The summary
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Two Big Ears 3-d area audio specialists have introduced a new “area workstation”, a platform that allows sound engineers to combine and edit surround sound with real-time feedback tracking data from VR headsets.
Two Big Ears has been quietly building a call in the 3-d audio area since they gave up the level printing with their 3-dCeption audio API last year. The API is designed to provide an interface for developers to provide accurate and compelling spatial sound, a sound that recreates a genuine sound scene close to the genuine world. This is especially vital to virtual truth because what you hear is a key cause of presence, a term used to describe mental immersion in a virtual area.
See also: Bjork’s 360 VR video clip ‘Stone Milker’ debuts tomorrow, optimized through 3DCeption Audio
Creating and delivering original, plausible spatial sound is quite difficult, however, audio specialists are using classic blending tools, designed to combine audio into static 2D sound (i.e. a monitor) without being told if a combination is working well. . when rendered in real time when projected into a virtual space.
“With the rise of 360 video and cinematic virtual reality, there are many visual paintings going on and creating audio for such reports is complicated with non-standard paint streams,” says Varun Nair, vice president of products at Two Big Ear. “Most of those experiments end with 2D sound simply because sound designers don’t have the right equipment to get the job done. What is needed is a smart mix of game audio and classic post-production paint streams.”
Log in to the area workstation. Released today, it provides a comprehensive audio pipe that, TBE expects, will solve the above problems. Spatial Workstation allows engineers to combine their favorite applications (Pro Tools, Reaper, etc.) while previewing the audio, rendered with the attached 360 video, obeying the input of a virtual reality viewer. Therefore, you can create the soundtrack to enjoy immersive cinematic virtual reality while ensuring that the combination remains effective when signals move in real time around the virtual sound scenario.
“We supply a complete set of equipment for a sound designer for paintings with location sound, ambisonic recordings, sound effects and music, and then reposition that audio in post-production,” Says Nair. “Most of the sounds you hear in movies or television are recreated and placed in post-production. Our team sound designers adapt and expand this flow of paints for virtual reality.”
“First with Felix and Paul Studios and now with other visionary virtual reality filmmakers since the creation of Headspace Studio, I pioneered 3D audio soundtracks for cinema virtual reality, an unorthodox mix of original microphone prototypes, unpologetic plug-in abuse and a dash of “code made” customization, says Jean-Pascal BeaudinArray, co-founder of Headspace Studio , “With its space workstation, Two Big Ears was introduced with the ambitious purpose of making this content design and delivery procedure for real virtual movie projects available to all audio post-production professionals. Having provided tons of feedback and tested their artistic equipment over the past few months, it’s a little painful to admit that they’ve done very well.”
Spatial Workstation is built for multiple platforms, so the operational formula deserves not to be an obstacle, and TBE has moved away from portable code to ensure that its rendering functionality remains high, at least for now.
The main considerations of TBE are to remove barriers that prevent engineers from running immersive content. “One of the main objectives of this initial release is to minimize paint flows and technological barriers between content creation and delivery. The area paint station allows a sound designer to paint in an environment he is familiar with (digital audio painting stations such as Pro Tools, Reaper, etc. .) and are combined directly into a 360 video or a head-tracking virtual reality camera. We offer a complex video playback solution that communicates with the audio desktop and also serves as a user interface of choice. »
For those who are interested in this new wave mixing and editing tool, you can sign up for the Mini-Site space workstation here.
So, with the first edition of Spatial Workstation in the public domain, what’s the next step for the Edinburgh-based company? “We’d be extraordinarily short-sighted if we stopped there! We’re running a cool generation that combines linear and interactive sound, location research, and a lot of magic that we can’t communicate about yet!”
it may be good