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:
Synopsis: In a distant lighthouse, a couple in crisis can no longer find common ground. Each character has their own perception of the situation.
Director of photography Roman LECHAPELIER Music Eduardo PATRICIO Editing Manoel VIEIRA Sound mixing Manoel VIEIRA Actors Gabriela CARNEIRO DA CUNHA and Antonio SABÓIA Producer Guarnicê Produções (Rua São Geraldo, 42 65.065-450 Sao Luis, Brazil)
Claudio Lima’s 3rd album, Rosa dos Ventos, is an interesting project that brings together regional Maranhao (Brazilian state), pop, classical and electronic music. It’s a song album, with several music personae glued up by Claudio’s beautiful and powerful voice.
A long project, following the singer’s process of composition and repertoire selection. In 2013, I started working on the album’s initial arrangements, defining its aesthetic direction. I worked on it for almost 4 years as arranger and producer. In May 2017, I led a group of musicians for the album premiere concert, playing MIDI guitar, drums, pandeiro and synths.
Auê* is a series of 27 2-minute long micro-documentaries. My role: sound mixer.
The movies show the diversity of children’s plays in several public schools in Curitiba-PR (Brazil). The kids host the episodes themselves, demonstrating and talking about their activities. The screenplays are based on research done by the directors Nélio Spréa (from Parabolé) and Otavio Zucon.
The episodes are being offered at no cost to more than 200 public TV channels in Brazil, and should all be eventually available on Parabole’s YouTube channel. This project was approved by ANCINE (Brazilian National Cinema Agency) and it is funded through Fundo Setorial do Audiovisual. The series will debut in February 2017.
* Auê might mean (among other things): fun/agitated activity; uproar/tumult; party.
Here are the episodes of the 1st season:
Direction, screenplay and production Nélio Spréa e Otavio Zucon
Photography and coloring
Sound recording and editing
Rafael Martins e Rafael Galvão
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.