Ambisonic sound production is significantly different from channel-based audio like conventional stereo, 5.1 surround, 22.2 multichannel audio and so on. Special microphones and tools are required for recording and mixing, and devices with decoders, renderers and position tracking sensors are required on the viewer side. We have tried to make several VR contents in ambisonics format which were directly related to broadcasted programs. In this paper, sound-making techniques in VR contents, including microphone arrangements, sound design and mixing are explained. We also considered what has strongly affected the quality of immersiveness of audio in the process of the production.
Nishiyama, Tomoyuki; Nagata, Takanobu; Ogata, Shinichirou; Hasue, Tetsuya; Kashiwagi, Mina
Affiliation: Japan Broadcasting Corporation (NHK), Tokyo, Japan
AES Conference: 2018 AES International Conference on Spatial Reproduction - Aesthetics and Science (July 2018)
Paper Number: EB1-4
Publication Date: July 30, 2018
Session Subject: ambisonics; spatial audio; immersive audio; cinematic VR; mixing; foley recording; sound design; head-locked track
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