Just a short remark about the state of VR:
Whereas VR has been hyped and (additionally) way too early, you could
also argue that growth is actually solid.
So probably this is not the next “platform”, but I wouldn’t underrate
the potential either.
(There is no question that investments in this area remain very high.
It is not my job to clarify if the spent sums can be justified or not.
;-)
VR is an established sub-category in gaming. Education and training
seem to be promising areas for the future.
It remains an open question if 360° video and its future forms (3DoF+,
6DoF) will be a viable and popular area.
Best regards
Stefan (Schreiber)
P.S.: I believe that the “live” film recording is mostly about
recording some form of ambience, the final sound being mixed in the
studio.
In this sense I don’t quite understand what you mean with “large scale
events”. A live recording of an open air concert? Ambisonics “alone”
won’t be good for this, granted.
- - - -
Citando Dave Hunt <davehuntau...@btinternet.com>:
Hi,
Financial investment is always an "objection".
Professional recordists have to make a choice of what might make
them an income, and what won't. Many high quality more standard mics
cost as much as a Rode NTF, an Ambeo, or a Soundfield, and they may
need many of the former and radio mics for their earning work. And
then there are the top quality recorders and mixers, trolleys,
cabling, road cases and transport, timecode links, and an assistant
or two.
The biggest budgets for location sound recording are in film. Many
of those sets are so noisy that immersive sound recording is rarely
usable.
Those working at the top end are certainly earning enough to afford
more unusual equipment. The rest of us have to be very careful. It
is easy to spend money but some things don't even pay for
themselves, let alone increase one's income. Some technologies move
very fast, so we have to beware of obsolescence. There are
indications that the VR expansion, which is probably driving the
market interest in ambisonic microphones, may be stalling.
The desire for "immersive" audio is certainly growing, and
ambisonics is immensely useful, but it is not really right for large
scale events where things like d&b's Soundscape, L'Acoustics LISA,
Timax, and Astro Spatial Audio seem to be the main competitors.
These are all based on Delta Stereophony, which can be regarded as a
cut down form of Wavefield Synthesis.
Ciao,
Dave Hunt
On 24 Feb 2019, at 17:00, sursound-requ...@music.vt.edu wrote:
From: Stefan Schreiber <st...@mail.telepac.pt>
Subject: Re: [Sursound] Enquiry on upmixing from 1st order
ambisonics to 3rd order ambisonics.
Date: 24 February 2019 13:58:25 GMT
To: Surround Sound discussion group <sursound@music.vt.edu>
Citando Dave Hunt <davehuntau...@btinternet.com>:
From: Politis Archontis <archontis.poli...@aalto.fi>
Subject: Re: [Sursound] Enquiry on upmixing from 1st order
ambisonics to 3rd order ambisonics.
Date: 22 February 2019 18:15:00 GMT
To: Surround Sound discussion group <sursound@music.vt.edu>
Hi David,
These upmixing methods extract a lot of information from the FOA
recording that is then re-used to essentially “synthesize" the
HOA signals, with a spatial resolution that would not be possible
with the FOA recordings. They are “active” in that sense, and
signal-dependent, compared to the “passive" classical ambisonic
decoding. Their success depends of course on how effective is
their underlying model and how robustly they are implemented.
In that sense there isn’t necessarily a large benefit in
parametric upmixing from FOA to 3rd-order, compared to parametric
decoding for playback, since these methods can also upmix
directly from FOA to, say, 40 speakers or headphones, with their
maximum sharpness. However, the HOA upmixing could be useful for
people that are working with a HOA processing pipeline, and they
want to integrate FOA or lower-order material seamlessly.
Regards,
Archontis Politis
Very few people have access to microphones beyond FOA, so that in
a live recording a number of close microphones could be mixed in
third order, with a FOA microphone as a "room" mic.
I don't understand these permanent "objections".
The Octomic and the Zylia ZM-1 microphones are available and well priced.
Why not just doing some investment (for a longer time), and just
buy one of these?
COMPASS seems to be able to upsample 2nd and 3rd order to higher,
so you seem to have always some
advantage.
(To be confirmed after COMPASS gets available, of course.)
From persons claiming to be professional recordists I would
actually expect to use up-to-date equipment.
(The mentioned microphones don't cost more or much more than some
professional cameras - just to compare.
I expect that a real photographer... you know what I mean.)
Best,
Stefan Schreiber
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