Here’s the to link to my AES Virtual Vienna Convention workshop. It’s a practical introduction to the use of Ambisonics in VR film*.
*with examples from POV (Points of View) series by GRX Immersive Labs.
Pasta – short film (2020)
Pasta is a short film written by Anthony Giambusso, starring Rich Camp (who also directed it).
“After suffering a head injury, Caleb loses all memory, past or present, of pasta.”
My roles: dialogue editing, sound effects, and Foley.
Dysrhythmia – movie (2018 / 2019)
Movie by Alexander Bickford (USA). The whole project was recorded with a very loud Bolex 16mm film camera, so there was no production sound whatsoever.
I designed all sound elements in post, playing with the limits between realistic and experimental representation. Great challenge and super fun work! (Thanks, Alex)
Get Into Gere (2018)
Get into Gere is a short film written by Anthony Giambusso and starring Anthony Giambusso and Tierney Malloy. The film is directed by James Leighton & Cody Sorensen.
“A couple preparing to get married keep having the same fight stemming from the guy’s hero-worship obsession with Richard Gere.”
My roles: dialogue editing and sound mixing.
You can watch it here:
Toward live recorded 6DoF audio – Unity and ZM-1 microphone arrays (2018)
6DoF (six-degrees-of-freedom) refers to the possibility of a rigid body (or a representational device of it) to move freely in three transitional and three rotational degrees.
Designing sound for immersive VR 6DoF experiences is usually done by using mono or stereo sound artificially spatialised through software processing the seeks to replicate reverberation, diffusion and other acoustic behaviors.
Now, doing a live sound recording, in a physical acoustic space so it can be used in the context of 6DoF VR is said to be impossible or, at least, very hard.
To try and achieve just that, I used simultaneous recordings made with 9 ZYLIA ZM-1 microphone arrays, placing multiple ambisonics sound files in a scene I built in Unity 3D. The sound sound sources in those recordings are physical objects.
The following video explains the process, step by step:
Related paper presented at the 146th AES Convention in Dublin (2019):
(More information and reference to previous recordings can be found on this blog post from ZYLIA.)
The initial proof-of-concept was recently presented at Game Sound Con in Los Angeles, LA and AES Convention in New York, NY – USA.
Los Angeles, LA and AES Convention in New York, NY – USA.
Ambisonics and binaural audio for 360-degree and ‘tiny planet’ videos (2018)
‘Tiny planet’ video
Here we have 2 videos that share the same source material (audio and video recordings), but that had different post-processing workflows, resulting in:
- A 360-degree video with 1st order Ambisonics audio, and
- A ‘tiny planet’ video with binaural audio.
(Actual videos bellow)
I prepared the videos (concept, audio / video recording and editing) for ZYLIA and they were published on their YouTube channel.
The recordings were made at Barigui Park, Curitiba (Brazil). For some more details, you can check this short tutorial blog post.
Fat Ghost – web series (2018)
Fat Ghost,a delightful series about a ghost and his roommate.
Created by Rich Camp, “a comedian located in New York City”.
My role: sound design (dialogue editing, sound effects and mixing).
And here’s the pilot:
Doris – movie (2017-2018)
Horror movie by Hayder Hasen. “The film is full of fun and quirky characters with lots of surprises along the way”.
My roles: dialogue editing, sound effects, Foley, original soundtrack and mixing.
Doris is available on Amazon Prime in the UK and USA, and on http://Shorts.tv channels in the USA.
More info on the website here.
IMDb link here.
Here’s the trailer (the trailer’s sound design was not done by me):
© 2017 Darkest Day Films
Fupa – movie (2017)
Short documentary (9-minute long) by Gustavo Martin (Director, producer and editor).
My roles: Dialogue editing, sound effects and mixing.
Cody, a struggling young artist, tries to find solutions to cure her feisty little rat’s ever growing tumor while she considers what it could mean to lose her.
Review from UK Film Review website
Premiere on Driftless Film Festival .
PhD thesis – Spatial referentiality and openness: a portfolio of environmental based compositions (2016)
This is the result of my practice based research at Queen’s University Belfast (more specifically, at SARC), supervised by Dr. Pedro Rebelo and Dr. Paul Stapleton (2nd supervisor).
Here, you can find the full portfolio commentary in PDF, related posts and video documentation for each piece.
Through a creative portfolio and an analytical and critical commentary, this research investigates the use of spatial references in the composition of semi-open environmental sound works. The portfolio explores a number of strategies to make use of spatial references as formal compositional components to enable more intuitive performance/reading experiences. The pieces present a number of electronically mediated scenarios in varied formats; concert, installation and mobile application. Counting on the intuitive way one tries to constantly identify surrounding spaces, each piece uses physical (performance/presentation spaces) and representational devices (illustrations, maps, video projections, spatialised sound etc.) to articulate and delimitate semi-open artistic experiences. Such ambiguous scenarios are enabled by both the unpredictability of elements of each work and the dependence on the subjective interpretations of the agents involved in the process. The creative processes presented here in a descriptive, analytical and critical manner attempt to make an artistic contribution and provide documental material for future reflection about related practices.
Related posts: No Chords Attached; Come Across; Lock 1 memories; Sienkiewicz Pipes; Up the Hill; A Blue Bridge
Videos of the portfolio pieces:
No Chords attached (short version)
No Chords attached (full concert)