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Immersive sound for VR TV documentary

: Scuda, Ulli

Verband Deutscher Tonmeister -VDT-:
29th Tonmeistertagung - VDT International Convention 2016 : Cologne, Germany, 17.11. – 20.11.2016
Bergisch-Gladbach: Verlag VDT, 2016
ISBN: 978-3-9812830-7-5
Tonmeistertagung (TMT) <29, 2016, Cologne>
Fraunhofer IIS ()

In this case study, the production of 3D sound for a VR TV documentary is presented. Different approaches to recording 3D audio on location have been tested. The fact that the recorded audio should be used for a documentary VR film has great influence on how the recording has been carried out and calls for different recording techniques than a 3D audio recording of music would do. Sound for VR differs from conventional TV sound in the way it is recorded, edited and mixed. For each of these production processes, common work flows need to be adapted and new techniques and tools are needed to face the challenges of immersive VR sound. In addition to a traditional double M/S boom microphone, for field recording of 3D ambiances, a conventional widely spaced 3D microphone setup was used as well as a compact microphone array that requires post processing. Both systems have their advantages but also some drawbacks in certain situations. Finally, for sound editing and mixing the specifics of 3D audio need to be considered. On top of that, the challenges of VR sound have to be taken into account.