment.
A VCA Film & Television School project, Deeper than Yesterday was produced by
Benjamin Gilovitz, Sarah Cyngler and Anna Kojevnikov, and written and directed by
Ariel Kleiman. It will compete in the international shorts competition program. Previous
achievements include the Jury Award for Best Short Film at Critics’ Week in Cannes
and Best Short at the Chicago International Film Festival. The film also won Best Short
Film Director at Sydney Film Festival’s Dendy Awards, and it is currently nominated for
Best Short Fiction Film at the 2010 AFI Awards. Another Australian that will be present
at Sundance is Dani Valent, a co-writer in the US film Here (directed by Braden King),
which will screen in the US Dramatic Competition Program. Sundance will take place
January 20-30 in Park City, Utah, USA.
Korg to release AudioGate file conversion software for free
At AES, Korg announced that it will release its AudioGate software for free on Nov. 15,
2010, for all music creators and listeners. This file conversion, editing and authoring
software had previously only been available bundled with Korg’s MR Series of high-
resolution, 1-bit DSD digital audio recorders. AudioGate enables the real-time playback
of DSD/SACD files on any computer system with any audio hardware. Powerful
dithering algorithms are provided, along with editing tools such as divide, merge,
normalize, fade-in/fade-out and DC cut. Users can convert from 5.6MHz or 2.8 Hz
1-bit audio files to any other format, including 16- or 24-bit PCM (up to 192kHz sample
rates), Apple Lossless or AAC, FLAC, Broadcast WAV (up to 32-bit floating supported)
and even MP3 formats. It can be used to burn audio CDs and the newer DSD disc
format (2.8MHz sample rate), which can be played back on a growing number of
devices. Korg believes that in today’s world of terabyte hard drives and ultra-fast digital
pipelines, there is no longer any need to use compressed formats with compromised
fidelity. Noting that the world has gotten used to working with high-resolution video on
an everyday basis, Korg’s intent is that, likewise, music delivery and enjoyment has no
reason to remain compromised. By giving everyone the tools they need to enjoy high-
resolution audio and to repurpose it for any device or situation, the market can offer
customers music that is closest to the aural experience the artist had when performing
and recording it.



                                        17
                                        Dec 2010
 Legend of the Guardians: Sound producer Katrina Peers
The sound associate producer
forLegend of the Guardians: The Owls
of Ga’Hoole, Katrina Peers, told Encore
how the team provided each animated
owl with its own distinctive wing flaps
and calls – using a hint of the actors’
voices!
How complex is the sound mix in this
film?
The sound mix was a challenging
one for the team. First and foremost,
there’s a lot of dialogue and clarity
is paramount. When you add to that
base sound FX of owls calling, flying,
walking and in battle, then layer in
various atmospherics and then a
full orchestral score complete with
choirs, the bandwidth is absolutely
chockers! Finding the balance of all
these elements was tricky at times,
but ultimately it all comes down to
what supported the story at any given
moment. For example, the moment
when Boron the King appears from
behind the wave in the storm sequence
is the first time Soren realises the Guardians are real. He’s been through an epic
journey to find them and it almost ends disastrously, but right at that moment he is
saved by the owls he has only ever heard of in his father’s bedtime stories. In reality,
it’s raining and stormy, the waves are crashing about and the wind is howling, but
what supports the story at that moment in time are the angelic choir voices singing
the Guardians theme. Reality is dulled right down to support that magical moment. On
the opposite end of the scale, is the moment the Guardians and Pure Ones engage in
battle. The build up to the confrontation is all FX and owl calls combined with rousing
                                  orchestral music, but at the moment of impact, the
                                  orchestral music is pulled away and we have very
                                  specific battle FX to support the choreography of the
                                  camera. The decision to do this gives great clarity and
                                  also gives the audience a moment to recalibrate and
                                  track the battle moving forward. What are the most
                                  important sound effects in this film, and are there any
                                  particular FX created specifically for it? Right from the
                                  start, our sound supervisor Wayne Pashley and director
                                  Zack Snyder discussed the rules of the owl world we
                                  were creating. It was important for them to track each
                                  owl with their own individual walk, wing flaps and calls,
                                  and in most cases each specific species of owl call was
                                  integrated with our cast voices resulting in a unique
                                  blend of owl calls with just a hint of the actors voice



                                              18
                                 so the audience could subliminally link back to each
                                 character. The sound design of the fleck field and the
                                 fleck field trap device was also carefully considered.
                                 Right up front, Wayne and Zack didn’t want the fleck
                                 field to sound electric, and wanted a more organic sound
                                 in keeping with the naturalistic style of the film. This
                                 allowed the sound team to explore a huge variety of low
                                 level, magnetic sounds and they recorded all of them
                                 –layers and layers of tracks. They mixed all of them
                                 together and came up with what you hear in the film. It
                                 was also important that the sound of the trap itself was
                                 consistently tracked throughout the film. Establishing
                                 the sounds of its mechanics up front supports the story
                                 later in the film when the Guardians are trapped, as we
        Katrina Peers            don’t actually see the fleck trap working on screen. What
                                 style of music has been used and what’s the reason
behind it? When David Hirschfelder and Zack got together to talk about the film, the
one thing that wasn’t discussed is the fact it was an animated film. The story is an
epic adventure film; a hero’s journey. Zack basically said to David that he should go
just for it and that’s what he did!The Guardians theme and its various interpretations
track; Soren’s journey throughout the film, you’re right there with him feeling his joy,
sadness, hopes and dreams. There’s such a diverse range of emotional cues in the
story ranging from warm happy family, to darkness, pursuit, quirky, discovery, battle,
the list goes on. David has
truly captured these moments
beyond anything we could
have imagined. Is there any
non-instrumental music?
Yes. Adam Young of Owl
City wrote an original song
for the film; it plays over a
montage scene where Soren
and his friends have just
been through a pretty tough
journey, and it’s a moment
for them, and the audience,
to take a breath and really
enjoy life at the tree and its
beauty. It works really well.
We also have two excerpts
from two separate tracks by
Lisa Gerrard and Dead Can
Dance. Lisa’s voice is so
unique and mesmerising. We
initially used these tracks as
temp music in edit to define
the two moments where
Soren uses his gizzard and
absolutely fell in love them.



                                           19
                                    Dec 2010

       Luhrmann goes back to the Ballroom
                                                 Baz Luhrmann will start work on
                                                 the book, text and music for a
                                                 stage musical adaptation of Strictly
                                                 Ballroom; the show will be produced
                                                 in partnership with Global Creatures.
                                                 “After years of talk about bringing
                                                 Strictly Ballroom to the musical stage,
                                                 I’m energised by the partnership
                                                 we have made with an Australian
                                                 company that has made a giant
                                                 impression on the world’s stages over
                                                 the last three years,” said Luhrmann
                                                 in a statement. Strictly Ballroom
was originally conceived by Luhrman as a stage play in 1984, and adapted as his
feature debut in 1992 – winning the Prix de le Jeunesse at Cannes and receiving a
nomination for the Golden Globe. It was made for less than $5m, and earned more
than $80m worldwide. The new musical will be based on the film version. Luhrmann’s
work will commence in December; he is also set to direct. The musical will be
produced by Global Creatures CEO Carmen Pavlovic and Rob Brookman. Production
design will be in charge of Catherine Martin. According to Pavlovic, Global Creatures
holds the worldwide rights to the musical “in all theatrical forms”.

      Tomorrow, When The War Began and
          Killer Elite going to Canada
                                    By Sam Dallas
Two Australian action flicks are making their way to Canadian screens.
Stuart Beattie’s Tomorrow, When The War Began and Gary McKendry’s The Killer
Elite – which stars Clive Owen and Robert De Niro – have been picked up by
Entertainment One through LA-based sales company Inferno Entertainment. The deal
was negotiated by Inferno Entertainment’s international sales president Kimberly Fox
and Entertainment One’s Lara Thompson. The $66 million film, backed by Omnilab
and shot in Melbourne, stars legendary actor De Niro, Owen and Jason Statham
as well as Australians including Ben Mendelsohn and is expected to hit Canadian
screens in the latter half of 2011. The Killer Elite follows the exploits of a group of
Black Ops agents for hire who must hunt down and destroy a rogue cell of SAS killer
assassins and their covert handlers. The script is based on Sir Ranulph Fiennes’ 1993
non fiction novel The Feather Men. The film – produced by Michael Boughen through
Omnilab’s Australian production arm, Ambience Entertainment – was funded through
the Producer Offset – which returns up to 40 per cent of qualifying expenditure – and
with rebate assistance from Film Victoria. Tomorrow, When The War Began crept
past Bran Nue Dae in September to become this year’s biggest Aussie movie at the
local box office. It has now made more than $13.3 million Down Under and more than
$1.3 million in New Zealand. The $27 million (est) film, also produced by Ambience
Entertainment, tells the tale of a group of teenagers who go on a camping trip, only to
return home and find their country has been invaded by an unknown army.



                                            20
              Sydney becomes the second City of Film
The United Nations Educational, Scientific and Cultural Organization has recognised
Sydney as an international ‘City of Film’. “This prestigious international title will
build upon our reputation as a world-class centre for film production, promotion and
exhibition,” said NSW Minister for the Arts Virginia Judge. According to a press release
from the NSW Government, the City of Film status will “encourage new creative and
economic partnerships, while recognising Sydney’s rich film history”. The announcement
was made by Judge and Sydney Mayor Clover Moore, with the presence of Gillian
Armstrong, Jan Chapman, Barry Otto and Margaret Pomeranz. The bid was made in
January with the support of the City of Sydney, the NSW Government and industry
stakeholders. Sydney is only the second city to receive this title. The other ‘City of
Film’ is not Los Angeles, as most people would expect. It’s not London, Paris, Tokyo
or Toronto either. It is Bradford, in the UK, defined by UNESCO as “home to some of
the earliest pioneers of cinema and the celebrated location of many classic films [...]
The city now plays host to one of the most diverse film festival programmes in Europe;
home of the hugely popular National Media Museum, a growing digital sector, and
increasing opportunities for involvement in, and enjoyment of, film by local people”.
UNESCO’s selection criteria for potential applicants is: Notable infrastructure related to
filmmaking, i.e. film studios, cultural/movie landscapes, cinematographic memorabilia,
etc; historic links to the production, distribution and commercialization of films,
especially within a native/local and culturally relevant context; cinematographic legacy
in the form of archives, museums, private collections and/or film schools; tradition of
hosting film festivals, screenings and cinematographic events; birthplace, residence
and/or workplace of creators and artists in the film industry; depiction of the city in films,
preferably realized by native creators and artists; existing films about the city. Sydney
also joined the other 25 cities that form part of UNESCO’s Creative Cities Network –
created to promote social, economic and cultural development.

       Waves introduces Video Sound Suite
Waves Audio has introduced the Waves Video Sound Suite, an audio plug-in bundle
designed to enable a fast, easy path to exceptional audio quality with a variety of
application-specific tools. Waves Video Sound Suite helps reduce noise, clean up
and enhance dialog, smooth out and maximize volume, re-create room acoustics and
more. Video Sound Suite integrates seamlessly into Avid Media Composer 5, Apple
Soundtrack Pro and Sony Vegas, and includes special presets for video editors.
Because Video Sound Suite features real-time plug-ins, it is no longer necessary to
render or create new files for every audio adjustment, and making audio changes
weeks or months later is a breeze. Video Sound Suite
includes the following Waves plug-ins:
Renaissance Compressor, which helps keep volume
levels under control, for smoother, more consistent cuts
W43 Noise Reduction, which reduces ambient noise
such as hiss, hum, traffic, wind and air conditioning
IR-L Reverb, which allows users to place sounds in
real ambient spaces, add atmosphere and smooth out
tight edits Q10 Equalizer, which lets users enhance
frequencies, cut lows, add highs, zoom in and clean up
problem areas DeEsser, which tames sibilance L1 Limiter,
which delivers louder, clearer sound to individual sources
as well as final mixes.



                                             21
                                      Dec 2010

      Tomorrow sequel in the works
Tomorrow, When The War Began fans can rejoice; the sequel will be made.
Tomorrow writer/director Stuart Beattie has revealed he’s working on the next chapter
after the success of the big-budget production. “I’m writing a new screenplay and
they’ve just asked me to write the sequel to Tomorrow, When The War Began so
I’ll be working on that as well,” he told reporters at the AFI awards in Melbourne on
Saturday. Beattie won the AFI for best adapted screenplay for Tomorrow, while the
highest-grossing Australian movie of the year also picked up the gong for best sound
for Andrew Plain, David Lee, Gethin Creagh and Robert Sullivan in the industry
awards announced on Friday. Tomorrow, which has taken more than $13 million in
the Australian box office, cleaned up at last month’s Inside Film awards, winning four
awards including best film. But the AFIs belonged to David Michod’s Animal Kingdom
with its 10-award haul. Based on the first novel in the hugely popular seven-book
series by John Marsden, Tomorrow, When The War Began follows eight teenagers
who retreat to the bush with shotguns and dirt bikes when hostile foreign invaders
take over Australia. More than $20 million was spent bringing Beattie’s adaptation to
life - the biggest ever budget for an independent Australian film.
Beattie said the movie, which earned eight AFI nominations, was really made for the
audience. “Usually films that are made for audiences don’t usually get recognition at
an awards show so I’m totally shocked and very much appreciative,” Beattie said after
accepting his AFI. Tomorrow marked the directorial debut of Beattie, who has made
a name for himself in Hollywood as a screenwriter with movies such as the Pirates of
the Caribbean series. He said the main challenge in making Tomorrow was satisfying
fans and non-fans of the books, while staying true to the novel. “So I just really
wanted to make a film that would both satisfy all the people who had read and loved
and obsessed over the book, which there are many, and then all the people who just
wanted to see a fun film on Saturday night.
“It’s a very tricky line to walk and it’s not always easy to satisfy both groups at once.”
Actor Lincoln Lewis, attending his first AFIs, said the young cast was thrilled with
the film’s success. “I think the audience response alone was enough for us, but the
fact that it’s getting recognised at the IF awards, at the AFIs, we’re really happy with
that,” Lewis said. He said the cast didn’t dare dream about the movie’s success
during filming. “We just put our hearts and souls into making it the most we could
at the time.” Earlier this year the former Home and Away star, whose first lead role
was in Tomorrow, finished filming drama Mei Mei alongside screen stalwart Guy
Pearce. Lewis and Tomorrow co-star Phoebe Tonkin wrapped up filming of 3D shark
adventure Bait, which stars Hollywood-based Aussie Julian McMahon, on Friday.


Trackdown honours Simon Leadley
Trackdown Digital Pty Ltd is proud to announce the renaming of the Trackdown
Scoring Stage : “The Simon Leadley Scoring Stage” The scoring stage is named In
memory of Simon Leadley. Simon founded Trackdown with Geoff Watson in 1984.
Geoff acknowledged “His dedication and passion saw Simon recognised as one of the
world’s leading craftsmen in both the the audio and film industries. He was the key who
pioneered Trackdown and realised the studio as first-class facility it is today.”




                                              22
     Golden run continues as Weaver gets best supporting
                        actress nod
                                Garry Maddox and Erik Jensen
Weaver’s nomination continues
a remarkable fortnight in which
she was named the year’s best
supporting actress by the National
Board of Review and Los Angeles
and San Francisco film critics
associations US as well as best
actress at the Australian Film
Institute Awards on Saturday. “When
I was young and green I used
to think awards didn’t mean that
much,” she said in her acceptance
speech at the AFI Awards. “But now
that I’m not young and green but
quite ripe, I love getting prizes. It’s
wonderful to be reassured that you
haven’t been barking up the wrong
tree for 48 years in your choice
of career.” 2011 Golden Globes
Nominations Weaver is up against
Helena Bonham Carter for her
performance in The King’s Speech,
Amy Adams and Melissa Leo in The
Fighter, and Mila Kunis in Black
Swan.Weaver could not be reached
this morning – she had just finished
performing in the Sydney Theatre Company’s production of Uncle Vanya, alongside
Cate Blanchett, Hugo Weaving, Richard Roxburgh and John Bell. The nomination
improves her chances even further of an Academy Award nomination. Weaver told
Fairfax last week the American awards attention was unexpected, even after Animal
Kingdom won a major prize a the Sundance Film Festival in January. “It certainly
wasn’t on my agenda,” she said. “You work and work for decades and everything you
do you try to make it the best thing you’ve ever done. A lot of them get praised but a
lot of them disappear without trace.” Weaver expects to head to the US for an awards
campaign after Uncle Vanya finishes on New Year’s Day. Other Australians nominated
include Nicole Kidman for best actress in a drama (Rabbit Hole), Geoffrey Rush for
best supporting actor (The King’s Speech) and Toni Collette for best performance in a
comedy (United States of Tara) – an award she won last year.
Kidman, who has won two Golden Globes from five nominations, plays a mum dealing
with the sudden death of her son in Rabbit Hole. Rush, who has won two Golden
Globes and an Oscar, plays the speech therapist who helps the future George VI with
a debilitating stutter in The King’s Speech. The Pacific, mostly shot in Australia, was
nominated for best TV mini-series while Sydney-made Legend of the Guardians: The
Owls of Ga’Hoole was left out of the nominations for best animated film. The 68th
Annual Golden Globes ceremony will be held at the Beverly Hilton Hotel on January 16.
The Oscar nominations, decided by the Academy of Motion Picture Arts and Sciences,
will be revealed January 25 in Beverly Hills.



                                          23
                                     Dec 2010

Digital, surround microphones at AES 2010
                                        By Russell Brown
The129th AES convention was well attended, at least
better than last time when it was held at the beginning
of the economic downturn. The exhibit hall contained
vendors from around the world demonstrating a wide
variety of microphones, processors, vacuum tube
equipment and mixing boards. The constantly busy
booths suggested that the audio industry was starting
to pick up. The educational sessions covered a range
of topics from loudspeaker design and the effects of
digital processing to the transport of live music and
the problems that it creates, among many others.
Digital microphones
In today’s world all signals are digital, a concept
that is being extended even the lowly microphone.
In the product design session “AES-42 Digital
Microphones,” discussion centered on the standard
itself, the difficulties in design and the advantages of
a digital microphone. The real difficulty is in getting
the dynamic range of the microphone into digital. This
                                                          The 32-element Eigenmike from
requires a unique sort of digital-to-analog converter.
                                                          mh acoustics is shown here in its
Getting a full 24-bit dynamic range, which equals
                                                          windscreen version.
144dB, is the real trick. With this kind of range, no
gain control is required on the recorder because the input will never be overdriven.
5.1 microphones
One of the first sessions I attended was “Single Unit Surround Sound Microphones,”
where six different manufacturers talked about and showed off their own systems.
Problems of workflow were discussed, including the fact that many camcorders only
have four audio channels with two reserved for talent, making it hard to capture 5.1
surround sound. (AES is working on a standard for multichannel microphone connectors
and cable.) And, there was some disagreement on whether surround sound should
be introduced into the center speaker, where the main announcer’s voice is placed.
Discussion focused on the concept of B-format encoding/decoding, which would enable
a complete surround-sound signal to be transported over a minimum of three channels.
The mid/side stereo microphone technique, used in several of the microphones shown
that allows the pickup pattern to be manipulated after recording, was also discussed.
Using just three microphones to pick up 5.1 surround allows for smaller microphone
size, which is good for such work as documentaries. Almost all the microphones allow
recorded signals to be manipulated in post so as to direct the sound and widen the
stereo effect. The amount of control over the sound was very impressive.
Mh acoustics started with the Eigenmike, a sphere-shaped unit with 32 elements all
around. Once recorded, it can direct the sound pickup anywhere in a 360-degree
pattern. An offering from DPA Microphones, Model 5100, looks like nothing more than
a bicycle seat. Its triangular shape and relative small size allows for it to be mounted
on top of a camcorder, and it outputs in discrete 5.1 analog. Sanken was next with a
microphone that actually looks like a microphone, containing several elements within its
frame allowing it to pickup a full 5.1 surround pattern. Schoeps showed its four-legged
microphone meant for surround pickup and requiring a very large windscreen cover.
SoundField had its four-element surround-sound microphone and associated processor.



                                              24
            Menacing music in the mix for screen prize
                                       By Clare Morgan
The composer Antony Partos calls them beautiful but
with an underlying darkness.
Anyone captivated by the opening credits of David
Michod’s acclaimed film Animal Kingdom would
agree, although they might throw ‘’creepy’’ into the
mix. As the camera dwells on a piece of kitsch wall
art depicting lions in the wild, there are menacing
organ chords and a soaring voice. It’s an elegaic,
vaguely operatic sound that makes the switch to
grainy black-and-white photographs of armed robbers
all the more unsettling. Which is exactly the reaction
sought by Partos, a nominee for best feature film
score in this year’s Screen Music Awards, which will
be announced tomorrow night. ‘’That was the crucial thing, to get the opening-credits
music right, because it really sets the tone for what follows,’’ the Sydney composer says.
It took many attempts and nothing seemed quite right until the mixing began, he says.
‘’It was frustrating. I knew there were some elements that were nice but didn’t send that
chill up your spine. Sometimes it’s elusive and sometimes it’s there from the beginning.
It’s amazing how adding a certain note or a pedal on a note can create that extra bit of
magic.’’ Partos says Michod had strong ideas about the music he wanted, particularly its
operatic feel. ‘’But he didn’t want a traditional orchestral operatic approach, it was more
a mindset. He really wanted to create a sense of the epic but without the music seeming
melodramatic.’’ To underline the film’s sense of menace, Partos embraced synthesised
sound. ‘’Apart from violin, voice and a real church organ, it’s entirely synthesised. I
haven’t done that before.’’ Partos has many television and film scores to his credit,
including Accidents Happen, Disgrace, Unfinished Sky and the new ABC television
series Rake. ‘’It still mystifies and amazes me the extent of which the audience
interprets what’s happening visually by listening to the music. You have a completely
different experience when music reacts with the images,’’ he says. At the awards, in
Melbourne, he will be up against scores from Mao’s Last Dancer, Beneath Hill 60 and
The Waiting City. Partos has won previously but doesn’t think this will be his year. ‘’The
score to Animal Kingdom was complex in a thematic context but tonally it’s quite simple.
My money’s on Mao’s Last Dancer,’’ he says.
       SONAR MUSIC COLLECTS
            AUSTRALIA’S BEST
Sonar Music is a new boutique music
collective that represents some of
Australia’s most talented, awarded
and experienced composers. The
Sonar collective has an extraordinary
ability to compose original music over
an enormous variety of genres and
embraces the notion of collaboration
to create distinctly individual and iconic L-R: Wes Chew, Matteo Zingales, Antony
scores. The team includes the multi           Partos, Andrew Lancaster, Michael Lira, Dave
AFI awarded composer, and founding            McCormack, Madeleine Campbell and Jono Ma.
director of Supersonic Antony Partos. Antony’s latest score for the film Animal Kingdom,
recently won the Grand Jury Prize at the Sundance Film Festival and the 2010 AFI Best
Original Music Score. www.sonarmusic.com.au


                                           25
                                     Dec 2010

      The Fourteenth ASSG Sound Awards
The 14th ASSG Sound Awards were held on Friday night the 29th October at the Har-
bourview Hotel Nth Sydney. Everyone enjoyed a great night hosted by James Valentine
with music by the James Valentine Quartet as well as the great talent of Ben Osmo on
guitar.
So, to the winners.
The Greg Bell Student Encouragement Award
was won by Ashley Watson, a sound student at AFTRS.
Ashley was also presented a Mbox2 pro-factory
from Julius Chan of AMBER TECHNOLOGY
The Syd Butterworth Lifetime Achievement Award
went to Phil Heywood, a sound mixer with nearly 200 feature films under his belt includ-
ing being part of the team of sound mixers on the feature film “Australia”
So, to the other winners.
Best Achievement in Sound
for a Television Commercial or Program.
SPONSORED BY AMBER TECHNOLOGY
Centrebet “Don’t Just Watch it”
Scott Collins
Best Achievement in Sound
for an Animation Short Film or Program.
SPONSORED BY DORROUGH LOUDNESS METERS
The Lost Thing
John Kassab, Adrian Medhurst,
Daniel Varrichio, Bart Bee, Doron Kipen.
Best Achievement in Sound for a Short Fiction Film.
SPONSORED BY NAGRA
Rain for Morgan
Erin McKimm, John Simpson, Andrew McGrath.
Best Achievement in Sound for a Documentary.
SPONSORED BY RYCOTE
Bombora-“The Story of Australian Surfing”
Greg Fitzgerald, Ben Osmo, Michael Carden,
Frank Lipson, Annie Breslin, Libby Villa,
John Simpson, Mario Pellegrino, Jeremy Ireland.
James Waldron from Syntec International presented all the winners with a showbag of
goodies which included Seinhiesser headphones, lucky winners.
Best Achievement in Sound for Television Drama.
SPONSORED BY LEMAC
My Place
Mark Blackwell, Manel Lopez, Lucas Bone,
Peter Hall, Olivia Monteith, Ian Donato,
David Perry, Micol Marsh.
My place is a period series from the ABC which is just going into production for a
second series, well done to the team from the ABC here in Sydney.
Best Achievement in Sound for Film Sound Recording.
SPONSORED BY SENNHEISER
Tomorrow When The War Began
David Lee, Gerry Nucifora, Emma Barham.



                                             26
James Waldron from Syntec International presented all the winners with a showbag of
goodies which included Seinhiesser headphones, well done to you all.
Best Achievement in Sound for Film Sound Design.
SPONSORED BY FAIRLIGHT
Beneath Hill 60
Liam Egan, Tony Murtagh, Alicia Slusarski,
Leah Katz, Blair Slater, Mario Vaccaro,
Liesl Pieterse, Andy Wright, Jennifer Sochackyj,
Ruth Vance, Michelle Child, Cara Harvey.
Best Achievement in Sound for Film Sound Mixing.
SPONSORED BY STAGEONE SOUND
Daybreakers
Phil Heywood, Wayne Pashley.
Feature Film Soundtrack of the Year.
SPONSORED BY DOLBY PRODUCTION SERVICES
Tomorrow When The War Began
Andrew Plain from Huzzah Sound collected the Award, Huzzah sound were well repre-
sented on the night and were very excited to win the main Award of the night.
Another year of great Australian films, another headache for the judges, all good films
and worthy of many prizes and Awards. So ends another year of Awards from The Aus-
tralian Screen Sound Guild. Trevor Harrison, President ASSG.
                   Featured 2010 IF Award Results
Best Feature
Tomorrow, When The War Began – Stuart Beattie (director), Andrew Mason and Michael
Boughen (producers).
Best Director
David Michod – Animal Kingdom
Best Sound
Beneath Hill 60 – Robert Sullivan, Liam Egan, Mark Cornish, Tony Murtagh
Best Editing
The Waiting City – Veronika Jenet
    Featured winners from the 2010 AFI Industry Awards:
AFI BEST FILM - Animal Kingdom
AFI BEST DIRECTION - David Michod, Animal Kingdom
AFI BEST ORIGINAL SCREENPLAY - David Michod, Animal Kingdom
Best adapted screenplay - Stuart Beattie, Tomorrow When The War Began
AFI AWARD FOR BEST EDITING - Animal Kingdom, Luke Doolan
AFI AWARD FOR BEST SOUND - Tomorrow When the War Began, Andrew Plain,
David Lee, Gethin Creagh, Robert Sullivan
AFI AWARD FOR BEST ORIGINAL MUSIC SCORE - Animal Kingdom, Antony Partos,
Sam Petty
AFI AWARD FOR BEST EDITING IN A DOCUMENTARY - Inside the Firestorm, Steven
Robinson
AFI AWARD FOR BEST SOUND IN A DOCUMENTARY - Inside the Firestorm, Jock
Healy, Tristan Meredith, AJ Bradford
AFI MEMBERS’ CHOICE AWARD - Animal Kingdom
READERS’ CHOICE AWARD - Animal Kingdom
Raymond Longford award - Reg Grundy
Byron Kennedy award - Animal Logic - presented to Zareh Nalbandian



                                          27
                                      Dec 2010
  Audio pioneer as sound as a pound
Alan Allen, 1912 - 2010.
When the RAF Film Unit, of which Flight Lieutenant Alan
Allen was a member, approached Rome to film its fall in
1944, their progress was intercepted abruptly by British
Military Police and the men were informed tersely that
Rome was still occupied; German soldiers were around
the next bend. When the war in Europe ended, the unit
was in Burma to film the Japanese surrender. The men
were marching down the road to Mandalay when allied
soldiers hidden in a trench called out to them: “Hey, you
blokes! Where the bloody hell d’you think you’re going?
We’re still under fire. Mandalay is still occupied by the
Japs!” Despite these near-misses, Allen survived the war
to return home. Alan Francis Allen was born on February
26, 1912, in Bournemouth, England. His parents, Thomas
and Mabel Allen, nurtured his free spirit.                     Cutting edge ... Alan Allen
At school he developed an aptitude for electronics,            works on Summer of the
building himself a crystal set radio and experimenting with Seventeenth Doll.
it at home in his teenage years. This hobby led to a career
in sound and in 1935 he secured a job with Gaumont-British Picture Studios in London,
where one of his first feature-film assignments was Alfred Hitchcock’s classic spy-chase
drama, The 39 Steps. When World War II broke out, Allen enlisted in the RAF. It was
only then that he learnt that Thomas and Mabel were actually his grandparents and that
his birth parents, Muriel and Victor Taylor, had emigrated to New Zealand, leaving their
sickly baby in the tender care of his doctor grandfather, who eventually adopted him.
Thus he became Alan Allen. Allen trained as a signals officer and later joined the RAF
Film Unit, passing out with the rank of Flight Lieutenant. In 1943, his unit was posted
to New Delhi where he met Patricia Cullen, who had spotted the Englishman in his
Bombay bloomers looking lost and alone, so invited him to dine with her and her uncle.
Ironically, on the way to India, Allen’s unit had been warned by RAF authorities not to fall
in love with British girls out there because they were all spoilt, had household servants
and were unlikely to resettle into life in England. Patricia and Allen were married in
the New Delhi cathedral with five guests to witness their vows. The wedding was
followed by a honeymoon in Kashmir before Allen was recalled to duty. When he was
demobilised, he and Patricia lived in London. In 1950, he was employed on Pandora
and the Flying Dutchman, a feature film in Technicolor, shot in Spain, which starred the
voluptuous Ava Gardner as Pandora and the smouldering James Mason.
Like so many returned servicemen, Allen was restless after the war and he wanted to
see more of the world, so the family migrated to Australia in 1951, lured by the promise
of a job in the new television industry. Newspaper headlines on the day they arrived
informed them that the start of television was deferred, so he took employment in a
“flea-ridden” factory, manufacturing tape recorders. It was a miserable time, although
they loved the lifestyle in Sydney, Balgowlah in particular. Then, listening to the radio
one morning in 1953, Patricia heard an interview with one of Allen’s former colleagues in
England, production manager Mark Evans, who was recruiting cast and crew for a film
based on a story by Robert Louis Stevenson, Long John Silver. When Evans learnt that
Allen was in town, he signed him up immediately.
The celebrated British soundman worked on countless documentaries and classic
feature films in Australia, including Summer of the Seventeenth Doll (1959), The Siege



                                               28
of Pinchgut (1959), They’re a Weird Mob (1966), Riptide (1969) and Stork (1971), after
which he joined the staff of the ABC as a sound mixer.
At the ABC, Allen worked on many major productions, including The Aunty Jack
Show and telemovies such as Barnaby & Me and Because He’s My Friend. The last
assignment of his career was the six-part drama series, Golden Soak, based on the
novel by Hammond Innes. In retirement, Allen and Patricia moved to Vincentia on the
shores of Jervis Bay, where they spent endless hours walking along pristine beaches
and revelling in the prolific bird life. In 2005, the family moved to Canberra and Allen’s
gentle humour and enthusiasm for life endured until the end. Alan Allen is survived by
Patricia, their daughters Jennifer, Andrea, Verena and Melissa and grandchildren Alan
and Fiona.

    Vale Sally Menke
Picture Editor on films such as Reservoir
Dogs, Pulp Fiction, Inglorious Basterds,
etc. Having cut every single one of the
auteur-savant’s films, Menke established
a partnership with Tarantino that will go
down as one of the great editor-director
combinations in American cinema,
taking its place beside those of Steven
Spielberg and Michael Kahn, and Martin
Scorsese and Thelma Schoonmaker.
Tarantino fans will undoubtedly feel that
painful loss when they are exposed to a film not edited by Menke, and that loss will
serve as a reminder that editors are the great unsung heroes of all our favorite films.
According to the New York Times Arts Beat blog, Tarantino has freely admitted that
editing with Menke was like working with a writing partner, and no doubt the director’s
trademark ability to hold and savor the tension of a beat well past the point when other
directors would have moved on—or keep an audience riveted by his free-form pop
soliloquies—flowed from Menke’s artful cutting. How else could he have gotten away
with an opening scene in Inglorious Basterds that occupies practically a whole film
reel? Or danced delightfully around the meandering diner conversation that sets up
Reservoir Dogs? Or found such depth of feeling in Robert Forster’s stoic, steady smile
in Jackie Brown? Arguably, Samuel L. Jackson owes much of his reputation and his
career to Menke’s judicious close-up choices in Pulp Fiction. In all these cases, she
knew the delicate art of the invisible cut that masters like Walter Murch tell us is one of
the sweetest spots to hit for an editor. Yet, she also knew how to magnify the cinematic
feeling, when to go in for the close up, which undoubtedly helped Tarantino create
his incomparable style. One wonders if all the countless Tarantino imitators out there
wouldn’t seem so pale if they had Menke at their side. It’s easy to forget an editor when
we wax rhapsodic about a director’s framing, a cinematographer’s lighting, or an actor’s
performance. However, every casual student of the medium knows you could make
no bigger mistake. In a great editor’s hands, all these elements are merely the marble
from which a masterpiece must be uncovered. The true alchemy of film, the dream-like
nature that helps us sit still for 100 minutes or more, seems to flow like magic from the
space between a cut. Although they work in solitude, in a dark room far away from the
convivial atmosphere of the movie set, editors are often the true maestros/workhorses
leading audiences through at just the right pace, finding small emotions on actor’s faces,
and building dramatic meaning where there was none before. Is it any surprise that one
of the greatest directors of all time, David Lean, started out as an editor?



                                            29
                                     Dec 2010
  Avid unleashes Pro Tools 9 at AES
At AES in San Francisco last week, Avid released
Pro Tools version 9. Far more than a typical
next-gen update, Pro Tools 9 embodies the
new Avid business model, hinted at but never
specified in the retiring of its Digidesign a few
months back. Pro Tools 9 offers customers the
choice to work with Avid audio interfaces, third-
party audio interfaces or no hardware at all when
using the built-in audio capabilities of a Mac or
PC. Avid used its ongoing user forum as the           The constant crowds attending
springboard to find and address the most wanted demos of Pro Tools 9 at AES attested
features and most noted issues with all previous to the enthusiasm surrounding the
versions, using them as a template in creating        release.
what amounts to a new Pro Tools ecosystem. This software-only option for Pro Tools
is the most open, flexible and feature-rich version ever incorporating professional
features customers have requested. New support for the Avid EUCON open Ethernet
communication protocol now enables customers to expand control surface options to
include Avid’s Artist Series and Pro Series audio consoles and controllers (formerly
Euphonix). Pro features now included as standard will be a welcome addition to Pro
Tools users weary of buying upgrades and plug-ins to meet specialized needs. High-
value features formerly available as add-ons now available include: Automatic delay
compensation: Users can now mix and record with increased alignment and phase
accuracy without the need to manually compensate for latencies from hardware I/Os,
internal and external routing and plug-in algorithm processing, the No. 1 request on
the Pro Tools IdeaScale user forum. More audio tracks and busses: This allows more
elaborate productions with support for 96 mono or stereo voices in the new software-
only version (192 voices with Pro Tools HD systems), 256 internal busses and 160
aux tracks. Advanced production toolset: The toolset features professional tools for
more polished mixes out of the box. Users can analyze and adjust timing across
multiple tracks for tighter rhythm with the multitrack Beat Detective module, improve
organization and asset sharing with the DigiBase Pro file management tool, and save
time with full Import Session Data dialog. Broadcasters will enjoy the following audio-
for-picture enhancements designed to enable easy collaboration with other audio and
video software users: OMF/AAF/MXF interchange and MP3 export provides customers
with simplified session and file exchange between applications. Built-in time code
ruler enables customers to achieve greater accuracy when syncing audio to video
in post production (software only configuration of Pro Tools). Updated 7.1 surround
panner allows customers to more easily mix multichannel surround for full film sound
production. New variable stereo pan depths equip customers with authentic, precise
track panning capabilities to achieve an analog feel. Version 9 of the new Avid Pro Tools
and Pro Tools HD software is now shipping, and starts at $599 for the full version, with
upgrade paths available for existing users.
       Shure unveils new SE315 earphones
Shure Incorporated is now shipping its new SE315 Sound Isolating
Earphone, a single-driver earphone featuring full-range sound and
a detachable cable. This earphone joins the SE115, SE425 and
SE535 in its Sound Isolating Earphone line, delivering enhanced
sound signatures and premium driver technology in small, lightweight,
performance and personal listening.



                                             30
    Aussies in Oscars hunt
The story of King George VI of Britain, his
impromptu ascension to the throne and
the speech therapist who helped him. Two
dramas unfolding in a new world of global
communications, and one of their Australian
stars, could emerge as a front-runner at the
Academy Awards. Director David Fincher’s
The Social Network is set in modern times
as the founders of the website Facebook
battle over their creation. Tom Hooper’s The King’s Speech takes place in the 1920s
and ‘30s as Queen Elizabeth II’s dad struggles with his speech impediment at a time
when the royal family is counted on to voice reassurance through the new medium of
radio. The Social Network has almost universal acclaim, a hip subject and impressive
box-office results since it opened in the US on October 1. The King’s Speech does
not open in the US until late November, but it’s an old-fashioned awards contender, a
classy period piece that has been an audience favourite at film festivals for its heart
and humour. “We didn’t realise it was a comedy as well as a drama. We had no idea
people enjoyed it on so many levels,” said Colin Firth, who stars as the stammering
King George VI, reluctantly taking the throne after his brother abdicates and finding
unexpected kinship with a wily Australian speech therapist, played by Geoffrey Rush
who could prove a contender in the supporting actor category. “It ticks a lot of boxes that
are notorious for being supposed nomination bait, you know - monarchs and disabilities
and that sort of thing. But it has very little to do with that as far as I’m concerned. The
substance of this is to do with this friendship.” The Social Network also deals with
friendship - the unraveling kind. Jesse Eisenberg stars as Facebook mastermind Mark
Zuckerberg, playing him as an abrasive, socially inept genius who ends up in ferocious
legal feuds with his former best buddy (Andrew Garfield) and others claiming he stiffed
them on the site’s proceeds. Fincher said he’s hopeful but that Oscar talk is premature.
Social Network screenwriter Aaron Sorkin is even more tightlipped about awards.
“I just won’t talk about it,” Sorkin said. “I can tell you that right now, what means
something to me is that people who have seen the movie seem very moved by it. It’s
everything we could have hoped for when we began the project.” Nominations are
released on January 25, with the Oscars presented on February 27. Here’s a look at
more possibilities for best picture as well as for other top Oscar categories, including
Australia’s Nicole Kidman and Naomi Watts in the best actress category.
  RTW brings TouchMonitor to America
RTW, the German firm specializing in audio signal
visualization, brought its next-generation TouchMonitor
Series displays to the recent AES Convention in San
Francisco. The TM7 and TM9 are freestanding displays
capable of displaying a wide variety of audio parameters in
a user-configurable, 16:9 high-resolution display. Both are
scheduled to ship by end of year. Speaking on the show
floor, RTW technical director Mike Kahsnitz explained the
company’s modular design approach to the TouchMonitor
line. “This is a flexible tool, on both the hardware and
software levels,” he said. “The basic unit has 16 inputs
available in blocks of eight, with seven different hardware   The RTW TouchMonitor
interfaces available.



                                           31
                                             Dec 2010
                Audio Post-Production Engineer Position
Leading picture and sound post production company, Oasis Post, are seeking a full
time Audio Post-Production Engineer to fill a vacant role in their sound department in
Adelaide, South Australia.
The successful applicant will;
Have a working knowledge of Pro Tools 8.0
Be proficient in both stereo and 5.1 mixing
Have a knowledge and practice of Australian advertising operational standards
Have an understanding of Source Connect and ISDN connections
Be multi-disciplined as an editor (dialogue, sound effects, ADR)
Have at least 4 years experience as a sound engineer in the area of Advertising
Responsibilities of the role will include; Communicating with advertising clients and
project coordinators both creatively and technically across jobs. Maintaining the two
studios (equipment, software). Liaising with Producers on estimates, sound delivery lists
and technical documents. Collaborating creatively with picture editors and producers
within the Kojo Group as well as with external companies and clients . Managing
sound sessions, including directing voice over talent. Salary will be based on the level
of experience of the successful applicant. Interested applicants will provide a letter of
application, a current CV and showreel to Sophie Roenfeldt, sophie@oasispost.com.
au or 31 Fullarton Road Kent Town SA 5067. The Kojo Group is an equal opportunity
employer.
          WA and Singapore renew cross-media initiative
ScreenWest and Singapore’s Media Development Authority confirmed a third round of
their cross-media development initiative. “The screen industries in Western Australia
and Singapore will benefit from and continue to strengthen the strong relationship
that exists between the two territories,” said ScreenWest CEO Ian Booth at MIPCOM.
The initiative aims to encourage producers from Western Australia and Singapore to
co-develop narrative concepts for new media channels.
In the previous round three projects received a grant of up to U$30,000 each in
development funding: Are you Smarter than Nature by Australia’s Sea Dog Films
and Singapore’s Very! Productions, Gallery of Everyday Things by Australia’s Great
Western Entertainment and Singapore’s Infinite frameworks andGlobal Sound Hunters
by Australia’s Circling Shark Productions and Singapore’s Xtreme Production. In the
new round, up to two projects will be selected and awarded up to U$30,000 each in
development funding.
                  Zoom Wind Covers
These microphone wind shields were designed by an enthusiast in
England, Rick Clarke, who needed to solve the problem of wind noise
ruining his field recordings on his H2. After several prototypes Rick
came up with a design that not only covered the microphone pick-up
area, but the entire microphone itself, thus preventing any peripheral
wind noise caused by air hitting the bodywork of the mic. The resulting
‘funky furries’ work extremely well and take care of pretty much all
wind noise issues, even on strong-wind days. Rick personally makes
all of his wind shields by-hand at his tiny studio in South West England
(UK), and ships them to anywhere in the world. So far he has received
extremely favorable feedback from happy customers enjoying clean
wind-free sound. At the moment, Rick’s wind shields are available
only for the Zoom H2 and The Zoom H4n, but he hopes to have them
available for the H1 and H4 shortly. There is a website available for
anyone interested in obtaining one of these fabulous little wind covers.
www.MicCovers.co.uk



                                                       32
    Northern Melbourne TAFE seeks production partners
The Northern Melbourne Institute of TAFE is looking for
production companies interested in partnerships that
could see its students produce professional programs
for broadcast on free-to-air and pay TV networks. “We
only ask that the production companies we partner
with commit to working together with students,” NMIT’s
Amanda Turnbull told Encore. “It’s not just the students
that benefit. The production partnerships are equally
as rewarding for industry practitioners, who get to
impart knowledge, mentor a young person and help
them launch their career,” added program coordinator
Darren Steffen. In partnership with McGuire Media,
the Screen and Media Students are producing 1.5 hour episodes of the racing show
Racing Review, currently being broadcast on Foxtel’s TVN channel and through the
TAB Agency Network. Turnbull said that NMIT is looking to partner with companies that
actively embrace student participation in conjunction with industry professionals: “We
see value in working with companies that will provide our students with exposure to
a range of genres, so whilst we are unable to take on another substantial production
partnership – like the one with McGuire Media- we are keen to collaborate with other
industry practitioners on additional projects”. According to Steffen, it is because of these
partnerships that NMIT has “a proven track record with graduates finding employment
as camera operators, editors, directors, producers, floor managers, lighting assistants
and as other technicians”. Companies interested in working with NMIT should contact
Steffen on (03) 9269 1745 or darrens-pa@nmit.vic.edu.au

    Rising Sun secures Green Lantern VFX
Adelaide-based Rising Sun Pictures has confirmed
it will deliver VFX for the Warner Bros. blockbuster
Green Lantern.“The sustained strength of the
Australian dollar is not helping attract lucrative, longer
term contracts to our shores. Rising Sun is pleased to
have brought a fraction of the Green Lantern spend
back to Australia,” said CEO Michael Taylor. According
to Taylor, a sliding rebate scale locked in with the
dollar exchange rate (to a maximum of 30 percent)
would help re-position Australia internationally.
Company director Tony Clark added that while this
project will benefit from the reduction in the PDV
rebate threshold, “the Australian Government still
needs to do more to ensure the local industry can
remain competitive on a larger scale”. Green Lantern
was scheduled for a NSW shoot at Fox Studios,
but due to the strenght of the Australian dollar, the
production was lost to the US state of Louisiana. It is
directed by Martin Campbell and stars Ryan Reynolds
as the title character. Rising Sun will work alongside
Sony Pictures Imageworks on the film’s VFX.



                                             33
                                      Dec 2010
           10 x 10: Tina Kaufman and the feature films
                               by: Tina Kaufman (Screen Hub)
Who better to pick her ten crucial Australian films of the decade than Tina Kaufman, who
has been immersed in them for the last forty years? So, said Screen Hub’s esteemed
editor, it’s the end of the decade, how about selecting your top ten films? OK, I said.
But when I started checking various lists I realised it was a bit more complicated than
just picking one film for each year; the films and the years didn’t balance out nicely,
and I’d have different reasons for picking some films than for others, while sometimes
I’d want more than one film (in the end, every year). And was I working to the year of
production, or the year when I saw the film, which would sometimes be the same, but
more often not? I decided to be relatively fluid about this, and go with when I saw the
film, otherwise I’d drive myself mad cross-checking everything. And I just wouldn’t worry
too much about balance or rationality. The decade started pretty well; 2000 saw a strong
lineup that included BootMen, Chopper, The Dish, Better Than Sex, and Me, Myself
and I. I was tempted to choose Shirley Barrett’s Walk the Talk, which I’d certainly found
much more interesting and provocative than most critics gave it credit for, but in the end
I chose a documentary, Dennis O’Rourke’s very controversial Cunnamulla, as the film
that most worked for me that year. I know some people find it very exploitative, but for
me it’s a raw, sometimes very funny, and utterly unblinking look at a town that seems
to have willingly exposed itself and its problems to the filmmaker. 2001 posed no such
problems, with one film standing out immediately, David Caesar’s Mullet. I loved that
film; it was moving, brave and it really worked, and the actors, from Ben Mendelsohn
to Susie Porter, from Andrew S Gilbert to the great Tony Barry and Kris McQuade,
were all terrific. However, I have to say that I found two other films that year to be really
memorable; Safina Uberoi’s great documentary My Mother India, and Rachel Perkins’
(sort of) opera, the stunningOne Night the Moon. Beneath Clouds was another absolute
standout in what was a relatively lean year; Ivan Sen’s beautiful, quiet, almost laconic
road movie, with its great natural performances and stunning images, really moved
me. But 2002 also saw another good and important film, Phil Noyce’s Rabbit-Proof
Fence, which addressed an important part of our history with strength and poignancy.
And I loved a fascinating documentary, Marie Delofski’s The Trouble With Merle, about
Merle Oberon’s mysterious relationship with Tasmania. There were quite a few films
released in 2003, but while Japanese Story, which I did like, is probably the best of
what otherwise was a pretty lacklustre bunch, I have to say that one of my best viewing
moments of the year was at the Sydney Film Festival’s celebration of the Dendy
Awards (for Australian short films), where Gill Leahy’s My Life Without Steve, Jackie
McKimmie’s Stations , and Pip Karmel’s Sex Rules were screened as previous winners.
And I have to confess that another highlight was David Wenham’s amazing performance
as the drug-addled witness in Jonathan Teplitsky’s very enjoyable crime caper Getting’
Square. Everyone said that the reason Somersault did so well and won so many awards
in 2004 was because it had no competition, and that’s probably true; it was a very lean
year and it did practically sweep the board. But Somersault is still a memorable film.
Cate Shortland’s first feature is a moody and visually stunning look at a young girl’s
coming-of-age; it’s deliberately sketchy, cool, and almost detached, with little dialogue
but great atmosphere. And it introduced Abbie Cornish to a wide audience.
While I liked Rowan Woods’ Little Fish a lot more than many people, and thought it
deserved a better reception, and really liked Sarah Watt’s Look Both Ways, for me,
2005 was the year in which two very low budget, very innovative films showed just what
could be done with little money and lots of enterprise, Kriv Stender’s Blacktown and
especially Scott Ryan’s The Magician, which just seemed to come out of nowhere.



                                               34
And then there was Green Bush, a great short film about an indigenous radio DJ on
the nightshift at a remote radio station; it’s deceptively simple and elegantly made by
Warwick Thornton, and I love it. 2006 was easy. Ten Canoes, this stunningly beautiful
film, in which the story is found and allowed to grow like a tree, with its quite different
rhythms and ways of seeing, dominated the year for me. But I do have to add some
other memorable films, from John Hughes great documentary The Archive Project,
to Clayton Jacobsen’s wonderfully funny and irreverent Kenny, which just came out
of nowhere and conquered all before it, and Margot Nash’s very unexpected and
moving Call Me Mum. In a relatively quiet year, 2007, one film for me made quite a bit of
noise – Matthew Saville’s Noise. But then, I also loved Tony Ayres’ Home Song Stories,
found myself really appreciating the subversiveness of Paul Goldman’s Suburban
Mayhem (why didn’t that film do better?) and being very impressed by what was
achieved with Dee McLachlan’s The Jammed. So perhaps it wasn’t such a quiet year,
after all. And once again, a memorable documentary,Anna Broinowski’sForbidden
Lies. Was 2008 the year when people started talking about all the dark and dreary Oz
films? Probably, with films like Bitter and Twisted, Ten Empty, and The Men’s Group,
with their bleak suburban stories. But it was also the year of Australia; love it or hate
it (and I thoroughly enjoyed it as a big, over-the-top melodrama), it was everywhere,
dominating both pre- and post-release media (including much that doesn’t usually cover
film), as well as many conversations and, of course, our screens. But probably the most
enjoyable film of the year, for me, was Mark Hartley’s Not Quite Hollywood, and then
seeing Colin Eggleston’s Long Weekend again (with the wonderful John Hargreaves),
as one of the films that had been featured (Long Weekend has gone on to an interesting
second life, turning up on many “top horror film” lists, and being invited to festivals and
special events). 2009 was a good year, particularly for Samson & Delilah, which has
been so much praised, awarded and discussed that I don’t really need to comment
further (I do have to confess that saw it very early, loved it, but was still surprised by
how well it did. In retrospect, I don’t know why, except perhaps that I didn’t expect
audiences to take to it the way they did). But there were some great documentaries
in 2009; John Hughes’ Indonesia Calling (which I was glad to see twice; it’s such a
dense, complex story, with layers of different meaning, and it had such implications
for the future of local filmmaking); Safina Uberoi’s A Good Man (when is it getting a
release?); and Curtis Levy’s very droll The Matilda Candidate. I loved seeing Charles
Chauvel’sThe Sons of Matthew again, as well as Debra Beattie’s documentary on its
making, which screened at GOMA in Brisbane during the BIFF tribute to Chauvel, with
some of the cast and crew from the 1949 film in attendance. But for me, it was mainly
the year of Wake in Fright, with the first screening of the restored version at the Sydney
Film Festival, with Ted Kotcheff, Tony Buckley and Jack Thompson in attendance
and taking part in several discussion sessions afterwards. (And then I spent several
months working on the book on the film I’ve written, as the latest in the Currency Press
Australian Screen Classic series – it’s just been released). 2010 – I have to say that
David Michod’s Animal Kingdom is certainly the most impressive Australian film I’ve
seen this year, although I thoroughly enjoyed Rachel Perkins’ Bran Nue Dae, was
impressed by Jeremy Sims’ Beneath Hill 60, and found myself very moved by Claire
McCarthy’s The Waiting City. But once again it was something from the past that most
worked for me; Two Laws was made collaboratively in 1981 by Borroloola Tribal Council
and filmmakers Carolyn Strachan and Alessandro Cavadini, about the two laws, colonial
and Indigenous, that affect their people. I saw it at a special session with Carolyn and
Alessandro talking about how it was made, and seeing it again after nearly thirty years
convinced me just how important a work it is. (There’s a DVD available now – get it,



                                           35
                                       Dec 2010
it’s worth it.) And I’m aware that many of the films I’ve highlighted over this decade are
either made by indigenous filmmakers, or with the involvement of indigenous people;
somehow there is something they bring to the filmmaking process that really works, both
in the telling of stories and in the look of the film. Perhaps it’s something we should be
more conscious of. Looking back at the decade, I am impressed by the number of low
budget, innovative films that managed to get made and seen. They were often flawed
and messy, some much more than others, but they were made with determination and
inventiveness. From City Loop and A Wreck, A Tangle, to aCold Summer, Travelling
Light and Bondi Tsunami, to Hunt Angels, Blacktown, Boxing Day, The Magician, All
My Friends Are Leaving Brisbane, and The Men’s Group, and probably many more
that I’ve forgotten or didn’t see, they had a lot to commend them. In this vein I was very
taken with Little Sparrows this year. As I said in my SFF roundup, it’s a brave and very
interesting take on grief and loss, a film that, as Clare Stewart said in her introduction,
“is an absolute gem that came in under the radar.” And it was made in Perth on what
filmmaker Camille Chen called “a ridiculously low budget”, in a “very organic way” with
lots of rehearsal and improvisation, has gone on to earn some valuable recognition at
various festivals and will be released next year. Also at SFF I talked to John Cooper, the
new director of the Sundance Film Festival, about the future of film festivals; he said he
wasn’t too concerned about the future of Sundance, he was more concerned about the
future of the sort of independent films that Sundance programs. “But as long as these
films are made,” he said, “we’ll have a festival to screen them.” “These films” are the
sorts of films where innovation and risk are important parts of the production process,
and while it’s hard to get support for them, digital technology is making them more
economical. David Puttnam said in his talk from the Asia Pacific Screen Awards, it’s so
hard to make a film, you may as well make one about something you care about (or
words to that effect), so let’s hope that this difficult but rewarding area of filmmaking can
thrive in the next ten years. In the meantime, take note of what Camille Chen said after
the screening of Little Sparrows, “independent cinema cannot exist without a thoughtful
and intelligent audience; spread the word, encourage your friends, and see good and
intelligent movies!” And, I should add, see them on the big screen!
(Tina Kaufman is a freelance writer on film and media issues who was editor of
‘FilmNews’ for seventeen years. She is now an Honorary Life Member of both the
Sydney Film Festival and the Film Critics Circle of Australia.)
    Auralex goes green with Sustain
Indianapolis-based Auralex Acoustics introduced its
new Sustain line of diffuser products at the recent AES
Convention in San Francisco. The Sustain product
line includes several form factors, including the Peak
Pyramid Diffusor, Wave Prism, Wave Lens, QuadraTec
and KeyPac. All are designed to improve a room’s
sound quality by helping scatter sound more evenly
throughout the acoustical space, which is especially
critical in recording studios. What makes them unique
is the material used: bamboo. In an interview on the
show floor, Jeff Lantz, general manager, explained the
                                                              When packed with
use of bamboo as part of the company’s commitment
                                                              absorptive material, the
to environmentally responsible products and operation.
                                                              Auralex Peak Pyramid can
“Auralex has a long history of using ecologically friendly
                                                              act as both a diffuser and a
product, like the soy content in our Studiofoam and
                                                              bass trap.
our EcoTech line, which uses recycled cotton fiber.”



                                           36
  TC Electronic debuts LM2 loudness
                                                                 New Members
        meter to U.S. market
At AES, TC Electronic                                              Welcome
introduced its LM2                                              Application form
stereo loudness and
true-peak level meter                                           on our website
to the United States.



                                                               CALL
The LM2 meter enables
high levels of loudness
precision and quality
in audio applications,



                                                                FOR
eliminating level
jumps and other aural       The TC Electronic LM2 loudness
inconsistencies for         meter offers a programmable
polished sound. The         radar view and full CALM Act


                                                               NEWS
new LM2 enables full        compliance.
compliance with both
the European R128 loudness standard as well as U.S.
standards. The meter analyzes any audio, be it speech,
music or other sources, assigning it an ATSC A/85- or
                                                                  If you have any news or
EBU R128-compliant loudness number. These numbers
                                                               information from your state,
may be used to normalize programs, commercials
                                                                 location or facility please
and music tracks as well as to set metadata in AC3
                                                                 email it to us. As without
transmission. This eliminates level jumps and other
                                                                 your contributions we will
inconsistencies sometimes caused by human error. For
                                                                   not have a newsletter.
a person mixing for many hours, ear fatigue makes it
increasingly difficult to accurately determine loudness
levels. With the TC Electronic LM2 meter, the user can
rely on an exact number as a reference for the mix                   Email to
instead of his ears. Similarly, using the LM2 as part of          Tony Murtagh at
a monitoring signal path ensures a consistent loudness         tmmurtagh@gmail.com
level in the mixing environment. Users can view the
loudness numbers generated by the LM2 on the meter’s
front panel or stats display. Connecting the LM2 to a
PC or Mac via USB allows access to TC Electronic’s
radar-meter technology, which displays loudness over a
given period of time. The radar can show loudness data
                                                               N e w
from up to 24 hours back in time, even if there was no
connection to a computer during that period. The LM2
meter is ideal for a variety of broadcast audio applications
                                                               A S S G
as well. During ingest, it can be employed to measure
loudness and the true-peak level of incoming audio
signals, revealing any signal overloads. Built-in gain
                                                               WEBSITE
normalization also enables it to correct gain to a preset      Check out our new and
loudness level.                                                improved website at
                                                               www.assg.org.au. Email
   AUSTRALIAN ON MPSE BOARD                                    us with your feedback.
Congratulations to ASSG member, Damian Candusso,
who is the first Australian to be appointed to the MPSE        What information do you
Board of Directors. Congratulations Damian.                    want to see on the site?


                                           37

				
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