VR is in all mouths today, but what about the sound in VR environments?! We don't see or hear any revolution coming in. We are still using the same technologies :
- Realtime 3D audio spatialisation, and binaural downmix for realtime 3D rendered environments
- Ambisonic, sound fields or different multi-mics setups for live sound acquisition, then edited and spatialized in different tools for a final sound rendering on a VR Headset setup
- A mix of the two...
Let's share some benchmarks and check together what could be the next good idea for the improvement of the audio chain, either for 3D sounds acquisition or 3D sound rendering with headphones setup.
Founder and CEO of Game Audio Factory - G4F (European leader in audio for games)
Co-founder and President of Native Prime (Multilingual Localisation Studio)
Head of sound design dpt. at the ENJMIN School (French National School of Video Games)Administrator of the SPN (Regional Association of Startups) Co-Founder Fremen Corp // Co-Founder Iteca // Previously Audio Director at Cyanide Studio
Expert in interactive audio process and content production. Has worked on hundreds of game projects, from AAA titles to small indie games. Specialties: Audio consulting, design and production. Expertise in Audio API for video games and dedicated authoring tools (FMOD, MILES, XACT, WWISE, NITRO etc...). Localisation, Dubbing, Project Management, Cross-media, Transmedia
One stop shop for your audio needs !
- Audio Consulting (Audio Engine, Contractors, Consulting etc...)
- Audio Design (Sound Design, Audio Engine Design, )
- Audio Production (Music and Sound Production, SFX, Foley, Mobile Recording Solution)
- Project Management (On site audio integration, scheduling... )
- Localisation Services (Translation, Adaptation, Recording and QA)
G4F is actually reorganised in five departments :
- G4F Prod (Audio Production)
- G4F Records (Music Publishing & Licensing)
- G4F Talents (Talent Agency)
- G4F SFX (Sound FX production)
- G4F Localisation (Localisation activities)