That's pretty much my bread and butter these days, build things up from scratch using irregular arrays . Most of the 3D foley I do is for theatre which I see as quite different from 3D art exhibitions/installations I also do . Film is difficult because cinemas have different hardware and arrays etc so designing stuff on bespoke site specific arrays such as you can with theatre or installations wouldn't work with film. Which is why I potentially like the object orientated approach. DTS contacted me asking for some mixes after coming to an installation recently as they have very few people capable of producing proper 3d audio content but haven't heard from them since. I chatted to one of their guys and weirdly he said they were trying to mix 3d audio with height on protools with a 7.1 bus - how can you be expected mix height information with only a horizontal array ? My experience with film post houses has also been atrocious - their idea of surround sound is often just upmixing stereo onto all speakers (slightly more nuanced but not much) , I get that the focus has to be on the screen but still..... As long as protools remains the industry standard its going to be pretty hard to get any decent surround mixes though I think they have some kind of surround extension (dolby surround tools) no idea how good it is . Nuendos better and reaper probably even better.
On 6 February 2016 at 14:00, Peter Lennox <[email protected]> wrote: > Things may gradually change as new blood comes through. > I have my students produce 'spatial soundscape foley' where they have to > produce an entire environment that is plausible - even to the extent of me > being able to walk around in it (I once had to navigate in pitch black, > using only the sound environment) - yet synthesised out of found > ingredients and synthesised ingredients. > > Almost every year I get one group who think they can blag it by taking the > SF mic off to Weatherspoons (a local hostelry), drink a few pints while the > recording is going on - job done, assignment in the bag. Every year they > discover it sounds terrible. Then they realise they have to build the pub > from the ground up (sonically, I mean) - and of course, that's the point of > the exercise. It soon dawns on them that plausibility does not simply come > out of accuracy, hence the 'spatial foley'. > > Students rapidly realise that the production tools are simply not > predicated on this kind of task, and so they have to adapt and devise ways > of working. > > So it will be a bigger task than generally recognised, to understand what > 'spatial' actually means in artificial sound fields. > > BTW - one group even had some angry geese in their medieval inn... > > > Dr. Peter Lennox > Senior Fellow of the Higher Education Academy > Senior Lecturer in Perception > College of Arts > University of Derby > > Tel: 01332 593155 > ________________________________________ > From: Sursound [[email protected]] On Behalf Of John Leonard [ > [email protected]] > Sent: 06 February 2016 12:04 > To: Surround Sound discussion group > Subject: Re: [Sursound] Dialogue in center channel,,, not always > > Having had two theatre shows filmed for cinema release, I haven’t had the > greatest experience engaging with the post production chaps: in both cases > I’ve had to explain that when the cast members exit upstage, door slams > shouldn’t be shoved in the rear speakers. Similarly, with a scene where all > the cast are looking through an upstage window at someone riding across a > field being chased by dogs, panning the sound effect through the rears and > then round to the front speakers may be fun, but it doesn’t chime with with > what’s on the screen. > > As for the up-mix to Dolby Atmos that happened for the second film, I had > no control over how the effects were sourced and the result in the cinema > was pretty terrible, and totally unnecessary. Rain makes a noise when it > hits a surface, not when it’s flying through the air. > > The DTS system may be better - I have a colleague who’s involved in the > development and he’s very enthusiastic about the possibilities. > > We shall see. > > John > > Please note new email address & direct line phone number > email: [email protected] > phone +44 (0)20 3286 5942 > > > > On 5 Feb 2016, at 23:08, Peter Lennox <[email protected]> wrote: > > > > Don't get me started on why massive soundstage = shrunken screen! > > and as for why you don't want to look over your shoulder, expecting to > see a dinosaur but actually see an nice ice-cream lady - well duh! > > _______________________________________________ > Sursound mailing list > [email protected] > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > edit account or options, view archives and so on. > > The University of Derby has a published policy regarding email and > reserves the right to monitor email traffic. If you believe this was sent > to you in error, please select unsubscribe. > > Unsubscribe and Security information contact: [email protected] > For all FOI requests please contact: [email protected] > All other Contacts are at http://www.derby.ac.uk/its/contacts/ > _______________________________________________ > Sursound mailing list > [email protected] > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > edit account or options, view archives and so on. > -- www.augustineleudar.com -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20160206/9999a518/attachment.html> _______________________________________________ Sursound mailing list [email protected] https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
