Seasoned audio and video professionals have a lot of experience in producing and engineering music and sound for a multitude of uses. We know how to mic, how to arrange, how to edit, and how to mix. But what are the implications of producing and engineering audio that is intended to be distributed within a Virtual Reality - VR or 360° video environment?
In this course, we will walk through the techniques of capturing, implementing, and delivering audio for use in HMD VR, mobile VR, and panoramic 360° web platforms built within Unity. We will utilize real-world tracks and session data to show some of the complexities that arise during these productions.
In addition, we will present a succinct and easily understood list of contingencies to consider when working on projects that require a VR/XR and/or 360° video final output. Tools, tips, and tricks learned along the way to a finished project will be highlighted and presented for the audio professional to easily enter this highly innovative field that has a lot of potential and need for creative expertise. Required Software: Unity 2019
Jeanine Cowen works as a freelance composer, music producer, and sound designer focusing primarily on the intersection of audio and visual medias. A highly experienced technologist with extensive musical training in classical, jazz, and contemporary genres, Jeanine excels in collaborative productions with credits spanning film, television, video games, and music.
Course Overview [Autogenerated] hi and welcome to sound design for virtual reality. I'm Julian Cowan, and I'm looking forward to walking you through. Some of the new audio possibilities when working in X are within the Unity game engine. We'll be walking through the techniques of creating 360 degrees Sonic immersion implementing audio for X R with a wide array of industry s decays and also how to capture and process audio with new AMBA Sonics tool sets and techniques, we'll be focusing on audio for use in head mounted display. V R Mobile, V R and other 360 degree interactions built with immunity will be utilizing real world tracks and session data to show some of the complexities that arise during these productions. We'll learn about how audio is different in X are discussing hearing and localization concepts related to HRT F, as well as object based sound formats, including amba Sonics. By the end of this course, you'll understand what the implications are of working with different V R and specialized audio Esti Kay's fine tuning your object based audio sound design, working with the dialogue and music needed in V R. And the new tool sets available to capture and process and a Sonics audio. To be successful in this course, you want to have a basic understanding of the unity engine, a basic workflow for preparing audio files in a d A W. And a general willingness to experiment with sound. Xar represents a growing opportunity in the audio world and opens up some great creative potential for delivering immersive audio.