— Re-recording Mixer/Sound Designer Bob Bronow and Picture Editor Josh Earl, both multiple Primetime EMMY® award winners, will showcase the tools and the techniques used season after season from sound captured in one of the most challenging production environments on earth —
— Presentation on Original Productions’ Deadliest Catch is part of the new workshop track “Sound For Picture” at the AES Convention in New York City —
New York, NY, September 24, 2013 — Since it premiered in 2005, The Discovery Channel’s Deadliest Catch has drawn in millions of viewers and reeled in numerous awards, including the two EMMY® Awards for Outstanding Sound Mixing For Nonfiction Programming (Single or Multi-camera). At the upcoming 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City), key personnel from the audio team for the program will be there with a two-hour presentation on how they take sound from what is perhaps the most difficult audio environment this side of a war zone and shape it into one of the most compelling narratives on television. As part of the “Sound For Picture” track at the convention, chaired by acclaimed film sound department professional Brian McCarty (On Golden Pond, The Big Lebowski, Dick Tracy, others), Re-recording Mixer/Sound Designer Bob Bronow and Picture Editor Josh Earl will showcase the tools and the techniques they use to build the show out of a mass of raw audio shot far out to sea.
Bob Bronow has been honored with two Primetime EMMY Awards and four CAS Awards for his work on the show. In addition to mixing all nine seasons of Deadliest Catch, his credits includes Ax Men, The Legend of Shelby the Swamp Man, The Colony, 1000 Ways to Die, and the feature documentary The Wrecking Crew. Josh Earl has earned three EMMY Awards for Outstanding Picture Editing For Reality Programming and an American Cinema Editors’ Eddie Award for his work on Deadliest Catch. He has been part of the production team for seven years and is getting ready for Season 10 of Deadliest Catch. A member of the American Cinema Editors, Josh’s work has been seen associated with Discovery, AMC, Fox, Disney, Pixar, MTV, Epix, A&E, and History.
Together, Bronow and Earl form an innovative team that can sift through the raw audio recorded under some of the most extreme conditions on earth aboard the crab boats working around the Aleutian Islands port of Dutch Harbor where, as the show’s title indicates, the inherent risk of injury or death is always present. Because of a lack of space, the boats do not have someone acting as audio mixer. Audio is recorded using wireless microphones worn by the fishermen, and through shotgun microphones attached to the cameras.
“What Bob and Josh are able to accomplish is incredible,” observes Brian McCarty, who approached them to be part of the “Sound For Picture” track at the AES Convention. “Sound for picture has not gotten the attention it has deserved over the last several decades; as an organization the AES is committed to changing that. With this convention we’ll be presenting a wide range of sound-for-picture applications to the audience, with sessions that feature different OSCAR®- and/ EMMY-nominated/winning figures discussing their craft and the latest technology and techniques used for sound capture, mixing, editing, loudness and more. To have the two engineers who have made the sound for Deadliest Catch so amazing as the centerpiece for the track is fantastic.”
“Sound For Picture” Track features include:
Cinema Sound – Test Evaluation & Screen Performance
Cinema Sound Masterclasses on:
Music Production for Film – A Masterclass
Sound Design for Film – A Masterclass
Dialog Editing & Mixing for Film – A Masterclass
World-Class Cinema Sound Mixers Discuss Their Craft
Sound for Reality Television – Reality Is Hard Work!
Creative Dimension of Immersive Sound – Sound in 3D
Film Soundtrack Loudness – Control and Standardization
“When they come to the reality show audio workshop, people are going to hear audio problem solving of the highest order,” says McCarty. “The audio for Deadliest Catch is captured under constantly changing circumstances, and Bob and Josh have to adapt to all of those changes as they put together a consistently great-sounding show. At this workshop, you’ll learn practical knowledge and you’ll be greatly entertained. That’s a winning combination.”
For a full roster of AES “Sound For Picture” Track presentations, please visit http://www.aes.org/events/135/soundforpictures/. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.