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VR production (sound), new like old?


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What a great gig, and also great that they helped you so much and allowed you to get so much audio from rigs.  Really good for the production and grip and car folks--their help to you is really audible in how cool the film sounds.  I've been on similar gigs where that help and time was not forthcoming, and the sound of the finished piece suffered for it I thought.

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It was a really cool job.  One of the most physically demanding I've ever done.  Carrying a stand with antennas and a stereo MS rig, a long shotgun, and a recorder with 12 channels running, up and down the hills trying to chase each spot of a trick that could span a mile or more in a single run.  I wish I had my mini cart back then, it would've saved me a lot of effort.  I also found the limit of red dot cos-11's.  It was incredible how loud the exhaust was.
I guess I've been lucky, or maybe it's in the NW air, but overall I've found the people I work with to be generally quite helpful and willing to work with me when I need help.  The grips on this job got some beer delivered too, which never hurts.

I guess I didn't take very many photos, I usually forget.  Here is the head rigged above the front seat, ears stuffed with overcovers.  You can just barely see the TRX742 zip tied to the seat in the background which transmitted and recorded both channels of the head.

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My C Stand with antennas and a Schoeps M/S in the Pianissimo

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Here's the head and 2nd recorder ready for close range pass bys and 360's.

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I know this thread is about VR production sound, so maybe this warrants a new thread about post design and mixing techniques?

I've been playing with the Two Big Ears (Now Facebook) spatial mixing for a little bit now, and I am generally impressed.  There is some funkyness when crossing directly behind you, etc that would need to be cared for, but I thought the distance/perspective work is really believable.  I've always found falsifying distance to be one of the hardest changes to make sound real in post.  I never considered encoding into ambisonics, doing the processing, then decoding back to stereo.  I know this is a technique used with MS / DMS sometimes, to upmix, process, downmix.  I wonder if doing the processing on an ambisonics incoded track makes it a lot easier to make a mono source more diffuse, and not just quieter or with reverb?

I also wonder what kind of panners we will see coming to the market to handle this kind of mixing.  Currently the automation capability of the spatial plugin seems limited.  I haven't been able to get it to work at all using the controls on my artist mix, so I'm recording the automation with my mouse.  How have others gone about automating movement in space?

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  • 5 weeks later...

I've done a bunch of 360VR shoots now, I even have my own 6x Xiaomi 360VR rig. 

Usually I'm just simply putting a lav on each speaker. Then hiding out of shot. 

But sometimes am even using the audio from the camera... like in this case I just used the Samsung Gear360 then stitched it immediately with a Samsung S7 and uploaded it on the spot. 

 

Meta! Am filming myself in #360VR filming myself!

Posted by David Peterson on Friday, July 15, 2016

Audio is of course quite bad, but sometimes it is worth it due to being able to share that experience right NOW as it is happening! :)

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