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Program Outline Day 1 | Program Outline Day 2
Click to download a detailed program including abstracts
Our dedicated AVAR Conference Registration Desk on the lower level will be open from 2:00 PM through 6:00 PM on
Thursday, September 29 for badge collection. Follow the signs from the exterior of the West Hall and the parking areas.
This desk and another outside the Theater on Level Two will be manned during each day of the conference.
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Title |
Abstract |
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8:30 - 9:15 AM |
Workshop 1: Dr. Henney Oh - GAUDIO Lab, Inc. |
GAUDIO LAB VR develops audio technologies, one of which was adopted as the MPEG-H 3D Audio international standard. Based on these, we provide end-to-end solution for whole VR ecosystem as producer intended. In this workshop, audience will be guided the basics of VR audio solution when creating, delivering, and playing back 360/VR contents. All levels including beginner could enjoy the workshop. This workshop will cover: - Immersive and interactive binaural rendering: a key technology for real immersive VR audio - Object-based audio vs. scene-based audio - VR audio distribution: app-based or codec-based - Considerations on VR audio creation workflow - VR sound recording: mono, Ambisonics and binaural - Mixing and mastering with GWorks, AAX plugin for Pro Tools HD - Quality matters. But how to guarantee the same sound quality at the end-user stage? - GPlayer, a reference quality 360/VR audio player (API) |
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9:15 AM |
Break |
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9:30 - 10:15 AM |
Workshop 2: Jurgen Scharpf - Dolby Laboratories |
Dolby has been a pioneer in developing world’s leading object-based audio technologies and mixing tools for filmmakers and sound engineers around the world. In the last two years, we have also been working closely with a number of VR pioneers in the content community to develop the tools and playback technologies for enabling high quality linear VR experiences. This workshop will cover the unique advantages of using object-based audio mixing for cinematic and experiential VR experiences. The AES audience can walk away with an understanding of the power and flexibility of object-based audio mixing for creating more precise and convincing sound to match the visual — giving viewers a strong sense of presence. |
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10:15 AM |
Break |
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10:30 - 11:15 AM |
Workshop 3: |
This workshop will guide participants in the use of the FB360 Spatial Workstation toolset for 360 spatialized audio work in VR, from both the technology and content creation perspectives. It will cover: |
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11:15 AM |
Break |
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11:30 AM - 12:30 PM |
Workshop 4:
Chair: Sofia Brazzola - Sennheiser |
Henrik Oppermann - Visualise, Jean-Pascal Beaudoin - Headspace Studio (Felix & Paul Studios), Benedict Green - ECCO VR, Mikkel Nymand - Sennheiser The workshop will explore the requirements and best practices of on-location sound capture for cinematic virtual reality. The panel will sketch out the differences for the on-site sound engineer when working on a cinematic VR shoot compared to a traditional cinema shoot. In this context, it will examine the benefits and drawbacks of different spatial audio capture solutions – such as binaural and ambisonics – and look at their best practices. As well, the panel will look at when and how to capture non-spatial sources on set and discuss the still unresolved pain points facing location engineers today. |
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12:45 - 1:45 PM |
Challenges in Live Virtual Reality Audio
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2:00 - 2:45 PM |
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Workshop 5 Cancelled |
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2:45 - 3:30 PM |
Workshop 6: |
Although many VR projects only use the sound of the original venue, other projects require additional audio content, especially on high budget productions, incorporating sound design content and other sound material. The problem with adding additional audio content to VR shots, is the need to position sound in a very accurate way, which can be a nightmare when handling moving sound sources. This workshop will present an easy and very accurate way of positioning sounds on 360° videos, by dragging sounds on top of the image and track them around with key frame animation, a well-known CGI technique. Using a 3D CGI-like software for audio applications, with a virtual microphone approach, the same video can then be exported to different output formats, without the need to redo all sound positioning. |
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3:30 PM |
Break |
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3:45 - 4:30 PM |
Workshop 7:
Presented by: Hannu Pulakka - Nokia |
Nokia OZO is a professional quality VR camera with spatial sound recording support. OZO Audio workflow leverages the spatial sound capability and provides an optimal quality spatial audio workflow. This is enabled by a lossless interchange format based on the ITU/EBU Audio Definition Model (ADM), a high efficiency distribution format based on ISO MP4, and import functionality of these formats to digital audio workstations (DAW). In our approach, OZO Audio makes use of a traditional DAW workflow helping audio engineers to support VR audio productions. We are proud to announce our first full support for the OZO Audio workflow with Steinberg Nuendo. |
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4:30 - 5:15 PM |
Workshop 8: |
A few months ago, VideoStitch announced the Orah brand and its Orah 4i, a live streaming spherical camera,complete with immersive audio. The 4i uses four lenses and real-time stitching algorithms to produce 4K spherical video, and four on-camera MEMS microphones to capture first-order ambisonics. The output can be streamed directly to any platform that accepts live feeds of immersive content. This workshop explores the design of the Orah 4i camera’s integrated ambisonic audio capture, from selection and placement of the microphones, capsule correction EQ, level matching, omnidirectional to cardioid polar pattern processing, and conversion to first-order B-format. The final design decisions and several measurements are shown. |
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5:15 PM |
Break |
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5:30 - 6:15 PM |
Workshop 9: |
Many producers are currently adopting 360 content creation. For image production, multiple hardware and software solutions are now available off the shelf. However, although audio is a key point to immersion, this is not paralleled on the audio side. |
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6:15 PM |
Break |
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6:30 - 7:15 PM |
Closing Keynote: Future Nostalgia, Here and Now: Let’s Look Back on Today from 20 Years Hence |
George Sanger - Director of Sonic Arts at Magic Leap, Inc. Two decades of progress can change how we live and think in ways that boggle the mind. Audio is a small piece of that, but it's our piece. 20 years ago, the PC got rudimentary sound cards; now the entire “multitrack recording studio" lives on our computers. Some of us saw that development as inevitable, but in 1996 those smart people sounded fairly edgy, to say the least. And of those smart people, who among them saw that texting would be the “killer app” for smart phones, in many ways trumping audio communication? Let’s take our accumulated wisdom from the past 20 years of growth and non-growth of audio and computing, and see if we can’t get some feel for what it will be like in this room 20 years from now, looking back. With luck, we will be nodding our heads sagely, saying, “Yep, we saw that one coming way back in 2016!" |
