Issue link: http://digital.copcomm.com/i/1314046
different part of LA. They had multiple channels between tech, producers, and so on. He mentioned there is a little latency but overall, it works very well. Program audio is available through the Clear-Com systems and Brent thinks it may be better than a Comtek feed. Gerry noted that you need a qualified person to at least set the system up and get things running. It seems that there may be a requirement for someone full time, especially to help sort out who needs to talk to whom, and be able to make those connections. Peter mentioned that the system is pretty easy to remote into for making changes as well. Richard then brought up the idea that the sound department needs a longer prep time so that the communication issues can be brought up and discussed and equipment properly configured. Peter noted that we now have both interesting and challenging changes to deal with, such as it may be harder to get air handling turned off going forward. Gerry was encouraged by the ability to integrate systems like walkie-talkies into the new systems available and sees the current environment as both an opportunity and a challenge. Richard advises patience as new compliance regulations will be taxing while we learn to work quickly while observing safety guidelines. How Ghostbusters: Afterlife and Venom: Let There Be Carnage sound was created in virtual Cary Grant Theatre, with NEW SONY TECHNOLOGY Recap by Peter Kelsey CAS This was a presentation of Sony's new technology, the 360 VME. VME stands for "Virtual Mixing Environment." The presentation started with the Sony trailer for this new technology. The way this works is you get onto the sound stage you would like to emulate. (For the two projects listed above, this was the Cary Grant Theatre on the Sony lot.) You insert microphones into your ears and then sounds are played and the software analyzes how your ears pick up the sounds in the room. You then put on a pair of headphones and the software again analyzes how your brain responds to sound output through the headphones. You can then load your profile into a plugin in Pro Tools and, voila, you hear the sounds coming through the headphones as though they are being played in the sound stage you sampled. You can have as many profiles as you like; only needing to take measurements in the sound stages you would like to hear. Anything from a stereo mix to a full Dolby Atmos mix. This seems like an astonishing, magical technology. The ability to listen on headphones in your own home and have it sound like you are on a big sound stage is truly amazing. After this intro, an interview followed featuring Sony's Steven Ticknor asking Will Files CAS about his recent experience with the technology. Steven Ticknor has worked at Sony for 30 years. He is an editor, sound supervisor, sound designer, and mixer. His first credit was Rudy and recently worked on Spider-Man: Far from Home and Bad Boys for Life. Will Files started in post 20 years ago, worked at Skywalker Sound for a decade, and then Re-recording Mixer WILL FILES CAS and Sony's STEVEN TICKNOR