VR-1 | VR and 360° | R4 | 2018-11-15 | 09:00 - 11:00
moderated by Helmut Wittek
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Praxiserfahrung in der Audioproduktion für VR
VR-1-2 | Start 10:00 | Duration 60 min. | Daniel Deboy | 3D Audio Workshop (German)
Anhand aktueller Beispiele zeigt dieser Vortrag die neuesten Tools und Workflows in der Produktion für Virtual Reality Experiences, von linearem 360° Film bis zu interaktiven Erlebnissen. Binaurale Audiodemos sollen dabei einen praxisnahen Einblick in die zahlreichen kreativen und technischen Gestaltungsmöglichkeiten geben.
Der Zuhörer kann in einzigartige immersive Klangwelten eintauchen.
AP-2 | The Arts of Production | R5 | 2018-11-15 | 11:30 - 13:00
moderated by Ulrike Anderson
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Musikproduktion in 3D - Beispiel Alessandro Quarta
AP-2-1 | Start 11:30 | Duration 60 min. | Stefan Bock |
Stefan Zaradic | 3D Audio Workshop (English)
Aufnahme, Mischung, Mastering in 3D
VR-2 | VR and 360° | R4 | 2018-11-15 | 12:00 - 13:00
moderated by Helmut Wittek
3D Recording and Mixing for speaker and headphone playback in parallel
VR-2-1 | Start 12:00 | Duration 60 min. | Gregor Zielinsky |
Tom Ammermann, Achim Fell, Jonathan David Ziegler | 3D Audio Workshop (English)
3D production has become common these days. From now will need to serve several formats. Mainly speaker based and headphone based formats , within the same recording process.
The workshop will show several, acoustic based recordings, that will be mixed for speakers and headphones. It is planned to use a 9.1 based speaker system. Atmos is optional.
For the headphone processing Dear VR, Dolby and NATs Spacial Audio designer will be used, in order to show different approaches.
For the understanding of the workshop it is very important, that we do not just want to virtualize the 9.1 speaker system. It is the task, to virtualize the microphones. As these are acoustic based recordings, it is most relevant, how the different headphone virtualizer will be able to handle the signals, that have natural crosstalk on them. This process is much more challenging, than just replacing the speakers.
We will use a Jazz quartett recording, done in a big recording space, plus a chorus, recorded in a large church in Prague.
3DP-1 | 3D Production | R5 | 2018-11-15 | 15:00 - 17:00
moderated by Stefan Bock
The Importance of 3D in Immersive Audio
3DP-1-1 | Start 15:00 | Duration 60 min. | Lasse Nipkow |
Gregor Zielinsky | 3D Audio Workshop (English)
Immersive Audio represents a number of different audio formats and viewing modes, including Auro 3D, Dolby Atmos, Ambisonics and VR / AR. 3D audio in terms of a geometric point of view is much more than surround + height or moving audio objects in the 3D space. It is the consistent extension of dimensions: from mono (point) and stereo (line) to surround (area) to 3D (volume). The result is a breathtaking spatiality as well as a naturalness of the sound of instruments, as can not be realized in stereo.
Gregor Zielinsky and Lasse Nipkow present their long-term findings and results with 3D audio in the workshop. Using illustrative examples, they explain how to tap the full potential by loudspeaker and headphone reproduction.
Modern Music Production for immersive / 3D formats
3DP-1-2 | Start 16:00 | Duration 60 min. | Lasse Nipkow |
Tom Ammermann | 3D Audio Workshop (English)
More and more music productions in 3D / immersive audio are realized native. In contrast to upmix strategies, thereby the potential of 3D / immersive audio can be fully achieved musically, and it can be used to create new forms of creativity. However, it is not trivial to deal with the large number of audio channels and with new binaural headphone virtualizations meaningfully.
Lasse and Tom are making 3D / immersive audio productions, recordings and presentations since more than a decade on various conventions all over the world. During this new session they will combine their knowledge and experience in 3D / immersive audio to explore main aspects of spatial audio psychoacoustics, production & missing strategies and tools in this comprehensive lecture. The audience will hear samples from new electro artists to famous dance artists like Booka Shade and Grammy awarded Kraftwerk tracks.
CLA-1 | Classical Music in 3D | R5 | 2018-11-16 | 09:00 - 13:00
moderated by Felix Krückels
The following list of contributions (1 of 4 in total) to this event is incomplete due to filtering.
Mixing Classical Music in 3D is Actually a Challenge!
CLA-1-2 | Start 10:00 | Duration 60 min. | Ephraim Hahn |
Kseniya Kawko | 3D Audio Workshop (English)
At the time, the first classical music recordings in immersive audio formats were made, it was often stated that creating a great sound in 3D audio is much easier compared to conventional stereo or surround formats. Indeed, opening up a 3D main microphone array quickly leads to an exciting and pleasing sound impression, as many acoustical features are recreated in a much more natural way. However, the fine nuances that constitute well known great recordings require still a very detailled work in miking and mixing in order to control the aesthetic intention and musical representation to the very last detail.
As an example, an orchestral recording will be presented by walking in detail through it’s elements and the mixing process.
This work also sums up many of the common conclusions from respected Tonmeisters at the 2018 AES conference on spatial audio - aesthetics and science in Tokyo.
3D-3 | 3D Audio | R1 | 2018-11-16 | 09:30 - 11:30
moderated by Matthias Frank
HOA convolution reverb: simulated multichannel impulse responses for a maximum of flexibility in ambisonics
3D-3-1 | Start 09:30 | Duration 60 min. | Leon Merkel | 3D Audio Workshop (English)
This work presents the development of a convolution reverb software for 3D audio productions by using object based programming and acoustically simulated hoa ambisonics impulse responses of an existing concert hall. An innovative graphical user interface enables the user to change the position of the listener and different sound sources in the spatial environment with ease. For every possible position exists one individual simulated ambisonics impulse response to create a feeling of realistic depth and accurate localization. The resulting 3D sound field can be played back on hoa ambisonics-systems, in binaural on head tracked headphones, or on every common loudspeaker setup up to Auro 3D. The participants of this workshop will get the chance to hear different sound examples and change their positions with the developed software.
Fraunhofer SSW (Spatial Sound Wave)
3D-3-2 | Start 10:30 | Duration 60 min. | Stefan Bock |
Stefan Zaradic, Rene Rodigast | 3D Audio Workshop (English)
Objektbasierte Audioproduktion wird mittlerweile auch in Studios als effiziente Methode für 3D Audio anerkannt und verstärkt eingesetzt. Damit sind viele intuitive Arbeitsschritte möglich die sich beim kanalbasierten produzieren als eine große Herausforderung erwiesen haben. In den IAN Studios wird hauptsächlich objektbasiert auf Basis der Fraunhofer IDMT SSW Software. Ein wichtiges Projekt war die Zusammenarbeit mit dem "Siemens Art Programm" bei dem objektbasiertes Recording und SSW basierte Produktion als Basis für Live Aufführung und Präsentation sowie für verschiedene Standard Ausspieleformate diente. Der Vortrag beleuchtet das Praktische Arbeiten mit SSW am Beispiel der Produktion für das "Siemens Art Programm
OB-1 | Object Based Production | R5 | 2018-11-16 | 15:00 - 16:00
moderated by Peter Hirscher
Eurovision Song Contest 2018 - immersiv und interaktiv
OB-1-1 | Start 15:00 | Duration 60 min. | Andreas Turnwald |
Ulli Scuda, Christian Simon | 3D Audio Workshop (German)
Der Eurovision Song Contest (ESC) ist mit 186 Millionen Fernsehzuschauern eine der größten Musikveranstaltungen der Welt. 2018 fand er vor über 10.000 Zuschauern in der Altice Arena in Lissabon statt. Durch seine Kombination aus Musik und Publikumsreaktionen ist er prädestiniert für eine dreidimensionale Audioproduktion. Parallel zum normalen 2.0 und 5.1 Sendeton hat das Fraunhofer Institut für Integrierte Schaltungen (IIS) in Kooperation mit der European Broadcasting Union (EBU) vor Ort eine immersive Tonfassung produziert, welche die Atmosphäre dieses Live-Events eindrucksvoll wiedergibt. Mittels einer MPEG-H Übertragung lassen sich mehrere Kommentare in unterschiedlichen Sprachen innerhalb eines Sendesignals ausstrahlen. Darüber hinaus ist Nutzer-Interaktion möglich, die dem Zuhörer zusätzliche Varianten der Mischung zugänglich macht. Der Beitrag berichtet über die technische Realisierung der Aufnahme, die klangliche Gestaltung, das Authoring und Enkodieren als MPEG-H-Datenstrom.
VR-4 | VR and 360° | R4 | 2018-11-16 | 15:00 - 17:00
moderated by Helmut Wittek
The following list of contributions (1 of 3 in total) to this event is incomplete due to filtering.
360 & VR - Create OZO Audio and Head Locked Spatial Music in Common DAWs
VR-4-2 | Start 15:30 | Duration 60 min. | Tom Ammermann | 3D Audio Workshop (English)
VR and 360 are mainly headphone applications. Of course, binaural headphone virtualization, well known since decades, becomes important as never before. Fortunately, current binaural virtualization technologies offer a fantastic new experience far away from creepy low quality ‘surround simulations’ in the past. The presentation will show how to create content for NOKIA’s new 360 audio format OZO Audio and how to create head locked binaural music in common DAWs.
VR-5 | VR and 360° | R4 | 2018-11-16 | 17:30 - 18:30
moderated by Helmut Wittek
Producing spatial audio content at the BBC
VR-5-1 | Start 17:30 | Duration 60 min. | Tom Parnell | 3D Audio Workshop (English)
Tom Parnell (BBC Radio and BBC Research & Development) presents recent binaural content from the BBC, including a case study and demos from this year's BBC Proms classical music festival. He also discusses the opportunities and challenges in deploying new spatial tools, transferring production knowledge to music balancers and sound designers, and distributing binaural content to different audiences.
AC-3 | Acoustics | R1 | 2018-11-16 | 17:30 - 19:00
moderated by Jonas Schira
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Capturing 3D Room Acoustics for VR: the Making Of vr.cloudshill.com
AC-3-2 | Start 18:00 | Duration 60 min. | Lars Ohlendorf | 3D Audio Workshop (English)
Room Acoustics is one of the most critical factors of a recording studio, as is spatialization for VR productions. For the VR showcase of the Hamburg-based vintage analogue studio Clouds Hill, our goal was to capture the acoustic properties of its diverse recording rooms as convincingly and honestly as possible. In order to achieve that, we had to find answers to the following key questions: 1. Recording: which microphone array delivers the most convincing room responses of the studios and what should we use it for – the recording of a signal (i. e. a musician playing) or the production of impulse responses? 2. Production and delivery formats: fixed mixes (channel-based or ambisonics) or just objects to be re-recorded by the audio engine in real-time (signals and impulse responses) – accuracy, versatility or control? 3. Reproduction: which audio engine sounds best for our needs?
I would like to give an insight into how we balanced the interdependencies of these questions, how the recording and post-production of the 3D audio contents was actually done, and present listening examples showing the transformation of sound from recording to delivery.
3DP-2 | 3D Production | R5 | 2018-11-17 | 09:30 - 11:30
moderated by Stefan Bock
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Vom Konzertsaal ins Kino: Die Hannover Last Night of the Proms 3D-Audio Liveübertragung
3DP-2-2 | Start 10:30 | Duration 60 min. | David Ziegler |
Georg Burdicek | 3D Audio Workshop (German)
2017 hat das Team von Stephan Thyssen und Georg Burdicek als Testlauf die "Last Night of the Proms" aus dem Kuppelsaal in Hannover als Immersive-Audio Produktion aufgezeichnet.
2018 wurde nun das Konzert live als Immersive Audio Produktion in zahlreiche Atmos-fähige Kinos Niedersachsens live übertragen.
Wir geben eine Übersicht über den Produktionsworkflow, Mikrofonierung in Zusammenarbeit mit dem NDR, Live-Mischung, Monitoring sowie Decodierung und Wiedergabe vor Ort.
TB-5 | Talk Back | R4 | 2018-11-17 | 12:30 - 13:30
moderated by Malgorzata Albinska-Frank
Das Duett - das offiziell erste Hörspiel in Dolby Atmos
TB-5-1 | Start 12:30 | Duration 60 min. | Markus Rebholz | 3D Audio Workshop (German)
"Das Duett" ist das offiziell erste Hörspiel in Dolby Atmos. Es entstand ursprünglich als studentisches Experiment und bietet eine neue Erfahrung mit Dolby Atmos im Kino. Die Geschichte wurde speziell für das Abhörformat Dolby Atmos entwickelt und auf die "experience" zugeschnitten. Volker Armbruster und Markus Rebholz geben detaillierte Einblicke in die Entwicklung und Produktion des Hörspiels und laden ein, selbst in die immersive Welt von "Das Duett" einzutauchen.
"Das Duett" ist: Alternativer Content fürs Kino, ein spannendes Forschungsfeld, ein Neuaufleben des Hörspiels.