AES Conference on Audio for Virtual and Augmented Reality Announces Program Details
For Release: July 15, 2016
The inaugural International Conference on Audio for Virtual and Augmented Reality has unveiled an expansive program of technical papers, workshops and tutorials for the two-day event to be held on September 30 and October 1, 2016, co-located with the 141st AES Convention at the Los Angeles Convention Center’s West Hall. The conference and manufacturer’s Expo will spotlight research institutions, developers and vendors that are providing immersive spatial audio for virtual-reality and augmented-reality media, demonstrably one the fastest-growing segments of the entertainment-audio industry. Registration for this must-attend event is now open at www.aes.org/conferences/2016/avar/registration/.
Targeting content developers, researchers, manufacturers, consultants and students looking to expand their knowledge of sound production for VR and AR, a total of 27 technical papers will be offered during the two-day program, in addition to multiple practical workshops and tutorial sessions. Program content will focus on the AR/VR creative process, applications workflow and product development. The companion Expo will feature displays from leading-edge manufacturers and service providers.
Chris Pike, Richard Taylor, Tom Parnell and Frank Melchior from BBC Research & Development will present a paper entitled “Object-based 3D Audio Production for Virtual Reality Using The Audio Definition Model,” during which they will describe the development of a virtual-reality experience with object-based 3D audio rendering, and eventual production of an audio mix in the form of a single WAV file. The Audio Definition Model is a standardized metadata technique for representing audio content, including object-, channel- and scene-based 3D audio.
In a paper entitled “Augmented Reality Headphone Environment Rendering,” Keun Sup Lee and Jean-Marc Jotfrom DTS will address binaural artificial reverberation processing to match local environment acoustics, so that synthetic audio objects are not distinguishable from sounds occurring naturally or reproduced over loudspeakers, while a team from Qualcomm lead by Shankar Shivappa and Martin Morrell, in a paper entitled “Efficient, Compelling and Immersive VR Audio Experience Using Scene Based Audio/Higher Order Ambisonics,” will focus on mechanisms for acquiring and delivering live soundfields for VR productions.
Durand Begault from NASA ARC, in a paper entitled “Spatial Auditory Feedback in Response to Tracked Eye Position,” will focus on securing spatial auditory feedback about whether or not the user’s gaze is specifically directed towards a desired position, while Tim Gedemer and Charles Deenen from Source Sound will present a paper entitled “Mars 2030: A Virtual Reality Manned Mars Mission as Predicted by NASA Scientists in 2016,” which will describe the challenges of creating of a virtual-reality simulation for NASA’s planned manned mission to the Red Planet. Johannes Kares and Véronique Larcher from Sennheiser, in a paper entitled “Streaming Immersive Audio Content,” will describe ways in which engineers can create immersive audio content for live streaming.
“Other papers will throw a technical spotlight on perceptually-based approaches to creating immersive soundscapes for VR applications, and ways of individualizing spatial audio with ear shape modeling,” says conference co-chair Andres Mayo. “In fact, we have secured exciting contributions from a wide cross section of leading practitioners in the field of audio for VR and AR, including representatives from companies actively developing immersive sound solutions, as well as representatives from the academic world that are spearheading research into new development fields.”
Workshop session include presentations from Fraunhofer, Sennheiser, Dolby, Sound Particles, Technicolor and other companies, addressing such topics as “Audio Production, Mixing and Delivery for VR Audio,” “Immersive Sound Capture for Cinematic Virtual Reality,” “Object-based Audio Mixing for AR/VR Applications,” “Immersive Sound Design with Particle Systems,” and “3D Audio Post-Production Workflows for VR.”
Costs range from $195 for a 1-Day Pass for AES members ($295 for a 2-Day Pass) and $125 for accredited students, to $280/$435 for non-members; early-bird discounts are available through August 31st. Conference registrants can also attend the 141st AES Convention’s companion exhibition plus selected educational sessions and special events free of additional charge with an Exhibits-Plus badge; Combination 141st Convention and AVAR Conference registrations are also available. Register today at: www.aes.org/conferences/2016/avar/registration/
For further information on the 2016 International Conference on Audio for Virtual and Augmented Reality, visit http://www.aes.org/avar.
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