The longer the attack and release time, the less harm (if any) will be done to the 3D effect. The trick is in the use of the attack and release times: The good news is that if used with care, 3D processing will survive compression. (for instance to automatically lower the level of a helicopter sound or a group of ambience tracks when there is dialogue) And in those cases the bus might be side chained. They both change the frequency content as well as the timing of the signal, and should not be used after 3D processing Compression (with side chaining)Īlthough ideally you should apply compression before the 3D processing, there is often the need for some bus compression. Make sure you keep the level relatively low, so that it doesn’t obscure the positional cues our 3D engine generates. However, especially if the reverb contains some pre delay before the tail kicks in, you can add some reverb after the 3D processing if needed. Reverbs can be used with care, if possible apply reverb before you apply 3D processing. Especially if the L and R side are modulated independent you will definitely harm or even ruin the localisation. Reverbs and short time delay effects like chorus, flanging, delaysĮffects like chorus, flanging or modulating delays should be avoided at any cost after the 3D processing. Be careful with the high frequencies (>5kHz) as these still help in localising the source, also because higher frequencies are more directional and will vary more when changing position. Also use equalisers that behave as linear as possible, so no emulation of analogue hardware or filters with strong resonance peaks, but clean EQs with gentle slopes. However, especially the very low frequencies are not super important for localisation, so if needed you can use shelving eq’s, but stay below 100Hz. Whenever you can, you should apply EQ before you go through the 3D process. For every movement both the phase/timing and frequency of the mono input is changed for left and right to mimic the new position in 3D.Īs long as you keep that in mind you’ll realise that any change you make after the processing, might mess up the 3D experience.īut some processes are worse than others: Equalisation These differences between left and right are specific for the location where you placed the sound source in relation to the listener. Why is it so important not to post process 3D/binaural audio?īecause the 3D processing generates two new channels (left and right) based on the mono input, and the differences in the output between left and right are both in phase/timing and frequency levels. Below an overview of ‘damage control’ and do’s and don’ts. So although in an ideal world you wouldn’t apply an post processing to 3D sounds, sometimes reality dictates differently. These are often side chained so that their level depends on what other sounds are played in the scene. However, in a complex game or film mix you might work with 100’s of sounds/tracks, and these are often at some stage in the mix grouped together in stems (ambience, dialogue, sfx), so that they can be controlled with one fader or level command. This also means that all these pre-processes are done in mono.
This means that all your other effects like EQ, time based effects (delay, reverb, modulation), dynamics (compression, limiting) should happen before the 3D input.
The binaural output of the 3D process should not undergo any further audio processing.
Ideally the 3D audio process is the last process in the effects chain. in order to get the best results during post-production you have to keep some important rules in mind.
The rest is just to apply wisely Sfera 3D audio processing and you get a unique result that matches a surround mix but in stereo.īut, always there is one. Get any sound of a hummingbird flying, just a short sample that is clean and you'll be able to recreate the movement with Sfera controls. The only way to work is to get the best hummingbird sound library that your money can buy and looking for the sounds that match the action. There is no way to get direct sound that matches the creature movement. This is one of this works that there is no shortcuts and requieres heavy editing. When we had the idea to do a video with a Hummingbird flying around the viewer we thought that this will be the best way to show how you can create an immersive mix where the sound design matches the movements of a CG creature.
0 kommentar(er)
